A few examples of appraisal values for
THE INVENTOR

• A Football Coach's Porcelain
  A Football Coach's Porcelain Occupational Shaving Mug Belonging to Amos Alonzo Stagg Circa 1912 featuring a full wrap of transfer images of fourteen football players and coach Amos Alonzo Stagg against a maroon background. identified players include Paul "Shorty" Des Jardiens, Marion L. Skinner, and John Bennett Canning, all of whom played for the University of Chicago Maroons during the 1912 season. center features a C with a football in it encircling the date 1912. underside marked VESEY with impressed Austria. Height 3 5/8 inches. Amos Alonzo Stagg (1862-1965) was perhaps the most influential figure in the history of collegiate athletics. Having coached and contributed to the development of multiple sports, his legacy remains primarily with football and basketball. The legendary Notre Dame coach Knute Rockne once said that "all football comes from Stagg." He is enshrined in two Halls of Fame, and the NCAA Division III football championship is known as the Stagg Bowl. Stagg's football career began at Yale University, where he was selected to the first Football All-American team as a player in 1889. The following year, he began his football coaching career at Springfield College (1890-1891), where James Naismith, later famous as the inventor of basketball, played under him. Stagg's most significant contributions to football occurred during his forty-one-year tenure as head coach of the University of Chicago (1892-1932). Under his guidance, Chicago became known as a football powerhouse during the first quarter of the twentieth century, winning seven Big Ten championships (1899, 1905, 1907, 1908, 1913, 1922, and 1924). In addition to his football duties, he also coached track, baseball, and basketball and is credited with helping to organize the Big Ten Conference. In 1912, the year identified on this mug, the Maroons finished second in the Western Conference with a 6-1 record and outscored all their opponents. Property from the Collection of James Carpenter, Montague, New Jersey
• PAIR OF BIEDERMEIER STYLE
  PAIR OF BIEDERMEIER STYLE EBONIZED AND INLAID VITRINE CABINETSBoth marked with the inventory number 'IN67975/2' on the back panel. 5 ft. x 32 x 16 in. Condition Both in good overall condition with minor scuffing and expected wear. One mirror panel cracked. Lacking keys, structurally sound.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.
• ELYSE ASHE LORD (BRITISH,
  ELYSE ASHE LORD (BRITISH, 1900-1971) Image 14" x 17 ½", framed overall 25 ½" x 28 ½" "The Wheel", drypoint etching with hand coloring, numbered in pencil 24/95, lifetime pencil signature lower right; gilt wood frame with oatmeal color silk matting and gilt wood fillet.The signature on this piece is an example of a lifetime signature by the artist. After her death, many prints were issued from the inventory in her studio with a posthumous estate signature.
• Tony Marsh. Untitled from the
  Tony Marsh. Untitled from the Inventory Vessel series. 1994, porcelain, earthenware, terra sigillata. 7¼ h × 39¾ w × 14½ d in. result: $3,000. estimate: $3,000–5,000.
• 19TH CENTURY FRIEZ HYGROGRAPH
  19TH CENTURY FRIEZ HYGROGRAPH TIPPING BUCKET RAIN GAUGE...Antique. Produced by Julien Friez presented in wood & glass case. An exemplary late 19th century model hygrograph chart recorder to measure temperature and humidity or dew point, produced for the Belfort Meteorological Observatory. Presented in an antique wooden and glass display case, with all original brass and metal components. Includes expositional essays concerning the work and correspondence of the inventor and engineer, Julien Pierre Friez (1852-1916), a Baltimore maker and supplier of meteorological instruments. Original brass plates incised JULIEN P. FRIEZ & SONS BELFORT OBSERVATORY. Issued: c. 1895 Dimensions: 9.25"H x 15.5"L x 13.5"W Manufacturer: Julien Friez & Sons Country of Origin: United States Condition: Age related wear
• ROYAL DOULTON FIGURINE, ALEXANDER
  ROYAL DOULTON FIGURINE, ALEXANDER GRAHAM BELL HN5052Prestige figure; Pioneers Collection. Limited edition 9 of 350. Hand made, hand decorated figure of the inventor of the telephone. Black and grey coloration. Doulton marks on the underside. Artist: Robert Tabbenor Issued: 2007 Dimensions: 11"H Manufacturer: Royal Doulton Country of Origin: England
• ALEXANDER GRAHAM BELL HN5052 -
  ALEXANDER GRAHAM BELL HN5052 - ROYAL DOULTON FIGURINEPrestige figure; Pioneers Collection. Limited edition 296 of 350. Hand made, hand decorated figure of the inventor of the telephone. Black and grey coloration. Doulton marks on the underside. Artist: Robert Tabbenor Issued: 2007 Dimensions: 11"H Manufacturer: Royal Doulton Country of Origin: England
• NORMAN ROCKWELL SIGNED
  NORMAN ROCKWELL SIGNED LITHOGRAPH, THE BOY WHO PUT THE ...Norman Perceval Rockwell (New York/Massachusetts, 1894-1978) lithograph titled, "The Boy Who Put the World on Wheels (The Inventor)", after the original oil painting created in 1952 for Ford Motor Company's 50th Anniversary calendar project, depicting a young Henry Ford at his bedside work table presenting a conceptual model for an automobile to a skeptical blacksmith. Pencil signed lower right and numbered 14/200 lower left. Housed and double matted under glass in a wooden frame with marbled finish. Sight: 20 1/4" H x 20" W. Framed: 30 5/8" H x 28 3/4" W. Condition: Minute errant material under glass, does not affect image. Not examined outside of frame.
• VERNON CELLUS THE WHITE
  VERNON CELLUS THE WHITE WIZARD.Cellus, Vernon (Samuel Whittington Wickes). Vernon Cellus the White Wizard. Netherfield: Stafford Co. Ltd., ca. 1920. Vibrant lithograph depicts Cellus in a white dress suit standing between Egyptian columns decorated with hieroglyphics. 88 ½ x 40 ¼”. Backed with kraft paper. Minor losses and wear; B. Bearing the inventory tag of the Egyptian Hall of Brentwood, Tenn.
• BOTTLE WHIMSEY BY C. C.
  BOTTLE WHIMSEY BY C. C. HOKEBottle Whimsey by C. C. Hoke, 1903, made in Center, Ohio, with central shaft hanging from stopper with arms, hanging at end of arms are cubes with truncated corners, end of the shaft in a interlocking puzzle whimsey, at bottom of bottle are fabric flowers and a metal container labeled gun powder, a hand written sign in the bottle reads 'It was the desire of the inventor, C. C. Hoke, to prove this work genuine by leaving wood natural color and by placing small bottle of [gun] powder [inside] to prove the large bottle has not been blown over the work.' Illus: Jones, Susan D., ''Genius in A Bottle: The Art and Magic of Bottle Whimseys'', West Holmes Press, New Hartford, CT, 2003, Pg. 20, Figs. 47-48.
• QING CHINESE LANDSCAPE
  QING CHINESE LANDSCAPE PAINTINGChinese painting on paper, likely 19th-early 20th c. The calligraphy section is a poem from a collection of poems written and compiled in Song Dynasty, 960–1279, titled "Child Prodigy Poems," which reads "Spring tour of the aromatic grassland, summer enjoying the green lotus pond. Autumn drinking yellow flower wine, winter chanting/singing the snow white poetry." This painting may depict the inventor of gunpowder and is signed with a seal Dai Zi. SKU: 01922 Follow us on Instagram: @revereauctions Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• FORREST LEE MOSES (AMERICAN
  FORREST LEE MOSES (AMERICAN 1934-2021) A PAINTING, "DES...FORREST LEE MOSES (American 1934-2021) A PAINTING, "Desert Water at Abiquiu #1," 1978, oil on canvas, verso titled and signed, "Desert Water at Abiquiu #1 / Forrest Moses / Moses," also with the inventory number and measurements, "#7801 / 40 x48," an old Watson/de Nagy & Company, Houston label on the stretcher; 40'' x 48''. Condition: There are no visible signs of damage. 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."
• RALPH ALBERT BLAKELOCK
  RALPH ALBERT BLAKELOCK (1847-1919)Ralph Albert Blakelock (1847-1919) "The Old Mill" oil on canvas signed lower right Blakelock 1877, relined in Victorian gilt frame 27" x 22" Provenance: Two letters from University of Nebraska signed by Norman A. Geske 1976 and 1981 establishing the painting of The Old Mill as number 686 in the inventory category II, Edward Marsh Brown, New York 1904, Emily Brown Southack, New York 1929, Gladys Brown Ogburn, Sussex New Jersey, Vera Brown Shea, Santa Monica California, Adelaide Brown Scholl, Littleton Colorado, Exhibited: Knoedler 1973, Parke-Bernet Los Angeles 1974, Richard York Gallery Label on back to present owner *Please Note* Available condition reports and/or additional photos for this lot are on our website by visiting the following link: https://www.nadeausauction.com/product-category/current-auctions/january-2023-annual-new-years-day-auction/ Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• 18TH C. ENGLISH BRASS GUINEA COIN
  18TH C. ENGLISH BRASS GUINEA COIN FOLDING SCALENorthwestern Europe, England, Liverpool, ca. late 18th to early 19th century CE. A miniature travel-sized brass currency scale for weighing guineas to determine gold value. This is a pocket-sized device - the slender rectangular case is integral to the piece - when opened the scale unfolds upward, the case forming a base, and the interior lid contains a printed paper with instructions for use. The coin is placed onto the dangling plate that connects to the beam with an H shaped frame. This load arm has the numbers and sliding gauge and the other half of the beam has a hinged rectangular weight that moves to counter poise the beam for either guineas or half-guineas. All pieces articulate and self-erect as designed, and the original instructions are mostly legible! Such scales were a convenient solution to identifying counterfeit coins and most merchants used these in their shops. Size of scale erect: 9.75" L x 0.75" W x 2.5" H (24.8 cm x 1.9 cm x 6.4 cm); case folded: 5.125" L x 0.75" W (13 cm x 1.9 cm) Anthony Wilkinson is accredited as the inventor of this type of pocket scale, with records indicating he worked at a Kirkby Liverpool address from about 1774 to 1785, until he moved to Ormskirk where he was active until 1801. Provenance: private Southern California collection, California, USA, acquired through descent 2006; ex-private California collection, USA, before 2000 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. #168138 Condition: Missing the paper instructions on half of the case. The paper that is still attached is legible, with only minor staining. Scale unfolds and all pieces articulate as intended. Minor surface abrasions to brass, but intact and very good with light toning and patina.
• GUGLIELMO MARCONI, SIGNED LETTERA
  GUGLIELMO MARCONI, SIGNED LETTERA hand written personal letter from Guglielmo Marconi, with full signature. The letter mentions the TELEGRAPHONE, a machine invented by Valdemar Poulsen which recorded sound magnetically on steel wire, and the possibility of its use in his experiments. Marconi was an Italian inventor and engineer who is credited as the inventor of the radio and recipient of the 1909 Nobel Prize for Physics. Provenance: Marconi is grandfather of consignor. Letter measures 8 1/4" x 11". Condition fair, 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.
• YORUBA PEOPLES, IFE CLAY HEAD,
  YORUBA PEOPLES, IFE CLAY HEAD, EX-WUNDERMAN COLL. Nigeria, dark terracotta, the male bust with beard and scarification to cheeks, raised modeled features, old accession sticker to underside with typed three-digit and letter code, similar to the inventory coding used by Mathias Komor, of which Mr. Wunderman was a known patron, 11"h x 6"w x 9"d
• ALPHONSE MUCHA, CZECH 1860-1939,
  ALPHONSE MUCHA, CZECH 1860-1939, GAUFRETTES PRALINEES, BISCUIT TIN LABEL, SIGHT: 8 X 7 1/4 IN. (20.3 X 18.4 CM.), FRAME: 16 X 15 1/4 IN. (40.6 X 38.7 CM.)ALPHONSE MUCHA, CZECH, 1860-1939 GAUFRETTES PRALINEES, Biscuit tin label Catalogue note: Mucha is the subject of a blockbuster exhibition "Eternal Mucha," currently at the Grand Palais, Paris, from March 22, 2023 to November 5, 2023. "At the turn of the 20th century, Alphonse Mucha was one of the most famous artists in Europe. A key figure of Art Nouveau and the inventor of an original style of graphic art, his work combined female beauty and stylized nature... a pioneer of poster art and advertising." Biscuit tin label Dimensions: Sight: 8 x 7 1/4 in. (20.3 x 18.4 cm.), Frame: 16 x 15 1/4 in. (40.6 x 38.7 cm.) Provenance: From 2010 Private Collection Virginia
• ALPHONSE MUCHA, CZECH 1860-1939,
  ALPHONSE MUCHA, CZECH 1860-1939, NESTLÉ'S FOOD FOR INFANTS (RENNERT/WEILL 26), COLOR LITHOGRAPH, SIGHT: 28 1/2 X 13 IN. (72.4 X 33 CM.), FRAME: 40 X 25 IN. (101.6 X 63.5 CM.)ALPHONSE MUCHA, CZECH, 1860-1939 NESTLÉ'S FOOD FOR INFANTS (RENNERT/WEILL 26), Color lithograph Lower left signed in plate: Mucha Catalogue note: Mucha is the subject of a blockbuster exhibition "Eternal Mucha," currently at the Grand Palais, Paris, from March 22, 2023 to November 5, 2023. "At the turn of the 20th century, Alphonse Mucha was one of the most famous artists in Europe. A key figure of Art Nouveau and the inventor of an original style of graphic art, his work combined female beauty and stylized nature... a pioneer of poster art and advertising." Color lithograph Dimensions: Sight: 28 1/2 x 13 in. (72.4 x 33 cm.), Frame: 40 x 25 in. (101.6 x 63.5 cm.) Provenance: From early 2000 Private Collection Virginia
• ALPHONSE MUCHA, CZECH 1860-1939,
  ALPHONSE MUCHA, CZECH 1860-1939, FLIRT, COLOR POSTER, SIGHT: 24 X 10 1/2 IN. (61 X 26.7 CM.), FRAME: 33 1/4 X 20 1/4 IN. (84.5 X 51.4 CM.)ALPHONSE MUCHA, CZECH, 1860-1939 FLIRT, Color poster Lower right signed in plate: Mucha Catalogue note: Mucha is the subject of a blockbuster exhibition "Eternal Mucha," currently at the Grand Palais, Paris, from March 22, 2023 to November 5, 2023. "At the turn of the 20th century, Alphonse Mucha was one of the most famous artists in Europe. A key figure of Art Nouveau and the inventor of an original style of graphic art, his work combined female beauty and stylized nature... a pioneer of poster art and advertising." Color poster Dimensions: Sight: 24 x 10 1/2 in. (61 x 26.7 cm.), Frame: 33 1/4 x 20 1/4 in. (84.5 x 51.4 cm.) Provenance: From early 2000 Private Collection Virginia
• ALPHONSE MUCHA, CZECH 1860-1939, DE
  ALPHONSE MUCHA, CZECH 1860-1939, DE FOREST PHONOFILM, 1927, COLOR POSTER, SIGHT: 45 1/2 X 29 IN. (115.6 X 73.7 CM.), FRAME: 63 X 46 IN. (160 X 116.8 CM.)ALPHONSE MUCHA, CZECH, 1860-1939 DE FOREST PHONOFILM, 1927, Color poster Lower left signed in plate: Mucha /27 Printer: V. Neuberta Synové, Praha Catalogue note: Mucha is the subject of a blockbuster exhibition "Eternal Mucha," currently at the Grand Palais, Paris, from March 22, 2023 to November 5, 2023. "At the turn of the 20th century, Alphonse Mucha was one of the most famous artists in Europe. A key figure of Art Nouveau and the inventor of an original style of graphic art, his work combined female beauty and stylized nature... a pioneer of poster art and advertising." Mucha returned to his native Bohemia-Moravia in 1910. Meanwhile, American inventor Lee De Forest introduced a new technology, dubbed "Phonofilm," which allowed sound to be recorded directly onto film reels. Czech opera singer Otakar Marák aimed to bring "talkies" to the film industry in Czechoslovakia and commissioned Mucha, a friend of his, to design a poster to promote the Phonofilm technology. The poster depicts an allegorical scene in which a performing artist, guided by a muse, is overcome by sound waves reverberating from artistically-rendered film reels. Mucha himself along with his daughter, Jaroslava, posed for a well-known test image for the poster. The photograph was captured in Zbiroh Castle in1926, during the period when Mucha and his family were living there. Color poster Dimensions: Sight: 45 1/2 x 29 in. (115.6 x 73.7 cm.), Frame: 63 x 46 in. (160 x 116.8 cm.) Provenance: From early 2000 Private Collection Virginia
• BASILIUS MAGNUS (CORNARIUS,
  BASILIUS MAGNUS (CORNARIUS, JANUS,1551)Basilius Magnus (Cornarius, Janus, ed), Hapanta[Graece] Opera Graeca quae ad nos extant omnia , Basel, Hieronymus Froben and Nikolaus Episcopus, 1551, folio (13 1/4 in. x 9 in.), Greek type, woodcut printer's device on title, repeated on verso of the final leaf, woodcut historiated and floriated initials, woodcut ornamental head and tail pieces with strapwork motifs, 17th c. polished calf with central gilt strapwork cartouches, single gilt fillet borders Provenance: Sotheby's, New York, The Inventory of H.P. Kraus, Rare Books, Dec. 4, 2003, lot 51; Demetrius S. Spanos, MD Collection, Jonesboro, AR
• EXCEPTIONAL LOUIS XVI REGULATOR
  EXCEPTIONAL LOUIS XVI REGULATOR WITH REMONTOIR D’éGALITé “ROYAL MODEL”, CIRCA 1785 Exceptional Louis XVI Regulator with Remontoir d’égalité “Royal Model”, circa 1785Clockmaker Robert Robin (1741-1799), the polychrome dial by Joseph Coteau(1740-1801), case attributed to Pierre-Philippe Thomire (1757-1843)Ormolou and glass case, hand-painted, jeweled and enameled porcelain dial with astrological zodiac cartouches, signed Coteau and Robin Hr.du Roy, pierced gilt brass hands, blued steel pointers for the mean time and calendar indications, sweeps second hand. Movement of month duration with calendar, equation of time, with remontoire, re-wound via Robin's pulley system, constant force, Graham dead-beat escapement, nine-rod compensated pendulum, striking on the solar hour and half hour on a single bell.Commentary: The inventory of the Château de Saint-Cloud made in January 1794 features two clocks in Marie-Antoinette’s pièce des nobles (room for receiving visiting nobility) that were not there during the previous inventory of 1789. One of them is probably the present example made by Robert Robin, clockmaker to the king, who signed the dial. However, the queen probably never saw this clock as she was not permitted to visit her castle after 1791. Around 1860, the clock was still, or again, at Saint-Cloud, in the bedroom of Empress Eugénie, who surrounded herself with objects that belonged, or were thought to have belonged, to Marie-Antoinette.Robert Robin (French, 1741-1799)was one of the finest clockmakers in France during the last quarter of the eighteenth century. He received a number of royal appointments during the reign of Louis XVI and managed to retain his standing during and after the French Revolution. He maintained the highest standards in design and construction, engaging the best cabinetmakers for his cases and the finest enamel painters for his dials. He served as the Horloger du duc Chatrtres (1778), Valet de Chambres-Horloger Ordinaire du Roi (1783), Horloger de Monsieur (1785), Valet de Chambres-Horloger Ordianire de la Reine (October 1, 1786), Horloger de la Répulique (1794), Horloger du Directoire (1796). His signature reads: “Robin Hr.du Roy.” This elegant design, which he introduced around 1780, was his most successful model.Joseph Coteau (1740-1801)regarded as the greatest enameler of all time, supplying dials for the most eminent horologists, including Antide Janvier (1751-1835), Robert Robin (1742-1809) and Ferdinand Berthoud (1727-1807). In 1780, Coteau was appointed ‘Peintre-émailleur du roi et de la Manufacture Royale de Sèvres, and by 1784 his production was considerable, receiving 4520 livres from the Manufacture de Sèvres for executed commissions.Examples of his work can be found in a number of European museums, including Mobilier National, Musee des Arts Decoratifs, Paris; Carnavelet Museum, Dijon Museum, and in London at the Wallace Collection and Victoria and Albert Museum.Watch Video
• RARE LEFT-HANDED BRASS DOUBLE
  RARE LEFT-HANDED BRASS DOUBLE T-FRAME SEXTANT BY JOHN BENJAMIN DANCER CIRCA 1850 SEXTANT HEIGHT 9.5". WIDTH OF ARC 10.5". BOX HEIGHT 5". WIDTH 11". WIDTH 10.5".RARE LEFT-HANDED BRASS DOUBLE T-FRAME SEXTANT BY JOHN BENJAMIN DANCER, Circa 1850, Signed on the radius "Dancer Manchester" for John Benjamin Dancer (British, 1812-1887). Formed with strips of brass in duplicate and joined with turned brass pillars. Brass arc inset with a silver scale calibrated from 0-150. Fitted with an index arm with clamp and tangent screws, magnifier, vernier scale, lignum vitae handle, two sets of colored filters and telescopic lens with the telescope fitting into the right side and the ebony handle mounted on the left. Fitted mahogany box with additional lenses and accessories. Dimensions: Sextant height 9.5". Width of arc 10.5". Box height 5". Width 11". Width 10.5". Provenance: Christie's, South Kensington, 2011.The Kelton Collection of Marine Art & Artifacts.Notes:John Benjamin Dancer, optician and scientific instrument maker, was the inventor of microphotography. Born in London, Dancer, at different times, held apprenticeships with Ramsden, Dollond and Troughton. In 1841 he established a partnership, Abraham & Dancer, in Manchester. After 1845 he worked alone.
• FINE LARGE FAMILLE ROSE ‘MAGU’
  FINE LARGE FAMILLE ROSE ‘MAGU’ CHARGER QING DYNASTY, YONGZHENG PERIOD, CIRCA 1730 ??? ?????????the interior delicately enamelled with Magu, the goddess of longevity, holding a lingzhi spray, beside a boy attendant carrying a basket of peaches over his shoulder, and a stag with a peach in its mouth, the mouth rim gilded, the base with a wheel engraved Johanneum Inventory mark 'N=183 I'(1)43.5cm diameterProvenance:August II, 'August the Strong', Prince-Elector of Saxony (1670-1733), Dresden;Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920's.Note: The scene on this dish depicts the Daoist Immortal, Magu, on her way to celebrate the famous peach banquet of the Queen Mother of the West, Xi Wang Mu, who rules over the garden of the peaches of longevity. The fine drawing of Magu's feminine face is in the traditional Chinese style without shading. The scene contains many symbols of long-life and immortality, especially the lingzhi fungus, the deer, and the peaches, while the blossoming prunus tree represents youth and new life.Augustus II (1670-1733) King of Poland and Elector of Saxony known as Augustus the Strong, whose passion for collecting created the basis of Dresden’s Art Collections, had a particular fondness for East Asian porcelain from the 17th and early 18th centuries. Obsessed with porcelain, he had the largest collection of Asian porcelain in Europe with over 29,000 pieces recorded on his death in 1733.This plate can be dated with some accuracy since no new pieces were added to the collection of Augustus the Strong (1670-1733) after his death in 1733, and the inventory books at Dresden reveal that dishes of this kind were acquired in 1727. After his death in 1733, the porcelain was packed away in the cellars of the unfinished "Japanische Palace". The term "Johanneum" was taken from the building in Dresden to which the royal collection was moved in 1875-76.One plate with the same number of the old Dresden inventory (N=183 I, inventory 1779) and almost identical decoration and size is in the Dresden collection.[1] Some other examples with the same inventory number entered the art trade presumably as a result of earlier sales, with examples found in the museum Boijmans Van Beuningen in Rotterdam[2] and in the former Collection Ignazio Vok.[3] Two smaller dishes (39cm diameter and 38.8cm) with the same design and inventory number were sold respectively at Christie's London, 30 April 2015, lot 111 and Sotheby's New York, 17 March 2021.[1] Eva Ströber, La maladie de porcelaine ..., East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, 2001, no. 32[2] C.J.A. Jörg, Oriental Porcelain, A Choice from the Boymans-van Beuningen Museum Collection, Rotterdam, 1995, p. 61, and fig. 25[3] Ulrich Wiesner, Seladon Swatow Blauweiss. Chinesische Keramik aus der Sammlung Ignazio Vok, Köln, 1983, no. 153
• Y IMPORTANT GEORGIAN DOLL'S
  Y IMPORTANT GEORGIAN DOLL'S HOUSE, 'THE EVANS BABY HOUSE' 18TH CENTURY, WITH LATER ADAPTATIONS AND CONTENTS modelled as a three-storeyed Georgian town house, of ochre and red painted pine and other timber, the hinged façade with a three window frontage and cornice embellished by composition mouldings; the basement floor with three nine-pane windows and lathe coursing, the principle floor with treillage moulding and a central recessed portico with fan light and columns flanked by twelve-pane windows; the top floor with three nine-pane windows, the centre window with an arch, flanked and divided by bead moulded roundels; opening to three single-room floors with painted walls and corner fireplaces with faux marble surrounds, with hand-tinted prints to the walls, one to the top floor and six to the main floor; the top floor with an ivory plaque inscribed “Miss Hancock has sent Anne a large old-fashioned baby house which was made for her great grand mother. It possesses little furniture but has given great delight.” From Mrs Evans at Britwell Court, Burnham Beeches, to her sister Mrs Phelps in Madeira, May 6 1825.; the basement floor fitted with original Georgian dressers; with 19th century and later contents including furniture, pictures, photographs, ceramics, copper and brass wares, and various dolls; all raised on a plinth base fitted with a single drawer; with various letters, papers, and other correspondence detailing the house and history86cm wide, 145.5cm high, 48cm deep overallProvenance: The Estate of the Late Mary Elizabeth Stuart Harley (1925-2019), ex. Ulladale, Strathpeffer, Ross-shire. Owned by Anne Evans (1820-1870) and her sister Emma Hubbard (née Evans) (1828-1905), Britwell Court, Buckinghamshire, during the 19th century and then by descent.Literature: Vivien Greene, 'The Evans Baby House', in English Dolls' Houses of the Eighteenth and Nineteenth Centuries (London & Wisbech, 1979), pp. 157-160.Note: Mary Harley was brought up in rural Suffolk. She was the only child of her generation on her mother's side and took a great interest in researching her family history and preserving her inherited treasures. The doll's house was always treated with great care and anyone wishing to play with it had to be granted permission first. Mary's children fondly remember her as a 'very loving person and a good family custodian', and it is with thanks to her, and her ancestors, that the 'The Evans Baby House' has survived to this day.‘The Evans Baby House’ is a fascinating object of layered history, physically in terms of its construction and contents, and symbolically as an item much-loved by generations of owners. Having been rescued and renovated over the years, it is a rare survivor of the mid-18th century. Where so many other dolls’ houses have come and gone, ‘The Evans Baby House’ lives on nearly 300 years after its conception. Vivien Greene details the house in English Dolls’ Houses of the Eighteenth and Nineteenth Centuries (1979), where she writes how special it is to find a house so well documented: ‘...the inventory of its contents seventy years ago lies in the drawer below, together with…letters and journals all labelled and listed…’ and thus it still remains.Dolls’ houses or ‘Baby houses’, meaning ‘small house’ or ‘dolls’ house’, were originally the conversation pieces of wealthy adults, with the earliest known example dating to the mid-16th century. The term ‘baby’ was used to describe hand-built houses, mostly in Germany, the Netherlands and England, until the late 1700s. One of the earliest examples, made for Albert V, Duke of Bavaria, was the ‘Munich Baby House’: a cabinet of curiosities in the shape of a building, providing entertainment whilst symbolising wealth and social status. They were not meant to be used as toys, but as objects of wonder of a world in miniature. Dolls’ houses were also educational tools, being used as visual aids to teach both mistress and servant how to run a household.By the early 1700s the concept of the miniature house had travelled from Europe to England, and over the following years the architectural style of the ‘Baby house’ developed. Although many examples were just elaborately furnished cabinets or cupboards, increasingly the exteriors were made to resemble actual houses; ‘The Evans Baby House’ arguably straddling the two. It is within this period that ‘The Evans Baby House’ was conceived, with its original construction dating to the mid-18th century. The empty house reveals simple early features, including the Georgian dressers to the kitchen and corner fireplaces to each level. It is believed that the façade has had some later upgrading, in the form of the treillage and mouldings, with the portico also being added at that time, complete with its fan light and columns.During the early 19th century, it came into the ownership of the Evans family, accounting for its name. An ivory plaque attached to the wall in the upper floor of the house documents the provenance:“Miss Hancock has sent Anne a large old-fashioned baby house which was made for her great grandmother. It possesses little furniture but has given great delight.” - From Mrs Evans at Britwell Court, Burnham Beeches, to her sister Mrs Phelps in Madeira, May 6 1825.Anne Evans (1820-1870) was an English poet and composer, and lived at Britwell Court, which her parents rented from 1822. The aforementioned Miss Hancock is thought to have been her godmother. During the early 19th century, the popularity of dolls’ houses grew significantly throughout Britain, and pieces were often commissioned (in this case gifted) not just for adults, but for children too.An account by Emma Hubbard (née Evans) (1828-1905), Anne’s sister, details that at some later stage ‘The Evans Baby House’ was given to a young member of the Hancock family, and little was heard of it for many years. However, on 8th January 1886 the house was discovered by Emma at the Evelina Hospital for children in London, by remarkable chance. Although Emma was unable to find out how the house had made its way there, she managed to purchase it for a donation of 4 guineas in 1890. It was at this time that the house was renovated including the addition of woodwork to the windows (which had previously simply been painted on), the removal of wall paper and the refreshing of paint to the two upper rooms. Emma references the tinted prints in the upper and middle floors (‘which had evidently been part of the original decoration of the house.’), one of which depicts the gothick tower at Whitton Park, Middlesex, as well as a small sepia drawing by her father, which remain with the house. It is thought that much of the current furniture was sourced and added around this time. Included is a fine little chest of drawers on the ground floor, and 19th century bedroom furniture. A turned wood wash set with handles imitating coral sits upon the dressing table, just as life-size versions of ceramic sets adorned the bedrooms of Victorians. Added to this is a 19th century ceramic dinner set in the kitchen, for which its original box remains. The dolls, also later additions, include children in the nursery and ‘a male doll with mutton-chop whiskers’ who ‘sits…with his top hat on a table instead of under his chair in the conventional manner.’One of the most enchanting aspects of the house are the miniature photographs hanging in the first-floor drawing room. These show some members of the Evans and Hubbard families – ‘lovers and conservers of the house and its traditions’ - and indeed the family are a story in themselves. Anne and Emma Evans (Hubbard) were the sisters of the archaeologist, Sir John Evans (1823-1908), who went on to become the treasurer of the Royal Society (1878-98) and president of the Society of Antiquaries (1885-92). They were also the aunts of Sir Arthur Evans (1851-1941): Keeper of The Ashmolean Museum, and the man who directed the famous excavation at Knossos on Crete. He too was president of the Society of Antiquaries, as well as a trustee of the British Museum, and a founding member of both the British School at Athens, and of the British Academy.‘The Evans Baby House’ was possibly passed from Emma Hubbard (née Evans) to her brother, Sir John, and from there reputedly by descent via his daughter and granddaughter into the possession of his great-granddaughter, the late Mary Harley. The family also has connections to the Longmans of Longman Publishing, and the influential Dickinson stationery family.The joy and fun which the baby house gave the Evans family is revealed in a memoir by Emma Hubbard, as detailed in Greene’s book:‘…it was only on rare occasions when I was very young that I was allowed to play with it. Dances, dinners and other festivities went on in it and to this day I recollect the fine appearance of the mistress of the establishment, Lady Delany…’Whilst Lady Delany may have come and gone, ‘The Evans Baby House’ continues to provide great pleasure, for even the most grown up of children.
• VICTOR VASARELY (1906-1997, FRANCE,
  VICTOR VASARELY (1906-1997, FRANCE, HUNGARY).HE WAS BORN IN HUNGARY AS GYOZO VASARAHELYI, MOVED TO PARIS IN 1930 AND BECAME A SUCCESSFUL COMMERCIAL ARTIST. ARCYLIC ON CANVAS, ABSTRACT CUBIST OP ART, A QUINTESSENTIAL VASARELY WITH RED AND BLUE CUBES COMBINING WITH DEPTH PERCEPTION THAT DAZZLES THE VIEWER. PROVENANCE: FROM THE INVENTORY OF HILTON FINE ARTS, LTD. OF SOHO, NY WHOSE GALLERY PUBLISHED AND DISTRIBUTED VASARELY LIMITED EDITION PRINTS IN THE LATE 1970'S. SIGHT SIZE 24 1/2" X 34". SIGNED LOWER RIGHT.
• Sarah T. Bolton Noted Poet
  Sarah T. Bolton Noted Poet Quarter Plate Daguerreotype Quarter plate housed in a full case separated at the spine with an inked note pasted to the pad reading Mrs Sarah T. Bolton of Indianapolis In.? Presented to A.L. Ruter Dufour by the Original. 1850.Sarah T. Bolton (1814 - 1893) was an American poet known as the "Pioneer Poet Laureate of Indiana " and a women's rights activist in that state.? She began her writing career by mailing poems to the local newspaper in Madison Indiana and they were so admired by the newspaper's editor Nathaniel Bolton (1803-1858) that he asked to marry her.? They moved to Indianapolis so that Mr. Bolton could found the city's first newspaper and Sarah used the influence this position gave the couple in order to advance equal rights and democratic ideals.? She is credited with working alongside U.S. Congressman Robert Dale Owen in order to include the recognition of women's property rights in 1851 Indiana Constitution. Bolton's poetry noted for capturing the pioneer spirit of "Western" America was upbeat and melodic and often set to music and sung at schools and public gatherings.? She is commemorated today by Sarah T. Bolton Park in Indianapolis and a bronze plaque in the Indiana State House.This lot plus lots 103 and 104 were part of a larger grouping related to Amanda Ruter Dufour which surfaced in the inventory of an antiques business that closed in the northern neck of Virginia in the 1970s. Amanda Dufour (nee Ruter) was a native of Indiana and at the time these photographs were taken was the wife of a prosperous New Albany merchant. New Albany is immediately across the river from Louisville thus explaining the presence of the Prentice daguerreotype. Her connections also explain the Whitcomb daguerreotype. Dufour like Bolton was noted as a poet and lyricist and as an Indiana native would have no doubt known Bolton quite well. A picker turned up the grouping which included these three cased images plus diaries numerous books with Dufour's maiden name inside and various unidentified daguerreotypes and ambrotypes. Condition: Minor solarization at mat edges else very good.?
• James Whitcomb Governor of
  James Whitcomb Governor of Indiana Sixth Plate Daguerreotype Sixth plate housed in a full case with inked note pasted to the pad reading: Hon. James Whitcomb - Ex-Governor of Indiana.? Presented to A.L. Ruter Defour by himself - May 1851.? This daguerreotype is the only known original photograph of the governor still in existence.James Whitcomb (1795 -1852) served as the 8th Governor of Indiana from 1843 to 1848 and as a U.S. Senator from 1849 until his death.? Born in Vermont he was raised in a farming family that moved west to Cincinnati when he was a boy.? Against the wishes of his father who viewed manual labor as the only noble occupation James left the farm to attend Transylvania University in Kentucky and was admitted to the bar in that state in 1822.? He moved to Bloomington Indiana two years later and quickly made a name for himself as an effective and charismatic lawyer with the practical sensibilities of a Northerner and the style and elegance of a Southern gentleman.? After successfully prosecuting a string of high-profile cases as Monroe County D.A. Whitcomb was elected to the Indiana Senate and subsequently appointed Commissioner of the General Land Office by President Andrew Jackson in 1841.James Whitcomb was elected the 8th Governor of Indiana in 1843 as a Democrat.? In his first term he was forced to deal with the state's crippling debt problem but still managed to oversee the establishment of Indiana's first public institutions for the deaf blind and insane.? He was reelected in order to continue his debt reduction plan but the United States' entry into the Mexican-American War became the central focus of his second term.? With the state coffers empty but Indiana needing to supply five regiments as requested by the federal government Governor Whitcomb drew personal loans to supply the soldiers with arms.? The units were deployed successfully and as a result of his wartime leadership Whitcomb is honored with a prominent statue at the Soldiers' and Sailors' Monument in central Indianapolis.? He was elected U.S. Senator before his second gubernatorial term expired and became the Senate's most outspoken opponent of tariffs but died of kidney disease in 1852 after only three-and-a-half years of service.This lot plus lots 103 and 105 were part of a larger grouping related to Amanda Ruter Dufour which surfaced in the inventory of an antiques business that closed in the northern neck of Virginia in the 1970s. Amanda Dufour (nee Ruter) was a native of Indiana and at the time these photographs were taken was the wife of a prosperous New Albany merchant. New Albany is immediately across the river from Louisville thus explaining the presence of the Prentice daguerreotype. Her connections also explain the Whitcomb daguerreotype. Dufour like Bolton was noted as a poet and lyricist and as an Indiana native would have no doubt known Bolton quite well. A picker turned up the grouping which included these three cased images plus diaries numerous books with Dufour's maiden name inside and various unidentified daguerreotypes and ambrotypes. Condition: Solarization at mat edges.
• George Dennison Prentice Editor
  George Dennison Prentice Editor of the Louisville Journal Quarter Plate Daguerreotype Lot of 2 including quarter plate daguerreotype of George D. Prentice under a simple arch-top mat and glass and housed in pressed paper case separated at the spine with an inscribed note pasted to the pad reading George D. Prentice. Ed. of the Louisville Journal / Presented to A.L.R. Dufour by the Original {June 1851}; plus Prentice's Biography of Henry Clay.? Second Edition.? New York: John Jay Phelps 1831.? 8vo leather boards with gilt spine lettering 312pp.George Dennison Prentice (1802-1870) was raised on a farm in Connecticut and graduated from Brown University in 1823.? He first tried his hand at law but was more interested in writing and jumped at the chance to become editor of the New England Review in 1828.? Readers soon took note of his talents and he was recruited to Louisville in order to pen a campaign biography for Henry Clay which although popular and well-received earned him no money due to the publisher's business failure.? Needing money and finding himself incensed by the editorial stance of the city's own paper he sought financial backing and founded The Louisville Journal in 1830 quickly gaining an audience by initiating a public feud with his crosstown competition.? His newspaper was supportive of the Know-Nothing party and his rabidly anti-Catholic and anti-immigration editorials led in large part to the Riots of 1855 which resulted in the deaths of 21 Louisvillains.Although Prentice supported the Union in the 1850s he disagreed with many of its policies during the Civil War. He joined a group in 1861 that urged Kentucky not to secede from the Union but to establish itself as a neutral party in the war. Following the war Prentice also opposed many of the Reconstruction policies and he expressed his discontent through his editorials. After the newspaper merged to create the Courier-Journal Prentice remained editor of the paper. He died of influenza in 1870.This lot plus lots 104 and 105 were part of a larger grouping related to Amanda Ruter Dufour which surfaced in the inventory of an antiques business that closed in the northern neck of Virginia in the 1970s. Amanda Dufour (nee Ruter) was a native of Indiana and at the time these photographs were taken was the wife of a prosperous New Albany merchant. New Albany is immediately across the river from Louisville thus explaining the presence of the Prentice daguerreotype. Her connections also explain the Whitcomb daguerreotype. Dufour like Bolton was noted as a poet and lyricist and as an Indiana native would have no doubt known Bolton quite well. A picker turned up the grouping which included these three cased images plus diaries numerous books with Dufour's maiden name inside and various unidentified daguerreotypes and ambrotypes. Condition: Tarnishing at upper top and bottom of matt edges and on the mat.? Subject is unaffected and the portrait exhibits nice clarity.? Book's cover well worn.? Interior leaves with foxing minor stains and pencil notes throughout but binding is intact and text fully legible.
• Historic Guthrie
  Historic Guthrie Oklahoma/Chickamauga Presentation Gavel to First Major D.B. Dyer With associated newspaper clipping and printed pamphlet relating to the opening of the Oklahoma Territory in 1889. The symbolic gavel measures 10? long made from a piece of souvenir wood embedded with a lead minie ball from the Chickamauga battlefield. The front of the simple mallet head bears a jeweler inscribed gold plate (not tested) that reads: ?PRESENTED TO/Hon D.B. Dyer/ FIRST MAYOR OF/Guthrie I.T./BY HIS FRIEND C.C.S./June 4 1889.? The presentation is flanked by CHICKAMAUGA and TENNESSEE on either side. The identity of ?C.C.S ? presumably a local Indian Territory inhabitant and former soldier-friend of Dyer is unknown. Additionally the lot includes a small archive of nine files containing Dyer manuscript correspondence to/from the Quapaw Indian Agency in the O.T. 1880-1884. Also three sundry files the first being a printed inventory booklet with annotations of ?Colonel Dyers Collection of Indian Curiosities? exhibited at the 1893 Columbia Exposition with a later article discussing the same collection then on loan to the Kansas City Public Library. The other files contain a typed letter dated February 1911 acknowledging Dyer??Ts the newspaper man cancellation of his Associated Press Membership. Last is a damaged manuscript letter to Dyer dated March 1911 on the letterhead of ?Pawnee??Ts Bill??Ts Buffalo Ranch.? D. B. Dyer??Ts time as Indian Agent ??" documented by Mrs. Dyer in the ?Frontier Classic Series? Fort Reno ??" came to a sudden end in July 1885 when the visiting government inspector concluded that ?his conflict with the Cheyenne prevented him from effectively carrying out his duties.? Mr. and Mrs. Dyer then moved to Kansas City Missouri where he engaged in the real estate business for the next few years with a partner from the Indian Agency days. In 1887 the Dyers also organized an exhibition of their ?large collection of Indian artifacts and relics? from the Quapaw Agency and this served as a catalyst for their lifelong friendship with ?Buffalo Bill? Cody. Dyer then found himself at the forefront of one of the most noteworthy events of the later 19th century. Leaders of Kansas City requested that D.B. Dyer go to Washington to lobby Congress to obtain support for what would become the two million acre ''Land Run'' of 1889. With the help of friendly Congressmen after a lengthy and sometimes factious debate President Harrison was pressured to open the Oklahoma District to a wave of homesteaders--Boomers--on April 22 1889. On that one frenzied day thousands of would-be settlers from across the country poured into the District staking claims and erecting tent cities. Overnight the small way station previously known as Deer Creek on the Atchison Topeka and Santa Fe line mushroomed into a boomtown of 10 000 people soon to be renamed Guthrie Oklahoma. When the Oklahoma Territory was formally organized on May 2 1889 Guthrie became the first capital quickly transforming itself into the ?Queen of the Prairie? complete with modern brick and stone structures in the Victorian style a municipal water and electrical works underwritten with bonds a horse drawn mass transit system and underground carriage parking in the central business district. At the forefront of this unprecedented development were ?hundreds of men who contributed time and money to bring about this result ? including D. B. Dyer who was elected first Mayor of Guthrie. Recalling those bygone days in 1904 Dyer wrote ?Everything was confusion and bedlam but on the morning of the 23rd a mass meeting was called where thousands assembled on the highest point of land in the town and proceeded to organize a regular old fashioned town meeting.? Of immediate concern was the multitude of conflicting and haphazard claims in and around Guthrie coupled with the fact that there was ?no law or precedent? for organizing the city policing the newcomers or arbitrating their claims. Dyer added that ?having been stationed in the territory for many years previous to this time and having represented Kansas City before Congress to secure the opening of this Territory I was probably at that time better known than any other individual on the ground.? An executive committee was formed and from this exercise ?of starting a government by the people ? D.B. Dyer was nominated to be Mayor. At first Dyer wrote that he ?steadfastly refused??|as I did not expect to remain in the territory permanently.? Dyer soon availed himself persuaded by his close friends and associates ?to accept the responsibility? as ?I could no longer decline??|given what seemed an impending crisis.? The committee made its report to the ?assembled mass? and ?when my name was presented to the people I was unanimously elected.? A city council was then elected and the two United States Marshals on the scene together with deputies and a small military detachment temporarily provided public safety. The burden of the early administrative work dealt with arbitrating overlapping claims and establishing property boundaries. The public right of way took precedence over individual claims and mayor himself was forced to cede at least one potentially valuable property to make way for a city street. The symbolic gavel offered here was presented to D.B. Dyer on June 4 1889 ??" the occasion is not recorded ??" and it clearly reflects a sense of steady fair-mindedness that he demonstrated to the citizens of Guthrie. Faced with the overwhelming task of constructing a city from the prairie Dyer wrote humbly ?Thousands of arbitrary decisions for the want of any law were forced upon those in authority??|? The mayor recalled that his ?own personal work was unremitting ? but after just three months on the job during which time Guthrie??Ts ?streets had been laid out ? he suddenly returned to his wife in Kansas City in July 1889 to pursue a more grandiose business scheme back east in Augusta Georgia. Dyer??Ts 1904 pamphlet recounting Early Oklahoma Days ??" published by his Augusta Chronicle newspaper ??" is fondly imbued with the lofty principle of Manifest Destiny. Oklahoma he waxes was the ?promised land and it is the same spirit that has reclaimed the vast solitude to civilization.? The popular American ethos of inevitability ??" our national self image on late 19th century stage ??" had already crystallized into a retrospective: ?They were genuine pioneers full of push and enterprise not satisfied with any half-hearted efforts to achieve their ambition and realize their dreams.? In 1910 Dyer reminisced about ?the cruel days of the opening of Oklahoma and rejoiced that the city of Guthrie itself was established without bloodshed through the cooperation of its brand new but stalwart citizens.? The small archive of letters that accompany the presentation gavel contain nothing of extraordinary significance but offer some interesting insight into the day-to-day workings of the Quapaw Indian Agency. In March 1880 D.B. Dyer wrote his parents (three lengthy letters) suggesting that they come to teach the Indian children at the agency school. Dyer matter-of-factly describes the arrangement as an ideal business opportunity as the teacher tends the agency farm rent free and is compensated ?$3.75 per month on each pupil? while the Indian children labor in exchange for food and lodging. Two more deeply personal letters from March 1881 from Daniel to his wife Ida are extremely revealing given their often rocky relationship documented in the forward of Mrs. Dyer??Ts Fort Reno account. In these letters Daniel writes passionately his words driven by a hitherto unknown religious zeal. Opting for the third person he engages Ida by invoking God: ???|and today he (meaning Daniel) is striving to repay his Lord with good deeds by working in the vineyard as a Missionary among the Indians ??" trying faithfully to atone for past offences??|? The letter pleads for reconciliation without begging. Written the next year an indenture in long-hand from August 1882 stipulating the division of real estate and property in advance of George and Ida??Ts ultimate divorce. Another exchange of letters dating from March 1884 between Dyer and Henry M. Lawson of Texas discusses the details of the Lawson??Ts transition ?as my successor to this Agency!? Lawson explains that he is unable to secure legal signatures for the required bond required by the government and until the matter is resolved he can only offer ?that I will be with you at or before the time indicated.? Still another file contains a typed copy of an 1886 lawsuit brought by one Rachael Silverheels in defense of her property in the Indian Territory illustrating the extent to which Indians were manipulated and ??~legally??T cheated out of land ostensibly deeded by right of treaty. The file containing the inventory booklet of D.B. Dyers collection of Indian artifacts from the 1893 Columbia Exposition includes a description of Captain Jack's coat: ?Modoc. Buckskin beaded made by Princess Mary sister of Captain Jack of Lava Bed fame and who was hung by the Government. Mary made this coat the same as the one Captain Jack had on when he was hung and presented it to Col Dyer at that time agent of the Modocs.? Collectively a fine historic artifact together with supporting archive relating to the early territorial history of Oklahoma of immeasurable importance to the Shangra-la-like city of Guthrie. Finally there are 67 empty covers with stamps dating to the 1880's mostly addressed to Col. Dyer at the Quapaw and Darlington Indian Agencies. The majority of the envelopes have printed return addresses such as ''House of Representatives '' ''Senate Chamber '' or ''Department of the Interior.'' Sadly the whereabout of the letters are unknown presumed lost. Descended Directly in the Dyer Family Condition: Gavel is complete and undamaged; all letters/paper complete and intact showing age with usual folds etc.
• An American Rococo Carved
  An American Rococo Carved Mahogany Full Tester Bed mid-19th c. the ogee tester stamped with the number "3" cluster column posts the shaped and paneled headboard centered by a scroll cartouche serpentine rails and foot octagonal plinth feet overall height 115 in. length 87 in. width 75 in. mattress length 75 in. width 57 in.; together with an American cherrywood and mixed woods trundle bed 19th c. turned and blocked posts shaped rails height 10 in. overall width 47 1/2 in. length 60 in. Provenance: The tester bed and the trundle bed offered here have been used together by a New Orleans Family over several generations. Note: Two mahogany beds with C. Lee incised stamp and pattern numbers (such as the "3" on the bed offered here) and with similar ogee testers clustered posts shaped headboards and rails were sold by Neal Auction Company as lot 373 January 30 2010 and lot 932 October 12 2008. Beds stamped "C. Lee" appear in the inventories of New Orleans Furniture purveyors Calvin Chandler Simpson John Yetter and William McCracken in the years leading to the Civil War. Research by scholar and curator Stephen Harrison revealed Charles Lee (active 1856-1868) was a Manchester Massachusetts craftsman known as a "maker of bedsteads for the Southern market". Reference: Harrison "'C. Lee Maker of Beds for the Southern Market" Maine Antique Digest April 1994.
• THREE PROBATE INVENTORIES THAT
  THREE PROBATE INVENTORIES THAT INCLUDE SLAVES. All ink on paper and appear to be from Patrick County Virginia. Includes the inventory of James Ingram dated 1817 Robert Write dated 1809 and Richard Harrison dated 1820. All with even toning fold lines some foxing and ink burn and minor losses.
• Alexander Graham Bell signed image,
  Alexander Graham Bell signed image, photogravure of Bell, titled "The Inventor of The Telephone…Opening The New York-Chicago Long Distance Telephone Line, October 18, 1892", signed below image in dark brown ink "Alexander Graham Bell", 10-1/4 x 7-1/2 in. (image), 13-7/8 x 9-1/2 in. (page), dampstains not affecting signature, light wrinkles, toning , with March 1922 National Geographic clipped article, "Prehistoric Telephone Days" by Bell, 10 x 7 in.; application for service, Southern Bell Telephone and Telegraph Co., July 3, 1893, 5-1/2 x 8-1/4 in., and service contract, Asheville North Carolina Telephone and Telegraph Co., 1909, 7 x 8-1/2 in., both with stains, folds, soiling . (Four items.) Collection of William P. MacCracken, Brunk Auctions, January 5-6, 2002, Lot 0579; Collection of H. Donald Nelson, Williamsburg, Virginia.
• Seven signed aviation history
  Seven signed aviation history items: typed letter, July 10, 1931, "Rearwin Airplanes, Inc., Fairfax Airport, Kansas City" printed letterhead with image of plane "Ken Royce", to McKinley Leapley, Cambridge City, Indiana, regarding a dealer franchise, "…In the Rearwin Junior, we have one of the most outstanding airplanes manufactured today to sell for less than $2,000…", signed "Hart H. Bowman", 11 x 8-1/4 in., with insert depicting the "Junior"; "Ira Eaker/Capt. U.C", signed postal cover, stamped "Dedication Eaker Airport/Durant, Oklahoma/November 11, 1930", also signed "WC Canikie/Mayor", 3-1/2 x 6-1/2 in.; two-page typed letter, Sacramento, California, March 22, 1913 to Earl Remington, New York City, regarding the "acquisition of an aeroplane for the use of the state militia" per Assembly Bill No. 1646, "Mr. Hinkle…seems to look at the matter as a sort of a joke…", signed (twice) "Lyman Farwell" as California State Assemblyman, with printed copy of the proposed act; two-page typed letter, April 15, 1913 to Henry Woodhouse, Aero Club of America, New York City, "…the California Legislature will do nothing, in my opinion, regarding an aeroplane service at this session…Carl Brown, an old socialist…is the inventor of an "octoplane", as he calls it…", signed "E.A. Forbes" as Adjutant General of California; photograph of U.S. Navy NC-4 World War I biplane, signed "Walter Hinton" (former co-pilot of the plane) and "Eugene S (Smokey) Rhoads" (former chief machinist's mate), the NC-4 left Rockaway Beach, New York City, May 8, 1919, and made the first crossing of the Atlantic by air, arriving in Portugal, May 27, 7 x 5 in.; "Sincerely, Harry Richman" (1895-1972, aviator who made first round trip, non-stop North Atlantic crossing with pilot Henry T. Merrill), signed photo of him, 6 x 3-1/2 in.; Concorde flight certificate signed "Colin M. Marshall" and "Brian Walpole", London to New York, October 2, 1987, with several related items, all in archival sleeves housed in black leather "Presidential" series album, with gilt border and title, by Exposures, 14-1/2 x 13 in. Normal folds, light toning throughout. Collection of H. Donald Nelson, Williamsburg, Virginia.
• Norman Rockwell (American,
  Norman Rockwell (American, 1894-1978) "The Inventor" lithograph, circa 1970 pencil signed and numbered 46/200 18" x 18"