- RARE IRON CIRCULAR CLOTHES RACKThis
RARE IRON CIRCULAR CLOTHES RACKThis rack would have been used in an upscale shop, marked "A.S. Richardson Toronto, Montreal" on the maple leaf shaped finial. Heavy cast iron feet on rollers. Late 19th Century. Measuring, 81” height x 30” diameter. The Carol Telfer Collection.
- NEW YORK CLASSICAL CARVED MAHOGANY WORK
NEW YORK CLASSICAL CARVED MAHOGANY WORK STAND. Ca. 1825-1830 mahogany three drawer work stand with brass line inlay, lovely single board crotch mahogany top, top drawer with fitted interior, once had a writing surface, now missing, over two section drawers, with lions head pulls, profusely carved acanthus leaf, fruit and basket weave pedestal, on acanthus carved legs, with cast brass lion head casters, made by one of the upscale New York workshops of the time. 32.5”H x 23.5”W x 18”D.
- DOUBLE SIDED SILK & SATIN QUILT, DRUNKARD'S
DOUBLE SIDED SILK & SATIN QUILT, DRUNKARD'S PATH & SQUA...Southern two-sided silk and satin hand-pieced quilt featuring two patterns including the "Drunkard's Path" pattern to one side and the "Square in a Square" pattern to the other. The hand quilted lines follow the curved lines of Drunkard's Path blocks and the batting is cotton. 69 1/2" H x 82 1/2" W. Circa 1930's. Provenance note: According to family history, the quiltmaker worked for a cottage industry in Hardinsburg, KY, likely the Eleanor Beard Company which produced fine linens, baby layette items, and full-sized whole-cloth silk or satin quilts with elaborate center medallion quilting. The items, carrying an Eleanor Beard label, were sold in upscale department stores throughout the nation. This two-sided quilt is likely made using sewing remnants from the factory.
Provenance information in description.
Condition:
Shattering of some silk pieces, but satin pieces are in very good condition. No visible staining.
- CONTINENTAL MILLINER'S PARTIAL GILT
CONTINENTAL MILLINER'S PARTIAL GILT AND CAST IRON HAT R...Continental Milliner’s Partial Gilt and Cast Iron Hat Rack , last quarter of the 19th Century, custom made for an upscale milliner, the turned urn top finial and the 4 gilt acorn finial branches all emanate from gilt leaves which rise from an urn and leaf standard, on a triangular plate supported by 3 partial gilt dolphins.
Height 95 in. Diameter 27 in.
Provenance: Property of a Lady, Nantucket, Massachusetts
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.
- 1840-1910S LARGE STERLING SPOON COLLECTION
1840-1910S LARGE STERLING SPOON COLLECTION (9)For your consideration are nine marked sterling spoons from various makers circa 1870-1910s. The first and largest spoon in this collection was made by S. Hennell in London, England circa 1805-05. The makers mark was present but has since been worn down. The neck of the spoon is long and slim and features stampings on the back of the neck showing the makers mark, a lion passant indicating the quality of the sterling, the town mark of London, a letter "I" indicating the year it was made (1804) and a right facing kings head showing it was made under the rule of King George III. The spoon shows no stamped or embossed designs. The second sterling spoon is attributed to 1852 Redfield & Rice or 1847 Rogers Bros. The spoon features stampings on the back of the neck showing the makers mark, "Y & T" as well as an eagle effigy with its wings spread stamped next to the makers mark. The spoon shows a deep gold washed bowl with small openings for draining any liquid acquired while scooping. The top of the handle shows initials reading "EML". The third spoon in this collection was made by Stebbins & Howe in New York circa 1830-32. By the end of 1829, Edwin Stebbins had relocated from Springfield, Massachusetts to New York City in order to open a jewelry store on Chatham Street. On that same street, he co-owned a business with George Howe from 1831 to 1834, but by 1834 or 1835, he had ended their partnership and had relocated to 264 Broadway. The spoon shows a detailed handle featuring initials reading, "BHR", while the back of the neck shows stampings and the makers mark reading, "Stebbins & Howe". The next spoon in this collection was made in New Orleans circa 1840-50s by Hyde & Goodrich. James N. Hyde spent a few years working in New York before opening a New Orleans location for his retail operation in 1817. Within the following ten years, his brother-in-law Charles Whiting Goodrich joined him in business in New Orleans. By 1828, the first Hyde & Goodrich store was situated on Chartres Street, but in 1853 it was relocated to the intersection of Canal and Royal Streets. However, selling upscale imported goods like patented pistols, pens, watches, and flatware from northeastern and European producers accounted for the majority of Hyde & Goodrich's business. The spoon features a polished coin silver construction with no designs present. The back of the neck shows the makers mark reading, "Hyde & Goodrich". The fifth spoon in this collection is attributed to a silversmith in Holland due to the stamping on the back of the neck. The spoon shows a simple line design on the outer edge of the handle with an "S" on the top of the handle. The back of the neck reads, "Sterling" with the Holland stamp to the left of it. The sixth spoon in this collection was made in Birmingham, England circa 1880-1900s. The spoon features a polished sterling construction with stampings on the back of the neck reading "Sterling" and show a lion passant indicating the quality of the silver, and the town mark of Birmingham. The bowl is large and wide while the neck goes from skinny to wide and flat towards the top. The seventh spoon in this collection once showed a makers mark but has since been stamped out. The spoon is large and features a long handle and large, wide bowl. The top of the handle shows initials reading, "FJ". The back of the neck shows the stamped out makers mark as well as a small, unidentifiable stamp. The eighth spoon in this lot once showed a makers mark but has since been worn off from its age and use over the years. The spoon features a polished sterling construction with no designs present. The ninth and final spoon in this collection was made by Edward Comfort Newbury circa 1840-1860s in Brooklyn, Connecticut. Edward was born August 24th, 1799 in Mansfield Center, Connecticut. He apprenticed around 1814 in Hartford, Connecticut and worked as a silversmith in Brooklyn, Connecticut from 1828 to 1860. He appeared on the 1860 census taken at Brooklyn CT, listed as a spectacle maker, and by the 1870 census he had set aside his trade and was working as a florist. The spoon shows the makers mark on the back of the neck reading, "E. Newbury" while the top of the handle shows initials reading, "CML". The spoons in this collection show good condition overall with some wear and light patinas from their age and use over the years. No obvious signs of damage are present on the spoons. The spoons measure from 11 5/16" L x 2 1/8" W to 7" L x 1 7/16" W. The collective weight of the spoons is 513.4 grams.
- 47. FIGURAL HARD STONE CANE -CA. 1890
47. FIGURAL HARD STONE CANE -CA. 1890 -MUDDY GREEN JASP...47. Figural Hard Stone Cane -Ca. 1890 -Muddy green jasper hippopotamus head on an ebony shaft with a braided silver wire collar and a metal ferrule. The joyous flair of the amphibious animal is accented by the protruding eyes placed high on the roof of the skull. The latter are emphasized with inset blue stones, possibly sapphires. This one-of-a-kind Viennese cane is in the Fabergé Russian Style and belongs to the upscale jewelry Objects of Virtue. -H. 2” x 3”, O.L. 36 ¼” -$5,000-$7,000
- 11. LAPIS LAZULI AND GOLD DRESS CANE
11. LAPIS LAZULI AND GOLD DRESS CANE -CA. 1900 -LARGE L...11. Lapis Lazuli and Gold Dress Cane -Ca. 1900 -Large Lapis Lazuli handle fashioned of a select single stone in a well-proportioned Derby-like Baroque shape, 18 karat yellow gold collar with hammered surface, ebony shaft and a long horn ferrule. The plain surface beautifully exposes a natural deep blue color and its perfect finish reveals the desirable, lightly dusting flecks of golden pyrite. Pleasing to the eye and with an addictive, sensuous feel to the hand, this cane has style and substance and demonstrates sophisticated cane art at its best. It is in the taste of Carl Fabergé, thought to have Russian ties and belongs to the upscale jewelry objects or Virtue. Furthermore, it epitomizes the artistic eclecticism of Imperial Russia, distills much of the follies of the Romanov days and exudes the essence of luxury. According to the previous owner this cane remained until the end 1970’s an inalienable diplomat’s family treasure, handed down through two generations, and is in pristine condition. -H. 4 ¾” x 2 ¼”, O.L. 33 ½” -$2,500-$3,500 -Lapis lazuli was always highly prized: In Mesopotamia this blue stone symbolized the heavens and so was used to decorate the ceilings of temples. In Egypt it was used to adorn statues of the gods, while in Europe, viewed as a cure for melancholy and fever, it was reserved for the very wealthy people and one of Fabergé’s favorite precious stones. -Much like the cane illustrated in the book “The Robert Pearson Collection” on page 77 that sold at Christies Sale 2435, # 5 in date of April 15, 2011 which set world record prices.
- GOLD NEW ENGLAND MARINE CANECa. 1850-Small
GOLD NEW ENGLAND MARINE CANECa. 1850-Small 18 karat yellow gold knob fashioned in a well-proportioned classic taste and elaborately hand chased and engraved with a plethora of flowers and scrolls topped by a plain round shield with engraved initials of its first owner and ending with an integral and matching multiple ring collar. So far, so good, however, what makes this cane very special is its gently tapering baleen shaft with gold eyelets and a brass ferrule, which displays throughout the specific layered structure of the noble material of the ocean and its coveted dark brown-greenish hues. Hardly encountered in the widespread cane repertoire, this first rate dress cane with apparent New England flavor is an upscale collectable with direct ties to the golden age of whaling. Indeed, ever since the Mayflower deposited the Pilgrim Fathers on the shores of Cape Cod in 1620, New Englanders have been fascinated by their marine heritage with the marine canes flourishing at a time when whaling was a respectable and entirely natural part of life. An excellent condition adds to its desirability. H. 1” x ¾”, O.L. 35” Baleen or whalebone is a filtering structure in the mouth of most whales, which they use to feed by sieving small animals from large mouthfuls of seawater. Instead of teeth, these whales have rows of baleen plates in the upper jaw – flat, flexible plates with frayed edges, arranged in two parallel rows, looking like combs with thick hair at the end of each comb tooth. Baleen is not in fact composed of bone, but of the protein keratin, the same substance as hair, horn, scales, claws and nails. Baleen whales use these combs for filter feeding. Depending on the species, a baleen plate can be 0.5 to 3,5 meters (1,6 to 11 ft) long, and weigh up to 90 kilograms (200 lb). Its hairy fringes are called baleen hair or whalebone-hair. Baleen plates are broader at the gumline. The plates have been compared to sieves or Venetian blinds. Baleen whales are characterized by having baleen plates for filtering food from water, rather than having teeth. This distinguishes them from the other suborder of cetacean, the toothed whales or Odontocete. For few up to date annotations on Marine canes extending to the present perspective to the art of the fisherman himself refer to Youssef Kadri’s book, The Mandel Cane Collection.
- FIGURAL HARD STONE CANE-Ca 1890 -Muddy
FIGURAL HARD STONE CANE-Ca 1890 -Muddy green jasper knob wheel cut to depict a hippopotamus represented with a pleasing touch of humor. The joyous flair of the amphibious animal is emphasized by the rotund frames of its wide mouth and lips, which give the impression of a smile as well as two protruding ruby inset eyes placed high on the roof of the skull. -The head fits well in the hand and is tastefully presented on a slender braided silver wire collar and a malacca shaft heeled with a horn ferrule. -This high-end Viennese cane belongs to the upscale jewelry Objects of Virtue and miraculously survived superb condition. Notable is that figural hard stone knobs came in fashion with the impact of Carl Fabergé, were costly to produce and the preserve of nobility and wealthy clients. -H. 2” x 3 ¼”, O.L. 35 ½” -$3,500-$5,000 -Jasper is known to have been a favorite gem in the ancient world and its name can be traced back in Arabic, Persian, Hebrew, Assyrian, Greek and Latin. The name means “spotted or speckled stone,” and is derived via Old French “jasper”. -Jasper gemstones can come in almost any color but do tend to be earthy tones. Reds, browns, oranges, yellows and greens are the most common although blues and purples are not unheard of. The colors are not restricted to just one, jasper tends to have two, three or even more colors on the same stone. -Color is very important in the world of gemstones and brightly or unusual colored stones will be valued more than others. Jasper, long used for jewelry and ornamentation, has a dull luster but takes a fine polish. Its hardness and other physical properties are those of quartz. -Medicinal values were long attributed to jasper, including a belief that wearing it strengthened the stomach.
- JUDITH LEIBER MARSHAL FIELDS CLOCK PURSE:
JUDITH LEIBER MARSHAL FIELDS CLOCK PURSE: Judith Leiber minaudiere features the famous clock tower at the upscale department store, Marshall Fields. This iconic bag is done in silver, green, and black crystals and accented with gold hardware. This bag features press lock closure and a shoulder strap that can be tucked into the interior of the bag for use as a clutch. The interior is done metallic gold leather. Comes with a gold metallic coin purse, mirrored compact and comb and the product registry form that has not been completed.
CONDITION: Pristine condition.
- NINE ROYAL WORCESTER CABINET PLATES
NINE ROYAL WORCESTER CABINET PLATES SIGNED W. H. AUSTINThe nine Royal Worcester plates, pattern code RW272, retailed by The Cowell and Hubbard Co, an upscale jeweler in Cleveland Ohio, are centered by a roundel of hand painted floral sprays artist signed W.H. Austin. Each example is hand painted without decal or transfer.Measures 10.75 inches.Very good condition, noting areas of light gold wear and heavy crazing to each (one with stain), there are no chips, cracks, lost beads or repairs.Provenance: The collection of Josephine Bird Hall (1888 - 1948) by descent to her son, the present owner. Josephine's father was a founder of Kansas City's Emery, Bird, Thayer Department Store.
- MODERN CHINESE AUBUSSON DESIGN HAND
MODERN CHINESE AUBUSSON DESIGN HAND KNOTTED WOOL RUG 8' x 10': A beautiful French Aubusson design rug that features over sized medallions one in the center and four more medallions that flow from the borders in to the field. The medallions have ivory fields edged by beige and grey frames for the flower sprays in their centers. They are on a dramatic contrasting deep blue field that also has bouquets of realistically drawn roses around the medallions. This rug would be at home in a Salon in Paris or an upscale more formal room in your home. Condition is very good.