Chippendale Cherry Tall Chest, having large cornice molding over three short drawers over two short drawers over four drawers all se. : Chippendale Cherry Tall Chest, having large cornice molding over three short drawers over two short drawers over four drawers all set on ogee feet, Pennsylvania circa 1770. height 63 inches, width 41 1/2 inches, top 20 3/4" x 45 1/4". 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.
1 Queen Anne Cherry Bonnet Top High Chest Massachusetts, second half of the 18th century In two parts, the upper section with three short drawers, the center one carved with a fan, above four long graduated lip molded drawers, resting on the lower section with two short over three short lip molded drawers, the center one carved with a fan, raised on cabriole legs ending in pad feet. Height 7 feet 1 inch, width 38 1/2 inches, depth 20 inches. Provenance: Ginsburg & Levy, New York
TWO PAIRS OF GIORGIO ARMANI SHORTS. Together with a pair of Derek Lam wool shorts one pair of Gianfranco Ferre blue wool shorts and one pair of John Galiano shorts Sizes 10 - 12 Condition: No Specific Condition Recorded - Sold As Is
H. Douglas Pratt (B. 1944) "Short-eared Owl": H. Douglas Pratt (American, B. 1944) "Short-eared Owl" Signed lower right. Original Oil painting on Cold Press Illustration Board. . . Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . This painting is the original painting which appeared on the Federated States of Micronesia 29c Short-eared Owl stamp issued October 20, 1994. . . The tropical islands and atolls that comprise the Federated States of Micronesia host a multitude of migrant bird species, each with its own unique characteristics. Frequenting Kosrae, the Short-eared Owl is most often observed while on the hunt. One of the most visible owls, it begins to search for prey during the late afternoon, striking at its quarry from either a lofty vantage point or while in flight. . . Image Size: 7. 25 x 5. 75 in. . Overall Size: 10. 5 x 7. 5 in. . Unframed. . (B14694) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
MASSACHUSETTS QUEEN ANNE WALNUT AND WALNUT VENEERED DRESSING TABLE.
Th e rectangular crossbanded top projecting over a case with an arrangement of two short drawers over two short drawers fl anking a centered short drawer over an arched apron with pendants, raised on cabriole legs terminating in pad feet. Height 30 ½ inches, width 32 ¾ inches, depth 22 inches.
High Standard Olympic . 22 Short Competition Pistol: For your consideration is a High Standard Olympic. 22 short caliber competition pistol. High Standards' first effort at making a pistol worthy of Olympic competition came in 1949 as part of their G series pistol line. The Model G-O (sometimes referred to as the first Olympic), chambered in the low recoiling . 22 Short, had an aluminum alloy slide, which was the first significant use of the material in a pistol. It also came standard with target grips and could be purchased with a 4 1/2” or 6 3/4” barrels, or both if the shooter so desired. The most unique feature of the G-O was its curved magazine, which was hand fitted to each gun, and for this reason it was often marked with a matching serial number. The design of these pistols required substantial amounts of machine work to create their intricate parts. This led to the cost of production being high and requiring far too much effort to manufacture. After a short two-year period, the G series was abandoned. This pistol shows a bull 6 ¾” barrel marked on the left “High Standard Mfg. Corp. – New Haven, Conn. U. S. A. ” The barrel also shows a fixed muzzle weight. The firearm is fit with brown plastic checkered grips in good condition, showing the original factory carving and checkering for target shooting. This pistol was one manufactured between 1951 and 1953. Serial Number: 358233. This firearm qualifies as a Curio & Relic, and requires FFL Transfer or NICS Background Check.
O Gauge Marx Floodlight towers: Tall light tower with black oval base, black girder mast, chrome platform, black and chrome light housing missing front. Tall light tower with black square base, black girder mast, chrome platform, chrome light housings, rewired with red wire, Tall light ower with black square base, black girder mast, chrome platform, chrome light housings, Short light tower with black square base, red housing, red girder mast, black platform, grey lamp housings with missing wiring, Short light tower with black square base, red housing, red girder mast, black platform, grey lamp housings, Short light tower with black square base, red housing, red girder mast, black platform, grey lamp housings missing sockets, no wiring and missing terminal, Short light tower repainted silver and issues.
Framed Antique Portrait of a Woman of Lee Family: Louise Schafer Cone (American, 1889-1968). Portrait of Young Woman of the Lee Family - oil on canvas, ca. early 20th century. A large-scale, historical portrait of a Nancy Fletcher Short who was the grandmother of Louise Short Lee who had Louise Cone, a portraitist of prominent figures of the American South, paint this portrait of her beloved grandmother. The half-length portrait presents the subject looking directly out at the viewer with both hands placed before her. Her proud visage is comprised of deeply-set blue eyes, arched brows, an aquiline nose, blush pink heart-shaped lips, and a peachy complexion. Her dark brunette hair is parted in a slightly off-center part and tucked beneath a scarf or cap, and she wears a colorful plaid dress with a white lace collar adorned by a gemstone brooch, a belt to accentuate her waist, large gold hoop earrings, and a gold wedding band gracing her left hand. Size: 29. 375" L x 22. 75" W (74. 6 cm x 57. 8 cm); 36. 375" L x 29. 375" W (92. 4 cm x 74. 6 cm) framed. . The painting is set in an attractive, gilt wood frame that suits it beautifully. . Louise Schaefer Cone was born and spent most of her life in Birmingham, Alabama. She studied with Edna Smith, George Elmer Browne, and Roderick MacKenzie. In addition, she studied in New York with Wayman Adams, Frank Vincent Dumond, and George Bridgman. Ms. Cone was a member of the New York Art League, the Southern States Art League, as well as the Birmingham Art Club. Although proficient in portraiture, still lifes, and landscapes, she is best known for her portraits of prominent figures of the American South, many of which hang in museums and government buildings. During her lifetime, she received several awards for her oils and pastel compositions. . This painting is accompanied by a statement written by Inza Lee Fort who is a living descendant of Robert E. Lee. In her statement, Inza Lee Fort describes the family's relationship to the artist Louise Schaefer Cone and states that the subject is Nancy Fletcher Short, the grandmother of Louise Short Lee who had Louise Cone paint this portrait of her beloved grandmother. She states, "Many have remarked that Nancy's eyes seem to follow them in the room. " She also describes the family history. Robert E. Lee was a great, great, great grandson of Colonel Richard Lee and his wife Anna who were the first of the Lee family line in America who came to America in the 1640s and settled in York County, Virginia. Robert E. Lee is an uncle to Inza Lee Fort's branch of the family tree. . Inza Lee Fort's description of the family's relationship to the artist Louise Schafer Cone is as follows, "My aunt, Louise Short Lee, was a friend and sometimes model for some of Louise Cone's paintings. After marrying into the Lee family, Aunt Louise asked Louise Cone to paint several of the Lee family members. Portraits that my aunt and uncle had were passed to my mother after they died. These portraits were then passed to me and my sister after my mother died. ". . Provenance: private Fayetteville, Arkansas, USA collection; ex-Inza Lee Fort collection, Arkansas, USA - Ms. Fort is formerly of Alabama, USA and a descendant of General Robert E. Lee (1807-1870). . 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. . #161977 Dimension Condition Craquelure especially to background. Age wear to frame with chips and scuffs to peripheries. Tears to gallery paper on verso. Wired for suspension.
ANTIQUITY: LURISTAN SHORT SWORD, ANCIENT NEAR EAST, NORTHWESTERN IRAN, C. 1200 - 800 BC, BRONZE, LOST WAX CAST SHORT SWORD WITH CRES...ANTIQUITY: Luristan Short Sword, Ancient Near East, Northwestern Iran, c. 1200 - 800 BC, bronze, lost wax cast short sword with crescent guard, dark green-brown matte patina, wear consistent with age and use, crack to handle, sold as found, 17" l. [PROVENANCE: Davis Collection.][Above description based on an appraisal provided to Winter Associates by the Davis Estate; as per our Conditions of Sale we can provide no guarantee of age or authenticity.]
JOHN AND JAMES BARD (NEW YORK, 1815-1897), PORTRAIT OF THE GOLD RUSH STEAMER WILSON G. HUNT., OIL ON CANVAS, RELINED, 28.75" X 49.5". FRAMED 39.25" X 59.25".JOHN AND JAMES BARD, New York, 1815-1897, Portrait of the Gold Rush steamer Wilson G. Hunt. Signed and dated lower right "Drawn and painted by J&J Bard, NY 1849". Inscribed at bottom "Steamer connecting Coney Island, Shreveburg, Red Bank & 'W...Cilly' [indistinct] New York Captain A.H. Haggerty - Commander 1849 For T. Hunt Bros. N.J. Built by Thom. & Wm. Colyer N.Y. Engines of Wilson G. Hunt built by H.R. Nenham N.Y. Drawn & painted by J & J Bard N.Y. 1849". Provenance: The Mariner's Museum, Newport News, Virginia. Northeast Auctions, Portsmouth, New Hampshire, March 2001. The Kelton Collection of Marine Art & Artifacts, acquired from the above at that sale. Literature: See J & J Bard Picture Painters, by Anthony J. Peluso (Hudson River Press, 1977), p. 7-9 for a reference to this painting, noting it is one of the last paintings signed by John and James Bard, and John Bard's demise., The Wilson G. Hunt was built at New York in 1849 for the excursion trade to Coney Island, but on March 2, 1850, shortly after her completion, she was sent around the Horn to San Francisco, arriving there in early 1850. She was immediately placed in the Sacramento River trade and became a "bonanza steamer," carrying gold speculators to the gold fields. She proceeded to make a fortune for her owners, clearing over $1 million in her first year. The steamer was sent to Victoria, British Columbia in August 1858, and ran for a short time on the New Westminster route. In October 1858 she was withdrawn, and then in the following year she replaced the steamer Constitution on Puget Sound. Early in the 1860s she was bought by the Oregon Steam Navigation Company and taken to the Columbia River, where she operated on the Cascade Route under command of Captain John Wolf. She ran on the Columbia until 1869, carrying from 250 to 300 passengers, 100 head of stock and a substantial amount of freight on a single trip. The Wilson G. Hunt was rebuilt in 1865, and in 1869 she returned to Puget Sound. She continued to be used on various runs until 1890, when she was broken up and sold for iron scrap to Cohn & Company of San Francisco. Her hull was burned shortly thereafter. Twin brothers John and James Bard were self-taught ship portraitists who specialized in steamships. The painting of the Wilson G. Hunt was one of the last two paintings signed jointly by the Bard brothers, and it has been speculated that John Bard went off in search of gold shortly after the completion of this work. By March of 1850 James Bard was the only signer of these works. After November 1855, John reappears and is known to have become a "destitute painter" in and out of New York almshouses until his death October 18, 1856. James lived a long and artistically productive life. He died 41 years after his brother, on March 26, 1897. Dimensions: Oil on canvas, relined, 28.75" x 49.5". Framed 39.25" x 59.25".
Ernest Hemingway THE OLD MAN AND THE SEA 1952 Signed Classic Short Novel Cuba Pulitzer Prize American Literature Decorative Leather Title: The Old Man and the SeaAuthor: Ernest Hemingway - Ernest Miller Hemingway was an American author and journalist. His economical and understated style had a strong influence on 20th-century fiction, while his life of adventure and his public image influenced later generations. Hemingway produced most of his work between the mid-1920s and the mid-1950s, and won the Nobel Prize in Literature in 1954. He published seven novels, six short story collections, and two non-fiction works. Additional works, including three novels, four short story collections, and three non-fiction works, were published posthumously. Many of his works are considered classics of American literature.Publisher: Charles Scribner's SonsCity: New YorkYear: 1952Printing Information: Signed EditionBinding Style: HardcoverPagination: 140 pagesWidth: 6" Height: 8.5"Book Details: "The Old Man and the Sea" is a short novel written by the American author Ernest Hemingway in 1951 in Bimini, Bahamas, and published in 1952. It was the last major work of fiction by Hemingway that was published during his lifetime. One of his most famous works, it tells the story of Santiago, an aging Cuban fisherman who struggles with a giant marlin far out in the Gulf Stream off the coast of Florida.In 1953, "The Old Man and the Sea" was awarded the Pulitzer Prize for Fiction, and it was cited by the Nobel Committee as contributing to their awarding of the Nobel Prize in Literature to Hemingway in 1954.Condition / Notes: This copy of this classic work bears an inscription on the half title page reading "With Best Wishes to my / talented colleague, Bob Kane, / and to his / lovely bride. Ruth / Ernest Hemingway. / La (illegible word) /1955" Bob Kane was Olympic Committe Chair for the Los Angeles Olympics, and this handsome book came from his private volume. The signature has not been authenticated.This volume has been rebound in three-quarter leather and textured green cloth with a decorative design resembling waves. The spine has raised bands and stamped gilt lettering. The book shows external wear, with cracking along the spine edges, minor chipping and light soiling. The bottom corners of the covers display faint moisture markings. The binding is sound. This volume has endpapers reproducing the color and design of the cloth covers. The pages are clean and without markings.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
FOUR PIECES OF BILSTON ENAMELED ITEMS, 18TH CENTURY AND LATERFOUR PIECES OF BILSTON ENAMELED ITEMS, 18TH CENTURY AND LATER, including a circular open salt, set atop three short feet, and decorated with three country scenes separated by gilt scrollwork and with a gilt shell to each short circular foot, metal rim, 18th Century, dia: 3.5 in.; a rectangular box with fluted short sides, with floral garlands and raised white scrollwork on dark green ground, metal rims, w: 2.25 in.; an oval box with central small floral spray and green diamond-shaped bands, raised white tracery, w: 2.5 in.; and a brown mottled oval patch box, the cover with central circular medallion reading 'Love and Friendship', circa 1790, metal rims and with interior mirror (cracked), w: 2.1 in. (4) Provenance: Purchased at K. Chappell, Bakewell, Derbyshire, England on 20 Sep, 1986 for 85 Pounds (open salt); Purchased at K. Chappell, Bakewell, Derbyshire, England on 02 Sep, 1982 for 125 Pounds (rectangular box with short fluted sides); Purchased at K. Chappell, Bakewell, Derbyshire, England on 02 Sep,1982 for 125 Pounds (oval box with green trim); Purchased at Halcyon Days, Brook Street, London on 15 Apr, 1983 for 190 Pounds (mottled brown oval patch box); Estate of Tom and Lee Stanley
A William & Mary oak chest on stand, Circa 1690, the rectangular top above two short and three long graduated raised panelled drawers, the stand with three short conforming drawers above a shaped apron, raised on short cabriole to front and back legs with pad feet, 108cm wide, 58cm deep, 158cm high..
CIVIL WAR WISCONSIN INFANTRY SOLDIER’S DIARY-SURGEON’S WOUND LETTER, CASED TIN TYPE PHOTOGRAPH-PETERSBURG 1865 WITH TWO POST-WAR DIARIES. A nice group related to Corporal Thomas J. Hinton, Company B, 38th Wisconsin Infantry. The Civil War diary is inscribed with his name, rank and regiment in the frontispiece-very fancily done. His accounts begin January 1, 1865- Hinton is in camp around Petersburg, Virginia. The accounts, mostly in period ink are short but informative about camp life, skirmishes, health, weather, etc. Interestingly, Hinton stops writing on Saturday April 1, 1865 with "…we fell into line of battle a 3 A.M.-we expect to charge heavy picket firing…". Accompanying the diary is a 3 page letter and postal cover from George S. Bennett, Assistance Surgeon addressed to his wife in New Lisbon, Juneau County, Wisconsin. Written from the U.S. Army General Hospital at the Fairfax (Va.) Seminary on April 9, 1865, the letter details that Corporal Hinton and his brother Sergeant George Hinton were both sent from City Point-Thomas Hinton with a severe shell wound above the elbow and his brother George with his right arm off. The letter is long and descriptive about the amputation, use of Ether and a report of their recovery to Hinton’s wife. Obviously the 38th Wisconsin-and the two Hinton brothers had a hard day on the battlefield at Petersburg. Corporal Hinton’s diary has many blank pages following-he picks up writing for short periods in the last three months of the year but it is obvious that he has been discharged and is now home. Two post-Civil War diaries also accompany this-which are quite complete for the years 1866 and 1868. Finally, the group is accompanied by a very nice 6th plate cased tin type photograph of a seated, armed Union soldier. The soldier is wearing a kepi, short uniform jacket with sword belt and plate and has a Colt Model 1860 Army revolver held across hi chest. The photograph is mounted in a pasteboard case with a patriotic stamped copper mat. The photograph may be related to the Hinton family but it is not likely that it is Corporal Thomas J. Hinton or his brother Sergeant George Hinton as both of these men served in the 38th Wisconsin Infantry and it is quite clear that this photograph is of a Union Cavalryman. The crossed saber insignia is discernable on the soldier’s kepi. A very nice armed Union photograph nonetheless. Copies of Hinton’s war and pension records accompany which detail the circumstances of his gunshot would at Petersburg on April 2, 1865 and his subsequent discharge for the Army. CONDITION: All three diaries are in very good condition. Writing is clear and the pages and leather covers intact. Surgeon’s letter and postal cover are in very good condition. Photograph is nice-with two slight creases-the case shows wear but is reasonably well preserved. 4-54161 CoW27 (600-800)
RITTENHOUSE, David.Autograph letter signed to his wife during the Yellow Fever epidemic. Norriton: 22 October 1793. 1¼ pp., written on both sides of folded sheet with integral address leaf (205 x 162 mm). Signed “D. Rittenhouse” at the bottom of the first page, with a postscript written on verso. Condition: address leaf separated, folds, short edge tears and minor chips.written in the midst of the yellow fever epidemic, shortly after the death of his son-in-law from the virus. In the late summer of 1793 a devasting yellow fever epidemic attacked Philadelphia, then the largest city in the United States. At the outbreak of the fever, Philadelphia’s renowned man of science David Rittenhouse was among the leaders of those struggling to care for the sick. However, for a short time in October 1793 he travelled away from the fever-ridden city to his country house in Norriton. His wife, however, remained in Philadelphia.This letter was written in response to one received from his wife and begins immediately with a discussion of the virus and the health of their family: “Your letter made me happy by informing me of your health, but still the reluctance with which you mention Mrs. Smith’s death alarms me, for how do I know what you may have conceal’d out of tenderness for me. I will however hope for the best, as I have ever been inclined to do when absent from you. I will hope that you & Betsy her family & Sister Parry’s are well & may long continue to do so.”The letter continues with Rittenhouse asking his wife to look after their daughter Besty (i.e. Elizabeth) whose husband Jonathan Dickinson Seargeant had died of the fever on 8 October: “Can you keep up Betsy’s spirits, her situation is truly distressing, but we allways [sic] thought she did not want resolution. Her uneasiness at what Dr. [Benjamin] Rush said some weeks ago did not appear to me any proof of the contrary as Mr. Sargeant seemed to think.”Congress, including George Washington, had fled the panicked city in August, but was set to resume its session in Germantown in November. Relating his travel plans to his wife, Rittenhouse probably refers to the meeting of Congress, writing, “Had I not received your letter I should have set off tomorrow morning in expectation of finding you at Poplar Lane. I had thought the more necessary on account of my business at Germantown.”The letter then returns to the destructive nature of the fever: “We have such uncertain & contradictory accounts from town that nothing can be depended on unless it be the death of particular persons. From the best information I am not satisfied that any of the country people who are dead or ill since being at Market, have had the yellow fever. One in this Neighbourhood certainly has not, tho’ he will probably not recover.”The letter closes with a postscript cautioning his wife to keep her health, writing, “Neglect no precaution for you health. You may judge of mine when I assure you I have not thought it necessary to take any Bark since I came here.” The treatment he refers to, alternatively referred to as the West Indian or Federalist cure, involved Cinchona bark and wine. “The 1793 yellow fever epidemic was no mere round of sickness but a major public health emergency that paralyzed city functions, halted business and trade, and caused a breakdown in social instututions. The fever’s devasting effect on what was then our nation’s capital is apparent in the grim statistics it left in its wake: more than 17,000 people fled the city for safer environs, nearly 5,000 died, and hundreds of children were orphaned” (“Foreward” in A Melancholy Scene of Devastation, Philadelphia: 1997).
SIX SHORT CANDLESTICKS AND A BRASS CHAMBERSTICK, VARIOUS DATESSIX SHORT CANDLESTICKS AND A BRASS CHAMBERSTICK, VARIOUS DATES, including a pair rising from cut cornered octagonal bases, h: 5 3/4 in.; a Colonial Williamsburg reproduction marked 1999, with a scalloped base, h: 5 in.; and three other short candlesticks with similar scalloped bases and short forms; together with a simple brass chamberstick, the dish with raised beaded border and simple wide loop thumbpiece, dia: 4 3/4 in. (7) Provenance: Estate of Karen Burroughs, American Collector featured in Early American Life, Colonial Homes, Classic American Interiors, Better Homes and Gardens, Traditional Home and Colonial Williamsburg Journal
GROUP OF SIX WEST AFRICAN COLON ART CARVED WOOD FIGURES a painted male in shorts approx. h: 14 1/2 in. a male in green shirt and trousers boots pith helmet carrying a rifle approx. h: 15 in. a male in long coat trousers shirt tie and pith helmet approx. h: 16 1/2 in. a painted West African female in loin cloth necklace slippers and braided stylized hair holding an egg a male in short and shorts with facial scarification and a painted male with goatee shirt and shorts and green hat approx. h: 17 in. (6) Provenance: From Patricia Kluge's Albemarle House Charlottesville VA
A GEORGE III OAK NORTH COUNTRY DRESSER, the raised back with a moulded cornice above three open shelves and an arrangement of one long and four short drawers, the lower breakfront section with central bank of four short graduated drawers flanked by twin cupboards modelled as short drawers and panelled cupboards, on bracket feet, 67" wide. See illustration
8 [COOK'S VOYAGES] ANDERSON, GEORGE WILLIAM. A New, Authentic, and Complete Collection of Voyages...Captain Cook's First, Second, Third and Last Voyages...Round the World. London: Alex. Hogg, [1784-86]. Full contemporary tree calf. 15 1/4 x 9 3/4 (39 x 25 cm); folio; frontispiece, iv pp. including title, [2] ff. list of subscribers (usually bound at end), partially hand-colored folding map, [5]-[656] pp., and 154 copper-engraved plates. Rebacked to style retaining old gilt lettered spine label and endpapers. Front blank and frontispiece detached (the latter with short repaired tears to margins), folding map lightly browned along one fold with short splits, intermittent browning, a few plates with worn corners or small marginal losses, a few short tears into text or image, one plate trimmed into image, final leaf becoming disbound, boards rubbed. An important collection of Cook's voyages along with those of Carteret, Anson, Drake and others. Originally issued in eighty parts, there are several variants of this work. The present copy contains first issue points such as the Death of Capt. James Cook plate dated "12 March 1784", the frontispiece dated 1784, and the heading of p. 5 reading "A Genuine and Complete History of the Whole of Capt. Cook's Voyages."
U OF TEXAS LONGHORN FOOTBALL SHIRTS, SWEATER(lot of 8) University of Texas Longhorn football shirts and sweater, several celebrating the Championship 2005 and 2006 game: (1) 2006 short sleeve, size XL; (1) 2006 short sleeve, size M; (1) 2006 long sleeve, size M; (1) long sleeve, "Come Early and Be Loud", size XL; (1) 2005 short sleeve, size XL; (1) Texas #10, short sleeve (honoring Vince Young, MVP, 2005 Rose Bowl, number is retired), size L; (1) sleeveless sweater, "2005 National Champions", size L; (1) green shirt, longhorn at front, size L
THIRTEEN PIECES OF 18TH/19TH C. TREEN COOKWARE, INCLUDING: THREE POTATO MASHERS, ONE THIN AND TALL WITH A TRADITIONAL SHAPE, 10 1/2" H. X 2 1/2" D., ONE SHORT AND THICKER WITH A NAIVE SHAPING, 9 1/4 H. X 5 1/4" D., ON...Thirteen pieces of 18th/19th C. treen cookware, including: three potato mashers, one thin and tall with a traditional shape, 10 1/2" h. x 2 1/2" d., one short and thicker with a naive shaping, 9 1/4 h. x 5 1/4" d., one short and thin, 4 1/4" h. x 2 1/4" w., all three have ware and scratches from use, one rolling pin, with paint and other forms of stains throughout, wear to finish from use, 18" l., three food preparation horse hair bristle brushes, one with a light brown finish and blond bristles, missing hanging strap, sustained ware and stains from use, 10 1/2" l., one light brown finish with black bristles, and leather strap, wear from use, 9 1/4" l., one dark brown finished handle with blond bristles, wire hanging strap present, wear to finish and bristles from use, 9" l., set of lard squeezer paddles, hinged with leather and screws, wear from use and typical of age, 8 1/2" l., three scoops, one a traditional rectangular head scoop, 9 1/4" l., one a short handled circular head scoop, 8 1/2" l., and one unique circular headed scoop with handle that forms into the shape of a bone joint, 9 1/2" l., all three have scratches and wear from use, one multi-purpose piece in the shape of a spreading knife, wear to finish and stain spots, 14" l. one unknown piece, potentially a knife, with small copper blade at base 1/2" in length, marked "JEB" at top of handle stem, consistent wear with age, 8 1/2" l.
US SURCHARGED CHARLEVILLE FLINTLOCK MUSKET. Cal. 69. NSN Usual configuration with 44-3/4" rnd bbl with bayonet lug on the top at the muzzle. It has 3 iron bands with split front band having a brass sight on the rear top. It has what appears to be a star and "D" proof mark at the breech end. Top tang has a "US" stamp with a matching stamp at the rear of the lock plate. Lockplate is about 6" long with a short teat at the rear with reinforced hammer and a "D" proof with "Charleville" in script in front of the hammer. Has iron furniture with a long lower tang and a smooth iron buttplate. Sideplate has an "AT" stamp. Mounted in a 1-pc walnut stock with a button head ramrod and is missing the sling wires. Appears to have had a very professional repair through the wrist. Accompanied by an orig, rare triangular socket bayonet, with a 15" X 1-1/16" triangular shaped blade with short narrow fuller near the tip and has what appears to be an "IN" proof along with a "US" surcharge. CONDITION: Very fine. Stock refinished and repaired as noted and retains most of this fine professionally restored finish. Couple of grain checks at the buttplate & a short crack in front of the lockplate. Metal is a dark attic patina with light to moderate rust. Mechanics are fine. Bayonet retains a matching patina with a lightly cleaned area on the back side. 4-55129 JR340 (3,000-5,000)
A vintage navy dress with cross over front bodice, short sleeve, printed pattern in pink, peplam; a black day dress with daisy pattern, two front pockets, side zip, decorative short sleeve and shoe string front tie and a 'Smart Set Original' day dress in blue/cerise pattern, soft pleats, short sleeve with front button fastening (3)
A fine Queen Anne burl elm double dome secretary early 18th century
The upper case with double arched cavetto molded cornice with urn form giltwood finials above a pair of doors opening to a fitted interior with small concave drawers, central arched prospect door, flanked by fluted pilaster form boxes and short shelves over two pull out candle slides; the lower case with slant lid and book rest opening to an interior fitted with a velvet lined writing surface, stepped shelves, inlaid short drawers and a hidden well over two short and three long drawers raised on compressed bun feet.
height 79in (201cm); width 42in (1106cm); depth 22 1/2in (57cm)
SHERATON BOWFRONT CHEST/ BUREAU, EARLY 19TH C., MAHOGANY VENEER, STEPBACK GALLERY WITH THREE TANDEM SHORT DRAWERS, CASE WITH TWO FLANKING SHORT DRAWERS OVER THREE LONG, SHORT DRAWERS WITH STAMPED BRASS ROUND PULLS AND...Sheraton bowfront chest/ bureau, early 19th C., mahogany veneer, stepback gallery with three tandem short drawers, case with two flanking short drawers over three long, short drawers with stamped brass round pulls and long drawers with brass batwing handles, carved sides with pineapple and acanthus leaf decoration, on turned baluster foot and castor wheels, possible replaced brasses?, wear consistent with age and use including splits to both sides, chips and loss to veneer, sold as is, 48 1/2" h. x 48" w. x 20" d.
A German Neoclassical inlaid walnut secretary cabinet
second half 18th century
The associated upper case fitted with short drawers centering a cabinet door, the lower case with a hinged slant lid opening to a green felt lined writing surface and short drawers flanked by sloped sides above two short drawers and three long panel inlaid drawers raised on square tapering legs.
height 5ft 11 1/2in (1.82m); width 4ft 1 1/2in (1.26m); depth 22in (56cm)
Ivory taffeta wedding dress, with sweetheart neckline, short puffed sleeves, empire waistline and full skirt with detachable train, appliqued lace and beadwork to neckline and hemlines; a cream organdy cap sleeved gown accented with lace at bodice, sleeves, full skirt with detachable train; c. 1980 cream satin gown, Miss Betsy label, round neck, short sleeves, empire waist, embellished with faux pearls and irridescent sequins, detachable train /shawl; a cream and white stretch velvet and organza gown, faux halter top in velvet over full organza skirt; a matching sash/shawl; an ivory silk Donald Deal, peek-a-boo neckline, long sleeves and empire waist, built in train (couple of stitches need on shoulders); Bianchi white taffeta, round scoop neck, 3/4 sleeves, with a back sash of silk florals, zipper is detached in several places, bodice has been extended with additional pleated taffeta; 1960 ivory satin wedding gown with built in train, off the shoulder dress with short sleeves, full skirt; early 20th. cream silk taffeta train with bow and floral detail, Bergdorf Goodman label; early satin train with bow and faux pearl detail; along with a contemporary cream organza train with applique florals with faux pearl stamin and a crinoline petticoat.
FRENCH ‘MONTMORENCY’ SHORT SABER WITH FOLDING SIDE-GUARD, C. 1785-1800 A slotted-hilt, short saber with stirrup-shaped guard of br. : FRENCH 'MONTMORENCY' SHORT SABER WITH FOLDING SIDE-GUARD, C. 1785-1800 A slotted-hilt, short saber with stirrup-shaped guard of brass, with brass backstrap ending in a flat-capped pommel with diamond capstan for blade, and spiral-grooved, wooden grip wrapped with leather and twisted wire in the channels, commonly called "les Montmorency" form. It has a slightly-curved, 30 in. L blade with single, wide fuller most of its length, and a 15 in. L narrow fuller or blood groove, centered on the blade just below the spine, ending in front where the 7 in. false edge begins. This form of hilt had become popular by c. 1780, but the folding, slotted side-guard as seen on this specimen seems to have been an addition to the original form beginning c. 1785-1790. The folding-guard saber was a very popular among French infantry and naval officers during the Revolutionary and Consular period and copied by other European makers. The blade has moderate to heavy pitting from the tip inwards some four inches, while the folding guard is missing about 1/2 inch of its scallop-edged, outer bar near the counterguard. The spring-locking pin for the side-guard's open position is now missing from the inside of the counterguard. Property of the Society of the Cincinnati 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.
A Walt Disney celluloid of Katharine Hepburn from Mother Goose Goes to Hollywood 1938 gouache on celluloid an ongoing gag in this Hollywood laden nursery rhyme short was to have the caricature of Katharine Hepburn as Little Bo Peep continually look for her sheep; showing up periodically throughout the short she states she has really lost her sheep ''really I have''. This animated short ends with the camera tracking inside Joe E. Brown's wide mouth to find Katharine Hepburn with lantern in hand still looking for her lost sheep; this cel set-up with a ''tongue'' underlay represents the ending shot of the Academy Award nominated short matted and framed.image size 6 3/8 x 3 3/4in
Hoyle (Edmond) A Short Treatise on the Game of Whist sixth edition signed by the author to verso of title 1746 bound with A Short Treatise on the Game of Quadrille 1745 bound with A Short Treatise on the Game of Piquet second edition 1746 bound with A Short Treatise on the Game of Back-Gammon 1745 together 4 works in 1 vol. ownership inscriptions to endpaper contemporary calf gilt chipped at head of spine 12mo for T.Osborne.
c. 1770s Revolutionary War Military Short Sword with Brass Hand Grip and Guard: American Revolution. c. 1770s Revolutionary War Era Military Short Sword . c. 1770s Revolutionary War Era, Military Use Composite Short Sword, with German made Brass Hand Grip and Guard, continued in later military use with a French c. 1800 Officer's replacement blade, Very Fine. This Revolutionary War era Short Sword measures 38. 5" long, afterwards it was refitted with a circa 1800 French blade for continued use measuring 33" long. The blade has a rich natural patina being a type that would have been carried by an Officer. The brass guard is German in origin and a type carried during the American Revolution. It has a single branch from the hand guard, no makers marks. A Sword that is well made seeing long use in service, worthy of any Revolutionary War period collection, having nice eye appeal for display.
JOHN STEINBECK: 'The Moon is Down'; 'Cannery Row'; 'East of Eden'; 'Sweet Thursday'; 'The Short Reign of Pippin IV'. JOHN STEINBECK: 'The Moon is Down'; 'Cannery Row'; 'East of Eden'; 'Sweet Thursday'; 'The Short Reign of Pippin IV'First Editions: The Moon is Down, 1942, 188 pages, The Viking Press, New York, hardcover with dust jacket; Cannery Row, 1945, 208 pages, The Viking Press, New York, hardcover with dust jacket; East of Eden, 1952, 602 pages, The Viking Press, New York, hardcover with dust jacket; Sweet Thursday, 1954, 273 pages, The Viking Press, New York, hardcover with dust jacket; The Short Reign of Pippin IV, 1957, 188 pages, The Viking Press, New York, hardcover with dust jacket; 5 pcs. Provenance: Property from an Estate, Toluca Lake, CA. Condition: Good condition. All with small bookstore pencil inscriptions to interior pages. All but East of Eden with later plastic sleeves over dust jackets. Dust jackets in varying condition, some with creasing and small losses to edges and spines. Cannery Row with most notable losses to spine. Please refer to catalogue photos.
James Purdy (1914-2009) Letters Short Stories and Books When James Purdy died 13 March 2009 the New York Times referred to his work as ?wayward and unclassifiable.? Playwright poet author of short stories and novels Purdy was lauded by the likes of Dorothy Parker Langston Hughes Marianne Moore Dame Edith Sitwell Lillian Hellman Tennessee Williams Edward Albee Truman Capote and Gore Vidal who referred to him as ?an authentic American genius.? From the book review in the lot: ?When ?Malcolm? was first published in 1959 Dorothy Parker called it ?the most prodigiously funny book to streak across these heavy-hanging times.? Edith Sitwell has said ?I am convinced that in the future James Purdy will be known as one of the greatest authors produced in America during the last hundred years.? Born in Hicksville Ohio in 1914 Purdy moved to Findlay Ohio as a young child. He was not much of a student at Findlay but did eventually earn a teaching degree in French from Bowling Green State College in 1935 before going on to the University of Chicago where he earned a Master??Ts in English in 1937. Almost from his first arrival in Chicago he met painter Gertrude Abercrombie (?queen of the Bohemian artists?) and over the years the Chicago jazz and avant garde scene would be an influence on Purdy??Ts writing. Some see it especially as the focal point of his choice of outsiders as his subject matter ??" women African Americans Native Americans homosexuals. Gertrude herself became a Purdy character as herself in Gertrude of Stony Island Avenue and as a fictional character in Malcolm and Eustace Chisholm. Many of his writings were in the vernacular using different kinds as the story demanded to the extent that Dame Edith Sitwell initially thought him to be black. Purdy did push the limits of mid-century censorship. Even later in life he had no idea what possessed him to send a copy of his first privately published collection of short stories Don??Tt Call Me by My Right Name to Dame Edith Sitwell but it was a fortuitous move. When 63: Dream Palace was also published (privately) and sent to Dame Edith she was so impressed she began working with her friend Victor Gollancz to get the work published in England. But Gollancz could not bring himself to print the final word of the book (and a few others internally). While few would be shocked today by ?motherfucker ? in 1957 this was radical stuff. When 63: Dream Palace was enlarged and republished as Color of Darkness it was dedicated to Dame Edith. Purdy served in World War II and after an honorable discharge taught Spanish for several years at Lawrence College in Wisconsin. He was never able to make his writing a full-time career but found it necessary to take other employment to keep income flowing. He did receive the Morton Dauwen Zabel Fiction Award in 1993 and was nominated for the PEN/Faulkner Award in 1985. He won two Guggenheim Fellowships (1958 1962) and Ford (1961) and Rockefeller Foundation fellowships. His linguistic abilities also served him as an interpreter with the United States Information Agency. A new generation seems to be rediscovering Purdy??Ts work. He seems destined to be yet another artist who achieves more fame posthumously than he did during his very long life. And although he lived half of that life in Brooklyn this native son of Ohio long acknowledged the influence of his pioneer and Native American ancestors on his stories and characters the rural Midwest representing yet another population of ?outsiders.? The following lot contains six notes and letters from Purdy to Darrell Herron plus news clippings collected by Herron about Purdy's plays and books. There are also several short stories clipped from the magazines in which they appeared and a few complete magazines. TLS 1p New York 28 Feb. 1958. Re-establishing contact. Signed Jaime typed signature James Purdy. P.S. There was a rumor in 1954 that you had been sold into white slavery in Sudan. That is one reason I never wrote to you.TLS 1p Brooklyn 13 August 1959. Longer letter signed Jaime. ALS 1p [Brooklyn return address on envelope] 9 Feb. 1965. Signed James. 1p Brooklyn 1 Jan 1967. Telling him about the death of his brother on Dec. 22. Also signed Jim. ANS 1p. n.p. n.d. Telling Darrell to get Harper??Ts Bazaar with Purdy??Ts new short story ?Mr. Evening.? (it appeared Sept. 1968) 1p [New York] 10 Dec. 1968. with announcement cards about the release of 63: Dream Palace on 4 LP records. In red ink; signed Jim. Plus books and short stories: Purdy James. Color of Darkness. A New Directions Book 1957 1956. Second edition of 63: Dream Palace with some added material and dedicated to Dame Edith Sitwell. 8vo w/dj. Minor scuffing and toning of dj; minor wear to spine ends. Previous owner??Ts name on ffep. _______. Color of Darkness. Philadelphia: J.B. Lippincott 1961. 8vo printed paper wraps. Slight wear to covers. ________. Malcolm. New York: Avon 1965 (third printing stated). 12mo printed paper covers. Moderate toning of pages and covers. The Antioch Review. Ohio Bicentennial Issue. Summer 1976. With short story ??" ?Short Papa? by James Purdy. After Dark. July 1976. Interview with Purdy. Esquire. Dec. 1971 (Vol. 76 No. 6); with ?I am Elijah Thrush.? Evergreen Review. No. 48. August 1967. ?Scrap of Paper? short story. ?Home by Dark? cut from Harper??Ts Bazaar June 1958. ?Goodnight Sweetheart ? by Purdy short story cut from Esquire Oct. 1960. Plus newspaper reviews of plays books most from 1960s. Ephemera includes: 2 programs from Kaufmann Concert Hall 29 Oct. 1961 which had Purdy readings from short stories and novels; two programs from Sam S. Shubert Theatre for Edward Albee??Ts Malcolm; program from Color of Darkness. And advertisement from New Directions Books fall-winter 1962-3 with release of Children is All. And publisher??Ts publicity release Farrar Straus and Cudahy Inc. announcing Malcolm in paperback. Condition: Variable as expected. All a bit musty.
FROST, Robert.Collection of Five Books Inscribed to Walter King Stone, Each with Poems from Frost. A Boy’s Will. 1915. 8vo. Dark blue cloth. Condition: lacks jacket, spine a bit faded. first edition, second printing. Inscribed with the 12 line poem Stars and a short note to Stone. [N.d.]. [With:] Mountain Interval. [1916]. 8vo. Dark blue cloth. Condition: minor rubbing to extremities. first edition, first state. Inscribed with the 13 line poem Birches and a short note. Dated 1932. [With:] North of Boston. 1915. 8vo. Dark blue cloth. 8vo. Condition: light foxing and rubbing. third edition. Inscribed with the 8 ilne poem Pasture. Dated 1932. [With:]New Hampshire. 1923. 8vo. Publisher’s quarter green cloth over blue paper boards. Condition: bumping to corners. first edition, fourth printing. Inscribed with a short note and the 10 line poem "The Grindstone."[With:] West-Running Brook. [1928]. 8vo. Publisher’s quarter green cloth over blue paper boards, decorative rectangular gilt vignette on upper cover. Condition: bumping to corners. first edition, first printing. Inscribed with the 8 line poem A Blond Shadow. Dated 1932. Housed in a handsome quarter leather clamshell box. All: New York: Henry Holt and Company. Provenace: Walter King Stone (bookplate on front pastedown).a lovely and inscribed set of some of frost’s best known works. King sent Frost five paintings and these to inscribe in exchange. Included is a photocopy of the correspondence between the two.
A GEORGE III MAHOGANY SECRETAIRE BOOKCASE, the upper section with a moulded cornice above twin glazed doors with satinwood edged glazing bars, the lower section with a deep secretaire drawer modelled as two short drawers, enclosing a fitted interior with short drawers and pigeonholes, above two further short drawers and two long graduated drawers, on bracket feet, 50" wide. See illustration £800-1500
TWENTY-DRAWER PARTS CABINET OF MISCELLANEOUS AMMUNITION & A FEW PARTS. Consists of ten rnds 44 Henry; 20 rnds 42 RF Forehand & Wadsworth; several rnds 44 Short; several rnds 41 RF Long; the balance consisting of 44 Colt, 44 American, 45 Colt Bene Primed, 45 Schofield Benet Primed, 44 RF long, 46 RF short, 44 American Martin Primed, 44 Colt & Remington Martin, 44 RF long. One drawer contains miscellaneous pin fire, teat fire, rim fire, lip fire, a 36 cal. skin cartridge and a 44 skin cartridge. Additionally there are parts which include six or seven musket hammer springs, six small percussion nipples, rough cast Colt conversion ejector rod heads, a large musket hammer, some other unidentified springs, three large harness snaps and two carbine saddle rings with studs. There are also seven unidentified short rods. CONDITION: Generally fine condition with light patina and oxidized lead. From the collection of the late Bruce McDowell. 4-54839 JR362 (200-400)
A GEORGE III STYLE MAHOGANY BOOKCASE, the upper section with a moulded cornice above twin glazed doors with Gothic style glazing bars enclosing a shelved interior, the lower section with a sloped fall with applied moulded decoration, the interior with a central cupboard door flanked by turned columns and various pigeon holes and short drawers, above two short and two long graduated serpentine fronted drawers, on short cabriole legs with leaf carved knees, 43" wide. See illustration £400-600
Attributed to Theodore Sydney Moïse (Charleston/ Natchitoches 1806-1883), "Lieutenant-Colonel William Miller Owen, C. S. A. (1834-1893)", c. 1865/67, oil on canvas, unsigned, 30 in. x 24 in., in original oval giltwood frame. $25000/35000 Provenance: By descent to the present owners. Note: This striking portrait of a returning war hero must have been painted within a year or two after Miller Owen's return to New Orleans in June 1865. His Petersburg wound of the preceding August is prominently included, so the portrait cannot date before its healing; but that city was already being evacuated, as he hourly defended its trenches after returning from his three weeks' recuperation, through April 1865; and he made only a short stopover in a damaged Richmond, as well as a flying visit of a few days to New York, before returning South. During those intervening months he was (as he put it) "emphatically and completely 'busted'," and certainly could not have afforded a fine portrait from an artist of this eminence; indeed, he was obliged to devote his first few months back in New Orleans to re-establishing himself on a sound financial footing, before he and his brother opened the partnership they formed with General Longstreet in the last weeks of 1865. Miller Owen's success in that endeavor, however, was painfully short-lived: within two years Longstreet had resigned from their firm, and in fact was obliged shortly afterward to bail out his friend by purchasing Owen's entire houseful of furnishings. It is therefore clear for financial reasons, as well as from the sitter's conspicuous youthfulness in this portrait, that he must have commissioned it as soon as he could after his return to New Orleans. He was aged 31 1/2 on his return to Louisiana, and cannot be much older than 33 in this image. During those years the most prominent artist painting in Louisiana in this style was T. S. Moïse, who had been (and was still loosely) associated with Trevor Thomas Fowler (1800-1868); this painting is characteristic of both their styles, but especially of Moïse's. Moreover, two of Moïse's best portraits of this period are ovals of exactly this same size, representing the sister of Owen's wife, Harriet Sophia Zacharie, and her husband, Major Thomas Sydenham Hardee—with whose uncle, Gen. W. J. Hardee, Miller Owen had served on Lee's staff. Through both family as well as professional connections he was therefore in a familiar relationship with Moïse, and we may thus confidently conclude that this painting is a work by that artist of 1865/1867. General William Miller Owen (having held that rank in the Louisiana National Guard, 1880-1888) died in New Orleans of tuberculosis on his 59th birthday, 10 January 1893. He had been married in 1867 to his second cousin, Caroline Amanda Zacharie; he was survived by her, as well as by their two sons, Allison Owen II, Commander of the Washington Artillery, and Edmund Pendleton Owen (a bachelor), as well as by his brother Ned in New York, and one of their sisters in Ohio. His important personal archive of Civil War papers and books, and Louisiana documents (dating back to 1818, when members of his family first acquired property in Iberville Parish) are also offered in this sale. Reference: Mrs. Thomas Nelson Carter Bruns, ed., Louisiana Portraits (New Orleans, 1975), p. 198, reproduction / description of this portrait; and p. 127, reproductions / descriptions of associated 29-in. x 24-in. family portraits by Moïse of Major Thomas Sydenham Hardee (1832-1880) and Harriet Sophia Zacharie Hardee (1836-1909). Read Dr. Douglas Lewis' article on Colonel (later General) William Miller Owen, C.S.A. (1834-1893)
Art Deco 18kt Gold Open Face Pocket Watch, Cartier, the engine-turned dial with Roman numeral indicators and inner 24-hour scale, enclosing European Watch & Clock Co. movement, reverse with enamel initials R.W., French guarantee stamps, 45 mm.
Provenance: Richardson Little Wright (1887-1961). Wright served the editor of Conde Nast's House and Garden from 1920-1954 and was a bon vivant, traveler, and prolific writer on a variety of subjects including early American history, Soviet Russian culture, and of course gardening. His aim was always to entertain and delight the reader with series of short essays, gathered as volumes with titles as "The Gardener's Bed-Book: Short and Long Pieces to Be Read in Bed", "The Story of Gardening: From the Hanging Gardens of Babylon" and "Revels in Jamaica, 1682-1838". Readers reported that that his books were so amusing that they were "devoured in a single sitting". Conde Nast presented this Cartier watch to Wright in 1921, shortly after he began his tenure at the company.
inscription dated 1921 from Conde Nast
dial resilvered
runs and sets
19 jewel movement EWC signed
CHIPPENDALE STYLE MAHOGANY HIGHBOY in two parts, the upper section with a molded swan neck pediment with flame finial over three short drawers with the center drawer having a carved fan over two short drawers over three graduated drawers flanked by reeded quarter columns on a base unit with a single long drawer over three short drawers with the center drawer having a carved fan over a shaped apron and raised on short cabriole legs terminating in ball and claw feet - h:84 w:42 d:21 in. Provenance: Estates of Edward Plyler & Joseph Cipolari
RARE SCOTTISH BROOM WOOD VENEERED CHEST OF DRAWERS, ATTRIBUTED TO GEORGE SANDEMAN OF PERTH
MID 18TH CENTURY the top with two panels of long-section broom veneers enclosed by short-section crossbanded borders, above three short and two further short drawers over two further long drawers, all crossbanded with short-section broom veneers, the side panels with long-section veneer, applied to an oak carcass, the drawers lined in original blue sugar paper liners, raised on bracket feet126cm wide, 92cm high, 63cm deepNote: This remarkable and rare example of a Scottish chest of drawers is most likely the work of George Sandeman (1724-1803) a Perth based cabinet maker. It is veneered entirely in Scots broom, a wood relatively unheard of outside of Scotland, and highly unusual to be found on such a substantial piece of furniture. The chest’s carcass is made of oak, consistent with known pieces by Sandeman, and the drawers still retain their original blue sugar paper linings, a feature specified in the ‘Edinburgh Cabinet Makers’ Book of Prices’, 1805. The chest’s form with three short drawers above others is also a characteristic typically associated with Scots furniture.Scots broom, or cytisus scoparius, is a deciduous shrub rarely growing beyond three meters in height, with its stems generally being about five centimetres thick. The plant seldom reaches sufficient size to be of much value, but larger specimens were highly valued by cabinet makers for their distinctive veneers. When properly treated, the wood is beautifully grained with high contrast between the heart and sap woods, but because of the limitations in size, it was used primarily for decorative borders and banding. Pieces made entirely from broom are exceptionally rare, as the cost to source and produce a piece would have been extremely highIn 1758-59 George Sandeman was commissioned by the Duke of Atholl to make a suite of furniture for Blair Castle, Perthshire, using timber from the estate. Sandeman’s use of Scots broom was highly unusual, and must have come about at the request of the Duke, as broom is a notoriously challenging wood to use. Sandeman’s suite included a number of tables and a spectacular bureau cabinet, which is still on display in the Derby Dressing Room at Blair Castle. The bureau took five workmen 211 days to make at a cost of £19. 10s. 8d. A visitor to Blair Castle in 1769, Thomas Pennant, recorded seeing the furniture and remarked ‘A chest of drawers of Scotch broom, most elegantly striped, is a singular curiosity’.
An Iron Age short sword and daggercirca 1000-500 B.C.
Comprising: 1) Short sword, the 15 1/2 inch double edged blade with flattened rib, the base flanged around the squared shoulders and pierced with single rivet hole. Iron grip of rectangular section flaring to a triangular pommel pierced with a single hole and apparently hollowed for inlay. 2) Dagger with 7 inch single edged tanged blade with bronze one-piece hilt having short quillons and cylindrical grip tapering to an ovoid pommel.
Condition: 1) With heavy corrosion overall. 2) Blade with heavy corrosion, the hilt with green patina.
See Illustration
GROUP OF SIX AFRICAN CARVED WOOD STANDING FIGURES including a male in shorts approx. h: 10 1/2 in. female with painted braided hair and yellow dress approx. h: 8 1/2 in. male with facial scarification in shorts approx. h: 10 in. male in shorts and pith helmet approx. h: 8 in. a male with sword and spear approx. h: 10 in. and male in shorts pith helmet with protruding navel approx. h: 7 1/2 in. (6) Provenance: From Patricia Kluge's Albemarle House Charlottesville VA
RICHARD SHORT (1841-1916)
The 'Terra Nova' berthed at Cardiff Dock
signed 'Richard Short' (lower right)
and inscribed 'Terra Nova at Cardiff Dock'
watercolour
17 x 11in
Captain Scott set sail in The Terra Nova on his
ill-fated Expedition to The Antarctic. The boat left
Cardiff Dock in June 1910.
Richard Short moved to Cardiff in 1881, where he
initially worked as a Ship Broker Agent, however by 1891 he
had established himself in the city as a specialist maritime artist.
1958 Sunbeam 500cc S7Engine no. TBD
During the 1920s the Sunbeam motorcycle – traditionally finished in black and gold – was one of the finest machines anywhere, a byword for quality. In addition to the high-end reputation the firm had also won four Isle of Man TTs. Their single cylinder machines, in capacities 250 to 600cc, were universally respected. Purchased in 1928 by Imperial Chemical Industries, the UK’s largest chemical company, ICI began (so we’re told) to feel that Sunbeam’s perceived quality standards were a threat to their profitability; frustrated, they finally sold the brand to Associated Motor Cycles in 1937, and AMC passed it on to BSA four years later. To their credit BSA initially appreciated the value of the name, and began a bold exercise to resuscitate Sunbeam with an in-line vertical twin, fitted with shaft-drive, aimed specifically at – what they imagined – was the US market.
The all new Sunbeam S7 – and sports model S8 – which emerged in 1947, bristled with innovations. The ohc over-square all alloy unit construction motor was a first for any British manufacturer. In their quest for refinement and quietness BSA had given designer Erling Poppe quite a free hand but, with far too short a development period, early production examples suffered a raft of teething troubles...and Poppe was shortly dismissed! Over the next 10 years however both models were subject to continuous modification and improvement. Sales, even so, fell perennially short of predictions; production of the increasingly reliable twins thus ceased in 1958. Often unkindly regarded as a White Elephant the S7 was still a brilliant concept; the subsequent claim by informed analysts that BSA were half-hearted in their endeavors to rectify the model’s inherent problems ensured that this potentially brave attempt was doomed.
In authentic black finish the sadly neglected [but apparently complete] S7 will make a fascinating restoration project. (Total production quantities for the S7/S8 amounted to just over 12,000 machines.)
Without reserve
LOT OF 21 BOXES OF 22 CARTRIDGES. 1) USCC 22 short, 2-pc box, contains 50/100 rnds, lid with stains, chips and writing. 2) USCC 22 short, empty box (100), light stains. 3) UMC CB caps, 96/100, 2-pc marbleized box, green label, fine. 4) UMC 22CB, 35/100 orange label, marbleized box, stains and scuffs. 5) Remington UMC 22LR ‘LESMOK”, full, picture of Remington Model 12 on side. 6) Remington UMC 22 short “LESMOK”, picture of Remington Model 12 on tearstrip, still sealed, slightly scuffed. 7) Winchester 22 short HP, 2-pc, red label, full, fine. 8) Winchester 22 LR “LESMOK”, sealed, fine. 9) UMC 22 short, orange label, green 2-pc box 41/50, slight scuffing, fine. 10 and 11) Remington UMC 22 LRHP still sealed, one with stain on label. 12) UMC 22 LR white label, marbleized box, full, slight scuffing. 13) UMC 22 long shot, 5 rnds, slightly scuffed. 14) Clinton 2-pc box, 22 short, empty, lightly scuffed. 15) Remington UMC 22 long “LESMOK”, shot, 33/50, scuffed and stained. 16) Winchester 22 LR “LESMOK”, “PRECISION 75” red over label, 9 rnds, two corners torn, some chipping to label. 17) US 22 LR NRA red over label, 49/50, fine. 18) USCC 22 short “SCOUT” with engraving of Boy Scout, one end torn, slight scuffing. 19) American Metallic Cartridge Company, 22 short, empty box, glued, stained on one end with minor chips. 20) Peters 22 short, four-color, sealed and wrapped. 21) UMC 25 short, box of 100, full, green label, plaid box, slight scuffing, and three corners taped. 4-59487 FS725 (1,000-1,500)
A group of sterling table articles
Comprising: Set 6 sherbet cups with gilt interior, #1058, International; beaker, Reed & Barton, #X253; shaped rectangular bowl, Royal Danish, #H183, with presentation inscription; (45 oz. 14 dwts.); together with, weighted: cream pitcher and sugar bowl; cream pitcher and sugar bowl, Hirsch; pair compotes with acqua enamel interiors, Towle, #811; compote, Empire, #203; compote, Hirsch, #316; compote, Wilcox, #1090; compote with swing handle, Elgin; compote; compote, J. Wagner, #1827; pair long stemmed compotes, Wilcox, #8122; bud vase, J. Wagner, #1769; small bud vase, Newport, 1680; caster; pepper mill; pair Prelude short candlesticks, International, #N212; pair short candlesticks, monogrammed K; short candlestick, National; short candlestick, National; and glass coaster with sterling rim, Whiting.
Note: condition problems.
James LONGSTREET.Autograph letter signed to Captain Edmund B. Holloway concerning Holloway's travels and the health of his wife. Fort Bliss, [TX]: 1 April [c. 1855-1858]. 3 pp., (202 x 123 mm). Condition: expected folds, else fine. scarce pre-war letter by longstreet, written while a bvt. maj. fighting indians on the texas frontier.Longstreet, a distinguished veteran of the Mexican War, arrived at Fort Bliss in late July 1854 to assume command of Co. I, 8th U.S. Infantry. In January 1855, Longstreet and Holloway led their companies in an operation against the Mescalero Apaches in the Guadalupe Mountains. At times serving as the fort's commander, Longstreet dispatched the expedition against the Gila Indians in 1856. In 1858, Longstreet was transferred, first to Santa Fe, then to Fort Leavenworth, Kansas and then on to Albuquerque, New Mexico before reigning his commission at the outbreak of the Civil War to join the Confederate Army. His correspondent, Edmund Holloway, a member of the West Point class of 1843, went on to become a colonel of the 2nd Missouri Infantry in the Confederate Army and was killed in a skirmish in June 1861. Longstreet writes: "I sincerely hope you as much comfort and good weather as God in his mercy may grant. No matter how short your travels may be I would persevere, were I in your place. Mrs. Holloway will surely improve, after two or three days travel and will be able to begin to lengthen your days trip. But don't hurry at first. Stop at San Elizario the third day if Mrs. H. is fatigued, and make your trips as short as may be necessary all the way. If you get to the Limpia in time for the ambulance to get by the 5th or even the 10th it will be time enough. In short do as may be necessary for your wife's comfort, whether it ever gets back. I would that I cold do something for you more than is in my power. But you must go with h[e]arty good wishes…"
Bakshaish carpet north persia, circa late 19th century 20 ft. 10 in. x 11 ft. 3 in. ,000-22,000 The ends are intact, the sides are intact with minor repairs/unraveling to parts of selvages. Carpet has a generally even short clip. There are no large areas that are threadbare. With the short clip, there are numerous places in the brick field where parts of the warp are visible. In parts of the brick field, we note some repairs, including an approximate 1 1/2 x 2 in. area in the field just outside the navy medallion. Carpet has habrash throughout, as visible in catalogue illustration. Carpet is not brittle or dry rotted. There is repair in the major border at one end, and a smaller repaired area at/near juncture of major/minor borders at the same end. On reverse of carpet at one corner, there are faint stenciled (?) numerals (?) inventory numbers (?) NOT visible on front of carpet. At the inner red minor border, in one area, there are two worn areas with exposed foundation. The carpet has a short clip. Much of the carpet has full pile. There is visible wear in parts of carpet, predominantly in parts of the brick -colored field. In these low areas, there may be some tinting. Carpet does have some (generally minor) restoration, including part of selvages and a small area in border at one end. While the carpet is in generally good condition overall, particularily relative to its age, there are low spots, particularily in areas of the reddish field and we surmise that in some of these areas, where traces of the warps are visible, there may be evidence of tinting. There appears to be a restored area in the reddish field just outside the center medallion.
American Chippendale chest on frame, walnut two-case construction, upper case with central shell carved drawer flanked by two short drawers over four long drawers flanked by quarter columns, lower case with two short drawers flanked by quarter columns on shell carved cabriole legs with trifid feet, dovetailed construction with oak, white cedar and poplar secondary, Pennsylvania, 18th century, 72-1/4 x 35 x 22-1/2 in. Legs have been spliced below the knees, other possible restorations to frame, some rebuilding to drawers, areas of induced wear and surface, repair to drawer face of one short drawer, other repairs and restorations.