- AN ITALIAN MARBLE FRAGMENT: THE DIVERAn
AN ITALIAN MARBLE FRAGMENT: THE DIVERAn Italian white marble figural fragment: The Diverlate 19th centuryOn a black slate pedestal.overall height 85 1/2in (217cm); width 16in (41cm) square
- CHINESE EXPORT CARVED HARDWOOD AND UPHOLSTERED
CHINESE EXPORT CARVED HARDWOOD AND UPHOLSTERED PARLOR SETComprising:
A pair of armchairs, 45 3/4 x 28 1/2 x 31 in., height of seat 14 1/2 in.
A settee, 36 x 6 ft. 5 in. x 28 in.
For a similar example see Doyle New York, May 4, 2021, Lot 110.
Note: This suite was donated to the Historical Society of Newburgh by Bessie Aspinwall Wagner, daughter of the family who originally commissioned it. It is through the letters and notes of Bessie Aspinwall Wagner the history of the suite has been recorded.
This furniture was commissioned by the Aspinwall family through an English dealer to be made in China circa 1880 and reportedly imported on one of the family’s merchant ships. The Aspinwalls who used this parlor set had been living in New Jersey at that time and, at the turn of the 20th century, John Aspinwall built a home in Newburgh, NY when he established his factory there, producing the innovative Fabrikoid which was an artificial leather. Fabrikoid was ‘capable of giving an imitation of all kinds of leather in all colors and patterns’. Beginning as an alternative upholstery material for carriages, Fabrikoid was quickly promoted for use in suitcases, baseball coverings, shoe and hat linings, hospital sheeting and more. As automobiles took center stage in transportation, Mr. Aspinwall's company was positioned to offer upholstery and car tops perfect for weather exposure. By 1906, the company boasted that each month they made enough artificial leather to reach three times to New York City.
Bessie Aspinwall married Colonel Hayden Wagner and moved to another mansion not far from her parents' Town of Newburgh home. The Aspinwall home on Balmville Road was sold by Bessie to the Union Presbyterian Church in 1957 and that congregation converted it to their house of worship. The big music room in the mansion that had held the Chinese furniture became Union Presbyterian's main sanctuary which it remains today. At that time, the parlor set was given to the historical society which had recently purchased an unfurnished mansion of its own as a headquarters in downtown Newburgh.
Newburgh, New York was a busy and important port in the 19th century, enough that it had its own federal customs house. Several prominent residents were freight forwarders who engaged in New York, Atlantic Coast and foreign trade. The homes of this community represented this wealth and the diversity of goods exchanged by its business families.
Condition
The suite with minor wear, scuffing and nicks throughout. The settee with minor losses and age cracks. The upholstery is soiled and worn and one upholstered armrest is detached. All structurally sound, grand scale.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- Jacques Vesery. Junkyard Dog Ball (from
Jacques Vesery. Junkyard Dog Ball (from the Diversity in the Round series). 2008, carved and textured cherry, honey locust, acrylic paint. 4 h × 4½ w × 4½ d in. result: $4,410. estimate: $1,000–1,500. Incised signature and date to each element ‘J. Vesery 2008’ with artist's cipher.
- Jacques Vesery. Roll Away the Dew; That's
Jacques Vesery. Roll Away the Dew; That's a Wrap; Tritubyteme (three works from the Diversity in the Round series). 2008, carved and textured cherry, honey locust, acrylic paint. 4¼ h × 4½ w × 4½ d in. result: $4,410. estimate: $2,000–3,000. Incised signature and date to each element ‘J. Vesery 2008’ with artist's cipher.
- AN ANTIQUE MAP, "TOTIUS AMERICAE SEPTENTRIONALIS
AN ANTIQUE MAP, "TOTIUS AMERICAE SEPTENTRIONALIS ET MER...AN ANTIQUE MAP, "Totius Americae Septentrionalis et Meridionalis," NUREMBERG, EARLY 18TH CENTURY, hand colored engraving on paper, published by Johann Baptist Homann (1664-1724), the figural title cartouche showing a North American Indian with Dutch windmills and settled farmland at his back and at left a South American Indian, and at center a scene of Trade between Indigenous and Explorers, duly noted are the personal weapons of war, and two types of armadillos. 20" x 23" Note: Johann Baptist Homann (March 20, 1664 - July 1, 1724) was the most prominent and prolific map publisher of the 18th century. Homann was born in Oberkammlach, a small town near Kammlach, Bavaria, Germany. As a young man Homann studied in a Jesuit school and nursed ambitions of becoming a Dominican priest before converting to Protestantism in 1687. Following his conversion, Homann moved to Nuremberg and found employment as a notary. Around 1693 Homan briefly relocated to Vienna, where he lived and studied printing and copper plate engraving until 1695. Afterwards he returned to Nuremberg where, in 1702, he founded the commercial publishing firm that would bear his name. In the next five years Homann produced hundreds of maps and developed a distinctive style characterized by heavy detailed engraving, elaborate allegorical cartouche work, and vivid hand color. The Homann firm, due to the lower cost of printing in Germany, was able to undercut the dominant French and Dutch publishing houses while matching the diversity and quality of their output. By 1715 Homann's rising star caught the attention of the Holy Roman Emperor Charles the VI, who appointed him Imperial Cartographer. In the same year he was also appointed a member of the Royal Academy of Sciences in Berlin. Homann's prestigious title came with a number of important advantages including access to the most up to date cartographic information as well as the "Privilege." The Privilege was a type of early copyright offered to a few individuals by the Holy Roman Emperor. Though not as sophisticated as modern copyright legislation, the Privilege did offer a kind of limited protection for several years. Most all J. B. Homann maps printed between 1715 and 1730 bear the inscription "Cum Priviligio" or some variation. Following Homann's death in 1726, the management of the firm passed to his son Johann Christoph Homann. The present map shows settlements, physical features, political divisions in North and South America and the West Indies; a portion of the coasts of Europe and Africa; islands in the Atlantic and Pacific Oceans, and settlements. Includes notes, dates of discovery, and illustrations.
Condition:
Mild expected wear, but overall in very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
- REMARKABLE TAINO STONE ZEMI FIGURE HOLDING
REMARKABLE TAINO STONE ZEMI FIGURE HOLDING WEAPONPre-Columbian, Caribbean/Florida, Arawak People, Taino, ca. 15th century CE. A fascinating stone carving of a stylized figure known as a zemi, presenting an ovoid form. Highly abstract and minimalistic, the ancient figure displays attenuated arms bent at the elbows and hands placed together as his left hand holds a lengthy macana or weapon. His biceps extend upwards and form a type of hood or hunchback that frames his large head, which features bulging, annular eyes beneath an arched brow, a straight nose, and a petite mouth. His slender legs bend below him, positioned toe-to-toe reminiscent of a crouching frog. Size: 6.5" L x 2.8" W (16.5 cm x 7.1 cm)
According to the Metropolitan Museum of Art, "Zemi (or cemi) is a term used by Taino peoples, the diverse societies that inhabited the Antilles archipelago before European contact, that linguistically relates to a quality akin to sweetness. Zemi refers not to an object or image but to an immaterial, spiritual, and vital force pertaining to deities and ancestors. There are several known zemi identities recorded by the Spanish, some of which have been linked to archaeological images."
Provenance: private J. S. collection, Sedona, Arizona, USA, acquired in the early 1980s; ex-private Haiti 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.
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.
#165915
Condition:
Light softening of detail and some minor abrasions as shown. Otherwise, intact and excellent.
- FINE TAINO CARVED STONE ZEMI FIGUREPre-Columbian,
FINE TAINO CARVED STONE ZEMI FIGUREPre-Columbian, Caribbean, Arawak People, Taino, ca. 15th century CE. A remarkable, hand-carved stone figure known as a zemi, presenting in an abstract, ovoid form. Gazing forward from bulging eyes, the ancient figure features a minimalist visage with a bulbous nose and full lips held closed all enveloped by a hood-like coiffure or headdress. His attenuated arms bend at the elbows with hands together on the chest, as though in prayer, while his body curves inward at the sides to display a slender waist and an unarticulated lower body. Size: 2.5" W x 6.4" H (6.4 cm x 16.3 cm)
According to the Metropolitan Museum of Art, "Zemi (or cemi) is a term used by Taino peoples, the diverse societies that inhabited the Antilles archipelago before European contact, that linguistically relates to a quality akin to sweetness. Zemi refers not to an object or image but to an immaterial, spiritual, and vital force pertaining to deities and ancestors. There are several known zemi identities recorded by the Spanish, some of which have been linked to archaeological images."
Provenance: private J. S. collection, Sedona, Arizona, USA, acquired in the early 1980s; ex-private Haiti 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.
b>PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship b>PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#165912
Condition:
Some expected light scratches and abrasions, commensurate with age. Otherwise, intact and excellent with nice remaining details.
- TAINO STONE ZEMI DOG DEITY / OPIYEL
TAINO STONE ZEMI DOG DEITY / OPIYEL GUOBIRANPre-Columbian, Caribbean area, perhaps Dominican Republic, Taino (Arawak) Indians, ca. 1000 to 1500 CE. An incredibly well-preserved stone zemi of a Taino dog deity known as Opiyel Guobiran shown in a crouching position with huge eyes and drooping dog ears on either side of the head. Thought of as a god-dog or soul dog, Opiyel Guobiran was believed to accompany the souls of the dead to the afterlife, acting as a type of guide for the deceased. Size: 2.7" W x 4.5" H (6.9 cm x 11.4 cm)
According to the Metropolitan Museum of Art, "Creative sculptural expression, both extractive and additive, for the Taino peoples was intertwined with sacred concepts such as zemi, ceremony, and rulership. Zemi figures were used as stands, reliquaries, or personal adornment. Zemi (or cemi) is a term used by Taino peoples, the diverse societies that inhabited the Antilles archipelago before European contact, that linguistically relates to a quality akin to sweetness. Zemi refers not to an object or image but to an immaterial, spiritual, and vital force pertaining to deities and ancestors. There are several known zemi identities recorded by the Spanish, some of which have been linked to archaeological images."
Provenance: private J. Hart Collection, Houston, Texas, USA, acquired mid-1970's
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.
#174548
Condition:
A few small nicks in areas. Otherwise, intact and excellent with impressive preservation of detail.
- NECKLACE W/ ROMAN GLASS BEADS, GOLD
NECKLACE W/ ROMAN GLASS BEADS, GOLD FOIL SPACERS**Originally Listed At $800**
Roman, Imperial period, ca. 1st to 3rd century CE. A stunning ensemble of Roman gold foil and millefiori glass beads, all strung on a modern strand with crimp beads and a clasp to be wearable. Neatly arranged to graduate in size at the center, the ancient beads boast an impressive variety of hues, forms, and patterns creating a variegated appearance that is quite the feast for the eyes. Slender gold foil beads separate the glass beads, adding a lustrous sparkle that shines through the adornment. A truly one-of-a-kind necklace that highlights the diversity and opulence of the ancient world! Size (necklace): 19" L (48.3 cm); (largest bead): 0.72" W (1.8 cm); gold quality: 95% (equivalent to 22K+)
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.
Provenance: private Superior, Colorado, USA collection acquired around 2005
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.
#175980
Condition:
Ancient beads strung on a modern strand with modern crimp beads and clasp to be wearable. Minor abrasions and weathering to some beads, otherwise intact and very good. Great coloration remaining.
- PENDLETON + RAMONA SAKIESTEWA, FIVE
PENDLETON + RAMONA SAKIESTEWA, FIVE SOUTHWEST TRAIL BLANKETSPendleton + Ramona Sakiestewa, Five Southwest Trail Blankets, Limited Edition Southwest Trail Blanket, designed by Ramona Sakiestewa, made by Pendleton. Chihuahua, Santa Fe, Iron Horse, Navajo, and Chaco Trails The Southwest Trails Blankets celebrate the diversity of cultures, myths and traditions of the historic American West. The first privately produced Pendleton blanket series, Ramona's Southwest Trail Blankets are rich in color and design with symbols that exemplify the heritage of the region. Dimensions: Chihuahua Trail: 80 x 62 in. (203.20 x 157.48 cm.); Santa Fe Trail: 80 x 64 in. (203.20 x 162.56 cm.); Iron Horse Trail: 80 x 63 in. (203.20 x 160.02 cm.); Navajo: 79 x 64 in. (200.66 x 162.56 cm.); Chaco Trail: 76 x 63 in. (193.04 x 160.02 cm.) Provenance: Private Collection, California
- DAVID FALOSSI (B. 1957), "THE DIVER,"
DAVID FALOSSI (B. 1957), "THE DIVER," 1993, GRANITE AND MARBLE, OVERALL: 65" H X 10.625" W X 17" DIA.David Falossi, (b. 1957) "The Diver," 1993, Granite and marble Appears unsigned A stone tile-clad figure with glass insert eyes, on a small circular base, with metal accents, all mounted to a larger circular stone base Granite and marble Dimensions: Overall: 65" H x 10.625" W x 17" Dia. Provenance: Estate of Dr. Sanford Kaufman and Dr. P. Waverly Davidson
- AMERICA'S PROMISE, THE ALLIANCE OF YOUTH,
AMERICA'S PROMISE, THE ALLIANCE OF YOUTH, 10 YEARS, MEDAL DEPICTING GENERAL AND ALMA POWELL, 2007 DIAMETER OF MEDAL: 3 IN. (7.62 CM.)AMERICA'S PROMISE, THE ALLIANCE OF YOUTH, 10 YEARS, MEDAL DEPICTING GENERAL AND ALMA POWELL, 2007, the medal depicting the Powells and a cart, the obverse with dedicatory inscription, medal unsigned, likely bronze; in fitted wood box Catalogue note: America's Promise Alliance works to ensure a more just and equitable America that empowers every next generation to lead our country forward. They advance this vision by bringing together the diverse organizations and institutions engaging young people and uniting them in powerful collective action. Dimensions: Diameter of medal: 3 in. (7.62 cm.) Provenance: Estate of General Colin L. Powell, to benefit America's Promise Alliance and the Colin Powell School at City College of New York.
- Photographic Archive of Miles City Montana
Photographic Archive of Miles City Montana Photographer R.C. Morrison 1880s-1890s Cowan's is proud to present the photographic archive of pioneer Montana photographer Robert C. Morrison (1850-1938) descended directly in the family of the photographer and available for sale for the first time. R.C. Morrison arrived in Miles City Montana in 1878 when it was a tiny sutler's outpost serving General Miles' Ft. Keogh and remained there until his death sixty years later. Originally a sign painter he found a new creative outlet in photography and over those sixty years managed to photograph just about everything subject available to him. He operated a professional studio ca 1880s-1990s making him a contemporary of classic Western photographers L.A. Huffman and Christian Barthelmess but much of his work seems to have been purely for his own enjoyment. Morrison was an eccentric fellow with an eye for the unusual and you can sense an almost childlike enthusiasm for his work evidenced by offbeat subject matter and experimentation in a time when photography was viewed by most as a serious and scientific endeavor. What really distinguishes the collection though is the setting; located at the intersection of army Indian pioneer and cowboy culture Miles City embodied everything about the American West and Morrison was there to capture it from its rugged infancy until long after the railroads reservations and barbed wire had erased all notions of the frontier.With the exception of the collection presented here R.C. Morrison's heirs have donated his entire collection (including 3 600 glass negatives) to the Montana Historical Society. Several of these images were made available to the public for the first time in a Smithsonian.com feature by Donna Lucey published October 5 2009. This exclusivity combined with the diverse subject matter Morrison's unusual style and his relationship with some of the giants of Western photography make this a truly unique opportunity.The archive contains over 1 700 photographs plus related materials. About half of the photographs are duplicates varying somewhat in clarity condition and mount and roughly 10% by other photographers. The contents are summarized later in this description and fully accounted for in a spreadsheet available upon request.What we know about R.C. Morrison is limited. His photographs give us a rough sketch of his life from the time he arrived in Miles City at age 28 but with little context. It is not clear if he was a participant in or merely an observer of the varied events he photographed nor is it always clear which photographs were taken for profit and which for hobby. The documents included in the archive are primarily business related either inquiries about Morrison's sign painting business or correspondence regarding cameras and other photographic equipment. Most of what we know comes from Morrison's direct descendants who provided us with family history recorded by Morrison's daughter and granddaughter.Morrison was born in Pennsylvania in 1850 and the family believes he lived there into his young adulthood when he decided to make the journey west. For reasons unknown and without any particular destination he left the East for good around 1874. Some time later he ended up in Denver where he joined the Diamond R cattle drive as a cook following the beef north through Wyoming Western Nebraska and the Badlands earning extra money by painting signs for businesses that had sprung up around the forts and mines along the trails. One of these outposts was Fort Keogh hastily constructed by General Nelson Miles on a barren plain along the Yellowstone River in response to the Cheyenne victory over Custer in 1876. It was especially remote and the young men stationed there were easy targets for entrepreneurs who soon came peddling booze and women setting up shop just outside the gates. "Miles City " so named either in honor of or in satire of the general who despised its effect on his soldiers quickly proved to be the natural northern terminus of the cattle drives offering much needed entertainment for lonely weary cattle hands such as R.C. Morrison. He homesteaded along the North Sunday Creek in 1878 alone spending the next few years hunting buffalo painting and practicing wet-plate photography. He mostly kept to himself but did seek out guidance from local photographers likely including Huffman and Barthelmess and made efforts to befriend local Crow and Cheyenne in pursuit of their hunting and trapping secrets. And consequently he was often summoned for his own hunting prowess. It is even reported in a Miles City history book available at the Range Riders Museum (which is today operated by a descendant of Barthelmess) that Morrison acted as a guide for Theodore Roosevelt when he was in the area in the 1880s and was recognized by him when the former president visited again ca 1912. Sometime between 1882 and 1885 he married 17-year-old Canadian orphan Mary Jane Lane moved into town and purchased a small photography studio determined to provide for his children. The couple had three - Gladys Clee and Glenn - and through them R.C. seemed to overcome his antisocial isolationist bent. He was an active citizen of Miles City in the 1890s operating both a sign painting business and a photography studio. He held a reputation as an expert hunter and trapper and even played violin with the Miles City opera.But things would change. Mary Jane divorced R.C. and married William Reed a successful tin shop owner nearly half his age who would later become mayor of Miles City. This apparently led Morrison back to his solitary ways spending days at a time on the range and when his only son Glenn a firefighter was killed in a stable fire in 1915 R.C. Morrison went back out into the wild. Morrison's photographs as an older man support this account. Almost all are taken in remote locations or show Morrison hunting with his dog Monte (sometimes with up to 30 skins at a single camp). The exceptions are photographs of an aged Morrison at Miles City celebrations such as the Pioneer Days festival ca 1920-30s probably taken by his daughters. In these he appears as a true mountain man sporting a long gray beard handmade clothing and his trusty Sharps rifle as children look on in wonder as if he was a storybook character come to life Morrison wears a smile not often seen in photographs of his younger self and seems to revel in the role. (find newspaper clipping calling him Miles City's longest tenured resident).Morrison and His Relationship to Huffman and Barthelmess (1854-1906).There is no written record of the relationship between Morrison and his more famous contemporaries L.A. Huffman and Christian Barthelmess but the archive provides evidence that their must have been a brotherhood of sorts among the few early lensmen of Miles City. The three surely would have met in passing the population hovered around 1 000 until the turn-of-the-century but signs point to a mutual respect between the photographers and even a trading of negatives. Some of the earliest photographs of R.C. Morrison included in this archive including his wedding photographs were taken at Huffman's studio and he and his family were photographed by Huffman even after Morrison opened his own studio. Similarly Barthelmess family members appear in a handful of Morrison's portraits. When Christian Barthelmess was killed digging a sewer trench in 1906 it was Morrison who took his postmortem photographs (viewable in the Smithsonian article but not included in this archive) and just recently several hundred of army photographer's negatives have been identified in the Morrison collection at the MHS suggesting a deeper relationship between the two men and their families.By viewing just a small sample of the photography of Huffman and Barthelmess it is quite clear that both had a firm sense of the historical and artistic value their work would one day claim. Barthelmess was fascinated by military life and certainly understood his Indian photographs were important documentation of a vanishing native culture. Many of Huffman's shots of the round-ups on the open range seem like a wide angle view of a Frederic Remington painting capturing the essence of an era in a single expansive view so perfect that one wonders if it was contrived. They obviously weren't and the fact that Huffman chose just a couple dozen of his thousands of negatives to publish and sell in his Miles City gallery prove that they resulted from patience persistence and discrimination. Morrison seems to have shot whatever interested him at the moment with no artistic mission guiding his eye. In our opinion this was his greatest asset. While Huffman and Barthelmess provide us with an idealized sometimes poignant view of life on the range Morrison's photographs show life as it was.And while he may not have possessed a deliberate artistic vision a distinct style certainly emerged. Morrison couldn't just point-and-shoot of course and equipment was costly. The fact he spent his time and money on shots that had little commercial appeal and often included unusual subjects causes one to contemplate each photograph a little further.The archive is comprised as follows:900+ albumen cabinet cards mostly studio portraits on a variety of R.C. Morrison mounts and many with the name of the subject inscribed on verso.300+ larger albumen prints most 5 x 7 in. or 6 x 8 in. on 8 x 10 in. or 10 x 12 in. mounts of subjects including cowboys Indians soldiers Miles City street scenes the construction of two bridges and much more.200+ miscellaneous photographs including tintypes mounted prints by other photographers and early 20th century mounted and unmounted silver prints.150+ miscellaneous documents letters receipts advertisements and other ephemera including: an 1884 land grant and an 1888 bill of indenture both named to Jean Lane a relative of Morrison's wife described in the indenture as a Half-breed from Manitoba; a brand book; plans for Morrison's studio; and a rare printed piece from early Fort Keogh photographer John Fouch.Four cameras including a No. 1 Panoram-Kodak Model D and early Eastman camera with 1884 patent a Snappa camera and a large unmarked camera.Ten glass negatives including a fine 5 x 8 in. negative of a group of firemen drinking and playing poker.
- * BULLU-US HECTOR The Diverting History
* BULLU-US HECTOR The Diverting History of John Bull and Brother Jonathan. New York: Inskeep & Bradford 1812. With The Beauties of Brother Bull-Us. By His Loving Sister Bull-A. New York: Published by James Eastburn 1812 bound in. 12mo full contemporary tree calf spine decorated and lettered in gilt title in gilt to orange leather spine label marbled endpapers. Intermittent light foxing; ex-libris manuscript notations to f.f.e.p. and title pages.
- Ellis Wilson (American/Kentucky 1899-1977)
Ellis Wilson (American/Kentucky 1899-1977) "Still Life of Roses in a Watering Can" oil on canvas signed lower left signed en verso 22 in. x 18 in. Note: The remarkable painter Ellis Wilson left his small rural hometown of Mayfield KY for Chicago where he studied at the School of the Art Institute one of very few art academies to admit African-American students at that time. Wilson developed an intense interest in color and expressive brushwork that is vividly apparent in the painting offered here "Still Life of Roses in a Watering Can". An informed and serious discussion of Wilson's life experiences and the diversity of philosophy and aesthetic influences that engaged the artist may be found in the exhibition catalog The Art of Ellis Wilson Sperath Vendryes Jones and King The University Press of Kentucky 2000.
- AFTER PIRANESE: MANTELPIECE SURROUNDS
AFTER PIRANESE: MANTELPIECE SURROUNDS From the Diverse Maniere d'Adorne i Cammini Rome 1769; engraving on paper; 9 3/4 x 15 1/4 in.
- 7 vols. Pennsylvania - History, Description
7 vols. Pennsylvania - History, Description Travel: Burrell, A. B. Reminiscences of George LaBar, The Centenarian of Monroe County, Pa. Philadelphia, 1870. 1st ed. 8vo, orig. gilt-lettered green cloth; moderate wear, joints, spine ends and corners frayed. Front hinge cracked. Frontis * Pennypacker, Samuel W. Annals of Phoenixville and its Vicinity. Philadelphia, 1872. 1st ed. 8vo, modern red buckram; slightly dusty. Facsimiles. Some internal spotting. * Snowden, James Ross. The Corn Planter Memorial. Harrisburg, 1867. 1st ed. 8vo, orig. green cloth, paper spine label; moderate wear, front cover detaching. Frontis. Occasional internal browning. Howes S-744. * Martindale, Joseph C. A History of The Township of Byberry and Moreland in Philadelphia, Pa. Philadelphia: G. W. Jacobs, n.d. [ca. 1910]. New and revised ed. 8vo, orig. brown cloth, gilt-lettered spine; moderate wear and dust soiling. Frontis., photo plates. * Smith, Samuel. History of The Province of Pennsylvania. Philadelphia: J. B. Lippincott, 1913. 8vo, orig. green buckram, gilt-lettered spine, untrimmed edges; light wear. * Cousins, Frank; Riley, Phil M. The Colonial Architecture of Philadelphia. Boston, 1920. 1st ed. 8vo, orig. green cloth, paper spine label, t.e.g., other edges untrimmed; light wear. Frontis., photo plates. Ex-library copy - ink stamp on title page, other markings. * Nolan, J. Bennett. Play at Reading Town: The Diversions of Our Ancestors. (Reading): The Feroe Press, 1935. 4to, original brown buckram, paper cover label; moderate wear and dust soiling. Full-page illus. Presentation copy, inscribed and signed by Nolan on front free endpaper. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman''s Conditions of Sale.
- 1 vol. Brerwood, Edw(ard). Enquiries
1 vol. Brerwood, Edw(ard). Enquiries Touching the Diversity of Languages and Religions, Through The Chiefe Parts of The World. London: John Bill, 1622. Second edition. Sm. 4to, later 1/2 green calf & marbled bds.; scuffed, joints & extremities rubbed. Title page dust-soiled & darkened with sm. chip at top edge - no loss of ptg. Occasional marginal dampstaining & scattered light foxing, sm. perforation & dust-soiling to last leaf. Trimmed - no loss of ptg. One of the earliest books on etymology; includes references to America & is the earliest work to suggest the Asian origin of Native Americans. STC 3619; Sabin