- ANTIQUE SPANISH STYLE TABLE. From an
ANTIQUE SPANISH STYLE TABLE. From an Alderson, Long Island, NY estate. Dimensions: 30" h x 67.5" w x 23" d Condition: Light stains.
- PAIR OF ANTIQUE CARVED MARBLE RELIEFS.
PAIR OF ANTIQUE CARVED MARBLE RELIEFS. Finely carved side marble relief panels with putti motif. From an Alderson, Long Island, NY estate. Dimensions: 42" h x 7" w x 2.5" d. Condition: Good. Few flea bites to edges. Small chipping to one of the panels, about 2/3s down. UPD 9/29/22.
- MIDCENTURY DANISH MODERN TEAK DRESSER.
MIDCENTURY DANISH MODERN TEAK DRESSER. Nice 8 drawer dresser. From an Alderson, Long Island, NY estate. Dimensions: 29.75" h x 72" w x 19.75" d. Condition: Staining to the top, small veneer loss on lower corner.
- KAI KRISTIANSEN ROSEWOOD MID-CENTURY
KAI KRISTIANSEN ROSEWOOD MID-CENTURY FLOATING TOP Desk. Great patina and lines. From an Alderson, Long Island, NY estate. Dimensions: 28.75" h x 60" w x 31" d. Condition: Overall good condition with light staining on top and lower drawer pull needs to be replaced.
- ASSORTED AYNSLEY & LIMOGES COBALT &
ASSORTED AYNSLEY & LIMOGES COBALT & GILT PLATES. To include Limoges: 12 plates (9.5" dia) and 7 bowls (8.75" dia) and Aynsley: 12 plates (10.5") and 12 plates (9.5). From an Alderson, NY estate. Condition: Good. Wear to the interior gold lines on Aynsley plates.
- Six limited edition signed and mostly
Six limited edition signed and mostly numbered duck prints, some with Federal stamps by: Arthur Cook, Emperor Geese 1972, 631/950; Albert Gilbert, Hooded Merganser, 3846/5800; 3) Martin R. Murk 1976, Ross Geese 4375/5800; Alderson Magee 1976, 739/3600; Richard Plasschert 1980, Mallards 2293/12950; David Maass 1974, Wood Ducks; two by Maynard Reece; and one by Ken Michaelson. All unframed.
7" x 9"
Condition: Some loose in matting.
- Three English Pewter Pint Mugs, London,
Three English Pewter Pint Mugs, London, 19th century the first with touch for M. Alderson & Co., an 1826 Portcullis, with Sussex verification, the body impressed W. Willsheer (owner), the second with touch for William Hux (fl.1778-1810), also with WR and crowned GR, the third by William Nettlefold (fl.1785-1829) with crowned WR and owner's indistinct monogram
each approx. height 4.75 in — 12.1 cm
- PR. RALPH E. EARL PORTRAITS, HARDY CRYER
PR. RALPH E. EARL PORTRAITS, HARDY CRYER AND WIFEPair of Tennessee portraits by Ralph Eleaser Whiteside Earl (1788 - 1838) depicting the Reverend Hardy Murfree Cryer (b. 1792--1846), in dark coat with ruffled collar, and a woman believed to be his first wife Elizabeth Rice Cryer (b. 1793--1832) in black mourning dress with white lace collar and cap. Housed in black and gilt wooden frames. Both portraits measure 26 1/2" H x 21 1/2" W sight; 33" H x 28 1/2" W framed. Circa 1830. Provenance: Descended in subject's family to current consignor. Biography ( Courtesy of James C. Kelly, Virginia Historical Society, Tennessee Encyclopedia of History and Culture, 1998): Ralph E. W. Earl was the son of Connecticut painter Ralph Earl (1751-1801). Earl studied under his father in Northhampton, Massachusetts, before traveling to London in 1809 to study under Benjamin West and John Trumbull. In 1817, Earl arrived in Nashville to paint General Andrew Jackson, the hero of the battle of New Orleans. Later that year, in Natchez, he met and married Jane Caffrey, Rachel Jackson's niece. She died the next year, but Earl moved into the Hermitage would from then on remain in Jackson's circle, accompanying the newly elected president to Washington. During the next eight years, Earl turned out numerous paintings of Jackson. Politicians, especially Democrats, knew it "did not hurt to order a portrait of General Jackson from Earl." He painted many of Jackson's friends and a few of his foes. Earl returned to the Hermitage with Jackson in 1837 and died there in September 1838. Rev. Cryer was a close friend of Andrew Jackson who spent time at the Hermitage. According to the book "The Making the American Thoroughbred" (see book, also offered in this auction), Cryer was born in North Carolina in 1792, married Elizabeth Rice in 1812, was a member of the Tennessee Conference, Methodist Episcopal Church 1813-1816, and served one year on the Nashville district. "After withdrawing from the itinerant ranks, he served as a "local" preacher and continued to exercise the offices of a minister the remainder of his life. His many contributions to The Turf Register and The Spirit of the Times are rich in Biblical and classical allusions, after the style of that day; show much force and originality; and amply support the statement of McFerrin that he was of an ardent temperament and had a brilliant mind. His ardor distinguished him as a breeder no less than as a preacher. He kept more thorougbred stallions than any man of his time, except, perhaps, Thomas Alderson; owned a few blood mares; and took a great interest in turf sports." The book quotes stud books kept by Cryer which show that "Cryer's horses were patronized by practically all the prominent breeders and turfmen named heretofore in this volume, from Andrew Jackson and John Catron, down". Cryer's passion for horses seems to have gotten him into trouble only once with his church; he was charged with horse racing and summoned to a trial before a church tribunal. "The proof was clear and conclusive," wrote J.R. Hubbard in The Spirit of the Times, "but the evidence showed that the horse was raced in the name of Col. George Elliott, and that this gentleman owned one half of him." In Cryer's defense, he told the judge: "I would like for you to let me know how I can arrange it for my half of the horse to stand in the stable while Col. Elliott's half is racing." He was acquitted. Click here to view documents containing Andrew Jackson and Reverend Hardy Murfree Cryer correspondence.
Condition:
Blacklighting of portrait of Rev. Cryer indicates inpainting to perimeter of face including the left edge of forehead, lower right jaw line, spot to lower left edge of mouth and spot to the middle of the chin. Lighter area of fluorescence to forehead and background, possibly a varnish issue. Blacklighting of Mrs. Cryer indicates possible inpainting or varnish issue to a couple areas of forehead and chin. Possible inpainting or varnish issue to a couple areas of the background. Older relining, probably late 19th/early 20th century.
- SIX SPORTING FRAMED PIECES TO INCLUDE
SIX SPORTING FRAMED PIECES TO INCLUDE ALDERSON MAGEE "R...Six Sporting Framed Pieces to include Alderson Magee "Ruffed Grouse" scratch board, 3 3/4" x 5"; two etchings of ducks; two Frank Benson etchings "Wild Marshes" and "The Passing Flock", both pencil signed lower left, original Antoville Kappy Art Gallery, New York label on back; along with a Richard Bishop "Blacks and Greenheads" pencil signed and titled largest sight size: 12" x 14" Provenance: The Estate of Diana Atwood Johnson
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.
- ROY ALDERSON TROMPE L'OEIL TOP TABLE
ROY ALDERSON TROMPE L'OEIL TOP TABLE Mid 20th c., English, laminate top with stylized floral design and Greek key border, on "Harris & Sheldon Ltd., Birmingham" scrolled cast brass base, signed at corner of tabletop, 31"h x 60.25"l x 32"d
- TWO REVOLUTIONARY WAR ERA NORTH CAROLINA
TWO REVOLUTIONARY WAR ERA NORTH CAROLINA SHIP'S PAPERS Bath, North Carolina, April 21, 1781, being two Documents Signed Wm Brown, N. offr. and Wm. Brown Nav. offr., respectively; the documents certify that the Betsy was an American prize of war captured from the British and sold to David Lockwood "...in the Court of Admiralty at Newbern" and was bound for Philadelphia with "Three hundred & Twenty Nine Barrels of Tar" under master John Alderson of Beaufort County (NC). The documents are presented in a deluxe book-form case with a gilt leather spine and marbled interior..
- MAX HAYSLETTE (AMERICAN, BORN 1929),
MAX HAYSLETTE (AMERICAN, BORN 1929), THE GREENBRIER AT ALDERSON Oil on canvas, signed at lower right, retains label to verso, in floater frame.