A few examples of appraisal values for
SPICES

• Three Railroad Worker's Porcelain Occupational
  Three Railroad Worker's Porcelain Occupational Shaving Mugs Late 19th/Early 20th Century comprising two examples related to the New York Elevated Railroad Company, identified for F. Schneider and D. H. Nicholson in gilt lettering, and a third mug identified A. D. Ross depicting an engine labeled F.R.R. underside of Ross mug marked T&V. Height of largest 4 inches. together with an unmarked shaving brush. The New York Elevated Railroad Company was established on October 27, 1872, as a reorganization of the West Side Patented Elevated Railway Company, the pioneering attempt at building an elevated rapid transit line. It was operated under the auspices of financier and railroad magnate Jay Gould (1836-1892), who had gained control of several elevated railway lines in New York during the last quarter of the nineteenth century. Property from the Collection of James Carpenter, Montague, New Jersey
• CHARLES ALLAN WINTER (AMERICAN, 1869-1942)
  CHARLES ALLAN WINTER (AMERICAN, 1869-1942) "PANDORA" Oil on canvas. Signed 'Charles A. Winter' (lower left). With original giltwood and jeweled frame. This work is archived at the Frick Art Reference Library, New York, Container ID No. 3107100221796. Archives: Charles Allan and Alice Beach Winter papers, circa 1890-1949, Archives of American Art, Smithsonian Institution. [Box 11: Glass Plate Negatives, circa 1890-circa 1930.] Exhibited: National Academy of Design, New York, 1909. Buffalo, New York, The Buffalo Fine Arts Academy - Albright Art Gallery, Catalogue of the Fourth Annual Exhibition of Selected Paintings by American Artists, May 10 - August 30, 1909. Literature: Harper's Weekly, Volume 53, 1908, Paintings of Note at the National Academy Exhibition (pictured). Burr McIntosh Monthly, 1909 (pictured). Catalogue Note: Winter is remembered for his work with Elbert Hubbard Roycrofter’s movement. Illustrating many of Hubbard’s ‘Little Sermons’ in Cosmopolitan magazine, the artist also worked frequently for The Fra Magazine. His style and aesthetic was recognized by proponents of the Arts & Crafts movement for its refined and harmonious beauty. Charles Allan Winter (American, 1869-1942) Born in Cincinnati, Charles Allan Winter enrolled in the Cincinnati Art Academy at a young age. He was awarded a Foreign scholarship from the school in 1894 to study at the Académie Julian in Paris under William-Adolphe Bouguereau and Gabriel Ferrier, as well as a scholarship to study in Rome. Returning to this country, he taught portraiture at the St. Louis School of Fine Art from 1898 to 1901. It was there that he met his future wife Alice Beach who was also an artist. In 1901, the Winters settled in New York where he worked as a portrait painter and as a magazine illustrator including with "The Masses." During this time, like many painters, Winter began experimenting with various color theories and technical approaches to painting using geometric principals to strengthen his compositions. It was around 1910 that the Winters made their first summer visit to Gloucester and Cape Ann. Enamored with the area, they convinced John Sloan and his wife Dolly who they had befriended in New York to also visit. In 1922, the Winters had a house and studio built on Mount Pleasant Avenue in East Gloucester; they made this their year-round home in 1931. Charles Allan Winter was employed during the 1930s as a mural painter under the auspices of the Works Progress Administration. Examples of his murals are preserved within Gloucester’s City Hall.
• ASSORTED LIGHTING & USEFUL ITEMS Including
  ASSORTED LIGHTING & USEFUL ITEMS Including a porch light, approx. 24 1/2 in. H., 11/2 in. Diam., a table lamp, an antique dresser mirror, a box of spices, a white stool, 18 in. H., 18 in. W., approx. 12 1/2 in. Diam., and a tabletop dresser, approx. 25 in. H., approx. 22 7/8 in. W., 15 3/8 n. D.
• LONG SCROLL GILT EMBOSSED LEATHER PAPER,
  LONG SCROLL GILT EMBOSSED LEATHER PAPER, KINKARAKAWAKAMI, BY ROTTMANN STROME AND CO MEIJI PERIOD, 1884-1890 ?? ?1884-1890? '????? ?????'? ???? ???? ??leather, gilt decorated with hibiscus flowers in tendrils, a rectangular label on reverse stamped '????? ????? (Rottmann Strome and Co.)' with Mount Fuji image(1)648cm x 88cmProvenance: Private English collectionNote: Kinkarakawakami(gilt foreign leather paper) was the Japanese name for gold embossed leather paper.Embossed leatherkinkarakawa(gilt foreign leather) was introduced to Japan by Dutch traders in the seventeenth century and the fashion for tobacco pouches and other personal effects grew amongst the Samuri class. This led to a widespread interest in this luxury product. Japanese craftspeople began to experiment, recreating the leather effect on paper. This also allowed the items to be used in temples as it was vegetarian. It wasn’t until the Meiji Restoration period (1868-1912) that the technique was perfected and exported. It was popular as a wall covering in Western-style houses in Japan, but as an exported product it led to the establishment of a prosperous industry that was overseen by the Japanese government. One company that had a lucrative contract to export these products was Rottmann Strome and Co., a well-known British company who were contractually aligned with the Japanese Government from 1884 to 1890.By the 1880s Japanese leather wallpapers displaying international designs were finding an assured market in the West. Historians credit Alexander Rottmann with its growth. He began by engaging Japanese artisans in small shops and ended by establishing a large enterprise under the auspices of the Japanese government. At the Imperial Printing Works in Yokohama, where bank notes, primers and state documents were printed, Rottmann gained the assistance of government officials in setting up a section for the manufacture of embossed leather hangings in styles and in a format (rolls) suited to the Western market. He organized the house of Rottmann, Strome and Co., Yokohama and London, in 1883 with exclusive rights to export leathers. Some displayed Japanese elements of design, others imitated Renaissance leathers. A number were designed by well-known British artists such as Arthur Silver and Harry Napper. As Western demand increased the government opened a Tokyo factory. About 1890 both operations were relinquished by the government and purchased by Rottmann, Strome and Kobayishi Beiki as the Yamaji Hekishi Shawan Paper Co.[1]Rottmann's papers were "non-arsenical, damp-proof, washable . . . more durable than any other material of a similar character."[2] In 1884 the company obtained a gold medal at the London International Health Exhibition and in 1885 a silver medal at the Antwerp Exhibition.[3] The firm's 1886 statement that it was the "original manufacturer of the highly embossed Japanese Wall Hangings which require no after treatment."[4] [1] Leung, Felicity L. 1988. “Japanese Wallpaper in Canada, 1880s-1930s”. Material Culture Review28 (June).[2] The Decorator and Furnisher, September 1885, p. 189.[3] Sugden and Edmondson, History of English Wallpaper, p. 227[4] The Decorator and Furnisher, May 1886.
• P. ARCHAMBAULT SIGNED MARKET SCENE OIL
  P. ARCHAMBAULT SIGNED MARKET SCENE OIL ON CANVAS Oil on canvas depicting rows of spices and vessels in a street market, signed "P. Archambault" lower right. Image: 29.5" H x 23.5" W; frame: 36" H x 30.25" W x 1.75" D.
• CHINESE EXPORT FAMILLE ROSE PORCELAIN
  CHINESE EXPORT FAMILLE ROSE PORCELAIN MEISSEN STYLE LEMON BASKET AND STANDUnmarked. 15 x 8 1/2 x 6 1/2 in. Note: These baskets were modeled after Meissen originals of circa 1740 and formed part of a table centerpiece comprising a lemon-basket surrounded by small shaped bowls, probably to hold oil and spices, all on a large shaped porcelain tray with turned-out handles. Several Chinese porcelain lemon baskets and stands of this form are known, however, the white molded rockwork over enameled waves on the stand in the present lot appears to be unrecorded. The stands in all the following examples have the more usual brown-glazed rockwork applied with enameled florets. See David S. Howard, op.cit., no.143, p.136 for an example in the Hodroff Collection; this basket is not pierced, which the author suggests indicates it was made prior to circa 1770. Condition Minor wear overall. The basket restored and reattached. Otherwise in good condition. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• RARE BOOK ON THE HOLOCAUST, BERGEN-BELSEN,
  RARE BOOK ON THE HOLOCAUST, BERGEN-BELSEN, 1946 Rafael Olevski, Dawid Rosental & Paul Trepman, eds., under the auspices of the Central Committe of the Liberated Jews in the British Zone; OUR DESTRUCTION IN PICTURES (Bergen-Belsen: "Our Voice," Dec., 1946) Text and captions in Yiddish, English, and German; Containing 115 reproductions from original photgraphs, many published for the first time here; Oblong folio, stapled, with black paper spine (part missing) a thin pictorial wrapper, the first title page on card stock, the last page also on card stock, with no evidence of a rear wrapper.
• 19TH C. PAINTED SPICE CHEST. A step
  19TH C. PAINTED SPICE CHEST. A step back form multi drawer, painted spice chest with square head nail construction, four drawers on top and two drawers on the bottom, all with milk glass pulls and painted names of spices, 25”H x 13.5”W x 10.5”D.
• A MONOGRAPH OF THE PHEASANTS BY WILLIAM
  A MONOGRAPH OF THE PHEASANTS BY WILLIAM BEEBEfour volumes published by H F & G Witherby, London, England, 1918-1922, under the auspices of the New York Zoological Society edition 422/600 Volume 1 is inscribed "Inscribed with pleasure for Dr William Seward Webb by William Beebe May 28th 1923." and second inscription "To Dr William Seward Webb Shelburne House With kind regards and best wishes Anthony R Kuser Bernardsville NJ May 30th 1923"
• TIN SPICE CONTAINERSLot of two spice
  TIN SPICE CONTAINERSLot of two spice containers: a large lidded container in cream paint with gold lettering SPICES having seven individual spice canisters inside and a tin sugar canister in green paint with SUGAR in gold paint and having the original hasp and bail handle. Allio Collection. FRANCAIS: Lot de deux boîtes à épices: une grande à couvercle, peinture crème avec lettrage "SPICES" doré ayant sept boîtes à épices individuelles à l'intérieur; boîte à sucre en tôle, peinture verte avec "SUGAR" peint en dorée et ayant le moraillon et la poignée d'origine. Collection Allio.
• WOODEN FOOD CONTAINERSA set of three
  WOODEN FOOD CONTAINERSA set of three turned food canisters with lids, used for storing herbs and spices in the Middle East. Great paint. Purchased in Saudi Arabia. H: 9.5" tallest; D: 6". Field Collection.
• 9 GERMAN ART NOUVEAU EARTHENWARE KITCHEN
  9 GERMAN ART NOUVEAU EARTHENWARE KITCHEN SETA late 19th century white floral earthenware kitchen set. 1 Max Roesler Rodach Square Container Bowl, stamped to side SODA 4.25"W x 4.25"L x 4.25"H; 1 RVR Roesler Soda Square Footed Container Bowl circa 1894-1910 Made in Rodach, Bavaria. The Mark RVR is the family crest derived from the name Roesler. 4.25"W X 4.25"L X 4.25"H; 1 Max Roesler Rodach Nudelin ("Noodles") Square lidded container 4.25"W x 4.25"L x 7.75"H; 1 Max Roesler Rodach Grunkern ("Green Kernel," or grain) Square lidded container 4.25"W x 4.25"L x 7.75"H; 1 Max Roesler Rodach Gries ("Grits," flour, corn, etc.) Square lidded container 4.25"W x 4.25"L x 7.75"H; 1 Max Roesler Rodach Reis ("Rice," flour, etc.) Square lidded container 4.25"W x 4.25"L x 7.75"H; 1 Max Roesler Rodach Gerste ("Barley," flour, spices, etc.) Square lidded container 4.25"W x 4.25"L x 7.75"H; 1 Max Roesler Rodach Topflappen ("Panholder," potholder and oven cloth holder.) Wall mounted container 3"W x 5.75'L x 7"H; 1 Max Roesler Rodach Recipe Holder Wall mounted. Broken piece inside. 3.5"W x 5"L x 3.75"H Issued: c. 1895 Dimensions: 7"H x 5.75"L x 3"W Manufacturer: Porzellan- und Feinsteingutfabrik Max Roesler Country of Origin: Germany Condition: Age related wear
• ALIX BEAUGOUS (HAITIAN) OIL ON CANVAS
  ALIX BEAUGOUS (HAITIAN) OIL ON CANVAS PAINTINGDESCRIPTION: A Alix Beaugous Haitian oil on canvas painting. Features a multi-colored figural scene of women and men conjuring around bowls of fruit and spices. Signed and dated bottom right "Alix Beaugous, 80" Complete mounted in a brown wood silver accented frame. CIRCA: 1980 ORIGIN: Haiti DIMENSIONS: H: 23.5" x L: 30.5" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
• ANTIQUE DUTCH STERLING SILVER CRANE
  ANTIQUE DUTCH STERLING SILVER CRANE ORNAMENTDESCRIPTION: An antique Dutch table ornament used to store spices, composed of silver depicts a standing crane with a worm wrapped around its beak, executed in realistic detail with feathered texture, accented at the base with frog motifs, and finished with Garnet eyes. Opens at the center revealing a generous storage space, hallmarked along the leg including maker's mark showing letter VS above star, a lion rampant in shield indicating silver purity of .934, and mark of a key which was the Dutch export mark. The maker is believed to be Johannes van Straten of Hoorn. The firm is said to have operated under the trade name Gebruder (Brothers) van Straten in the 1880s and 1890s in Hoorn. Total Weight: 490 Grams CIRCA: Late 19th Cent. ORIGIN: Dutch DIMENSIONS: H: 15.5" W: 7" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
• ANTIQUE DUTCH STERLING SILVER OSTRICH
  ANTIQUE DUTCH STERLING SILVER OSTRICH ORNAMENTDESCRIPTION: An antique Dutch table ornament used to store spices, composed of silver depicts a standing ostrich, executed in realistic detail with feathered texture, finished with Garnet eyes. Opens at the center revealing a storage space, hallmarked along the leg including maker's mark showing letter VS above star. The maker is believed to be Johannes van Straten of Hoorn. The firm is said to have operated under the trade name Gebruder (Brothers) van Straten in the 1880s and 1890s. Total weight: 78 Grams CIRCA: Late 19th Cent. ORIGIN: Dutch DIMENSIONS: H: 5.5" W: 3" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• 5PC VINTAGE STERLING SILVER CONDIMENTS
  5PC VINTAGE STERLING SILVER CONDIMENTS CUPS AND FORKSAn assortment of three small cups for spices, and two lemon forks. 1 Lunt cup, 1 800 M&M, 1 German cup, and 2 German forks. Lunt cup: 1.75"W x 2"H. M&M: 2"W x 1"H. German cup: 1.75"W x 1.5"H. Fork: 3.75"L x 0.5"W x 0.25"H. Country of Origin: United States and Germany Condition: Age related wear.
• ROUCLERE, HARRY AND MILDRED. HARRY AND
  ROUCLERE, HARRY AND MILDRED. HARRY AND MILDRED ROUCLERE...Cincinnati, Ohio: The Henderson-Achert-Krebs Litho. Co., ca 1900. Color lithograph poster advertises the mind reading feats and lightning calculations of Harry and Mildred Rouclere early in their career, under the auspices of Whallen & Martell. Whallen, the patriarch of a family of acrobats, partnered with Martell to develop their own full evening minstrel and variety shows which toured America beginning in 1890. The Roucleres were a feature act on their program. 30 x 20". Minor folds and repairs; A-. Rouclere (1866 – 1942) was one of the few magicians of the golden age to save the fortune he built as an entertainer. Beginning his career in show business as a juggler in a circus at the age of nine, he eventually developed a sensational two-person mind reading act with his wife, Mildred, and dubbed it “Mildredism.” After retiring from the stage, Rouclere took over the ownership and operation of his father’s hotel in Ridgewood, New Jersey. The hotel became a popular meeting place for magicians. An early aviator and airplane owner, Rouclere was also known as “The Flying Boniface,” and distributed gifts to the children of Ridgewood at Christmastime from his plane – while dressed as Santa Claus. The presents floated down to the children when thrown from the plane, each one attached to a tiny parachute.
• DANTE (HARRY AUGUST JANSEN). THURSTON
  DANTE (HARRY AUGUST JANSEN). THURSTON PRESENTS DANTE. E...Cleveland: The Otis Lithograph Co., ca. 1922. Three-sheet poster depicts a winged devil, back to the viewer, which dominates the poster, its balance filled with bust portraits of Dante gazing at other demons, animals, and imps, with portraits of Kellar and Thurston in the upper right and left corners. 40 ½ x 78 ½". Minor abrasions, closed tears, and losses restored; B. Uncommon. The posters produced for Dante that describe him as “Europe’s Magician” were produced just after he returned to the stage under the auspices of Howard Thurston. The Otis Lithograph Co. produced nearly all of Thurston’s posters, and as such, printed Dante’s with a similar look and design.
• BLACKSTONE USO SHOW ARCHIVE.[USO Shows]
  BLACKSTONE USO SHOW ARCHIVE.[USO Shows] Blackstone, Harry (Henry Boughton). Blackstone USO Show Archive. Collection of over 50 documents, including photos, letters, flyers, and printed notices related to Blackstone’s wartime shows conducted for the American troops under the auspices of the USO. Included are route sheets, letters of endorsement, programs, newspaper clippings, and over ten later prints of photographs showing Blackstone performing for the troops on stage and in military hospitals.
• JULIUS STOCKFLETH (AMERICAN/TEXAS 1857-1935)
  JULIUS STOCKFLETH (AMERICAN/TEXAS 1857-1935) A PAINTING...JULIUS STOCKFLETH (American/Texas 1857-1935) A PAINTING, "View of Galveston from Pelican Island," 1907, oil on canvas mounted to board, signed, placed and dated L/R, "J. Stockfleth, Galveston, 1907." 23 3/4" x 50" Note: A sweeping panorama view south from Pelican Island of steamboats, trawlers, tugboats moving through the Port of Galveston in a serene seascape; the skyline of the Strand sprouts in the background. The W. L. Moody Co. Building in view at left was constructed in 1884. Cumulus clouds blow in north of the Gulf Coast.Julius Stockfleth was born on January 29. 1857 in Wyk auf Föhr in Schleswig-Holstein, Germany. Stockfleth’s early artistic training began where he apprenticed to a local painter in Wyk. He emigrated to the United States in 1883, making a home in Galveston in 1885. No previous artist left as complete a picture of Galveston and western Gulf Coast shipping as did Stockfleth. Of particular historical interest was the series of paintings, some of which survive only in postcard reproductions that documented the hurricane of September 8, 1900, which devastated Galveston and took more than 6,000 lives. Stockfleth continued to paint scenes of Galveston at the turn of the century. His are the only known contemporary paintings of Galveston before, during, and after the hurricane and the subsequent rebuilding. Altogether, Stockfleth left some 200 paintings of Texas subjects painted in a naïve realist style.He returned to Germany in 1907, living in Wyk painting local scenes until his death. His paintings, drawings, and watercolors can be found in private collections and museums worldwide.This painting was painted during the last year that Stockfleth lived in Texas before returning to Germany. The size of the painting and attention to detail pronounce the importance of Galveston Harbor as a bustling shipping port. The tug boat in the middle foreground shown hauling barges of cotton almost as a tribute to the W.L. Moody and Co. whose name is displayed prominently on the building to the left side of the wharf.Moody's business activities centered on his cotton and banking interests in Galveston under the auspices of his firm, W. L. Moody and Company. The firm handled a substantial portion of the cotton business in Texas. In 1894 it built the first dockside cotton compress in Texas.By 1899 Galveston was the world's foremost cotton port and the fifth most important port in the United States. Innovative ideas like the high-density compression of cotton developed at Galveston kept the wharves competitive. In 1900 exports from Galveston were valued at more than $85 million. The present painting is newly discovered and one of the most comprehensive compositions of Galveston's importance as a seaport and will be included in the upcoming catalogue raisonné of works by Julius Stocklfleth, currently compiled by William Simpson, Sr. A related painting of similar subject and date is illustrated in the 1976 book "Julius Stockfleth; Gulf Coast Marine and Landscape Painter" by James Patrick McGuire on page 40, illustration #12 - noted as part of the collection of the Rosenberg Library, Galveston, Texas. Provenance: Property donated and sold to benefit the Makaha Community Center of Hawaii - dedicated to improving the lives of local homeless and underprivileged children. Condition: A few minor losses near minor frame rubbing with some stain transfer, recently lightly cleaned, 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."
• AMERICAN 28 DRAWER GRAIN PAINTED APOTHECARY
  AMERICAN 28 DRAWER GRAIN PAINTED APOTHECARY CABINET, MI...American 28 Drawer Grain Painted Apothecary Cabinet, mid 19 th Century, fitted with 7 tiers of 4 drawers with ebonized pulls and applied printed paper labels of herbs, spices and teas. Height 22 in. Length 52 in. Depth 11 ½ 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.
• PURE SPICES TIN GENERAL STORE DISPENSERMeasures
  PURE SPICES TIN GENERAL STORE DISPENSERMeasures 13.5" tall, 24" wide. Good original condition. Please Email or call for a detailed condition report. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, repairs, restorations or the effects of aging. The majority of the items we sell are Antiques and will show the appropriate wear and Patina. Packaging, Insurance, Handling And Shipping Are Done In House or You Are Welcome To Pick Up In Person Or Make Your Own Shipping Arrangements. Condition: Measures 13.5" tall, 24" wide. Good original condition. Please Email or call for a detailed condition report. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, repairs, restorations or the effects of aging. The majority of the items we sell are Antiques and will show the appropriate wear and Patina. Packaging, Insurance, Handling And Shipping Are Done In House or You Are Welcome To Pick Up In Person Or Make Your Own Shipping Arrangements.
• BRASS MOUNTED TIN CAMP CHEST WITH CONTENTSEnglish
  BRASS MOUNTED TIN CAMP CHEST WITH CONTENTSEnglish or Continental, 19th century, green painted metal case with pierced brass mounts, mounted plaque with engraved initials "A.N.", paw feet, opening to a divided interior, large circular reserve containing tin plates, right side compartments including three tin boxes for spices/nutmeg grater and ink well, coffee pot, two salt cellars and two trays, with utensils (one of horn, two with bone handles), 12 x 20 x 13 in. Provenance: Estate of Brock Arms, Flat Rock, North Carolina Condition: surface distress and weathering, verdigris, paint loss, dents and abrasions, separations to mounts, areas of white metal residue,ÿone threaded nozzle detached but present, two feet detached but present
• JEAN-BAPTISTE D'ANVILLE - MAP OF NORTH
  JEAN-BAPTISTE D'ANVILLE - MAP OF NORTH AMERICA, 1746Jean-Baptiste Bourguignon d'Anville, Amerique Septentrional Publiee Sous Les Auspices De Monseigneur Le Duc D'Orleans... MDCCXLVI , Paris, 1746, engraving on laid paper with hand colored highlights, sheet 34-1/4 x 35-1/4 in., plate 33-1/4 x 34-3/4 in.; black painted and gilt wood frame, 38-3/4 x 38 in. Provenance: Property deaccessioned by The Colonial Williamsburg Foundation; all proceeds to benefit The Joseph H. and June S. Hennage Fund Condition: hinged in on mat, some handling creases, scattered light staining throughout; frame with light wear and abrasions
• CHRIS CALLE (B. 1961) "MICRONESIA"Chris
  CHRIS CALLE (B. 1961) "MICRONESIA"Chris Calle (American, B. 1961) "Micronesia (Issued by U.S.)" Signed lower right. Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Maximum Card for the Federated States of Micronesia/U.S. Compact of Free Association stamp issued September 28, 1990. Flung across the vast sapphire Western Pacific to the north of Australia and south of Japan, the Federated States of Micronesia comprise more than 600 islands and islets. Like tiny ships bobbing on a vast expanse of ocean, the area encompassed by the Federated States is mostly saltwater; Ferdinand Magellan, sailing through their midst in 1521, failed to spot a single island. Yet people have inhabited these islands for as much as 3,500 years, making their living from the sea and farming the small portions of arable land. In more recent centuries, the islands have been claimed by colonial Spain, imperial Germany and Japan. During World War II, the islands were wrenched from the control of Japan by the United States. Following the war, the area was placed under the auspices of the United Nations Trust Territory of the Pacific Islands and administered by the United States. Today, the Re Mathau or People of the Deep Sea -- as many of the islands' more than 100,000 citizens are known -- claim their independence due to a pact signed with the United States in 1982. Under this agreement, called the Compact of Free Association, the Federated States of Micronesia have control of their own government with the United States being responsible for external security, defense and financial assistance to the islands. The compact came into force with the dissolution of the Trust Territory in 1986. Image Size: 15.75 x 16.25 in. Overall Size: 19.25 x 23 in. Unframed. (B12603) Condition: - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
• 20TH C. SPRATLING STERLING SILVER BIRD
  20TH C. SPRATLING STERLING SILVER BIRD W/ BELLS BROOCHWilliam Spratling (American/expatriate in Mexico, 1900-1967), Mexico, post 1979 under auspices of Sucesores de William Spratling. A stunning sterling silver brooch, faithfully rendered in a classic William Spratling bird with bell danglers design by the Sucesores de William Spratling at the ranch in Taxco el Viejo. The bird holds a ring from which three jingling bells are suspended. In addition, the piece displays a meticulous attention to detail, including finely modeled wings and plumage, depressions for eyes, and a single spherical granule atop the beak. Hallmarks on the back include a William Sprating Script Square hallmark (ca. 1964 to 1967) as well as "TS-24" to indicate that the piece was created post-1979 under the auspices of Sucesores de William Spratling. Weight: 18.6 grams. Silver quality: 95.16% silver. Size: 2.25" L x 1.375" W x .875" H (5.7 cm x 3.5 cm x 2.2 cm) William Spratling was an American expatriate artist, author, and entrepreneur best known for his work as a silversmith and designer who revitalized Taxco, Mexico's silver industry in the early to mid 20th century. Spratling made his initial visit to Mexico in 1926 and returned each summer for the next several years. Finally, in 1929, Spratling actually moved to Mexico to be an expatriate, becoming an active member of the vibrant artistic circles of Mexico. Spratling promoted the art of none other than Diego Rivera to New York galleries which led to Rivera's participation in the first exhibition of Mexican visual culture held in the United States, funded by the Carnegie Institute, that opened at the Metropolitan Museum of Art in New York. In Mexico, Spratling took notice of the Taxco's silver-mining history and opened a workshop called the Taller de las Delicias, which translates to "Factory of Delights". Years later, he would write: "Nineteen-thirty-one was a notable year in modern Mexican silversmithing. A young silversmith from Iguala named Artemio Navarrete went to Taxco to work for a small silver shop, founded with the germ of an idea, where Artemio, as a nucleus, began to form silversmiths. The present writer, encouraged by his friends Moises Saenz, Dwight Morrow and Diego Rivera, had set up that little shop called 'Las Delicias.'" Penny Chittim Morrill, Ph.D., who co-authored :Mexican Silver: 20th Century Hand-wrought Jewelry & Silver" with art dealer Carole Berk is the primary authority on Spratling's work. Morrill was the guest curator for the 2002 traveling exhibition entitled, "William Spratling and the Mexican Silver Renaissance: Maestros de Plata," organized by the San Diego Museum of Art. In her catalogue essay, Morrill stated, "In establishing silver as an artistic medium, what Spratling achieved was a delicate balance, a synthesis of abstract tendencies in the existent folk art tradition and in contemporary fine art, resulting in a visualization of concepts and ideas. As importantly, the Taller de las Delicias, became the paradigm for other silver designers to follow. Las Delicias was a community in which imagination and innovation were fostered and encouraged as the men learned the art of silversmithing while producing for profit. In the hierarchy of the workshop, these silversmiths advanced according to their ability, enthusiasm, and technical expertise." Provenance: ex-private Moore collection, Denver, Colorado, USA, acquired prior 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168372 Condition: Very nice overall with only slight surface scuffs. Pin opens and closes. Hallmarks on the back include a William Spratling Script Square hallmark (ca. 1964 to 1967) as well as "TS-24" to indicate that the piece was created post-1979 under the auspices of Sucesores de William Spratling.
• 20TH C. SPRATLING STERLING SILVER LINK
  20TH C. SPRATLING STERLING SILVER LINK BRACELETWilliam Spratling (American/ex-patriate in Mexico, 1900-1967), Mexico, post 1979 under auspices of Sucesores de William Spratling. A gorgeous sterling silver bracelet faithfully rendered in a classic William Spratling design by the Sucesores de William Spratling at the ranch in Taxco el Viejo. The bracelet features four "knot" links comprised of "X" and overlapping "O" motifs alternating with four stylized cross-like links. Hallmarks on the back of the central "cross" link include a William Spratling Script Square hallmark (ca. 1964 to 1967) as well as "TS-24" to indicate that the piece was created post-1979 under the auspices of Sucesores de William Spratling. Weight: 114.6 grams. Silver quality: 93.6% silver. Size: 7.875" L x 1.125" W (20 cm x 2.9 cm) William Spratling was an American expatriate artist, author, and entrepreneur best known for his work as a silversmith and designer who revitalized Taxco, Mexico's silver industry in the early to mid 20th century. Spratling made his initial visit to Mexico in 1926 and returned each summer for the next several years. Finally, in 1929, Spratling actually moved to Mexico to be an expatriate, becoming an active member of the vibrant artistic circles of Mexico. Spratling promoted the art of none other than Diego Rivera to New York galleries which led to Rivera's participation in the first exhibition of Mexican visual culture held in the United States, funded by the Carnegie Institute, that opened at the Metropolitan Museum of Art in New York. In Mexico, Spratling took notice of the Taxco's silver-mining history and opened a workshop called the Taller de las Delicias, which translates to "Factory of Delights". Years later, he would write: "Nineteen-thirty-one was a notable year in modern Mexican silversmithing. A young silversmith from Iguala named Artemio Navarrete went to Taxco to work for a small silver shop, founded with the germ of an idea, where Artemio, as a nucleus, began to form silversmiths. The present writer, encouraged by his friends Moises Saenz, Dwight Morrow and Diego Rivera, had set up that little shop called 'Las Delicias.'" Penny Chittim Morrill, Ph.D., who co-authored :Mexican Silver: 20th Century Hand-wrought Jewelry & Silver" with art dealer Carole Berk is the primary authority on Spratling's work. Morrill was the guest curator for the 2002 traveling exhibition entitled, "William Spratling and the Mexican Silver Renaissance: Maestros de Plata," organized by the San Diego Museum of Art. In her catalogue essay, Morrill stated, "In establishing silver as an artistic medium, what Spratling achieved was a delicate balance, a synthesis of abstract tendencies in the existent folk art tradition and in contemporary fine art, resulting in a visualization of concepts and ideas. As importantly, the Taller de las Delicias, became the paradigm for other silver designers to follow. Las Delicias was a community in which imagination and innovation were fostered and encouraged as the men learned the art of silversmithing while producing for profit. In the hierarchy of the workshop, these silversmiths advanced according to their ability, enthusiasm, and technical expertise." Provenance: ex-private Moore collection, Denver, Colorado, USA, acquired prior 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #168369 Condition: Very nice overall with only slight surface scuffs. Bracelet opens and closes. Hallmarks on the back include a William Spratling Script Square hallmark (ca. 1964 to 1967) as well as "TS-24" to indicate that the piece was created post-1979 under the auspices of Sucesores de William Spratling.
• § ALFRED WALLIS (BRITISH 1855-1942) PLYMOUTH
  § ALFRED WALLIS (BRITISH 1855-1942) PLYMOUTH signed in pencil (upper left), oil and chalk on card26.5cm x 35.5cm (10.5in x 14in)Provenance: In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (Arts Council of Great Britain, 1968) it states this painting is ex collection ‘Mrs George Buchanan’.Literature:Published with title 'Portsmouth and the Victory' Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat. no. 17.The Arts Council of Great Britain, Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, 1968 cat. no. 39.The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.
• ? ALFRED WALLIS (BRITISH 1855-1942) HOUSES
  ? ALFRED WALLIS (BRITISH 1855-1942) HOUSES IN ST. IVES oil, pencil and chalk on cardboard18.5cm x 26.5cm (7.25in x 10.5in)Provenance: In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (The Arts Council of Great Britain 1968) it states this painting is ex-collection Ben Nicholson.Exhibited: 1950: Possibly shown with title 'Houses', Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 32;1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 24;1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July;1968: Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 2, plate XII;1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 5;1985: London, Tate, St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate 13 Feb to 14 Apr 1985, cat. no. 25;1999-2000: Dublin, Irish Museum of Modern Art, Two Painters: Works by Alfred Wallis and James Dixon, Irish Museum of Modern Art, 1 Sep to 21 Nov 1999, Tate St Ives, May to Nov 2000, cat. no. 3.2020: Bristol, Royal West of England Academy, St Ives: Movements in Art and Life, 14 March to 19 September 2020.Literature:Possibly published with title 'Houses,' Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat.no. 32;The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat. no. 2, plate XII;Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, cat. no. 25;Irish Museum of Modern Art (2000), Two Painters: Works by Alfred Wallis and James Dixon, Merrell Holberton Publishers Ltd, London, cat. no. 3.The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.
• ALFRED WALLIS (BRITISH 1855-1942) ST.
  ALFRED WALLIS (BRITISH 1855-1942) ST. IVES BAY pencil and oil on board7.5cm x 30.1cm (3in x 11.9in)Provenance:In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin.This Wallis was given to Wilhelmina Barns-Graham by Sven Berlin for research she did on the Wallis family, presumably for his book on Wallis.Exhibited: 1950: Bournemouth, Bournemouth Arts Club, Alfred Wallis and Christopher Wood, 12 Aug to 2 Sep 1950, no. 56;1959: St Ives, 36 Fore Street (Penwith Gallery?), Alfred Wallis Exhibition, 1-6 June 1959, cat. no. 26;1968: London, The Arts Council of Great Britain, Alfred Wallis, Tate Gallery 30 May to 30 June 1968, York City Art Gallery 6 to 28 July;1968, Aberdeen Art Gallery 3 to 25 August, Abbot Hall Art Gallery 31 Aug to 22 Sep 1968, cat. no. 16;1983: St Ives, Penwith Gallery, Alfred Wallis, 3 September to 1 October 1983, cat. no. 6.Published References: Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat no. 56The Arts Council of Great Britain (1968), Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, cat no 16.The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.
• BLUE AND WHITE 'LANCA' STEM CUP QING
  BLUE AND WHITE 'LANCA' STEM CUP QING DYNASTY, DAOGUANG SIX-CHARACTER SEAL MARK IN UNDERGLAZE BLUE AND OF THE PERIOD ??? ??????????????? ??????????the exterior decorated with lanca characters interspersed with lotus flowerheads growing from scrolling stems and leaves above a band of radiating lappets, the interior decorated with a large stylised flower-head(1)14.2cm diameterProvenance: Private Canadian collection, acquired from iGavel Auctions, New York, 15 October 2019.Formerly in the Gertrude E. Hodgman (1896-1977) collection thence by descent. In 1929, under the auspices of the Rockefeller Foundation, Gertrude went to Peking China to develop and head a school of nursing. The development and maintenance of the Peiping Union Medical College School of Nursing was Gertrude’s focus for ten years (1929-1939) and in November 1959, she was presented with the Armed Forces Medal of the Republic of China to honour her service.Her relationship with the nurses she helped train did not disappear with their graduation. She also worked with the nurses that left China for Taiwan. As she aged, her nurses came to her to provide assistance and share their love and thanks with her. During her service in China and until her death in 1977, Gertrude was given and/or collected the Chinese cultural artefacts displayed in this collection.
• GASTON LACHAISE, (AMERICAN, 1882-1935),
  GASTON LACHAISE, (AMERICAN, 1882-1935), EQUESTRIENNE (WOMAN ON HORSEBACK) [LF 22], MODELED IN 1917, CAST CA. 1930-31; POLISHED BRONZE, HEIGHT OF BRONZE: 10 7/8 IN., WIDTH OF BRONZE: 9 3/8 IN., DEPTH OF BRONZE: 5 IN.; HEIGASTON LACHAISE, (American, 1882-1935) Equestrienne (Woman on Horseback) [LF 22], modeled in 1917, cast ca. 1930-31; polished bronze inscribed Gaston Lachaise 1918 on base inscribed Roman Bronze Works. N.Y. on base modeled in 1917, cast ca. 1930-31; polished bronze Dimensions: height of bronze: 10 7/8 in., width of bronze: 9 3/8 in., depth of bronze: 5 in.; height of base: 3/4 in., width of base: 10 3/8 in., depth of base: 5 7/8 in. Provenance: Erhard Weyhe, New York, 1931; Katherine Urquhart Warren (1897–1976), from the above, 1938; by descent to the present owner. Katherine Warren, of New York City and Newport, RI, was an avid art collector who was elected a trustee of the Museum of Modern Art (New York) in 1943. Exhibitions: - A New American Sculpture 1914-1945, Lachaise, Laurent, Nadelman, and Zorach, Portland, May 26 - September 8, 2017, Memphis Brooks Museum of Art, Memphis, TN, October 14, 2017 - January 7, 2018, Amon Carter Museum of American Art, Fort Worth, TX, February 17 - May 13, 2018. cat. no. 33 (illus). - Bruce Museum, Greenwich, CT. Face & Figure: The Sculpture of Gaston Lachaise, September 22, 2012 - January 6, 2013, cat. no. 7 (illus). - Rhode Island School of Design Museum of Art, Providence, RI. The Katherine Urquhart Warren Collection, March 11-27, 1983. cat. no. 25 (illus). - Warren Apartment, New York, auspices of the Radcliffe Club of New York, 1966 - Warren Apartment, New York, auspices of the Museum of Modern Art, 1956 Condition: Uneven patina, otherwise in overall good condition. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• 1873 RUSSIAN SILVER BESAMIM SPICE BOXThis
  1873 RUSSIAN SILVER BESAMIM SPICE BOXThis Jewish spice box was made in Russia in 1873 according to the stamps on the base. It is also stamped "84" which means it is 87.5 % silver content. Aromatic spices were placed in this container for the Havdalah ceremony at the close of Jewish Shabbat. It is 3-1/2" tall and has nicely detailed mini-figures of rabbis holding up the spice bowl. Excellent condition.
• CHINESE STERLING SILVER MINIATURE RICKSHAWVintage
  CHINESE STERLING SILVER MINIATURE RICKSHAWVintage Chinese sterling silver miniature rickshaw shaker with retractable canopy and movable wheels. Possibly used for salt, pepper, spices or snuff. Marked "STERLING." Dimensions approx. 4 1/4" x 3 1/2" x 2". Weight: 72.8 grams. Good condition shipping info This lot can be shipped in-house.
• 1906 KENTUCKY SPICE MILLS CALENDAR1906
  1906 KENTUCKY SPICE MILLS CALENDAR1906 Hanging calendar with a portrait of a young woman. Advertising piece for Kentucky Spice Mills, to promote their Coffees, Tea and Spices, Covington, NY. Nicely framed to 17" x 21". shipping info This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
• "BASIC COMMODITIES OF COMMERCE" SPECIMEN
  "BASIC COMMODITIES OF COMMERCE" SPECIMEN CABINET CIRCA 1922 HEIGHT 60.75”. WIDTH 45”. DEPTH 17”."BASIC COMMODITIES OF COMMERCE" SPECIMEN CABINET, Circa 1922, Mahoganized wood case with thirty labeled drawers containing specimens and samples. Brass plaque at top engraved "Basic Commodities of Commerce Prepared by The Economic Laboratories Washington Chas. R. Toothaker, Curator Philadelphia. Presented to The India House James A. Farrell April 28, 1922". Drawers labeled "Corn Products", "Grains", "Minor Foods", "Sugar", "Tea Chocolate Coffee Tobacco", "Spices and Flavors", "Drugs", "Natural Dyestuffs", "Tanning Materials", "Rubber", "Gums and Resins", "Oil Seeds and Oils", "Waxes", "Woods", "Cotton", "Flax", "Vegetable Fibres", "Rope and Brush Fibres", "Silk", "Wool", "Animal Hairs", "Furs", "Leather", "Animal Products", "Iron and Steel", "Metallic Minerals", "Non-Metallic Minerals", "Minerals and Building Stones", "Coal and Petroleum" and "Coal Tar Products". Dimensions: Height 60.75". Width 45". Depth 17". Provenance: Property of India House, New York.Note:James Augustine Farrell Sr. (February 15, 1863-March 28, 1943) was president of U.S. Steel from 1911 to 1932. A major business figure of his era, Farrell expanded U.S. Steel by a factor of five during his presidency, turning it into America's first billion-dollar company. Farrell was also a champion and early pioneer of export markets, and he massively expanded U.S. steel exports to the world with the help of the shipping subsidiary he founded, the Isthmian Steamship Company.