Tibet, a collection, including Hayden, Sir H. & C. Cosson Sport and Travel in the Highlands of Tibet. 1927. First edition, 8vo, plates, map in pocket, original cloth; Bell, Sir Charles Tibet past & present. 1924, original cloth, lacks map at end, worn; David-Neel, A. Tibetan Journey. 1936, original cloth, 1 plate loose, binding slightly soiled; Burrard, S.G. Records of the Survey of India, Volume VIII, Part 2 only. Dehra Dun, 1915. Folio, frontispiece and folding maps 14-21 & 23-24 only (lacking 13 and 22), original quarter cloth; Burrard, S.G. A Sketch of the Geography and Geology of the Himalaya Mountains and Tibet. Delhi, 1933 and Calcutta, 1908, Parts 2 and 4 only, 4to, plates, maps, original wrappers; Morris, J. Living with Lepchas.1938, title-page discoloured; Rockhill, W.W. Notes on the Ethnology of Tibet. [extracted from a Journal], [1933], plates, cloth; Bailey, F.M. China- Tibet - Assam, a Journey, 1911. 1945; Bell, Sir C. Portrait of the Dalai Lama. 1946, dustwrapper; Bell, Sir C. Tibet past & present. [n.d.], dustwrapper; Thomas, Lowell Out of this World. 1951, dustwrapper; Maraini, F. Secret Tibet. 1952; dustwrapper; Herrligkoffer, K.M. Nanga Parbat. 1954, torn dustwrapper; International Commission of Jurists Tibet and the Chinese People's Republic. Geneva, 1960; Li, Tieh-Tseng. Tibet. New York, 1960, dustwrapper; Gelder, S. & R. The Timely Rain. 1964, dustwrapper; Hopkirk, P. Trespassers on the Roof of the World. 1982, presentation copy from the author, dustwrapper; Richardson, H.M. Tibet & its History. 1984, dustwrapper; Ruttledge, Hugh. Everest 1933. 1934, original cloth; Vaurie, Charles Tibet and its Birds. 1972, dustwrapper, library stamp to endpaper; and several loose extracts from the Himalayan Journal relating to Tibet, in a loose clip folder Estimate £ 300-400 + fees. Sold for £325 (buyer's premium included)
William Lee 12-bore SxS boxlock non-ejector shotgun Barrel length: 27 3/4"; Chambers: 2 1/2"; Chokes: R27, L11; Material: steel; Rib: swamped; Locks: boxlock; Operating lever: top-lever; Stock length: 14"; Grip type: semi-pistol; Weight: 5lb 12oz. SN 2914.
Converted from ejector. This lightweight boxlock ejector of fine quality was, in all likelihood, made as a grouse gun around 1890. The steel barrels are choked tightly in the right barrel and more open in the left, enabling the first shot, using the front trigger, to take a bird well out in front and the second shot at closer range, as the speeding covey broke over the butts. The gun was originally fitted with Deeley patent ejectors but these have at some point been removed and a single extractor fitted to replace the original split legs.
The stock is well-figured with a semi-pistol grip and horn butt-plate, checkered side-panels (called 'church windows' in the trade) and drop points. The matching forend has a shouldered profile, fine checkering and a horn finial. The catch is of the Deeley and Edge pattern. The stock is fitted with a gold oval bearing the initials 'C.R.H'.
The scoop-back Anson & Deeley type action is fully engraved 'Wm Lee' with scrolls and beaded borders, which extend onto the shaped fences, bottom plate, furniture and top-strap. The top-lever operates a treble grip of the Greener type and is inlaid in gold with the word 'EJECTOR'. The safety slide is mounted on the top strap, with the words 'SAFE' inlaid in gold. The double triggers are set for a right-handed shooter.
The 28" steel barrels have a swamped rib (engraved 'William Lee, 28 Lancaster Street, Birmingham and Kimberley') with brass bead at the muzzles, top extension to accept the Greener cross-bolt and is nitro-proofed with 2 1/2" chambers. Chokes are 3/4, left and 1/2, right.
This gun has been stripped, cleaned and serviced by a London-trained (ex-Purdey) gunmaker.
Other Notes: Established in 1860 in Fleet Street, William Lee moved in 1861 to 9 Lancaster Street. In 1872 the firm moved to 21 Weaman Row, taking over the premises formerly occupied by Caleb Lee who may have been William's brother. In 1875 the firm moved to 28 Lench Street and at about this time the firm took out a patent, which may have been for an under-lever action.
In about 1875 a member of the family (possibly E J Lee) appears to have sought his fortune in the 'Big Hole' at Kimberley, South Africa, where a gun dealing business in the name of Wm Lee was opened. Rifles and shotguns engraved 'William Lee, Birmingham & Kimberley' show the association.
In 1900, William Lee moved to 28 Lancaster Street in Birmingham.
Soon after 1900 in South Africa, the name of the firm changed to E J Lee and this firm appears to have closed in 1908 at the same time as the Birmingham firm closed.
OHCHI, Hiroshi (1908-1974)NISSAN LANDRY SOAP silkscreen in colors, 1954, condition B+, not backed.28 x 20 in (72 x 51 cm).[AND]:Kirin Beer; T.B. Seal Sale; J’ai Pleuré en Rêve by H. Ohchi (4)
RUPERT ROSENKRANZ (1908-1991) ABSTRACT PRINTFramed "electrograph" print on paper, Abstract Red Composition, signed lower right R. Rosenkranz (Rupert Rosenkranz, Austrian, 1908-1991), dated 1961, numbered 1/ 10 lower left on supporting sheet, sheet: approx 14"h, 14"w, overall: approx 28.25"h, 28.25"w, 9.25lbs
Arthur B. Davies, New York / California / Italy, (1862-1928) Posing Female Nude, charcoal and pastel on paper signed lower right. Biography from the Archives of askART: Born in Utica, NY in 1863 of Welsh descent. When Arthur was 16, the Davies family moved to Chicago. He studied at the AIC and later furthered his art studies in Mexico while working as a civil engineer. His first exhibition was in 1888 at the American Art Ass'n. While in northern California in 1905, he painted in the Sierra. He was one of "The Eight," a group of painters who became a symbol of revolt in American art after an exhibition in NYC in 1908. Davies was instrumental in creating the Armory Show of 1913 there after which time he adopted a Cubist style. His final years were spent in Florence, Italy; he died there in 1928. Famous for his landscapes with figures, his early paintings were romantic and emotional while his later works were more self-conscious. Member: NA. Exh: Newhouse Gallery (LA), 1929. In: MM; Oakland Museum; AIC. Edan Hughes, "Artists in California, 1786-1940" Artists of the American West (Samuels); Art in California (R. L. Bernier, 1916); Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs (Bénézit, E); From Frontier to Fire; Art News, 12-22-1928 (obituary). charcoal and pastel on paper 20 1/2"H x 12 1/2"W (sight), 24"H x 16"W (mat)
THREE U.S. MODEL 1905 BAYONETS AND SCABBARDS United States,A bayonet marked "RIA/1907" in a leather scabbard with unaltered brown scabbard marked on the back "R.I.A./1908./T.G.."; a bayonet marked "RIA/1913" in an unaltered black leather scabbard marked on the back "R.I.A./1909/H.E.K."; and a bayonet marked "SA/1906" in an altered brown scabbard marked on the back "R.I.A./1911/H.E.K.".
Taft, Montana Photograph Collection Circa 1908: Available for you in this lot is a collection of four photographs of the infamous Montana boom town - Taft. Taft, Montana - Named after William H. Taft, was originally populized as a railroad construction camp to the Chicago, Milwaukee, & St. Paul R. R. , during their construction of the transcontinental line from Chicago to the Pacific Coast. Taft was said to be "the wickedest city in America", housing (at its peak) 2, 000 residents, with up to 500 of the locals being prostitutes. Taft was also home to 27 saloons, with only one grocery, and one drug store. After completion of the 8, 750 foot tunnel, through the heart of rugged Montana mountain territory, the town of Taft began to deplete. The town was formally decommissioned when "The Big Burn" of 1910 rolled through, and burnt the town to the ground. Today, the ghost town of Taft can be found off Exit 5 on Interstate 90. The photographs are housed in a beautiful frame, which includes an in-depth piece of provenance on the back. The frame measures 28" tall, and 10 7/8" wide. Condition For a complete representation of condition and for additional images please call 800-686-4216. It is the buyer?s responsibility to view each image and preview the item to determine condition.
Framed aquatint etching on paper, "Matin #27," signed lower left R. Debanjak (Riko Debanjak, Slovenian, 1908-1987), dated 1962, E.A. (Epreuve d'Artiste/ artist's proof), sight: 26"h, 20"w, overall: 32.5"h, 26.5"w, 12lbs
HAND-PAINTED PORCELAIN PLAQUE "MME. RECAMIER" AFTER FRANçOIS PASCAL SIMON GéRARD (FRENCH, 1770 - 1837), IN THE MANNER OF KPM, CONTAI...Hand-painted porcelain plaque "Mme. Recamier" after François Pascal Simon Gérard (French, 1770 - 1837), in the manner of KPM, contained in gilded shadowbox frame, oval portrait of the famous French socialite Juliette Récamier (1777 - 1849) leaning against cushioned back, signed indistinctly LL, rectangular plaque with 1/8" chip to UL edge unseen in oval frame, impressed marks verso including scepter above "KPM" and "H", as well as numerous script verso and paper label which reads "Made in Germany", notes verso read piece was framed in 1908, consistent with age including aforementioned 1/8" chip and wear to edges, ss: 4" h. x 3" w.
Thomas Hill (American, 1829-1908) The Hunter, c. 1875 Signed "T. Hill" l.r., identified on a label from the M. H. de Young Memorial Museum , San Francisco, affixed to the reverse. Oil on paper mounted onto board, 12 5/8 x 18 1/16 in. (32.2 x 45.9 cm), framed. Condition: Minor retouch, surface imperfections. Provenance: Ex-collection The Fine Arts Museums of San Francisco (until 2004). N.B. Born in England, Thomas Hill came to the United States in 1844, settling first in Taunton, Massachusetts. Painting in Massachusetts and New Hampshire, Hill remained in the east until 1861, when, for health reasons, he moved his family to San Francisco. In California Hill developed his passion for painting the grand expanses of Yosemite, where he would later build a studio in 1883. During his career, Hill returned periodically to the East to paint. In 1875 he made a summer excursion to visit Boston and to sketch in the White Mountains. A number of paintings from that trip, which bear a strong connection to the painting at hand, are illustrated in the catalogue Direct from Nature, The Oil Sketches of Thomas Hill (Yosemite National Park, California: Yosemite Association in association with Crocker Art Museum, Sacramento, Calif., ©1997), by Janice T. Driesbach with an essay by William H. Gerdts.
Charles Herbert Woodbury (American, 1864-1940) Ogunquit Reef Signed "Chas H Woodbury" l.r., titled in pencil on the stretcher, inscribed "Charles H. Woodbury/..." on the reverse, identified and dated "1908" on two labels from Vose Galleries of Boston affixed to the frame backing. Oil on canvas, 21 x 27 in. (51.0 x 68.5 cm), framed. Condition: Lined, retouch, minor craquelure, mild surface grime. Estimate $3,000-5,000 Retouch as follows: sky at u.r. quadrant with a horizontal line measuring 3-1/2 x 1/2 inches at its maximum size located 3 inches down from the top and 5 1/2 inches in from the right edge; 1/4 inch diameter spot below this in the water; a 1/4 inch diameter spot on center left side above the submerged rock at the far left; along the top edge of the canvas to cover frame abrasion. Stable craquelure. 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. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
- Eight signed Presidential certificates and a print of a proclamation; 1911 William H. Taft 16"x21"; 1913 Woodrow Wilson 18.75"x15.5"; 15.75"x6.75"; 1868 Andrew Johnson 18.75"x15.5"; 1907 Theodore Roosevelt 14"x18"; 1850 Zachary Taylor 17.25"x14.5"; print of Commonwealth of Massachusetts James Bowdoin ,Esq- 1787, 16"x13", etc.Eight signed Presidential certificates & a print of a proclamation; 1911 William H. Taft 16"x21"; 1913 Woodrow Wilson 18.75"x15.5"; 15.75"x6.75"; 1868 Andrew Johnson 18.75"x15.5"; 1907 Theodore Roosevelt 14"x18"; 1850 Zachary Taylor 17.25"x14.5"; Commonwealth of Massachusetts James Bowdoin ,Esq- 1787 16"x13"Top Row: Left-william Howard Taft appointing J. Horrigan to Postmaster at Sonia county Michigan, March 11, 1911. Middle- Print of James Bowdoin Proclamation regarding treason & rebellion, Boston Feb. 17, 1787. Right- John Calvin Coolidge appointing Edwin L. Neville of Ohio to a Foreign Service Officer of Class Three, Dec. 20, 1924Middle Row: Left- Theodore Roosevelt appointing John R. Farnum(?) as a Notary Public for the District of Columbia, March 2, 1907. Middle- Andrew Johnson conferring on William Fisher of the U.S. Volunteers... the Rank of Major by Brevet... For Gallant and Meritorious Conduct at the Battle of Cedar Mountain, Virginia on August 9, 1862, issued June 17, 1868. Right- Woodrow Wilson appointing Nicholas H. Stacey/Stavey(?) a Passed Asst. Paymaster in the Navy with the rank of Lieutenant on the Retired List, March 16, 1917.Bottom Row: Left- Zachary Taylor authorizing(?) Theo. Beuford(?) and Robert Weynard(?)new guns for (cannot read name of ship)October 19, 18??. Right- Zachary Taylor appointing Gustavius A. DeRussy First Lieutenant in the Fourth Regiment of Artillery, March 20, 1850.Previously un-photographed, but now appears as a single certificate below: Theodore Roosevelt appointing John Taylor Bottomley First Lieutenant in the Medical Reserve Corps of the Army..., December 23, 1908, with what appears to be the date recorded in the upper left of January 4, 1909 - |
RANDOLPH LASALLE COATS, (AMERICAN, 1891-1957), THUNDER CLOUDS, CA. 1920S, OIL ON CANVAS, 25"H X 30"WRandolph LaSalle Coats, (American, 1891-1957) Thunder Clouds, ca. 1920s, oil on canvas signed lower right. Relined. From the archives of Askart: Randolph LaSalle Coats (1891-1957) was born in Richmond, Indiana, and by 1917 was considered a professional painter by the leading artists in the state. He studied at Herron School of Art in Indianapolis with William Forsyth, one of the Hoosier Group, in 1908 -1909, 1911, 1913 -1915. He also studied at the Cincinnati Academy of Fine Arts under Frank Duveneck (1848 - 1919) and James R. Hopkins (1877 - 1969), and he taught at the Academy for four years. He also taught at the Herron School of Art in 1922 where he was described by one of his students as being "encouraging and helpful." Coats also taught at the Art Association of Richmond (Indiana) from 1923 -1928. A distinctive style of painting had developed in Richmond, Indiana different from other Indiana "schools." The Richmond School consisted of landscape painters primarily self-taught who captured the natural beauty of this region of Indiana, particularly the Whitewater River valley with its gorge and bluffs just outside of Richmond. Coats was identified in a 1985 exhibition held in Richmond and Portland, Indiana as being in the second generation of the Richmond School artists. However, his background and later work were closer to the Hoosier Group's William Forsyth (1854 - 1935), T. C. Steele (1847-1926), and Otto Stark (1859-1926) in that he also studied in Europe and did not limit his subject to a particular geographic area. Coats lived and kept studios in Indianapolis and during summers in Provincetown, Massachusetts. In 1924 and 1925, he and his former teacher, James R. Hopkins, then artist in residence at Ohio State University and later its Art Department Chairman, had a summer art school there. Coats spent some time in the Smoky Mountains and visited Indiana's Brown County to paint around those artists who followed Steele there to form Indiana's most famous art colony. In addition to his landscapes, Coats was well-known for his portrait and figure painting. In 1946 he painted the official portrait of Indiana Governor Ralph F. Gates (Republican - 1945-1949) and in 1952 the official portrait of Indiana Governor Henry F. Schricker (Democrat - 1941-1945, 1949-53). He also performed an extensive restoration project on 36 of the other Governor's portraits in 1953. Coats also made two documentary films, One Hundred Years of Art and Artists of Indiana and New England Art Colonies. Coats was a member of the Hoosier Salon, Indiana Masonic Lodge, Chicago Art Galleries, and the Cincinnati Art Club. He received many awards for his painting and his works can be found in many public collections. Coats was a charter member and President of the Indiana Artists' Club, which was organized on January 23, 1917 in Indianapolis by a group of professional artists including the Hoosier Group's William Forsyth, T. C. Steele, and Otto Stark. Coats and the other founding artists efforts live on. In 2009, the Club held its 77th annual juried exhibition. Sources include: The Herron Chronicle by Harriet Garcia Warkel, Martin F. Krause, S. L. Berry (Indiana University Press, 2003); The Encyclopedia of Indianapolis (Indiana University Press, 1994); A Walk in the Woods: The Art of John Elwood Bundy (1853-1933) by William H. Gerdts (Indianapolis: Eckert Fine Art, 2000); the websites of the Indiana Artists Club, the Indiana Historic Bureau and others. Researched and written by John A. McKinney, Jr oil on canvas Dimensions: 25"H x 30"W
US MODEL 1905 BAYONET WITH SCABBARD bayonet; 16'' blade wood grips push button scabbard release blade marked R.I.A./flaming bomb/1918 and US/365329; scabbard; tan leather with aluminum throat and wood frame marked R.I.A./1908/H.E.K. with brass Alice clip; overall length 20 5/8''.
ALFRED THOMPSON BRICHER (AMERICAN 1837-1908), SUMMER AT THE SEASHORE, OIL ON CANVAS, CIRCA 1880, 18 X 39 IN (45.7 X 99.1 CM)Alfred Thompson Bricher, (American, 1837-1908) Summer at the Seashore, Oil on canvas Signed Bricher l.r., circa 1880 Oil on canvas Dimensions: 18 x 39 in (45.7 x 99.1 cm) Provenance: Peter H. Davidson & Co., New York Mr. A. James Clark, Easton, MD
HARRINGTON & RICHARDSON MODEL 1908 SINGLE BARREL 20 GAUGE SHOTGUN Serial number A 795196, 26 in. barrel marked MADE IN U.S.A. 20 GAUGE CHOKE at breech, side plate with manufacturer's mark, walnut forend and stock, H& R buttplate. Will require FFL transfer.
Scotland - Skelton, John
Mary Stuart. London, 1893. 4to, number 9 of 300 copies, lacking additional portfolio of duplicate plates, original calf gilt by Durvand, rubbed at edges; Clan Donald Roll of honour 1914-1918. Glasgow, 1931. 8vo, original blue cloth gilt; Macdonald, Rev. A. The clan Donald. Inverness, 1896. 8vo, 3 volumes, illustrated, original red and green cloth gilt, worn, inner hinges weak, foxing; Miles, Hamish Fair Perthshire. London, 1930. 8vo, plates by John McGhie, original green cloth gilt, dustwrapper; Maxtone Graham, E. The Oliphants of Gask. London, 1910. 8vo, frontispiece, original blue cloth gilt, title page loose; Giles, James Drawings of Aberdeenshire castles. Aberdeen, 1936. 8vo, illustrated, original green cloth gilt; Millar, A.H. The historical castles and mansions of Scotland. London, 1890. 8vo, illustrated, original cloth gilt, frontispiece loose, upper hinge split; Hogg, James The Jacobite relics of Scotland. Edinburgh, 1899. 8vo, contemporary calf, boards loose, lacking backstrip; Lauder, Sir Thomas Dick Tales of the Highlands. London, 1881. 8vo, original green cloth gilt; Oliphant, Mrs. Royal Edinburgh. London, 1891. 8vo, illustrated by George Reid R.S.A., original green cloth gilt; Douglas, Sir George, et al. The Panmure papers. London, 1908. 8vo, 2 volumes, frontispiece, original red cloth gilt, faded; Macdonald of Castleton, Donald Clan Donald. Loanhead, 1978. 4to, original cloth gilt, dustwrapper; Tullibardine, Marchioness of A military history of Perthshire. Perth, 1908. 8vo, 2 volumes, volume one bound in red cloth, volume 2 bound in full red calf gilt; Quilter, D.C. "No dishonourable name" the 2nd & 3rd battalions Coldstream guards 1939-1946. London, 1947. 4to, original blue cloth gilt, some light foxing; and 39 others (55)
Eight books to include Friedrich H. Hoffman: History of the Porcellian Manufactures in Bavaria, (miniature figurines) etc. , 3 Volume. : Eight books to include Friedrich H. Hoffman: History of the Porcellian Manufactures in Bavaria, (miniature figurines) etc. , 3 Volume set, German Text 1923; Large Catalogue of Alexandrian Coins, Cairo 1901; Hoffman European Porcelain 1908, German Text; The Engraved Glass of Lawrence Whistler, Cupid Press 1952; The Latham Bible, Worcester Mass, about 1800, Missing Title Page Information; and Whitney's "Choice of Emblems" London, Edited by Henry Green A 1866 London Reprint. Provenance: Estate of Eileen Slocum located in the Harold Brown Villa in Newport, R. I.
Henry MacGinnis (American, 1875-1962) Bull Run Dam, c. 1916: Henry MacGinnis (American, 1875-1962) Bull Run Dam, c. 1916 oil on canvas In very fine condition with rare Newcomb-Macklin frame Signed H. R. MacGinnis lower left 40 in. h. x 30 in. w. , image 51 in. h. x 41 in. w. , as framed Henry Ryan MacGinnis, 1875-1962, was born in Indiana and began his art studies under the eminent Hoosier artists T. C. Steele, J. O. Adams and William Forsyth. One of his earliest exhibitions was in 1896, when he showed his work with other notable Hoosier artists such as T. C. Steele, J. Ottis Adams, R. B. Gruelle, William Forsyth, Otto Stark and Clarence Ball. In 1900, MacGinnis left Indiana to study in Europe. For five years, he painted and studied in Paris and Munich, where he won Honorable Mention from the Royal Academy of Fine Arts in Munich. He was a member of the Audubon Artists, Hoosier Salon, Salmagundi Club, and Allied Artists. In 1908, soon after MacGinnis returned to the states, William Merritt Chase, chairman of the Exhibition Committee of the 19th Annual Exhibition of the Art Club in Philadelphia, selected the MacGinnis painting New Hampshire Hills for an important exhibit. The show included paintings from other artists such as Mary Cassatt, Ernest Lawson, Childe Hassam and William Merritt Chase. A broad look at MacGinnis' work suggests a concern with impressionism; however, for the most part, MacGinnis stayed within the realm of realism often softened by an impressionistic approach. As mentioned, MacGinnis began painting with the Hoosier artists in Indiana, primarily focusing on landscapes from that region. In 1924, MacGinnis moved to Trenton, New Jersey where he both taught and continued to paint. He focused on painting portraits and landscapes near the Delaware River and New Hope, Pennsylvania region. During this period, he also painted many landscapes and seascapes in Provincetown, Massachusetts, Cape Breton, New Jersey, and in Vermont and New Hampshire. - Richard Frey Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Snow, D.W. & C.M. Perrins
The birds of the Western Palearctic. Oxford, 1998. 2 volumes, 4to, dust-jackets, slipcase; Smythies, B.E. The birds of Borneo. 1960; Idem The birds of Burma.1986. 4to, dust-jacket; Godfrey, W.E. The birds of Canada. 1966. 4to, dust-jacket; Grant, G.M. Ocean to Ocean. Toronto, 1925; Cooper, A.H. The English Lakes. 1908. 8vo, coloured plates; Welford, R. History of Newcastle and Gateshead. 1885. Volumes [1] and 2, 4to, half calf, rubbed; Doughty, C.M. Travels in Arabia Deserta. 1926.; most original cloth; and 19 others, mostly travel (29)
RANDOLPH LASALLE COATS, (AMERICAN, 1891-1957), UNTITLED (BUILDING ON A PIER), CA.1920S, OIL ON CANVAS, 25"H X 30"WRandolph LaSalle Coats (American, 1891-1957) Untitled (Building on a Pier), ca.1920s oil on canvas signed lower right. Relined. From the archives of Askart: Randolph LaSalle Coats (1891-1957) was born in Richmond, Indiana, and by 1917 was considered a professional painter by the leading artists in the state. He studied at Herron School of Art in Indianapolis with William Forsyth, one of the Hoosier Group, in 1908 -1909, 1911, 1913 -1915. He also studied at the Cincinnati Academy of Fine Arts under Frank Duveneck (1848 - 1919) and James R. Hopkins (1877 - 1969), and he taught at the Academy for four years. He also taught at the Herron School of Art in 1922 where he was described by one of his students as being "encouraging and helpful." Coats also taught at the Art Association of Richmond (Indiana) from 1923 -1928. A distinctive style of painting had developed in Richmond, Indiana different from other Indiana "schools." The Richmond School consisted of landscape painters primarily self-taught who captured the natural beauty of this region of Indiana, particularly the Whitewater River valley with its gorge and bluffs just outside of Richmond. Coats was identified in a 1985 exhibition held in Richmond and Portland, Indiana as being in the second generation of the Richmond School artists. However, his background and later work were closer to the Hoosier Group's William Forsyth (1854 - 1935), T. C. Steele (1847-1926), and Otto Stark (1859-1926) in that he also studied in Europe and did not limit his subject to a particular geographic area. Coats lived and kept studios in Indianapolis and during summers in Provincetown, Massachusetts. In 1924 and 1925, he and his former teacher, James R. Hopkins, then artist in residence at Ohio State University and later its Art Department Chairman, had a summer art school there. Coats spent some time in the Smoky Mountains and visited Indiana's Brown County to paint around those artists who followed Steele there to form Indiana's most famous art colony. In addition to his landscapes, Coats was well-known for his portrait and figure painting. In 1946 he painted the official portrait of Indiana Governor Ralph F. Gates (Republican - 1945-1949) and in 1952 the official portrait of Indiana Governor Henry F. Schricker (Democrat - 1941-1945, 1949-53). He also performed an extensive restoration project on 36 of the other Governor's portraits in 1953. Coats also made two documentary films, One Hundred Years of Art and Artists of Indiana and New England Art Colonies. Coats was a member of the Hoosier Salon, Indiana Masonic Lodge, Chicago Art Galleries, and the Cincinnati Art Club. He received many awards for his painting and his works can be found in many public collections. Coats was a charter member and President of the Indiana Artists' Club, which was organized on January 23, 1917 in Indianapolis by a group of professional artists including the Hoosier Group's William Forsyth, T. C. Steele, and Otto Stark. Coats and the other founding artists efforts live on. In 2009, the Club held its 77th annual juried exhibition. Sources include: The Herron Chronicle by Harriet Garcia Warkel, Martin F. Krause, S. L. Berry (Indiana University Press, 2003); The Encyclopedia of Indianapolis (Indiana University Press, 1994); A Walk in the Woods: The Art of John Elwood Bundy (1853-1933) by William H. Gerdts (Indianapolis: Eckert Fine Art, 2000); the websites of the Indiana Artists Club, the Indiana Historic Bureau and others. Researched and written by John A. McKinney, Jr 25"H x 30"W oil on canvas Dimensions: 25"H x 30"W
A Greene & Greene Arts and Crafts hall chair Circa 1908, teak construction, with ebony pegs and splines, the high rectangular leatherette-upholstered back issuing dual square arms meeting the squared similarly upholstered seat raised on squared legs joined by an I-form stretcher, 39.75'' H x 24'' W x 24.5'' D, est: $50,000/70,000
Exhibited: Permanent exhibition, ''Greene & Greene and the American Arts & Crafts Movement'', The Virginia Steele Scott Galleries of American Art at the Huntington Library, Art Collections, and Botanical Gardens, San Marino, CA, 1994-2008. Literature: R. L. Makinson and T. A. Heinz, ''Greene & Greene: The Blacker House'', Salt Lake City, UT, 2000, pp. 72-73 . Note: This chair was originally commissioned for the entry hall of the Robert R. Blacker House, located in Pasadena, CA. . Provenance: Private Collection, Orange County, CA
AMERICAN MARY WALLACE 1802 NEEDLEPOINT SAMPLERFramed American needlepoint sampler on linen, Mary Wallace, age 13, 1802, with upper and lowercase alphabet and numbers, reading: "If there's a pow'r above us, (And that there is all nature cries aloud Through all her works) he must delight in virtue; And that which he delights in, must be happy," verse from "Cato: a Tragedy" by Joseph Addison (United Kingdom, 1672-1719), over scene with trees, birds, urn and baskets of flowers, sight: approx 16"h, 15.5"w, overall: approx 17.5"h, 17"w, 3lbs *Note: Mary Wallace (Elkton, Maryland, 1789-1867) was the third wife of Col. Thomas Ward Veazey (1774-1842)* *Provenance: The Veazey family was a prominent fixture of the Eastern Shore of Maryland. The initial immigrant ancestor was John Veazey, who settled on two tracts of land in Cecil County in the late seventeenth century. Thomas Ward Veazey was born on January 31, 1774 at the family estate Cherry Grove to Edward (c.1730-1784) and Elizabeth [nee de Coursey] (c.1730-1791) Veazey. Thomas was orphaned at a young age, and would receive his education at Washington College, where he graduated in 1795. Thomas married three times to Sarah Worrell (Kent County, Maryland, d.1795), Mary Veazey (d.1810), and Mary Wallace (Elkton, Maryland, 1789-1867). He fathered eleven children. His political career began in 1808 when he served as a presidential elector for James Madison. He later served in the Maryland House of Delegates from 1811 to 1812, relinquishing his seat in the General Assembly to participate in the War of 1812. During the conflict, he commanded militia forces defending Fredericktown in Cecil County, where the town was destroyed by fire during a British raid. After the war, he returned to Cherry Grove as a gentleman planter until in 1833, when he was chosen as a member of the Governor’s Council. In 1835, he was nominated as a candidate for governor, receiving fifty-three out of the seventy-six ballots cast. He was sworn in as the 24th Governor of Maryland on January 14, 1836 and would serve until 1839. His governorship weathered the constitutional crisis of 1837 and is remembered for its successful solution to the reapportionment crisis. His term would represent the last Whig Party administration to hold the Maryland governor’s office. He died on July 1, 1842 at Cherry Grove. This collection of historic items is offered through our consignor from the estate of Katherine Hartley Grauer [nee Craycroft] (1908-1997), great-granddaughter of Col. Thomas Ward Veazey.*
WALTER JOSEPH PHILLIPS, CANADA / ENGLAND 1884-1963, COTTAGE, ABSTRACT AND BLUE, THREE WOOD BLOCK PRINTS, 10"H X 7 1/2"W (PAPER), 6 3/4"H X 3 3/4"W (LARGEST "COTTAGE")Walter Joseph Phillips, Canada / England, 1884-1963 Cottage, Abstract and Blue, three wood block prints All pencil signed lower left and numbered: Cottage 20/150, Abstract 1/5, Blue 2/5 Fading and staining as shown. From Ask Art: Walter Joseph Phillips was born 1884 at Barton-on-Humber in Lincolnshire, England, the son of Reverend John Phillips, a Methodist minister. In his teens, he attended the Birmingham School of Art once a week, studying under Edward R. Taylor. He went to South Africa for a few years in the hope of earning enough money there to be able to study art in Paris, but returned with little more than he left with. By 1908, he had worked as a commercial artist in Manchester and London, then from 1908 to 1911 served as art master at Bishop Woodworth School in Salisbury, England. In 1911, he held his first solo show in Salisbury which was both critically and financially successful. Eventually, he and his wife Gladys Pitcher, whom he had married in December 1910, decided to emigrate to Canada, arriving in Winnipeg in June, 1913. Shortly after his arrival, a fellow artist he met, taught him etching technique and sold him his tools. From 1915 to 1918, he produced etchings in very small editions, subsequently switching to colour woodcut prints, a medium he found more to his liking. During the summers of 1917 and 1919, Phillips taught at the University of Wisconsin, and by then, his works had commanded national and international attention. By 1923, he had published forty-two colour woodcuts, and in a burst of productivity between 1926 and 1928, he produced thirty-nine. By now, he had well-established his own pattern of making woodcuts: a graphite sketch, next a finished watercolour, another sketch to compose the woodcut, and then the final print. Phillips was so highly regarded that during the Great Depression, he was one of a handful of artists who could live off the sale of his paintings and woodcuts. From 1925 to 1935, his subjects were mainly from the Prairies, but by 1946, most of his subjects were from the Rocky Mountains. He also continued to be a prolific book illustrator. In 1940, he became a staff member of the Banff Summer School of Fine Arts and in 1941, moved to Calgary to take up the position of instructor at the Institute of Technology and Art, where he stayed until 1949. In 1953, he moved to Banff where he lived in a house on Tunnell Mountain. three wood block prints Dimensions: 10"H x 7 1/2"W (paper), 6 3/4"H x 3 3/4"W ((largest "cottage")
22 Supreme Court Justices: signatures on 33 items: "Hugo L. Black" 1967 letter and card; "Harry A. Blackmun" 1970 letter; "William J. Brennan" Jr. 1973 letter and two note cards; "Harold H. Burton" 1960 letter; "James F. Byrnes" 1967 letter; three "Tom C. Clark" inscribed and signed note cards; three "William O. Douglas" note cards; "Abe Fortas" 1968 letter; "Arthur J. Goldberg" 1962 letter and cut signature; "John M. Harlan" note card; "Charles E. Hughes" 1908 check and 1922 passport (signed as Secretary of State); "Thurgood Marshall" note card; "Frank Murphy" 1941 letter; "Sandra O'Connor" First Day Cover (Charles Evans Hughes stamps); "Lewis F. Powell", Jr. (signed beneath his image on flyer); "William H. Rehnquist" note card; "Owen J. Roberts" card; "John J. Simca" on People Magazine cover featuring him January 20, 1975; "Potter Stewart" 1959 letter (his newspaper image pasted thereupon), note card, and engraving of Supreme Court building; "M. (Morrison) R. (Remick) Waite" on cut portion of album page, also signed "M.C. Butler" (Matthew C. Butler, CSA General) on verso; "Earl Warren" 1974 letter; "Byron R. White" note card; items designated "note card" are imprinted "Supreme Court of the United States/Washington, D.C."; all in archival sleeves housed in green leather "Presidential" series album, with gilt border and title, by Exposures, 14-1/2 x 13 in. Normal folds, slight toning throughout. Collection of H. Donald Nelson, Williamsburg, Virginia.
[BINDING] BIBLIOPHILE SOCIETY, ASSOCIATION COPY George Pierce Baker, Ed., Charles Dickens and Maria Beadnell Private Correspondence. Boston, 1908, this copy gifted to John R. Hegeman "for the loan of a considerable sum of money", printed on parchment, with full vellum binding, signed by Society Treasurer Henry Howard Harper, etchings signed by W.H.W. Bicknell, and title page signed by designer F.S. King, with facsimile letters, color plates, etc., 9.25"h x 7.5"w
Selous, Frederick Courteney
African nature notes and reminiscences. London, 1908. 8vo, frontispiece, illustrations by E. Caldwell, original cloth gilt, some rubbing to edges, publishers "presentation copy" blindstamp to title; Lugard, Frederick The rise of our East African Empire. London, 1893. 8vo, 2 volumes, portrait frontispiece in each volume, 3 folding maps, modern half calf gilt, some foxing; Cranworth, Lord A colony in the making. London, 1912. 8vo, frontispiece, original green cloth gilt, rubbed; [Idem] Profit and sport in British East Africa. London, 1919. 8vo, colour frontispiece, original green cloth gilt, rubbed; Young, F. Brett Marching on Tanga. London, 1917. 8vo, frontispiece, plates, original cloth gilt, backstrip faded; Oliver, Roland History of East Africa. London, 1963-76. 8vo, 3 volumes, original cloth gilt, dustwrappers; Church, Major Archibald East Africa, a new dominion. London, 1928. 8vo, frontispiece, plates, original black cloth gilt, rubbed, contemporary ink inscription on front endpaper; Stigand, Captain The land of Zinj. London, 1913. 8vo, frontispiece, plates, original cloth, rubbed, ink inscription of H.E. Balch on front pastedown; Lorimer, Norma By the waters of Africa. London, 1917. 8vo, plates, original cloth, faded; Lugard, Sir F.D. The dual mandate in British tropical Africa. Edinburgh, 1923. Second edition, 8vo, original blue cloth gilt, bookplate of Sir Frederick Richmond; Coupland, R. East Africa and its invaders. Oxford, 1938. 8vo, modern cloth gilt, ex-library copy; Sulivan, G.L. Dhow chasing in Zanzibar waters. London, 1968. New impression, 8vo, original red cloth gilt; and 3 others (18)
1910 COPPER VASE D'ARCY GAW & DIRK VAN ERPElizabeth Eleanor D'Arcy Gaw (Canadian, 1868-1944)and Dirk Van Erp (Dutch-American). Copper vessel, ca. 1908 to 1911. A beautiful hand-hammered copper vase by the iconic Arts and Crafts metalsmith Dirk van Erp and his partner and collaborator Elizabeth Eleanor D'Arcy Gaw. The sizeable vessel presents with a classic form and a wonderful warm patina. It is marked with the Gaw/Van Erp logo featuring a Dutch windmill with the artisan's names beneath it in block letters - "D'ARCY GAW/DIRK VAN ERP" - on the base. Size: 6.5" in diameter at widest point x 8.7" H (16.5 cm x 22.1 cm)
Dirk Van Erp was one of the most important metalworkers in California during the Arts and Crafts period. Prior to immigrating to the United States, he apprenticed under his father in the Netherlands. D'Arcy Gaw was born in Montreal, Quebec; attended the Art Institute of Chicago and then studied under C.R. Ashbee at the Guild and School of Handicraft in London. Upon returning to the U.S. she eventually moved to California like many like-minded Arts and Crafts designers. There she became president of the California Guild of the Arts and Crafts and worked at lighting designer Lillian Palmer's San Jose studio in 1907. It was in 1908 or 1909 that she ended up joining Dirk Van Erp, Palmer's rival. Van Erp and D'Arcy Gaw set up their studio on Sutter Street in San Francisco. Their partnership came to an end on January 30, 1911.
Provenance: private Fort Myers, Florida, USA collection, via inheritance
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#174087
Condition:
Overall excellent with a warm patina. The vase is marked with the Gaw/Van Erp logo featuring a Dutch windmill (somewhat worn away) and the artisan's names beneath it in block letters - "D'ARCY GAW/DIRK VAN ERP" - on the base. Visible seam down side of vessel. Normal age wear with expected scuffs, tool marks, areas of oxidation, stains, and a few minute white paint flecks. Please feel free to zoom in on images to assess.
R WARREN VERNON (EXH 1882-1908) DUTCH TRAWLERS signed and inscribed, pencil and watercolour heightened with white, 13.5 x 39cm; and a watercolour of shipping by H Clarence (2)
RIKO DEBANJAK (1908-1987) AQUATINT ETCHINGFramed aquatint etching on paper, "Matin #27," signed lower left R. Debanjak (Riko Debanjak, Slovenian, 1908-1987), dated 1962, E.A. (Epreuve d'Artiste/ artist's proof), sight: 26"h, 20"w, overall: 32.5"h, 26.5"w, 12lbs
VARIOUS BOOKS
ON LALIQUE AND SCENT BOTTLES Invitation to an exhibition 17/8/28Catalogue des Verreries de René Lalique, Paris, March 1932Noel 1934 catalogueMorrison McClinton, K., Lalique for Collectors, New York, 1975Lalique par Lalique, Paris, 1977Morrison McClinton, K., Introduction Lalique Glass, Iowa, 1978Arwas, V., Lalique, London, 1980Garner, P. Glass 1900 Gallé, Tiffany and Lalique, London, 1984Martin, H., A Collection of Figural Perfume & Scent Bottles, Lancaster, 1982Jones-North, J., Perfume, Cologne and Scent Bottles, West Chester, 1986Opalescence Le Verre Moulédes Annes 1920-1930, Banque Bruxelles-Lambert, Brussels, 15 October-29 November 1986Jones-North, J., Commercial Perfume Bottles, West Chester, 1987RenéLalique, maître-verrier, Tokyo Metroplitan Teien Art Museum, 5 April – 29 May 1988Barten, S., RenéLalique Schmuck und Objets D’art 1890-1910, Bonn, 1989Lalique, Beaux Arts, Paris, 1991RenéLalique, Musée des Art décoratifs, Paris, 1991Exhibition of RenéLalique, Odakyu Museum, 28 July – 15 August 1993Mayer Lefkowith, C, The Art of Perfume Discovering and Collecting Perfume Bottles, London, 1994Barille, E., Coty Parfumeur and Visionary, Paris, 1996RenéLalique Flacons 1910-1935, Museum Bellerive, Zurich, 22 May 1996 – 2 March 1997Brunhammer, Y., The Jewels of Lalique, Paris, 1998Collection of the RenéLalique Museum, René Lalique Museum, Suwa, Japan, 2000Zolomij, J. J., Lalique Automobile Mascots, The Ele Chesney Collection, Philadelphia, 2002Warmus, W., The EssentialRenéLalique, New York, 2003Marcilhac, F., R. Lalique 1860-1945 maître-verrier analyse de l’œuvre et catalogue raisonné, Paris, 2004Mortimer, T., Lalique Jewellery and Glassware, London, 2005Thiébaut, P., RenéLalique Correspondance d’un Bijoutier Art Nouveau 1890-1908, Lausanne, 2007Hatch, C., Déco Lalique, Creator to Consumer, Toronto, 2007Passos Leite, M. F., RenéLalique at the Calouste Gulbenkian Museum, Lisbon, 2008Harrison, S., Ducamp, E., Falino, J., Artistic Luxury Fabergé, Tiffany, Lalique, Cleveland Museum of Art, Yale, 2008 TWO COPIESMaritch-Haviland, N. and de Léobardy, C., Lalique-Haviland-Burty Family Portraits, Paris, 2009RenéLalique: A Retrospective, The National Art Centre Tokyo, 24 June -7 September 2009Stamelman, R., Perfume, Joy, Obsession, Scandal, Sin, A Cultural History of Fragrance from 1750 to the Present, New York, 2009Lalique Vases, The New Zealand Collection of Dr Jack C. Richards, Auckland, 2011Booji, L., Lalique in Nederland, The Hague, 2013(33)
William Robert Thrasher ''Bluebonnet Landscape''oil painting on canvas. Canvas: 24''H x 36''W; Frame: 30''H x 42''W. Signed lower left ''W. R. Thrasher''. William Robert Thrasher (American 1908-1997) was Texas artist known for landscape scene paintings. Circa - 20th C.
Framed oil on canvas painting, Autumn Hill Country Landscape, signed lower right W.R. Thrasher (William Robert Thrasher, Texas, 1908-1997), sight: approx 17.25"h, 23.25"w, overall: 25.5"h, 31.5"w, 5.75lbs
DANIEL KOTZ, NEW YORK, NEW JERSEY, INDIANA (1848 - 1933), SPRING PASTURE, 1911, PASTEL ON PAPER, 19 1/2"H X 24 1/2"W (SIGHT), 28 3/4"H X 33 3/4"W (FRAME)Daniel Kotz, New York, New Jersey, Indiana, (1848 - 1933) Spring Pasture, 1911, pastel on paper Signed and dated lower left. Biography from the Archives of askART: Daniel Kotz, painter, etcher, and engraver, was born in a log cabin in South Bend, Indiana, near Notre Dame, on March 21, 1848. He spent much of his youth working on the family farm, where he enjoyed nature and the countryside around him. In his spare time, he discovered he had an interest in drawing and sketching his surroundings, including trees, open meadows, hayfields and more. On the advice of Dr. Buchtel, the family physician, he began to devote himself to studying art. While he traveled around the area of the St. Joseph River and the Lake Michigan area, his interest in landscapes grew, as did his ability to capture it on paper and canvas. Daniel went to Northwestern College in Napiersville, Illinois, where he wrote a column called "Kotz's Mite" for their monthly publication. In 1870, he went to Chicago where he studied under Henry F. Spread, and in 1875 he worked with Henry Arthur Elkins. Kotz was a charter member of the Chicago Art League. In the 1880s, he was commissioned by then Vice-President Schuyler Colfax, to execute a painting for his wife. Around 1890, he went to New York City, where he opened a studio. He was the cover story of the American Art Journal, March 22, 1890, and there in 1886 at the National Academy of Design, he exhibited the first painting he had ever exhibited in Chicago. In the 1890's, Daniel Kotz built a commodious studio and home on a New Jersey hillside at Park Ridge, overlooking the beautiful Pascack Valley with New York in the distance. He was one of the originators of the Salmagundi Club in New York around the turn of the century. He was a member of the Salmagundi Club, the Nanuet Painters, the American Artist Professional League, and the Beachcombers' Club in Provincetown. He is known to have exhibited at the New York Etching Club, the National Academy of Design 1909, the Salmagundi Club, the Boston Art Club 1889, 1892, 1896, 1898, 1899, the Art Institute of Chicago 1889, 1894, 1896, 1897, 1904, 1905, 1908, 1909, 1911, 1917, the Pennsylvania Academy of Fine Arts 1895, 1898-1900, and the American Art Association. In May of 1948, Kotz's daughter, the Countess Eleanor Kotz Savorgnan Di Brazza, held an exhibition for two weeks of about 20 of her father's works. The exhibition was in Chicago and at the Progress Club, which is associated with the Art Institute of Chicago. He found more and more of his favorite subject matter throughout the New England area, where he painted until his death in 1933. His contemporaries and friends included Thomas Eakins, J. Francis Murphy, Alexander Schilling, Max Bohm, John Noble, and George Inness. Daniel Kotz died in Park Ridge, New Jersey in 1933. Submitted August 2007 by Michael R. Perez, Art Collector and Historian, The Artisfun Gallery Sources include interviews with Steve Bentrup, art collector who knew the family; Peter Hastings Falk, Editor, Who Was Who in American Art, copies of exhibition catalogues. pastel on paper Dimensions: 19 1/2"H x 24 1/2"W (sight), 28 3/4"H x 33 3/4"W (frame)
JAMES BAILEY O/C MODERNIST LANDSCAPE, 1929James G. Bailey (Kentucky, Paris, California, 1868-1930) oil on canvas woodland landscape. Signed and dated "James G. Bailey 1929," lower left. With label from R. Lerondelle, Paris, affixed to the backing, along with inscriptions including "18 [via?] rue d'Armaille," "Joseph de Nemes," and "J de Nemes." Housed in a green and gilt wood frame with nameplate. Sight:15 1/4 " H x 18 1/2" W. Framed: 19 1/4" H x 23 1/4 " W. Biographical note: James G. Bailey was a landscape painter, judge, politician, and diplomat born in Salyersville, KY in 1868. His dream-like work often depicts Kentucky, California, and continental Europe. Bailey served as a member of the Kentucky state legislature from 1895-1897. His first diplomatic appointment was as secretary to the legation to Guatemala and Honduras, 1901, and in the following years he performed diplomatic service in numerous other locales including Stockholm, Sweden in 1907, and eventually in Paris where he was counselor at the American Embassy until a few weeks before his death. As an artist, he studied with Boleslaw Jan Czedekowski (1889-1969) and Leroy Ralph "Roy" Forkum (1884-1955), a Disney artist who worked on Fantasia. In 1930 he exhibited at the Salon of the Société des Artistes Français and at the Galerie M. Knoedler & Co., both in Paris. He lived in Pasadena, CA at the end of his life. Sources: Bailey, James G, Benezit Dictionary of Artists, Oxford Art Online; Exposition James G. Bailey Paysages: 13-26 Mai, 1930, exhibition brochure, Frick Art Reference Library, accessed via Watsonline: Thomas J. Watson Library Catalog, Metropolitan Museum of Art, record number b16940313; Congressional Record, Containing the Proceedings and Debates of the Sixtieth Congress, First Session, 1908, Vol. 42; Bailey, James G., October 24, 1930 obituary in Big Sandy News-Recorder, Louisa, KY, accessed via 1930 Obituaries, Lawrence County, Kentucky Genealogical & Historical Society. Note: Joseph de Nemes is the francophone name of Jozsef Nemes Lamperth (1891-1924), who was also active in Paris in the first quarter of the 20th century. Although the present painting bears stylistic similarities to those of Nemes Lamperth, his death occurred prior to Bailey's creation of this painting in 1929. As such, the presence of his name on the frame and stretcher is unexplained.
Condition:
Painting and frame in very good condition. Painting with craquelure throughout.
*H&R Model 1908 Single Shot Shotgun PLUS Antique Hopkins and Allen Single Shot Shotgun 1) 12 gauge 30" solid rib barrel S/N A604080.?2) 12 gauge 26.75" shortened barrel S/N 19393. Condition: Good condition.
LOUIS M. POTTER, BRONZE BUST OF A NOBLE LADY, 1908 Louis McClellan Potter (American 1873-1912), untitled, 1908, patinated cast bronze portrait bust depicting a noble lady wearing a small tiara or comb with veil, the side of the piece inscribed, signed, and dated in mold "To R von Z/from her/friend/ Louis Potter/1908" with "Roman Bronze Works, N.Y." foundry mark to back side of base. Approximate dimensions: h. 21.75", w. 12", d. 8.5".
Aviation.
2 Titles (3 Vols). ++ Lowell Thomas. The First World Flight: Being the Personal Narratives of Lowell Smith, Erik Nelson, Leigh Wade, Leslie Arnold, Henry Ogden, and Joseph Harding. Boston and New York: Houghton Mifflin Company, 1923. Lg 8vo. Half parchment and beige cloth boards, red leather spine label, all edges untrimmed. Parchment lightly soiled, label slightly rubbed, contents about fine, no owner's name or marks. Slipcase quite worn, joints splitting, but serves to protect the book. 328 pages, numerous plates with reproduced photographs. #531 of 575 copies signed by Thomas and all six fliers who contributed their personal narratives. ++ R. Dallas Brett. History Of British Aviation 1908-1914. 2 Vols. London: Aviation Book Club, [1934]. 8vo. Green cloth lightly worn and soiled, tiny spot on title page and frontispiece, several page corners dog-eared. Very good overall, no jackets. 216; 217 pages, and 82 reproduced photographs & diagrams of planes and various aviation notables. First Edition thus. Appendices A-H contain numerous statistics and names: World records, races, roll of honour, recipients of certificates issued by Royal Aero Club, glossary, etc.
ADML. RICHARD BRYDGES BEECHEY H.R.H.A. (BRITISH 1808-1895) GERTRUDE AND LETONIA CROSSING LISBON BAR Signed and dated 1885, oil on canvas 46cm x 69cm (18in x 27in) Estimate £ 4,000-6,000 Provenance: Royal Northern and Clyde Yacht Club. Exhibited Imperial Institute Yachting and Fisheries Exhibition, 1897 Exhibited: The scene depicts the start of the International Ocean Race to Gibraltar in October 1880. Note: Gertrude was an 80 ton yawl owned by Lt William Henn RN of Anne's Lodge, Ascog, Bute. He is better known for his unsuccessful challenge for the America's Cup in 1886 with his later yacht, Galatea. The Royal Northern and Clyde Yacht Club, created by the merger of two clubs, the Northern and the Clyde Model Yacht, traces its roots back to 1824. The royal charter granted in 1830 to the Northern is believed to have been the first received by any British yacht club, with the Clyde Model Yacht Club, inaugurated in 1856, receiving its own royal charter in 1863. In 1886 the Royal Northern's yacht Galatea competed in the Americas Cup and the following year the vessel Thistle, from the Royal Clyde, did the same. The transatlantic record was set in 1905 by Atlantic, skippered by the renowned yachtsman Charlie Barr and this remained unbeaten for almost a hundred years. The Royal Northern was originally based in Rothesay, before moving to the current clubhouse in Rhu in 1937. The Royal Clyde moved from its own premises at Hunters Quay in the 1950s and was also based at Rhu when the two clubs merged in 1978 to form the Royal Northern & Clyde Yacht Club. The Club has always maintained a strong tradition of fierce competition and success in yacht racing. When the first London Olympics were held in 1908 the yachting medal was won by the yacht Hera of The Royal Caledonian. The Club has always been renowned for the quality of the art on its clubhouse walls. Richard Brydges Beechey was one of 18 children of the painter Sir William Beechey and the miniaturist Lady Beechey, and part of a celebrated dynasty of artists. Joining the Royal Navy at the age of 14, he was promoted lieutenant in 1828 and served in the Pacific, the Mediterranean and Ireland. Beechey was invalided out of front line service with the Navy in 1830 but was promoted commander in 1846 and captain in 1851, becoming a Vice-Admiral in 1879. Beechey exhibited a painting at the Royal Academy in 1832 when only 24 and subsequently showed another 18 works there up until 1877. He also showed thirteen works at the British Institution from 1833 to 1859, and seven at the Society of British Artists in 1834 and 1835. While on an expedition surveying the Shannon in 1849 he began to explore his potential as a watercolour artist, and from that time onwards sent works to the Royal Hibernian Academy. He was made an honorary member of the RHA in 1868. Like many of his contemporaries Beechey liked to specialize in ships wrestling with stormy seas. None of his sketchbooks have been found but it seems likely that he would have made studies of the landscape during his travels and preparatory drawings for his seascapes. From 1864, having married an Irish girl, Beechey lived in Dublin, moving in 1877 to Plymouth. He died in Southsea in 1895. . Sold for £5,000 (buyer's premium included)
Large Collection of Early Children's Books/First Editions: Large group of early children's books, including several first editions. Christopher Morley (1890-1957), “Where the Blue Begins, ” Doubleday, Page & Company, New York, 1922; Frances Hodgson Burnett (1849-1924), “Two Little Pilgrims’ Progress, A Story of the City Beautiful, ” Charles Scribner’s Sons, New York, 1895. first edition; John Groth (b. 1908), “Studio: Europe, ” The Vanguard Press, New York, 1945. Introduction by Ernest Hemingway (1899-1961); Harry Golding, F. R. G. S, “The Wonder Book of Ships, ” Ward, Lock & Co. Limited, London and Melbourne, 1927. 13th edition; Munro Leaf (1905-1976), “Wee Gillis, ” The Viking Press, New York, 1938; Kenneth Mahood (b. 1930), “The Laughing Dragon, ” Charles Scribner’s Sons, New York, 1970; Robert Browning (1812-1889), “The Pied Piper of Hamelin, ” Frederick Warne and Co. , London and New York. Illustrated by Kate Greenaway. Originally published in 1842, this edition unknown. Spine is in poor condition; Robert Heitmann, “The Man in the Red Flannel Suit, ” Golden Press, New York, 1959; Henry L. Stephens (1824-1882) and Gaston Fay, “Mother Goose’s Melodies for Children, or Songs for the Nursery, ” Hurd and Houghton, New York, 1869. First edition. Illustrations by Stephens and Fay. Binding is ripped on first page; William Rossa Cole (1919-2000), “The Birds and the Beasts Were There, ” The World Publishing Company, Cleveland and New York, 1963. First edition. Woodcuts by Helen Siegl (1924-2009); Hans Christian Andersen (1805-1875), “Fairy Tales, ” The Orion Press, New York, 1958; Christianna Brand (1907-1988), “Naughty Children, ” E. P. Dutton & Co. , New York, 1963. First edition. Illustrations by Edward Ardizzone (1900-1979); Johnny Gruelle (1880-1938), “Raggedy Ann and Andy and the Nice Fat Policeman, ” Johnny Gruelle Company, New York, 1942. First Edition; Howard R. Garis (1873-1962), “Uncle Wiggily and His Friends, ” Platt & Munk, New York, 1939. Binding is loose. ; “Snow White and the Seven Dwarfs, ” Grosset & Dunlap, New York, 1938. Illustrated by Walt Disney (1901-1966). First edition, rare. Some damage to spine; Ruth Krauss (1901-1993), “The Carrot Seed, ” Scholastic Book Services, New York, 1945. Pen, pencil, and crayon markings and doodles. Very worn book; Kate Greenaway (1846-1901) and Edmund Evans (1826-1905), “Under the Window, Pictures and Rhymes for Children” George Routledge & Sons, New York, 1878. First edition. Silas Weir Mitchell (1829-1914), “The Wonderful Stories of Fuz-Buz the Fly and Mother Grabem the Spider, ” J. B. Lippincott & Co. , Philadelphia, 1867. Binding and corners slightly damaged; William Steig (1907-2003), “The Lonely Ones, ” Duell Sloan and Pearce, New York, 1942. Books spin label detached; Horatio Alger, Jr. (1832-1899), “Ragged Dick Series. Fame and Fortune; or The Progress of Richard Hunter, ” Loring, Boston, 1868. Front, binding, back covers are missing. Title page torn, some pencil markings, handle with care; Horatio Alger, Jr. , “Rufus and Rose; or The Fortunes of Rough and Ready, ” Loring, Boston, 1870. Book, binding, and spine is a little worn; Horatio Alger, Jr. , “, Ragged Dick Series. Mark the Matchbox; or Richard Hunter’s Ward, ” Loring, Boston, 1899. Binding is a little loose, spine has a little worn; Angelo Patri (1876-1965), “Pinocchio in America, ” Doubleday, Doran & Company, inc. , New York, 1930; Annie Fellows Johnston (1863-1931), “The Little Colonel Stories, ” L. C. Page & Company, Boston, 1904. Illustrated by Etheldred B. Barry; W. H. Auden (1907-1946), “The Dyer’s Hand and other Essays, ” Random House, New York, 1962. First edition; Padraic Colum (1881-1972), “The Boy Apprenticed to an Enchanter, ” The Macmillan Company, New York, 1920. Illustrated by Dugald Stewart Walker. First edition; Alf Prøysen (1914-1970), “Mrs. Pepperpot’s Outing, ” Pantheon Books, New York, 1970. Illustrated by Björn Berg; Unknown author, “The Cost of Revenge; or Dirty Dick and His Dog Bones; and other stories, ” Kessinger Publishing, London. Torn first page; Kate Douglas Wiggin (1856-1923), “The Birds’ Christmas Carol, ” Houghton, Mifflin and Company, Boston and New York, 1888. First edition; Kate Douglas Wiggin, “Rebecca of Sunnybrook Farm, ” Houghton, Mifflin and Company, Boston and New York, 1903. Spine is ripped and a little worn; Lois Lenski (1893-1974), “Spinach Boy, ” Frederick A. Stokes Co. , New York, 1930. One ripped off page. Binding is quite loose; William O. Stoddard (1835-1925), “The First Cruiser Out, ” Herbert S. Stone and Company, Chicago and New York, 1898; T. M. O, “Adventures of a Green Dragon, ” Auburn Publishing Co. , New York, 1908. Binding is loose; Willard B. Canopy (1931-2011), “The High School Stunt Show and Carnival, ” T. S. Denison & Company, Minneapolis, 1929; Jerome K. Jerome (1859-1927), “Three Men on Wheels, ” Dodd, Mead and Company, New York, 1900. Illustrations by Harrison Fisher; Henry Wadsworth Longfellow (1807-1882), “The Seaside and the Fireside, ” Ticknor, Reed, and Fields, Boston, 1850. First edition; Louise Chandler Moulton (1835-1908), “New Bed-Time Stories, ” Roberts Brothers, Boston, 1880. Cloth is ripped on spine; Crockett Johnson (1906-1975), “Barnaby and Mr. O’Malley, ” Henry Holt and Company, New York, 1944. First edition. Includes pencil note on first page, and post card note. SKU: 01948 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. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
§ GERALD FESTUS KELLY K.C.V.O., P.R.A., R.H.A., H.R.S.A. (BRITISH 1879-1972)
VIEUX PORT, MARSEILLES, 1908 inscribed (to reverse), oil on board17.2cm x 14cm (6 3/4in x 5 1/2in)Provenance:Michael Parkin Fine Art, London;Collection of the Late Sir Richard Shepherd, MP.
AN EDWARDIAN TEAPOT AND CREAM JUG, maker H.A. Sheffield, 1908, of oval half fluted form with ebonised flattened loop handle, gadrooned finial on domed lid, on collet foot, teapot chased with initials A.R., 10 1/2" wide, matching sugar bowl and near matching coffee pot, Sheffield 1931/63, 49ozs 10dwts (4)
WILLIAM MORRIS INTEREST
COLLECTION OF BOOKS AND PAMPHLETS to include:The Artworkers Guild 1884 to 1934 by H. J. L. J. MasséMay Morris: William Morris (in tissue paper wrappers)J.W. Mackail: The Life of William Morris 1st edition 1899 (2 Vols., with Philip Burne Jones' signature)J.W. Mackail: The Life of William Morris, 1901 ed (with May Morris' signature)Transactions of the National Association for the Advancement of Art and its Application to Industry Liverpool Meeting of 1888Socialism Its Growth & Outcome by William Morris & E Belfort Bax, 1893Labour Annual 10 copies, 1898, 1899, 1900, 1901 (Reformers Yearbook, formerly Labour Annual), 1903, 1904, 1906, 1907, 1908, 1909 J.B. Shaw (edit.): Fabian Essays in Socialism, 1 volumeWilliam Morris: Hopes & Fears for Art 5 Lectures 1871-1881William Morris: Gothic Architecture: A Lecture for the Arts & Crafts ExhibitionThe Dream of John Ball & The Kings LessonWilliam Morris: Address delivered 11th November 1890Socialist Review March, April & May 1928, contains unpublished letters of William MorrisNotice of a Fabian Society Public Meeting 1908 by G. B. Shaw on Socialism – Hand FlyerKelmscott Fellowship Notice 1926, showing A. H. VerstageWilliam Morris: The Life & Death of JasonWilliam Morris: The Earthly Paradise (3 of 4 parts)William Morris to Whistler: Papers & Addresses on Art & Craft and the Commonweal; Illustrations by Walter CraneWalter Crane: An Artist’s ReminiscencesWalter Crane: Decorative Illustration of BooksWalter Crane: Decorative Illustrations des BuchesMacNeil Whistler: Pamphlet Board of Education South KensingtonWalthamstow Museum: Guide to William Morris CentenarySpeeches in Commemoration of William Morris at the Baths Hall Walthamstow (3 copies)William Morris 1884-1934: Some AppreciationsMorris & Company 1861 to 1940 (2 copies)Tributes to Peter FloudParables from Nature by Margaret GattyMary de Morgan: On a Pincushion & Other Fairy talesH.J.L.J. Massé: The Artworkers Guild 1884 to 1934A May Day InterludeC.R. Ashbee: Table of the Arts & Crafts of the RenaissanceC.R. Ashbee: Table of the Arts & Crafts of the 17th Century (2 copies)C.R. Ashbee: Table of the Arts & Crafts of the 18th Century (2 copies)The New Party published by Hodder Brothers, frontispiece by Walter CraneWilliam Morris: Dream of John Ball and A King’s LessonWilliam Morris: The Defence of Guenevere and Other PoemsSidney Webb & Sidney Ball: Socialism and IndividualismA Catalogue of an Exhibition Celebrating the Ninetieth Birthday of The Churches and Chapels of Old LondonWilliam Morris as a SocialistWilliam Morris: Art & the Beauty of the Earth, A LectureSir Edward Burne-Jones: Letters to Katie with an introductory noteWilliam Morris: The Water of the Wondrous Isles, LongmansWilliam Morris: Prose & Poetry (1856 – 1870)Edward & Stephani Godwin: Warrior Bard. The Life of W. MorrisWilliam Morris: News from Nowhere, pocket editionH Halliday Sparling: The Kelmscott Press and William MorrisWilliam Morris: A Dream of John Ball and a King’s LessonJ.W. Mackail: The Life of William Morris 2 volumes, new editionCountess of Warwick: William Morris His Homes & HauntsEdited by G. D. H. Cole: William Morris Selected WritingsWilliam Morris: News from Nowhere, Boston: Robert BrothersC. Gillington: A Day with William MorrisGerald H Crow: William Morris DesignerBernard Shaw: Morris as I Knew HimPeter Faulkner: Wilfred Scawen Blunt & The MorrisesRichard Tames: An Illustrated Life of William MorrisJoseph R. Dunlap: William Caxton & William MorrisPeter Faulkner: William Morris & Eric GillS.L. Bensusan: The Charm of Burne-JonesProvenance:From the collection of Arthur Halcrow Verstage (1875-1969); The Millinery Works Collection.Note: Arthur Halcrow Verstage was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection, amassed from 1902 to 1972, reflected his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
RANDOLPH LASALLE COATS, AMERICAN / INDIANA (1891-1957), CRASHING WAVES ON ROCKY SHORE, SEASCAPE, OIL ON CANVAS, 31 1/4"H X 38"W (FRAME)Randolph LaSalle Coats, American / Indiana, (1891-1957) Crashing Waves on Rocky Shore, seascape, oil on canvas Signed lower right. In original carved and gilt frame. Conserved 1993. Biography from the archives of AskArt: Randolph LaSalle Coats (1891-1957) was born in Richmond, Indiana, and by 1917 was considered a professional painter by the leading artists in the state. He studied at Herron School of Art in Indianapolis with William Forsyth, one of the Hoosier Group, in 1908 -1909, 1911, 1913 -1915. He also studied at the Cincinnati Academy of Fine Arts under Frank Duveneck (1848 - 1919) and James R. Hopkins (1877 - 1969), and he taught at the Academy for four years. He also taught at the Herron School of Art in 1922 where he was described by one of his students as being "encouraging and helpful." Coats also taught at the Art Association of Richmond (Indiana) from 1923 -1928. A distinctive style of painting had developed in Richmond, Indiana different from other Indiana "schools." The Richmond School consisted of landscape painters primarily self-taught who captured the natural beauty of this region of Indiana, particularly the Whitewater River valley with its gorge and bluffs just outside of Richmond. Coats was identified in a 1985 exhibition held in Richmond and Portland, Indiana as being in the second generation of the Richmond School artists. However, his background and later work were closer to the Hoosier Group's William Forsyth (1854 - 1935), T. C. Steele (1847-1926), and Otto Stark (1859-1926) in that he also studied in Europe and did not limit his subject to a particular geographic area. Coats lived and kept studios in Indianapolis and during summers in Provincetown, Massachusetts. In 1924 and 1925, he and his former teacher, James R. Hopkins, then artist in residence at Ohio State University and later its Art Department Chairman, had a summer art school there. Coats spent some time in the Smoky Mountains and visited Indiana's Brown County to paint around those artists who followed Steele there to form Indiana's most famous art colony. In addition to his landscapes, Coats was well-known for his portrait and figure painting. In 1946 he painted the official portrait of Indiana Governor Ralph F. Gates (Republican - 1945-1949) and in 1952 the official portrait of Indiana Governor Henry F. Schricker (Democrat - 1941-1945, 1949-53). He also performed an extensive restoration project on 36 of the other Governor's portraits in 1953. Coats also made two documentary films, One Hundred Years of Art and Artists of Indiana and New England Art Colonies. Coats was a member of the Hoosier Salon, Indiana Masonic Lodge, Chicago Art Galleries, and the Cincinnati Art Club. He received many awards for his painting and his works can be found in many public collections. Coats was a charter member and President of the Indiana Artists' Club, which was organized on January 23, 1917 in Indianapolis by a group of professional artists including the Hoosier Group's William Forsyth, T. C. Steele, and Otto Stark. Coats and the other founding artists efforts live on. In 2009, the Club held its 77th annual juried exhibition. Sources include: The Herron Chronicle by Harriet Garcia Warkel, Martin F. Krause, S. L. Berry (Indiana University Press, 2003); The Encyclopedia of Indianapolis (Indiana University Press, 1994); A Walk in the Woods: The Art of John Elwood Bundy (1853-1933) by William H. Gerdts (Indianapolis: Eckert Fine Art, 2000); the websites of the Indiana Artists Club, the Indiana Historic Bureau and others. Researched and written by John A. McKinney, Jr oil on canvas Dimensions: 31 1/4"H x 38"W (frame)
Framed oil painting on canvas, Bluebonnets & Texas Hills, signed lower left W.R. Thrasher (William Robert Thrasher, Texas, 1908-1997), sight: 15.5"h, 19.5"w, overall: 24.75"h, 28.5"w, 6.25lbs
AN IMPORTANT PAIR OF GUILLOCHE ENAMEL DESK SEALS INCLUDING ONE WITH ROYAL BRITISH PROVENANCE AN IMPORTANT PAIR OF GUILLOCHE ENAMEL DESK SEALS INCLUDING ONE WITH ROYAL BRITISH PROVENANCEcomprising:(a) A vari-colored gold and translucent enamel desk seal, possibly by Faberge, circa 1908enameled translucent lilac over a guilloche ground and applied with foliate pendants, with moonstone finial, engraved with a presentation inscription, Lady Iveagh from Prince of Wales, Dec. 7, 1908, the nephrite matrix carved with the initials A.M.I. below a coronet (for Lady Iveagh), apparently unmarked. Contained in original fitted leather case of Noble & Co.. length: 6.4 cm (2 1/2 in.). n.b. The firm Noble & Co. was established in London in 1908 by Arthur Bowe and retailed works by Faberge. Arthur Bowe had earlier (in 1903) opened a branch of the House of Faberge in London. See, Alexander von Solodkoff, Faberge, Juwelier des Zarenhofes, Heidelberg, 1985(b) A Faberge guilloche enamel and silver desk seal, workmaster Anders Nevalainen, St. Petersburg, 1899-1908of tapering cylindrical form, translucent mauve enamel over engine-turned ground, further enriched with silver sunburst reeded gem-set mounts, narrowing to flaring base set with hardstone seal with crowned monogram GG, standard partly effaced, likely 88 standard, scratched inventory number 1054 and workmaster`s initials A.N. for Anders Nevlainen; height: 6.8 cm (2 1/2 in.)PROVENANCEGold & Enamel SealH.R.H. Prince of Wales (later King George V)Adelaide Maria, Countess of Iveagh (gift from the Prince)Collection of FORBES MagazineSotheby`s, New York, December 1, 1998, lot 339Silver and Enamel SealBonhams, London, June 9, 2008, lot 145EXHIBITEDGold & Enamel SealFaberge and the Edwardians, The Fine Art Society, Edinburgh, August 8-31, 1987, No. 13The Aberdeen Art Gallery and Museum, September 5-26, 1987, No. 13
Microscopes and Microscopy, a large collection, c. 122 volumes, including Brewster, Sir David A Treatise on the Microscope. Edinburgh, 1837. First edition, 8vo, 14 plates, original blindstamped cloth; Gould, C. The Companion to the Compound, Oxy-Hydrogen, and Solar Microscopes. 1837. 6 plates (5 folding); Beck, Richard A Treatise on the Construction, Proper Use and Capabilities of Smith, Beck and Beck's Achromatic Microscopes. 1865, 4to, 28 plates, original cloth; Joyce, J. Dialogues on the Microscope. 1812. 2 volumes, 12mo, quarter morocco; another edition, 1828, 2 volumes, 12mo, quarter morocco, rubbed; Brocklesby, J. Views of the Microscopic World. New York, 1851; Wythes, J.H. Curiosities of the Microscope. Philadelphia, 1852; Hannover, A. On the Construction and Use of the Microscope. 1853, 2 plates, hinge broken; Quekett, John A Practical Treatise on the use of the Microscope. 1855. Third edition; Beale, L.S. How to Work with the Microscope. 1857; Notcutt, W.L. A Handbook of the Microscope and Microscopic Objects. 1859, 2 copies, coloured plates, half calf and later cloth; Gosse, P.H. Evenings at the Microscope. [c.1860]; Wood, J.G. Common Objects Of the Microscope. 1861; another edition. 1861; Lankester, E. Half-hours with the Microscope. [c.1865]; Suffolk, W.T. On Microscopical Manipulation. 1870; Clarke, L.L. Objects for the Microscope. 1871, 2 copies; Beale, L.S. How to Work with the Microscope. 1880; Davies, T. The Preparation and Mounting of Microscopic Objects. 1880; Coke, A.C. Studies in Microscopical Science. 1883. Vol. 1 only, coloured plates; Herrick, S.B. The Wonders of Plant Life under the Microscope. 1884; Cooke, M.C. Rust, Smut, Mildew & Mould. 1886; Martin, J.H. A Manual of Microscopic Mounting. 1878; Carpenter, W.P. The Microscope and its Revelations. 1901, 2 volumes; Naegeli, C. The Microscope in theory and practice. 1887; Bousfield, E.C. Guide to the Science Of Photo-Micrography. 1892; The Annual Illustrated Annual of Microscopy. 1900. 4to, half calf; Wright, A.E. Principles of Microscopy. 1906; Spitta, E.J. Microscopy. 1907; Gage, S.H. The Microscope. 1908; Spiers, W. Nature through the Microscope. [c.1909]; Cross, M.I. & M.J.U. Cole Modern Microscopy. 1912; Zeiss. Zeiss Mikroskope und Nebenapparate. 1927; Disney, A.N. Origin and Development of the Microscope. 1928; Belling, J. The Use of the Microscope. 1930; Clay, R.S. The History of the Microscope. 1932; Gage, S.H. The Microscope. 1941; Cooke, Troughton & Simms Cooke Microscopes. [1947]; Wredden, J.H. The Microscope. 1947; Espinasse, M. Robert Hooke. 1956; Burrells, W. Microscope Technique. 1963; Ford, B.J. The Optical Microscope Manual. 1973; Bracegirdle, B. Microscopical Mounts and Mounters. 1998; mostly original cloth; and a large quantity of similar volumes (quantity; c. 122 volumes) Estimate £ 500-700 + fees. Sold for £1,125 (buyer's premium included)
GIANNI CILFONE, ILLINOIS (1908 - 1992), CITY VIEW, WATERCOLOR ON PAPER, 9"H X 13"W (IMAGE), 18"H X 22"W (FRAME)Gianni Cilfone, Illinois, (1908 - 1992) city view, watercolor on paper signed lower right. Biography from R.H. Love Galleries Little five-year-old Gianni Cilfone came to the United States with his parents from the province of Foggia, in Italy. After initial art training at the Chicago Academy of Fine Arts and the Art Institute of Chicago, Cilfone took lessons from Hugh Breckenridge, John F. Carlson and several others. Cilfone exhibited Moonrise and Portrait of E. L. Smyth at the Art Institute's 1929 annual. Later he led sketching groups to Brown County, Indiana and was active in the Hoosier Salon (1949-58), in the North Shore Arts Association, in the Chicago Galleries Association (1940-46) and in the Association of Chicago Painters and Sculptors. Cilfone had his own studio in Nashville, Indiana and was a member of the prestigious Salmagundi Club in New York, where he won prizes. Critics praised Cilfone's views of Gloucester harbors, purple mountain vistas in Vermont, and picturesque Indiana scenes. In the Chicago Tribune (19 February 1950), local critic Eleanor Jewett characterized his landscapes as "emotional in quality and decorative in color." In 1953, Cilfone conducted a class in landscape painting at the Austin, Oak Park and River Forest Art League. Source: Richard H. Love and Michael Preston Worley, Ph.D, Reflections of Reality: American Paintings from the Collection of John and Susan Hainsworth, 2005, p. 20 watercolor on paper Dimensions: 9"H x 13"W (image), 18"H x 22"W (frame)
5 vols. Philadelphia & Environs: Freedley, Edwin. Philadelphia and Its Manufacturers: A Hand-Book. Philadelphia: Edward Young, 1859. 12mo, orig. black cloth, rebacked; edge wear. 10 plates (1 colored). Internally generally clean. * Bronson, William White; Hildeburn, Charles R. The Inscriptions in St. Peter's Church Yard, Philadelphia. Camden: Sinnickson Chew, 1879. 1st ed. 8vo, orig. green cloth & red bds.; some edge wear. Fold. frontis. plan. Internally clean. * Heilprin, Angelo. The Legend of The Philadelphia Rocks. Philadelphia, 1895. 1st ed. Sm. 4to, orig. gilt-pictorial brown cloth; light wear. With 11 plates. Internally clean. * A History of The Movement to Erect in Philadelphia, A Memorial of The First Century of American Independence. [Philadelphia], [1888]. 4to, orig. gilt-lettered & pictorial red cloth; scuffed, spine ends frayed & starting to separate. Plates & facsimiles. Scattered minor internal wear. * Spencer, David. Historic Germantown. Germantown: H.F. McCann, (1908). 1st ed. 12mo, orig. green cloth; edge wear, corners & spine ends frayed. Full-page photo illus. Some soiling to front matter. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman''s Conditions of Sale.
7379 - Lot of 12 C. Devreese Medals
Lot of twelve medals, to include: #11- a l’Aube de la Vicloine obverse, Notre angoisse n'est plus qu'un reve, o cher enfant le mon enfant; ce soleil qui dore la greve c'est la Victoire qui se leve d'un grand coup l'aille triumphant! reverse, marked C. Devreese obverse; #14- Aux Afflices Secours obverse, Association Pour Secourir les Pauvres Honteux Bruxelles Fondee en 1853 reverse, marked C. Devreese obverse; #29- Reverie 1915 obverse, marked C. Devreese obverse; #40- En Souvenir de sa Collaboration 1914-1918 Terherinnering Aan Zyn Medewerking reverse; #54- Ernest Babelon de L’Institut obverse, Bruxelles 1910 Congres Intern de Num et D’art de la Med, marked C. Devreese 1910 obverse and R. Bosselt reverse; #60- Raoul Warocque Bourgmestre de Morlanwelz obverse, Fetes du Centenaire 1805-1905 reverse, marked C. Devreese 1905 obverse; #63- Victor Mirland obverse, L’association des Ingenieurs de l’ecole des mines de mons au Professeur Victor Mirland homage d’estime et de reconnaissance 1882-1907 reverse, marked C. Devreese 1908 obverse; #65- Jules Demaret-Freson obverse, L’association des Ingenieurs de l’ecole des mines de mons au Professeur J. Demaret-Freson homage d’estime et de reconnaissance 1882-1907 reverse, marked C. Devreese 1908 obverse; #67- Auguste Godeaux obverse, Ecole Industrielle de Morlanwelz a son Directeur 1883-1913 reverse, marked C. Devreese obverse; #72- Oscar Landrien obverse, marked C. Devreese 1906 obverse, #76- Alphonso de Witte MDCCCLXXXVI-MDCCCCXI obverse, A Societatis Regiae Numismaticae Consilio Sodales Nec Non Amici reverse, marked C. Devreese, #79- a Auguste de Bal Hommage du Tribunal de Commerce de Bruxelles a son President 1899-1926 obverse, marked C. Devreese obverse, 4 3/8" h x 3 1/8" w (largest). Provenance: From a California estate.