93 FRANKLIN LIBRARY SIGNED FIRST EDITIONS LEATHER 93 Franklin Library Leather Bound, Signed First Editions, to include: "The Man Who Was Late", Louis Begley, "Charley Bland", Mary Lee Settle, "The Copper Beech", Maeve Binchy, "The General's Daughter", Nelson Demille, "Charity", Len Deighton, "Brotherly Love", Pete Dexter, "Murther & Walking Spirits", Robertson Davies, "Hope", Len Deighton, "Vortex" Larry Bond, "The Waterworks", E.L. Doctorow, "Leila", J.P. Donleavy, "The Road To Wellville", T. Coraghessan Boyle, "The Paperboy", Pete Dexter, "The Last Thing He Wanted", Joan Didion, "Billy Bathgate", E. L. Doctorow, "City of God", E. L. Doctorow, "Circle of Friends", Maeve Binchy, "Which Lie Did I Tell?", William Goldman, "Playland", "John Gregory Dunne, "The Phantom of Manhattan", Frederick Forsyth, "Foucault's Pendulum", Umberto Eco, "The Red White And Blue", John Gregory Dunne, "Another City, Not My Own", Dominick Dunne, "Intensity", Dean Koontz, "Esau", Philip Kerr, "A Certain Justice", P.D. James, "The Flaming Corsage", William Kennedy, "A River Town", Thomas Keneally, "A Season In Purgatory", Dominick Dunne, "Jump & Other Stories", Nadine Gordimer, "Delusions of Grandma", Carrie Fisher, "The Finishing School", Gail Godwin, "Father Melancholy's Daughter", Gail Godwin, "Decision", Allen Drury, "A Case of Curiosities", Allen Kurzweil, "A World of Love", Joseph P. Lash, "Among Schoolchildren", Tracy Kidder, "Siro", David Ignatius, "Last Tango In Brooklyn", Kirk Douglas, "An Inconvenient Woman", Dominick Dunne, "The Infinite Plan", Isabel Allende, "Eva Luna", Isabel Allende, "All God's Children Need Traveling Shoes", Maya Angelou, "The Robber Bride", Margaret Atwood, "English Music", Peter Ackroyd, "Private Lies", Warren Adler, "Seventh Heaven", Alice Hoffman, "The Cider House Rules", John Irving, "The Lyre of Orpheus", Robertson Davies, "God Knows", Joseph Heller, "Picasso", Arianna Stassinopoulos Huffington, "Exit Lady Masham", Louis Auchincloss, "Diary of a Yuppie", Louis Auchincloss, "Turtle Moon", Alice Hoffman, "Blues", John Hersey, "A Prayer For Owen Meany", John Irving, "Riven Rock", T.C. Boyle, "Angels & Insects", A.S. Byatt, "The Tax Inspector", Peter Carey, "The Alienist", Caleb Carr, "Quicker Than the Eye", Ray Bradbury, "Babel Tower", A. S. Byatt, "The Great Fake Book", Vance Bourjaily, "The Story of Henri Tod", William F. Buckley Jr., "Tomcat In Love", Tim O'Brien, "On The Firing Line", William F. Buckley, Jr., "Little Wilson & Big God", Anthony Burgess, "Single & Single", John le Carre, "The Kingdom of the Wicked", Anthony Burgess, "Summer's Lease", John Mortimer, "Death is a Lonely Business", Ray Bradbury, "The Curious Case of Sidd Finch", George Plimpton, "Broke Heart Blues", Joyce Carol Oates, "The Gift of Asher Lev", Chiam Potok, "The Things They Carried", Tim O'Brien, "Foxfire", Joyce CArol Oates, "Vittorio The Vampire", Anne Rice, "Merrick", Anne Rice, "Blonde", Joyce Carol Oates, "Mysteries of Winterthurn", Joyce Carol Oates, "His Little Women", Judith Rossner, "Fierce Invalids Home From Hot Climates", Tom Robbins, "American Pastoral", Philip Roth, "You Must Remember This", Joyce Carol Oates, "The Only Problem", Muriel Spark, "Will You Always Love Me?", Joyce Carol Oates, "Marya A Life", Joyce Carol Oates, " The Last Don", Mario Puzo, "A Turn in the South", V.S. Naipaul, "The Book and the Brotherhood", Iris Murdoch, "The Angel of Darkness", Caleb Carr, "Jazz", Toni Morrison, "Road Rage", Ruth Rendell. One of two large lots of these books in the sale. Condition: All books like new / as new. No owner's book plates or embossing. Most/some have the Franklin Library "notes" included.
Mahogany Shelf Clock by Samuel S. Grosch, Marietta, Pennsylvania, circa 1820, with four free-standing turned columns supporting arched cornice with six plinths topped by brass finials, 13 1/2 in. painted iron dial signed Saml. S. Grosch, Marietta, Pa., Arabic numeral hour, minute and center calendar rings, blued steel hour, minute, calendar and sweep-second hands, painted tablet depicting a country scene, veneered side panels framed with banded inlay, brass paw feet, removable bird's eye maple veneered panels inside front door, two hinged sections of backboard for access to weights, and eight-day double compounded weight-powered movement with rack and snail strike, pull repeat and front mounted escape wheel and pallets, ht. 36 in.
This clock is pictured and discussed in Edward F. Lafond Jr., and J. Carter Harris, Pennsylvania Shelf and Bracket Clocks, 1750-1850 p. 59.
Refinished, later painted tablet possibly on board or canvas, dial probably cleaned and relined, coating on dial has now yellowed, paint loss on dial, one dial grommet replaced, brass paw feet, scalloped apron and cresting are original.
Edward Curtis, The North American Indian Volume XI, 1916: Edward S. Curtis. (1868 - 1952). The North American Indian Volume XI, 1916. Individual volume on Holland Van Gelder etching stock . Nootka, Haida. . The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Volume XI. Written, Illustrated and Published by Edward S. Curtis. Edited by Fredrick Webb Hodge. Foreward by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass. ], 1916. . . LIMITED EDITION: This volume is numbered 48 of an unfulfilled edition of 500, on handmade Holland Van Gelder etching stock, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, raised paneled spines, ribbon bookmarks, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. . . TEXT VOLUME: 75 photogravures, including 1 hand-colored print. Over 230 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. . . Provenance:. Edward S. Curtis Studio. Charles Arthur Moore, Jr. By descent to family. The Christopher G. Cardozo Collection, 2019. . This set of “The North American Indian, ” number 48, by Edward Sherriff Curtis comes directly from the hands of the photographer, through four generations of the Moore (Close) family, to the hands of the buyer. The books keenly represent that period in American history when industrialization conquered the nation’s wild lands and clashed with its indigenous peoples, and for purposes of provenance it should be known that the man who acquired them from Curtis himself embodied both industry and a deep reverence for nature and the American West. The books were purchased from Edward S. Curtis by the seller’s great grandfather, Charles Arthur Moore, Jr. of Greenwich, Connecticut. Moore was a Greenwich native, a humanist, and an industrialist who became president of his father’s metal products manufacturing company Manning Maxwell & Moore that built parts such as gauges, valves, and hoists for cranes and trains. Moore’s New York City office was in the Chrysler Building just below the gargoyles. Born 23rd of June, 1880, in Lynn, Massachusetts, to Charles A. Moore, Sr. and Mary Campbell Moore, his siblings were Mary Elsie Moore who married Italian prince Don Marino Torlonia, 4th prince of Civitella-Cesi; Eugene Maxwell Moore who married Titanic survivor Margaret Graham; and Jessie Ann Moore who married US Navy Admiral Colby Mitchell Chester. Moore married twice, first to Annette Sperry of Nashville with whom he had three children and divorced in 1919, then to Elizabeth Hyde (1897-1983), daughter of Seymour Jairus Hyde and his wife Elizabeth Worrall. The Hyde’s were also wealthy industrialists whose company, A. G. Hyde & Sons Co. manufactured dry goods such as the Heatherbloom petticoats, and advertised with the first moving sign on Times Square. Charles and Elizabeth, who was known as Betty, had two children: John Campbell Moore (1921-1943), who died in active service with the 853d Engineer Battalion while being transported on the H. M. T. Rohna in World War II; and Bettine Moore, to whom the Curtis books later belonged. Moore was educated at St. Paul’s school and graduated Yale class of ’03. He was with the Montenegrin Army for some months during the Balkan War, then served throughout WWI, commanding in France the Old Twelfth Company of Greenwich attached to the 56th Artillery, A. E. F. He retired at the conclusion of the war with the rank of Major. A life member of American Museum of Natural history, Moore contributed specimens to the institution, like a mountain goat he shot in northern Rockies near the Columbia River in 1904, among others. He was also a member of New York Zoological Society (now the Wildlife Conservation Society) and the National Geographic Society, as well as many manufacturing groups. Moore was a physically imposing man, a great lover of nature, a deeply devoted father, and the owner of a self-sustaining 168-acre farm/estate in Greenwich called Mooreland, on Mooreland Road, at which he hosted the Highland Games every summer. He had a wide and eclectic circle of friends of many ethnicities. An avid photographer, he shot both stills and movies, a collection of which the family retains. Many photographs depict beautiful natural scenes, or holidays to places like Cuba and dude ranches in the west. The reels of black and white film that he shot portray his family life (Johnny and Bettine as children, the Highland games, etc. ), and travels during the 1920’s – 40’s. . EARLY INFLUENCE & LATER EXPEDITIONS. In the fall of 1883, at the tender age of three, Arthur, as Charles, Jr. was known to his family, made a trans-continental trip by train on the Northern Pacific Railroad from New York City to Portland, Oregon with his parents. This was the very year the tracks were laid. One of his father’s letters from the journey, dated September 29, 1883 reads, "Yesterday Arthur shook hands through the window with an Indian Brave in War paint. ” This telling scene took pace in Billings, Montana, which at the time was still a territory. The Indian man was most likely Cheyenne, Crow, or Lakota Sioux. To put it into perspective, the Battle of the Little Big Horn/Battle of the Greasy Grass, otherwise known as Custer’s Last Stand, which took place just south of Billings, had happened only a few years prior, in 1876. Although the Indians won that battle, it was a symbolic win. In a mind-bogglingly short period of time their world had been forever altered. The last wild herds of buffalo had recently been obliterated from the landscape. Tribes were being force onto reservations. Settlers and miners were staking their claims. Who was he, the mystery “Indian brave”? We wish we knew, because his touch likely sparked in young Arthur a deep admiration for indigenous Americans and the west that eventually inspired him to sign onto the young Edward Curtis’ courageous venture in photography in 1906. Arthur’s early travels—and his father’s international travels and extensive political connections—also inspired him to become an explorer. Besides venturing west, he went north and east. He became dear friends with Captain Bartlett and 1897 journeyed with Commander Robert E. Peary, U. S. N. to find the geographic North Pole. Moore then took charter of the steam whaler Algerine and spent the summer of 1901 in the Hudson’s Straights and Hudson’s Bay. His expedition north and with Peary succeeded in charting new waters and bringing back trophies, like Inuit artifacts and the Cape York meteorite, which is housed in the American Museum of Natural History in New York City. It is likely that befriending Inuit peoples also compelled him to support Curtis’ work. Later, in 1906, Mr. Moore traveled to Arabia, lands then controlled by the Ottoman Empire, including into what is now modern-day Syria, with the day’s most famous political cartoonist, Homer Davenport, whose drawings satirized figures of the Gilded Age and Progressive Era. The purpose of the expedition was to bringing back Arabian horses to the United States. Davenport had fallen in love with the breed at the World’s Fair in Chicago in 1893, the first time Arabian horses were on US soil. Moore, also a keen horseman, photographed and documented their expedition to Arabia, playing a key role in bringing some of the earliest desert-bred Arabian mares and stallions to America. Moore’s love of animals, wild lands, native peoples, art, and the west, he passed on to his daughter Bettine, wife of Dr. William Taliaferro Close, and mother of actress Glenn Close and her three siblings, and, through them, to his great granddaughter who made the difficult decision to sell the books. Dimension Condition This original volume is in very good to excellent condition overall. A formal, detailed condition report is available upon request. . The condition reports for the lots offered by Santa Fe Art Auction (SFAA) are provided as a courtesy and convenience for potential buyers. The reports are not intended to nor do they substitute for physical examination by a buyer or the buyer's advisors. The condition reports are prepared by SFAA staff members who are not art conservators or restorers, nor do they possess the qualifications needed for comprehensive evaluation. Each condition report is an opinion of the staff member and should not be treated as a statement of fact. The absence of a condition report does not imply anything as to the condition of a particular lot. Buyers are reminded that the limited warranties are set forth in the Terms and Conditions of Sale and do not extend to condition. Each lot is sold as-is.
BENJAMIN F. SMITH JR. LITHOGRAPHBENJAMIN F. SMITH JR. (1830-1927) lithograph, "PHILADELPHIA FROM CAMDEN - 1850" after drawing by J.W. Hill & Smith, published by Smith Brothers& Co., NY., circa 1850. Busy river scene with views of West Philadelphia with buildings, tall ships, ferries, and docks, 26.5" x 42" (opening),33.25" x 48.75" (frame).
John F. Herring, Jr. (Br. 1820-1907), Farmyard, oil on canvas, painted circle, signed on gate post "J R. Herring," depicts shire horses, pigs, chickens, and ducks in a farmyard, housed in the likely original gilded frame with composition ...
Estimate: 15,000.00 - 20,000.00
A LAND RECEIPT RECEIVED OF GAIL BORDEN JR. AT FIRST CONGRESS OF THE REPUBLIC OF TEXAS, FOR DANIEL JAMES MOODY, COLOMBIA, OCTOBER 3, 1836, : A LAND RECEIPT RECEIVED OF GAIL BORDEN JR. AT FIRST CONGRESS OF THE REPUBLIC OF TEXAS, FOR DANIEL JAMES MOODY, COLOMBIA, OCTOBER 3, 1836, engraving and manuscript on cream wove paper, No. 8, signed by. Dr. James B. Miller, in left decorative border end, "Telegraph Print. , " payment in the amount of $26. 40, printed and published by G & T. H. Borden. 4" x 7 1/2" Note: Facsimile Transcription: "Telegraph Print. $26. 40. No. 8. Received of Gail Borden Jr. Collector of Public Dues for the Department of Brazos, Twenty Six Dollars forty cents, in payment to the Government for three installments on three quarters of a league of land granted Mr. Daniel on the 17th day of April 1831, said payment being endorsed on a treasury order, dated 30th July 1836 No. 215 lettered P. drawn in favor of D. J. Moody for three hundred + eighty six dollars thirty three cents. 3rd Oct. 1836 James B. Miller. "The meeting of the First Congress of the Republic Of Texas convened on October 3, 1836, in a pioneer wood meeting house in Colombia, serving as the capital of the Republic of Texas from 1836-1837. The present document is attributed as the eighth issue of receipt for land debt that was negotiated during the Mexican Texas period that was ultimately transferred the day of the First Congress of the Republic as a debt that would then be owed to the Republic of Texas. The willing act of transferring the debt was a Texian patriot act in itself. The implication of the present document is that the record shows that there are multiple votes to confirm that Gail Borden Jr. and his brother's printing and publishing company G. and T. H. Borden at the First Congress of the Republic of Texas. Both of the Borden brothers served as surveyors for Stephen F. Austin's colony. The brother's documented and published publicly the Journals of the Senate The Texas Republic Congress: Journals of the Senate First Congress-First Session in 1836 in Columbia. The Texas State Historical Association documents in the Handbook of Texas of Gail Borden Jr. having published The Telegraph and Texas Register the previous year and Telegraph the following year in Columbia from August 1836-April 1837. Though otherwise unmentioned as attendees of the First Congress of the Republic of Texas, the present document presents three more Texian patriots at the inaugural convention, Gail Borden Jr. (1801-1874), inventor, condensed milk tycoon, Daniel James Moody (unknown - active 1831-1836), and Dr. James B. Miller( 1801-1854), partner in medicine to Dr. Peebles. Â Provenance: Estate of Dr. Paul E. Shutts, Houston, Texas. Condition Some minor losses near edges, pencil inscription, some acid biting, overall in good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS. "
NEW ORLEANS, FROM ST. PATRICK'S CHURCH, 1852.
Colored lithograph by B.F. Smith Jr., after J.W. Hill, published by Smith Brothers & Co., New York. 27 ¼ x 42 inches, sight; frame size 36 x 50 ½ inches.
5 Benedict F. Fitzgerald Jr Historical Photographs: United States, 20th Century. Five photographs from the personal collection of Benedict F. Fitzgerald Jr, a prominent lawyer in Massachusetts who's clients throughout his career included President Roosevelt, President Truman, Zsa Zsa Gabor, and Jimmy Hoffa. The lot itself includes one photograph of Mr. Fitzgerald and Jimmy Hoffa, one photograph of Mr. Fitzgerald and President Truman shaking hands, a personally signed and inscribed photograph of President Truman for Mr. Fitzgerald, a photograph of Mr. Fitzgerald in a helicopter during his campaign for lieutenant governor, and a personally inscribed photographed of Cardinal Richard J. Cushing the Archbishop of Boston. Photo paper and wood, Largest with frame 18" x 15", Smallest with frame 8 1/4" x 10 1/4"From the collection of a Medfield, Massachusetts gentleman. President Truman photograph inscribed "Kindest regards to Benedict F. Fitzgerald, Harry Truman". Cardinal Richard Cushing photographed inscribed "Emili and Benedict- with affection and grateful blessings, Richard J. Cushing Archbishop of Boston". Condition Truman photograph with minor water damage and discoloration, wear and creasing to helicopter photograph, otherwise good condition. Please refer to photographs.
Black Nathan F. Cobb Jr. (1825-1905)Cobb Island, VA, c. 1880A full-bodied shorebird decoy with an incised serifed "N" signature, shoe button eyes, a through-splined bill, and a branded "P" for the Purnell Collection.Provenance: William J. Mackey, Jr. CollectionWilliam H. Purnell, Jr. Collection, acquired from the above, c. 1968Literature: William J. Mackey, Jr., "American Bird Decoys," New York, NY, 1965, page 128, plate VII, rigmate illustrated. Henry A. Fleckenstein, Jr., "Shore Bird Decoys," Exton, PA, 1980, p. 68, plate 70, similar decoy illustrated. Henry A. Fleckenstein, Jr., "Southern Decoys of Virginia and the Carolinas," Exton, PA, 1983, p. 210, plate 448, similar decoy illustrated.
William Perkins Babcock (American/Boston, 1826-1899), "The Toilette of Venus, with Cupid Holding a Mirror and Flower-Garland", oil on artist's board, signed "WP Babcock" lower left, 12 in. x 12 in., in an American Arts and Crafts carved and gilded frame, with incised inscription/production no. "Carrig-Rohane / Shop Inc. / R. C. Vose / Boston / #5896" on reverse of bottom rail. $1500/2500 Provenance: Robert C. Vose, Sr. (1873-1964), Vose Galleries, Boston. Note: After a preliminary artistic training in Boston, the 21-year-old Babcock moved to Paris, where he was reputed to have been one of the first pupils of the great master of Romantic Realism, Thomas Couture (1815-1879), in the very year that the latter established his atelier in 1847. Babcock's fellow pupils in that famous studio included three celebrated colleagues born in 1824: William Morris Hunt (with Couture 1847-52, which seems to have been Babcock's identical period of tenure), Pierre Puvis de Chavannes (in the studio in 1849), and Eastman Johnson (in 1855); slightly younger pupils of Couture's included Edouard Manet (in 1850-56) and John LaFarge (in 1855). This fascinating and important painting seems likely to be a work of Babcock's early maturity, since it recalls so perfectly Couture's concentration on "the pure color and fresh brushwork of the sketch, which he encouraged his students to retain into the finished picture" (Albert Boime, "Couture, Thomas," The Dictionary of Art, Grove, London, 1996, vol. 8, p. 76). By 1853 Babcock had returned to Boston, where he exhibited at the Athenaeum from that year (with interruptions) until 1870, and at the National Academy of Design in New York in 1863; he eventually took up permanent residence in France, where he died. It is perhaps just possible that this is his painting of "The Bath" (no. 295 in the Athenaeum exhibition of 1859), although it is probably more likely to be one of his dozen or more submissions listed simply as "Pictures." He is represented by seven comparable paintings in the Boston Museum of Fine Arts, all at this same scale, several also representing mythological subjects. Babcock was the subject of a monographic exhibition at the Busch-Reisinger Museum, Harvard University, in 1954. References: G.C. Groce & D.H. Wallace, Dictionary of Artists in America (New-York Historical Society, 1957), p. 18; American Paintings in the MFA (Boston, 1969), vol. 1, p. 17, nos. 69-75, v. 2, p. 217, fig. 340; Robert F. Perkins Jr. (with William J. Gavin III), Boston Athenaeum Art Exhibition Index, 1827-74 (Boston, 1980), p. 15, nos. 228-307.
19th century painting after Herring, farmyard with farmer feeding horses, ducks, pigs, cows, bears signature lower left "J.F. Herring", after John Frederick Herring, Jr., English, 1815-1907, oil on canvas, 20 x 30 in.; modern gilt wood and composition French style frame. Lined, restretched, crackle, abrasions at edges, minor retouch, one void upper left; frame with abrasions.
J.F. HERRING, JR. OIL ON BOARD, FARM YARDJohn Frederick Herring, Jr. (British, 1815-1907) oil on board titled "The Farm Yard". The painting depicts a barn scene with horses, pigs, ducks, and cows in the foreground and middle ground and three English fox hunters with hounds in the background. Signed J. F. Herring lower right. Housed in carved giltwood frame. Back of board includes title and artist along with the stamps of the board makers with London addresses. Sight - 9 5/8" H x 10 1/2" W. Total - 10 1/4" H x 10 7/8" W. Framed - 16" H x 16 1/2" W. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Overall very good condition. Some light yellowing to varnish, slight discoloration around edges where frame was located, slight paint chipping on corners.
Jan Evert Morel the Younger (Dutch, 1835-1905) and Franz van Severdonck (Belgian, 1809-1889) Shepherd Tending His Flock Signed "J E Morel Jr." l.l., inscribed and also signed "Les Animaux/ F. van Severdonck..." l.r., identified on a label affixed to the reverse. Oil on panel, 12 1/2 x 10 3/4 in. (31.8 x 27.3 cm), framed. Condition: Retouch, craquelure, minor abrasions beneath frame liner. Provenance: Sotheby's Arcade, July 16, 1992, Sale 1403, Lot 485.
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.
J.F. Herring, Jr. Oil on Board, Farm Yard John Frederick Herring, Jr. (British, 1815-1907) oil on board titled "The Farm Yard". The painting depicts a barn scene with horses, pigs, ducks, and cows in the foreground and middle ground and three English fox hunters with hounds in the background. Signed J. F. Herring lower right. Housed in carved giltwood frame. Back of board includes title and artist along with the stamps of the board makers with London addresses. Sight - 9 5/8" H x 10 1/2" W. Total - 10 1/4" H x 10 7/8" W. Framed - 16" H x 16 1/2" W. (Higher-resolution photos are available at www.caseantiques.com)
Edison, Thomas A.
Typed, signed minutes of meetings of the Thomas A. Edison, Inc. Board of Directors. July 30, 1951 - July 30, 1956, mostly monthly. In volume printed for use for recording minutes of meetings, with preprinted pagination. Initial 26 leaves consist of prelined paper with tabs carrying printed letters, used as manuscript index of various topics discussed, with page numbers. 4to. 440pp. Maroon leather largely very good, uncollated but appears complete. Several TLs bound in (one signed by Vice President Sumner F. Larchar), mostly announcing Vice Presidents' resignations. Numerous signatures of Directors Charles Edison (son of Thomas Edison), Harry Lanahan, Frederick C. Erwin, Howard H. Eckert, J. T. Ryan Jr., John Eyre Sloane, Aaron P. Mitchell, Henry G. Riter III, William Hildebrand, and Albert R. Jube.
John Frederick Herring Jr. (English 1820-1907) "Coming to Drink" oil on canvas signed "J.F. Herring" lower right "A.W. John Simmons Croydon Surrey" label en verso 10 1/8 in. x 14 1/8 in. in a later frame.
John Frederick Herring Jr. (British 1820-1907) "Animals in a Farmyard" mid-19th c. oil on canvas signed bottom center "J.F. Herring" 19 ? in. x 23 ? in. framed. Note: Although Herring's pictures are notoriously difficult to distinguish from those of similar subjects by his father J.F. Herring Sr. (1795-1863) - and for that matter also from the related works of his brothers Charles (1828-1856) and Benjamin (1830-1871) - the form of the signature on this painting confirms that the artist is indeed he. The composition is thoroughly typical of his work with its broader handling than his father and brothers and its concentration on anecdotal detail. The relatively tight framing is also highly characteristic as is the emphasis on narrative incident. Once his family "rivals" died out in the 15 years from 1856 to 1871 Herring enjoyed a virtual monopoly of this classic type. Reference: Stephen Deuchar "Herring " Grove Dictionary of Art Jane Turner ed. 34 vols. London 1996 vol. 14 p. 480.
John Frederick Herring, Jr. (British, 1815-1907)
Horses in a Farmyard
Signed "J.F. Herring" l.l., identified on a label from Richard Green Fine Paintings,
London, on the reverse.
Oil on panel, 6 5/8 x 8 1/2 in. (16.8 x 21.6 cm), framed.
Condition: Minor surface grime.
Provenance: Purchased from Richard Green, London, 1975, then through to the present collector.
Literature: Richard Green, Annual Exhibition of Sporting Paintings, 1975, no. 41 (illus.), p. 86.
Very minor surface grime, very minor craquelure in the area of the white horse's haunches, naturally occurring pigment fluorescence under UV light.
JOHN HARRIS JR. COLOR ENGRAVING after the painting by J.F. Herring. (British 1791-1883) titled ''Herring's Fox Hunt Scene'' (The Meet). 34'' by 22''. In custom wood frame.
35 Books on American Art: including four inscribed to William Banks: Augustus Saint-Gaudens: Master Sculptorÿby Kathryn Greenthal, New York: The Metropolitan Museum of Art, 1985, with dust jacket, inscribed "Kathryn Greenthal / January 1986"; George Henry Durrie (1820-1863) American Winter Landscapist: Renowned Through Currier and Ivesÿby Martha Young Hutson, Santa Barbara Museum of Art, 1977, with dust jacket, title page inscribed "To William Banks / with many thanks / Martha Hutson"; The Boston Athenaeum Art Exhibition Index 1827-1874, by Robert F. Perkins Jr. and William J. Gavin III, Boston: The Library of the Boston Athenaeum, 1980, with dust jacket, inscribed on title page "For Bill / on an Evening / at the Poots(?) in / Dublin. Robert F. Perkins, DR. "; American Master Drawings and Watercolorsÿby Theodore E. Stebbins, Jr. , New York: Harper & Row, 1976, with dust jacket, inscribed on title page "to William N. Banks / with warmest wishes and many thanks, / Ted Stebbins; with 31 others; Provenance: a gift from The Metropolitan Museum of Art, New York, January 31, 1986, accompanied by letter addressed to William Banks, from John K. Howat, The Lawrence A. Fleischman Chairman of the Departments of American Art (Augustus Saint-Gaudens); The Estate of William N. Banks, Jr. , Newnan, Georgia Condition all in very good to near fine condition
Painting manner of J. F. Herring, Jr., horses feeding in barnyard, unsigned, manner of John Frederick Herring, Jr., English, 1815-1907, oil on canvas, label verso "J. F. Herring-1851", 15-7/8 x 25 in.; modern gilt wood frame. Lined with wax and linen, restretched on old stretcher, abrasion, areas of overcleaning, retouch throughout 20 percent; frame with abrasions.
Signed Books: Politics.
25 Titles (26 editions), 18 signed. Vp:vp. 12mo/8vo. Hardcover; very good to fine in dj. DJs good to near fine. 17 signed (listed individually below). ++ Beyond The White House. (2007). Ffep carries label signed/inscribed, "Best wishes - Jimmy Carter." ++ Newt Gingrich. Winning The Future. (2005). Ffep signed and inscribed by Gingrich. ++ Rediscovering God In America. (2006). Ffep sgd by Gingrich. ++ To Renew America. Sgd by Gingrich on title page. ++ Minutemen: The Battle to Secure America's Borders. Signed twice by Jerome R. Corsi: Signed on title page and signed w/ inscription on ffep, "For Franklin Raff- Thank you for all your support with the G. Gordon Liddy Show + all you do as a patriot. Best Wishes/ Jerome R. Corsi..." ++ One More Mission. (1993). Label on dedication page sgd by Oliver North. ++ Execution Eve: And Other Contemporary Ballads. (1975). Ffep carries label sgd by William F. Buckley, Jr. and inscribed to previous owner. ++ War Letters. (2001). Signed by editor and inscribed on frontis recto. ++ Great Political Wit. (1998). Sgd by Bob Dole. ++ The Glass House. (1984). Sgd & inscr. by Paul Simon. ++ Kissinger. (1974). Signed by Marvin Kalb and Bernard Kalb. ++ Blood Sport. (1996). Signed by James B. Stewart. ++ A World Transformed. 1998. Ffep carries label signed by Brent Scowcroft. ++ Terry: My Daughter's Life-and-Death Struggle with Alcoholism. (1996). Half title sgd & inscribed by George McGovern. ++ Panama Odyssey. Sgd & inscr by William J. Jorden. ++ The Achille Lauro Hijacking. Sgd by Michael K. Bohn. ++ Faith Of My Fathers. 2 editions (one with "First edition" and number line on c-page, and later edition without number line). Half title of stated 1st edition signed by John McCain. ++ 8 others.
Edward Curtis, The North American Indian Volume IX, 1913: Edward S. Curtis. (1868 - 1952). The North American Indian Volume IX, 1913. Individual volume on Holland Van Gelder etching stock . Salishan Tribes of the Coast, Chimakum, Quilliute, Willapa. . The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Volume IX. Written, Illustrated and Published by Edward S. Curtis. Edited by Fredrick Webb Hodge. Foreward by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass. ], 1913. . . LIMITED EDITION: Quarto-sized (313 x 239 mm): This volume is numbered 48 of an unfulfilled edition of 500, on handmade Holland Van Gelder etching stock, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, raised paneled spines, ribbon bookmarks, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. . . TEXT VOLUME: 75 photogravures, including 1 hand-colored print. Over 220 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. . Provenance:. Edward S. Curtis Studio. Charles Arthur Moore, Jr. By descent to family. The Christopher G. Cardozo Collection 2019. . This set of “The North American Indian, ” number 48, by Edward Sherriff Curtis comes directly from the hands of the photographer, through four generations of the Moore (Close) family, to the hands of the buyer. The books keenly represent that period in American history when industrialization conquered the nation’s wild lands and clashed with its indigenous peoples, and for purposes of provenance it should be known that the man who acquired them from Curtis himself embodied both industry and a deep reverence for nature and the American West. The books were purchased from Edward S. Curtis by the seller’s great grandfather, Charles Arthur Moore, Jr. of Greenwich, Connecticut. Moore was a Greenwich native, a humanist, and an industrialist who became president of his father’s metal products manufacturing company Manning Maxwell & Moore that built parts such as gauges, valves, and hoists for cranes and trains. Moore’s New York City office was in the Chrysler Building just below the gargoyles. Born 23rd of June, 1880, in Lynn, Massachusetts, to Charles A. Moore, Sr. and Mary Campbell Moore, his siblings were Mary Elsie Moore who married Italian prince Don Marino Torlonia, 4th prince of Civitella-Cesi; Eugene Maxwell Moore who married Titanic survivor Margaret Graham; and Jessie Ann Moore who married US Navy Admiral Colby Mitchell Chester. Moore married twice, first to Annette Sperry of Nashville with whom he had three children and divorced in 1919, then to Elizabeth Hyde (1897-1983), daughter of Seymour Jairus Hyde and his wife Elizabeth Worrall. The Hyde’s were also wealthy industrialists whose company, A. G. Hyde & Sons Co. manufactured dry goods such as the Heatherbloom petticoats, and advertised with the first moving sign on Times Square. Charles and Elizabeth, who was known as Betty, had two children: John Campbell Moore (1921-1943), who died in active service with the 853d Engineer Battalion while being transported on the H. M. T. Rohna in World War II; and Bettine Moore, to whom the Curtis books later belonged. Moore was educated at St. Paul’s school and graduated Yale class of ’03. He was with the Montenegrin Army for some months during the Balkan War, then served throughout WWI, commanding in France the Old Twelfth Company of Greenwich attached to the 56th Artillery, A. E. F. He retired at the conclusion of the war with the rank of Major. A life member of American Museum of Natural history, Moore contributed specimens to the institution, like a mountain goat he shot in northern Rockies near the Columbia River in 1904, among others. He was also a member of New York Zoological Society (now the Wildlife Conservation Society) and the National Geographic Society, as well as many manufacturing groups. Moore was a physically imposing man, a great lover of nature, a deeply devoted father, and the owner of a self-sustaining 168-acre farm/estate in Greenwich called Mooreland, on Mooreland Road, at which he hosted the Highland Games every summer. He had a wide and eclectic circle of friends of many ethnicities. An avid photographer, he shot both stills and movies, a collection of which the family retains. Many photographs depict beautiful natural scenes, or holidays to places like Cuba and dude ranches in the west. The reels of black and white film that he shot portray his family life (Johnny and Bettine as children, the Highland games, etc. ), and travels during the 1920’s – 40’s. . EARLY INFLUENCE & LATER EXPEDITIONS:. In the fall of 1883, at the tender age of three, Arthur, as Charles, Jr. was known to his family, made a trans-continental trip by train on the Northern Pacific Railroad from New York City to Portland, Oregon with his parents. This was the very year the tracks were laid. One of his father’s letters from the journey, dated September 29, 1883 reads, "Yesterday Arthur shook hands through the window with an Indian Brave in War paint. ” This telling scene took pace in Billings, Montana, which at the time was still a territory. The Indian man was most likely Cheyenne, Crow, or Lakota Sioux. To put it into perspective, the Battle of the Little Big Horn/Battle of the Greasy Grass, otherwise known as Custer’s Last Stand, which took place just south of Billings, had happened only a few years prior, in 1876. Although the Indians won that battle, it was a symbolic win. In a mind-bogglingly short period of time their world had been forever altered. The last wild herds of buffalo had recently been obliterated from the landscape. Tribes were being force onto reservations. Settlers and miners were staking their claims. Who was he, the mystery “Indian brave”? We wish we knew, because his touch likely sparked in young Arthur a deep admiration for indigenous Americans and the west that eventually inspired him to sign onto the young Edward Curtis’ courageous venture in photography in 1906. Arthur’s early travels—and his father’s international travels and extensive political connections—also inspired him to become an explorer. Besides venturing west, he went north and east. He became dear friends with Captain Bartlett and 1897 journeyed with Commander Robert E. Peary, U. S. N. to find the geographic North Pole. Moore then took charter of the steam whaler Algerine and spent the summer of 1901 in the Hudson’s Straights and Hudson’s Bay. His expedition north and with Peary succeeded in charting new waters and bringing back trophies, like Inuit artifacts and the Cape York meteorite, which is housed in the American Museum of Natural History in New York City. It is likely that befriending Inuit peoples also compelled him to support Curtis’ work. Later, in 1906, Mr. Moore traveled to Arabia, lands then controlled by the Ottoman Empire, including into what is now modern-day Syria, with the day’s most famous political cartoonist, Homer Davenport, whose drawings satirized figures of the Gilded Age and Progressive Era. The purpose of the expedition was to bringing back Arabian horses to the United States. Davenport had fallen in love with the breed at the World’s Fair in Chicago in 1893, the first time Arabian horses were on US soil. Moore, also a keen horseman, photographed and documented their expedition to Arabia, playing a key role in bringing some of the earliest desert-bred Arabian mares and stallions to America. Moore’s love of animals, wild lands, native peoples, art, and the west, he passed on to his daughter Bettine, wife of Dr. William Taliaferro Close, and mother of actress Glenn Close and her three siblings, and, through them, to his great granddaughter who made the difficult decision to sell the books. Dimension Condition This original volume is in very good to excellent condition overall. A formal, detailed condition report is available upon request. . The condition reports for the lots offered by Santa Fe Art Auction (SFAA) are provided as a courtesy and convenience for potential buyers. The reports are not intended to nor do they substitute for physical examination by a buyer or the buyer's advisors. The condition reports are prepared by SFAA staff members who are not art conservators or restorers, nor do they possess the qualifications needed for comprehensive evaluation. Each condition report is an opinion of the staff member and should not be treated as a statement of fact. The absence of a condition report does not imply anything as to the condition of a particular lot. Buyers are reminded that the limited warranties are set forth in the Terms and Conditions of Sale and do not extend to condition. Each lot is sold as-is.
EXTREMELY RARE AMERICAN MUSICAL CLOCK, JOHN J. PARRY, PHILADELPHIA Circa 1790. Figured mahogany case with satin wood inlay, Chippendale-style with ogee bracket feet, broken arch crest and flame finial. 8-day, 11 bells, 3-train crown verge escapement, John J. Parry, Philadelphia.Literature: LaFond, Edward F: Pennsylvania Shelf & Bracket Cocks, 1750-1850 by Edward F. LaFond Jr. & J. Carter Harris, 2008, pg. 105-106 Frank L. Hohmann III, "Timeless: Masterpiece American Brass Dial Clocks" Hohmann Holdings LLC, 2009, pg. 34 figure 61 (comparative).
Watch Video
Watch Video (2)
John Ferguson Weir: (American, 1841-1926)The Studio, 1864, signed and dated lower right "J. F. Weir 1864", oil on paper, 20 x 14 in. ;ÿperiod carved gilt wood and composition frame, 32 x 25-3/4 in. Note: Remnants of label bearing title and artist's name, frame verso, also illegibleÿpaper label. ; Provenance: Cardinal William O'Connell; Bernard and S. Dean Levy Inc. , New York, NY, (label verso), purchased September 1976 for $7, 125 (accompanied by original receipt); The Estate of William N. Banks, Jr. , Newnan, Georgia Condition mounted on board, probably aluminum honeycomb backed, areas of retouch scattered throughout, crackle; frame with wear and some losses to decoration
J. F. Herring, Jr. Oil on Board, Farm Yard: John Frederick Herring, Jr. (British, 1815-1907) oil on board titled "The Farm Yard". The painting depicts a barn scene with horses, pigs, ducks, and cows in the foreground and middle ground and three English fox hunters with hounds in the background. Signed J. F. Herring lower right. Housed in carved giltwood frame. Back of board includes title and artist along with the stamps of the board makers with London addresses. Sight - 9 5/8" H x 10 1/2" W. Total - 10 1/4" H x 10 7/8" W. Framed - 16" H x 16 1/2" W. (Higher-resolution photos are available at www. caseantiques. com) Condition Overall very good condition. Some light yellowing to varnish, slight discoloration around edges where frame was located, slight paint chipping on corners.
Attributed to John Frederick Herring, Jr. Fording a Stream Bears signature J. F. Herring and dated 1856 (ll) Oil on canvas, tondo Diameter 20 inches (50.8 cm) C
(lot of 23) Collection of books, comprising: (1) "The Antique Bowie Knife Book," Bill Adams, J. Bruce Voyles, Terry Moss, 1990, colored illustrations, 552 pages; (1) "Art of the Knife: Custom Creations from the World's Top Knife Makers," Joe Kertzman, 2007, colored illustrations, 254 pages; (1) "American Knives: The First History ad Collector's Guide," Harold L. Peterson, 1958, illustrated, 178 pages; (1) "Levine's Guide to Knives and their Values," Bernard Levine, 2001, illustrated, 542 pages; (1) "Damascus Steel: Myth, History, Technology, Applications," Manfred Sachse, 1994, colored illustrations, 255 pages; (1) "Robert Abels Inc. Antique Firearms and Edged Weapons, Catalogue No.32," illustrated, 144 pages; (1) "How to Make Multi-Blade Folding Knives," Eugene Shadley and Terry Davis, 1997, illustrated, 192 pages; (1) "Marble's Knives & Axes," Konrad F. Schreier Jr., 1978, illustrated, 70 pages; (1) "U.S. Military Knives, Bayonets, and Machetes, Book IV," M.H.Cole, 1991, illustrated, 212 pages; (1) "Blade's Guide to Knives and their Values," Steve Shackleford, 2005, illustrated, 576 pages; (1) "The American Blade Collectors Association Price Guide to Antique Knives," J. Bruce Voyles, illustrated, 480 pages; (1) "Knives and Knifemakers," Sid Latham, 1973, illustrated, 152 pages; (1) "The Complete Bladsmith: Forging Your Way to Perfection," Jim Hrisoulas, 1987, illustrated, 179 pages; (1) "Knifemaking with Bob Loveless," Durwood Hollis, 2010, colored illustrations, 189 pages; (1) "The Daggers and Edged Weapons of Hitler's Germany," Major James P. Atwood, 1965, illustrated, 240 pages; (1) "Knives: Points of Interest Book IV," Jim Weyer, Eric R. Eggly, Shelley Berman, 1993, colored illustrations, 227 pages; (1) "The Sheffield Knife Book: A History and Collector's Guide," Geoffrey Tweedale, 1996, colored illustrations, 320 pages; (1) French knife magazine, "Excalibur No.28," 2003, colored illustrations, 105 pages; (1) printed photographs, "James A. Schmidt, Bladesmith"; (1) "Making the Folding Knife," Harold Hoffman, 1989, illustrated, 130 pages; (1) "James Bowie and the Sandbar Fight," James L. Baston, 1992, illustrated, 88 pages; (1) "American Bladesmith: Journal of the American Bladesmith Society, Inc., Issue 3," 2001, colored illustrations, 39 pages; (1) "How to Make the Basic Scagel Slip Joint Folder," Jerry Van Eizenga, 2003, illustrated, 27 pages; (1) "Knife World: The Official Publication of the National Knife Collectors Association, Volume 23, No. 8," 1997, illustrated, 40 pages; largest: approx 12.75"h, 10.25"w, 41.75lbs total **Provenance: From the estate of Dr. James R. Lucie, a well-known knifemaker, retired physician and author. He had a several-year waiting list of people wanting to purchase his hand-forged knives at the time of his death and at one point, had the largest collection of knives and ironwork made by William Scagel. Dr. Lucie is the author of "Scagel Handmade," published in 2010.**
RARE PENNSYLVANIA J.D. CUSTER PILLAR AND SCROLL SHELF CLOCK Circa 1835. Mahogany case with carved finials. Original painted iron dial signed J.D. Custer Morristown PATENT. 8-day cast brass movement.Catalog Note: Illustrated in Bulletin of the Historical Society of Montgomery County, Fall 1988, Vol. XXXI, No. 3, page 173.Literature: LaFond, Edward F: Pennsylvania Shelf & Bracket Cocks, 1750-1850 by Edward F. LaFond Jr. & J. Carter Harris, 2008, pg. 46.
GROUP OF ANTIQUES REFERENCE BOOKS. The Pine Furniture of Early New England Russell Hawes Kettell English Domestic Brass 1680-1810 and History of its Origins Rupert Gentle and Rachael Feild Living With Antiques: A Treasury of Private Homes in America Alice Winchester Old Stuff in Up-Country Pennsylvania Earl. F. Robacker The Flowering of American Folk Art 1776-1876 Jean Lipman and Alice Winchester The Antiques Treasury of Furniture and Other Decorative Arts Alice Winchester America's Quilts and Coverlets Carleton L. Safford and Robert Bishop Azerbaijan Carpet Rugs and Carpets of the Orient Nathaniel Harris Oriental Lowestoft Chinese Export Porcelain J.A. Lloyd Hyde The American Clock: A Comprehensive Pictorial Survey 1723-1900 William H. Distin and Robert Bishop Furniture Treasury vol. 3 Wallace Nutting Gone Are the Days: An Illustrated History of the Old South Harnett T. Kane Folk Sculpture USA: Brooklyn Museum and Los Angeles County Museum of Art Exhibition 1976 China-Trade Porcelain: An account of its historical background manufacture and decoration and a study of the Helena Woolworth McCann Collection by John Goldsmith Phillips Chinese Trade Porcelain Michel Beurdeley Pennsylvania Dutch American Folk Art Henry J. Kauffman Spatterware and Sponge: Hardy Perennials of Ceramics Earl F. and Ada F. Robacker 101 Masterpieces of American Primitive Painting Great Historic Houses of America Phyllis Lee Levin Beyond New England Thresholds Samuel Chamberlain America's Folk Art Robert L. Polley The Heritage of Early American Houses John Drury This England: National Geographic Society America's Country Furniture 1780-1875 Ralph and Terry Kovel Book of American Clocks Brooks Palmer Two Hundred Years of American Clocks and Watches Chris bailey American Bird Decoys William J. Mackey Jr. American Pewter J.B. Kerfoot Polly's Principles Polly Bergen American Glass george and Helen McKearin Colonial Furniture in America Luke Vincent Lockwood The American Heritage History of Antiques Marshall B. Davidson The Chamberlain Selection of New England Rooms 1639-1863 Samuel and Narcissa G. Chamberlain English Ceramics Circle Transactions 1-5/Volume I and 6-10/Volume 2 English porcelain Circle transactions 1-4 \/volume 1 The World Guide to Antiquities Seymour Kurtz Pewter in America volumes I and II Ledlie L. Laughlin Early Pennsylvania Arts and Crafts John Joseph Stoudt Charlton Heston Presents the Bible Lighting in America Lawrence S. Cooke A Directory of Antique Furniture F. Lewis Hinckley American Folk Art Canes George H. Meyer Furniture Treasury Wallace Nutting The Last two Million Years (Reader's Digest) The Horizon Book of the Arts of Chine (Horizon Magazine) The New Yorker Cartoon Album 1975-1985 The Book of Rugs Oriental and European Ignaz Schlosser American Antiques Norman Hudson Concise Encyclopedia of American Antiques Helen Comstock The Pennsylvania German Collection by the Philadelphia Museum of Art Connecticut Furniture of the Seventeenth and Eighteenth Centuries (Wadsworth Atheneum) The Complete Encyclopedia of Antiques L.G.G. Ramsey The Leeds Pottery Donald Towner The History and Folklore of American Country Tinware 1700-1900 Margaret Coffin Guide to American Pewter Carl Jacobs Pennsylvania Dutch Stuff: Guide to Country Antiques Earl F. Robacker Tidewater Virginia in Color Parke Rouse Jr. A History of American Pewter Charles F. Montgomery Fine Points of Furniture: Early American Albert Sack A Window on Williamsburg John J. Warklet Jr. American and English Antiques of the Eighteenth Century Max Webber INC (catalogue 3 1971) A Handbook of Popular Antiques Katharine Morrison McClinton Historic Deerfield: Houses and Interiors Samuel Chamberlain and Henry N. Flynt Antiques as Investment Richard H. Rush
TN Ephemera and Prints, 30 pcs: Assorted TN Prints and Ephemera, 30 items total. 1st item: "Fourth Annual Report of the Public Schools of the City of Nashville, Tennessee" imprint, published by Smith, Camp, and Company, Printers, Patriot Office, 22 pages with a table of attendance, 1858. Paper and string bound book reporting the activities of the Nashville Public Schools of past year, submitted by J. F. Pearl, Superintendent, to the Board of Education, detailing information concerning subjects such as the deaths of the teachers and pupils, discipline and attendance, and examples of questions to be answered by candidates of the High Schools regarding English Grammar, Geography, Arithmetic, History, Latin, Watts on the Mind, and Spelling. Preceding the example questions, Pearl closes his report by repeating the petition "Give us a commodious school house on College Hill, and an Examination Hall upon the lot adjoining the Hume Building". 8 3/8" H x 5 1/4" W. 2nd item: Sepia toned photograph depicting "North on Gay St. " after a "Big Fire at Knoxville, Tenn--April 8th 1897, "Hotel Knox" started". Features the burned-out building facades near Sanford, Chamberlain and Albers Druggists, with views of telegraph wires and crowds of people surveying the damage. Mounted to card stock. Photograph - 4 1/2" H x 6 1/2" W. Card stock - 5 1/2" H x 7 1/2" W. Late 19th century. 3rd item: "Buildings and Forts (TN/GA/VA)", Plate CXXIV, lithographed with tinted color by Julius Bien & Company, published by the U. S. Government Printing Office, Washington, D. C. , 1895. From "Atlas to Accompany the Official Records of the Union and Confederate Armies, 1861-1865". Depicts 9 scenes of significant Civil War buildings and forts in Tennessee, Georgia, and Virginia including "Nashville, Tenn. from the South-East. Showing the State Capitol", "Buzzard Roost Gap and Rocky Face Ridge, GA", and "Battery Spofford, VA". Image - 16 1/4" H x 27 1/4" W. Sheet - 18 1/4" H x 29" W. 4th item: "Nashville, Tenn. from the South-East. Showing the State Capitol", part of "Buildings and Forts (TN/GA/VA)", Plate CXXIV, lithographed with tinted color by Julius Bien & Company, published by the U. S. Government Printing Office, Washington, D. C. , 1895. From "Atlas to Accompany the Official Records of the Union and Confederate Armies, 1861-1865". Mounted to matte and sealed with plastic. Image - 8 5/8" H x 11 1/2" W. Matte - 12" H x 16" W. 5th item: "Cumberland Gap" steel plate engraving with hand coloring by Samuel V. Hunt, after Harry Fenn, published by Daniel Appleton and Company, New York, circa 1972. From "Picturesque America" by William Cullen Bryant. Housed in black wooden frame with matte. Image - 5 1/4" H x 7 7/8" W. Sight - 7 1/4" H x 9 1/8" W. Framed - 13 1/8" H x 6 1/4" W. 6th and 7th items: Two engravings with later hand coloring depicting Nashville, one from "A Comprehensive View of Our Country and Its Resources ", by James D. McCabe Jr. , published by the Hubbard Brothers, Philadelphia, 1876. Both with text pages en verso. Both housed in wooden frames. Images range in size from 2 1/2" H x 3 3/4" W to 2 5/8" H x 4" W. Frames range in size from 5 5/8" H x 9 1/4" W to 7 3/8" H x 8 1/2" W. 8th and 9th items: Two copper plate engravings with hand coloring titled "General View of Cumberland Gap, Tennessee", drawn by Dr. B. Howard, published by Harper's Weekly, 1862, and "Army of the Cumberland--Nashville and its Fortifications", published by Harper's Weekly, 1864. "Cumberland Gap" engraving has linen backing. Both mounted to mattes. Images approximately - 6" H x 9" W. Sheets approximately - 8" H x 10 3/4" W. Mattes approximately - 11" H x 14 1/8" W. 10th and 11th items: Two woodcut engravings, one with hand coloring, of "The State Capitol, at Nashville, Tennessee", published by Ballou's Pictorial Drawing-Room Companion, 1857. The uncolored engraving includes the original full page with "A Prayer Wheel at Cashmere, India, " engraving and text. Both engravings mounted to mattes, colored engraving sealed with plastic. Images approximately - 5 1/2" H x 7 7/8" W. Mattes approximately - 11" H x 13" W. 12th item: Copper plate engraving with hand coloring titled "Central Tennessee College", drawn by Wheeler Marshall Bruce, with "Central Certificates" text page en verso. Mounted to matte. Image - 3 5/8" H x 7 1/8" W. Sheet - 7 3/8" H x 10 3/4" W. Matte - 11" H x 14" W. 13th item: "Tennessee Centennial Exposition: The National Event of 1897" program, published by Marshall and Bruce Company, Nashville, circa 1897. The 38 page program features black and white images of significant buildings, including a "Bird's Eye View of Exposition", descriptions of the planned events, and nearby points of interest including Civil War battlefields and national cemeteries. Folded - 8 5/8" H x 4" W. Unfolded - 8 5/8" H x 15 3/8" W. 14th-24th items: Ten postcards, five chromolithographs, four sepia toned photographs, and one lithograph, depicting scenes in and around Nashville, Tennessee. "St. Ann's Church and Rectory and Martin Hall" postcard is addressed to Mrs. Louisa Sebring, Halifat, Kansas with writing in black in from her sister, and a one cent Franklin stamp, illegible postmark. Four photograph postcards housed in plastic sleeve. Postcards approximately - 3 1/2" H x 5 1/2" W. Early/mid 20th century. 25th-26th items: Two woodcut engravings titled "Vanderbilt University, Nashville, Tennessee", sketched by H. P. Whinnery, engraved by Rattlescraw. Depicts the majority of the Vanderbilt University campus including the Chancellor's Residence, the Science Hall, the Observatory, the Main Building, and others. Buildings labeled below map. Image - 9 3/4" H x 14 1/2" W. Sheets range in size from 11 3/4" H x 16" W to 12 1/2" H x 19" W. 27th-28th items: Two paper advertisements, one chromolithograph, one lithograph, for Knoxville businesses. Chromolithograph is to advertise the opening of "The Great Atlantic and Pacific Tea Company" at 322 Union Street, Knoxville, TN and depicts "Madison Square, Hoffman House and Broadway in New York city. The lithograph is to advertise "Roth Coal Co", Yard at Oak St. , Office at 603 Prince Street, Knoxville TN, and depicts "7, 500 Tons Pure White Moss" in the yard. Chromolithograph - 6 1/4" H x 8 1/2" W. Lithograph - 4" H x 9 1/4" W. Late 19th/early 20th century. 29th-30th items: Two pages with engravings and text related to Tennessee with information about population, climate, industries, government, etc. South Dakota engraving and text page en verso of page 378. Pages range in size from 13 1/2" x 11 1/4" W to 14 1/2" H x 11 1/2" W. Early 20th century. (Higher-resolution photos are available at www. caseantiques. com) Condition 1st item: Overall good condition. 1" tear top of binding visible from page 19 to end of imprint. Few foxing spots, largest 1/8" lower left of cover. Top right corners of page 21 and back cover torn. 2nd item: Overall good condition. Two black pen marks, largest 1", top left of photograph. 3rd item: Light toning around edges of sheet. Two tears, largest 1 1/4", center bottom edge of sheet. 4th item: Overall excellent condition. Not examined out of matte. 5th item: Minute foxing spots on surface of sheet. Not examined out of frame. 6th and 7th items: Minute foxing spots on surfaces of sheets. Not examined out of frames. 8th and 9th items: Minute foxing spots on surface of sheets. 10th and 11th items: Toning on edges of uncolored sheet. Colored engraving in overall excellent condition. Not examined out of matte. 12th item: Slight toning on edges of sheet. 13th item: Light overall toning. 14th-24th items: Overall good condition with slight wear expected from age. 25th-26th items: Overall excellent condition. Slight toning, bends, tears on larger sheet. 27th-28th items: Advertisements exhibit foxing spots, scuffs, and paper tears to be expected from age. 29th-30th items: Overall good condition. Slight toning around edges of pages.
American political figures, 98 signatures including "P[ierce] Butler" (1744-1822, signer of Constitution), autograph check, June 17, 1799, spindle hole, adhesions verso ; "Warren Hastings" (1732-1818, Indiana Governor), check, June 11, 1791, repair, small holes ; "F[rancis] E. Spinner" (1802-1890, Lincoln's Treasury Secretary), check, September 1, 1849, plowman with horses vignette; "Edwin M. Stanton" (1814-1869, Lincoln's War Secretary), bold black cut signature (on card); "Jon[a]th[an] Trumble" (original family spelling of "Trumbull") (1710-1785, only colonial governor to support Revolution, cut document, January 20, 1755, 1 x 5-3/4 in.; and "Jon[a]th[an] Trumbull" (Jr., 1740-1809), partly printed document appointing Charles Baldwin as Lieutenant in the 2nd Company, 17 Regiment of the Connecticut Militia, boldly signed as "Captain General and Commander in Chief…over the State of Connecticut", October 17, 1804, separations, fold through one letter of signature, minor stains and edge chips ; other signatures include George S. Boutwell, Benjamin F. Butler, John J. Crittendon, Charles Foster, John W. Hoyt, J. Sterling Morton, Jerimiah M. Rusk, Dr. Julius Hawley 1876 ALS, Thaddeus Stevens, Union General Benjamin F. Tracy, Lyman Trumbull and William Windon, many on album pages, some on receipts, some cut, all in archival sleeves housed in two black leather "Presidential" series albums with gilt borders and titles, by Exposures, 14-1/2 x 13 in. Toning, creases, folds, stains, separations, small losses throughout. Collection of H. Donald Nelson, Williamsburg, Virginia.
LENWOOD MORRIS
Self-Portrait.
Oil on thick cardstock, circa 1913. 320x260 mm; 12 1/2x10 1/4 inches. Widespread cracklure.
With an oil sketch of a classroom interior on the verso. With a typed note attached to the frame back, "Self-Portrait by Lenwood Morris, executed by the artist when a student at the Academy of Fine Arts, Pennsylvania about 1913 and given by him to his friend, John F. Porter, Jr. in that year. -- J.A. Porter."
Provenance: Gift of the artist to John F. Porter, Jr., 1931; James A. Porter; hence by descent to his daughter, Constance Porter-Uzelac. This is the first known work by this artist to come to auction.
Lenwood Morris was a student at the Philadelphia Academy of Fine Arts with other African-American artists such as Laura Wheeler Waring and Julian Abele in the early 1900s. His watercolor Woman with Parasol of 1908 is in the Academy's permanent collection, and his oil portrait of the important African-American philosopher Alain Locke is in the collection of the Howard University Art Gallery.
J.F. Herring Jr. o/c, Hunt and Barn Scene John Frederick Herring Jr. (British, 1815-1795) oil on canvas landscape, depicting five horses, several chickens and pigs inside a fenced barnyard, while several fox hunters depart on horseback in the background. Signed lower left of center, J.F. Herring. Later parcel gilt molded frame. 13 1/2" x 20 1/2" sight, 19" x 26" framed. Note: John Frederick Herring Sr. (1795-1865) and his sons, John Frederick Herring Jr. (1815-1907) and Charles and Benjamin were painters, known for their hunting and barnyard scenes. We have attributed this work to J.F. Herring the younger based on the apparent age of the canvas. It should also be noted that J.F. Herring Jr. and his brothers were known to have collaborated on canvases. (Higher-resolution photos are available at www.caseantiques.com)
Pennsylvania Pillar and Scroll Clock, Allentown, circa 1830, the cherry case with scroll top and turned finials, four turned free-standing columns flanking the full-length door with lower painted floral decoration on iron, 12 in. painted iron dial with roman numerals and figural depictions of the four continents, turned wooden feet, thirty-hour beech frame movement with right mounted countwheel strike, frame marked SW, brass wheels, lead weights and pendulum, (restored), ht. 32 1/2 in.
For an authoritative discussion on these unusual clocks see: Edward F. Lafond Jr. and J. Carter Harris, Pennsylvania Shelf and Bracket Clocks, 1750-1850, pp. 9-28. A nearly identical movement is shown in Fig. 9, p. 25.
turned feet, scroll top and associated blocking are replacements, bell now replaced with a gong mounted on a pine backing, painted iron "tablet" appears to be original although now mounted in frame with new wooden strips.
5 BENEDICT F. FITZGERALD JR HISTORICAL PHOTOGRAPHS United States,20th CenturyFive photographs from the personal collection of Benedict F. Fitzgerald Jr, a prominent lawyer in Massachusetts who's clients throughout his career included President Roosevelt, President Truman, Zsa Zsa Gabor, and Jimmy Hoffa. The lot itself includes one photograph of Mr. Fitzgerald and Jimmy Hoffa, one photograph of Mr. Fitzgerald and President Truman shaking hands, a personally signed and inscribed photograph of President Truman for Mr. Fitzgerald, a photograph of Mr. Fitzgerald in a helicopter during his campaign for lieutenant governor, and a personally inscribed photographed of Cardinal Richard J. Cushing the Archbishop of Boston.
(lot of 50) Collection of books: comprising: (1) "Sheffield Exhibition Knives," 1999, colored illustrations, 245 pages; (1) in Spanish, "Joseph Rodgers and Sons," Abel A. Domenech, 1999, colored illustrations, 294 pages; (1) "The Master Bladesmith: Advanced Studies in Steel," Jim Hrisoulas, 1991, illustrated, 286 pages; (1) "Arms and Armor in Colonial America 1526-1782," Harold L. Peterson, 1956, illustrated, 350 pages; (1) "Master of the Forge: William F. Moran Jr. and his Classic Blades," B. R. Hughes and C. Houston Price, 1996, colored illustrations, 214 pages; (1) "American Axes," Henry J. Kauffman, 1972, illustrated, 151 pages; (1) "NRA Firearms & Ammunition Fact Book," Walter J. Howe, 1964, 352 pages; (1) "Western Ammunition Handbook," 1950, illustrated, 88 pages; (1) "Gun Collectors' Guide: The Complete Guide to Antique Gun Collecting," Martin Rywell, 1958, illustrated, 128 pages; (1) "Fawcett Book: Famous Guns from the Harolds Club Collection, Book 518," Hank Wieand Bowman, illustrated, 144 pages; (1) "Fawcett Book: Antique Guns from the Stagecoach Collection," Hank Wieand Bowman, illustrated, 112 pages; (1) "Maco: Collectors' Guns," Don Myrus, illustrated, 128 pages; (1) "American Antique Rifles and their Current Prices," Martin Rywell, 1958, illustrated; (1) "Fawcett Book: Luician Carry on Guns," Larry Eisinger, 1959, illustrated, 144 pages; (1) "Trend Book: Complete Guidebook of Handguns," Charles M. Heard, 1960, illustrated, 128 pages; (1) "American Antique Guns and their Current Prices," Martin Rywell, 1960, illustrated, 95 pages; (1) "Robert Abels Inc., Antique Firearms and Edged Weapons, illustrated, 92 pages; (1) "Air Gun Batteries," Eldon G. Wolff, 1963, illustrated, 28 pages; (1) "Western Skeet Equipment," illustrated, 36 pages; (1) "Western Traps and Targets," illustrated, 40 pages; (1) "Trapshooting Handbook," 1931, illustrated, 32 pages; (1) "Skeet: The All-Season Sport for Shotgun Shooters," 1932, illustrated, 21 pages; (1) "Western Ammunition for Rifle, Revolver, and Shotgun," 1932, illustrated, 52 pages; (1) "Handbook of Confederate Swords," William A. Albaugh III and Richard D. Stewart, 1951, illustrated, 127 pages; (1) "The Gun Collector Magazine, Issues 18-26, Letter Issues 1-17," G. Charter Harrison Jr., illustrated; (1) "Fawcett Book: Famous Guns from the Smithsonian Collection," Hank Wieand Bowman, 1966, illustrated, 112 pages; (10) issues of "The Gun Collector," 1948-1950, each illustrated; (3) "Al Kelly - Jack Malloy Fine Antique Firearms Catalogues," No.1, 2, and 5, each illustrated; (1) catalogue, "Marlin," illustrated, 24 pages; (1) catalogue, "Guns Inc., Antique & Modern Arms and Sporting Goods: Featuring Selden A. Ingraham Collection," 124 pages; (1) catalogue, "Antique Firearms, No.6: Featuring Joseph Gnau Collection," illustrated, 95 pages; (1) catalogue of two-day firearms auction, 103 pages; (1) "Antique Firearms: Priced and Illustrated Sales List - Special 1941 Issue," James E. Serven, 1941, illustrated, 22 pages; (1) "Fawcett Book: Antique Firearms," Hank Wieand Bowman, 1959, illustrated, 144 pages; (1) "Fawcett Book: Antique Firearms," Hank Wieand Bowman, 1963, illustrated, 112 pages; (1) catalogue, "Antique Firearms No.7," 144 pages; (1) "Colt's Price List of Component Parts," illustrated, 15 pages; (1) catalogue, "Philip B. Sharpe Collection Auction," 1959, 39 pages; (1) "William F. Moran Jr., Forever a Legend," Francesco Pachi and Steve Shackleford, colored illustrations, 271 pages; largest: approx 12"h, 10" w **Provenance: From the estate of Dr. James R. Lucie, a well-known knifemaker, retired physician and author. He had a several-year waiting list of people wanting to purchase his hand-forged knives at the time of his death and at one point, had the largest collection of knives and ironwork made by William Scagel. Dr. Lucie is the author of "Scagel Handmade," published in 2010.**
Carpenter Tools Shaving Mug.
Description Gilt name "J.F. Schoem Jr" and "sxmas 1911" in large gold letters on side. Koken Barber Supply stamp on bottom. Some minor gold loss but no repairs or damage. Some writing underneath the top rim is no longer there (just traces of lettering remains).
Condition (Excellent). ...
FOUR PAIRS OF AMERICAN SILVER SALT CELLARS 18TH-19TH CENTURY, 24.6 OZFour Pairs of American Silver Salt Cellars, 18th-19th Century The first pair of handled navette form salt cellars, William Gale & Son, New York, 1859, initialed T; the second pair, possibly Joseph Richardson Jr., Philadelphia, circa 1756, initialed E.D.F. and J.F./ 1756; and the third and fourth pairs, Bailey & Co., Philadelphia, circa 1850, one inscribed M.R. to M.D.V. and monogrammed ESD, and the other with floral repoussé decoration. Length of the first pair: 6 in (15.2 cm) Total weight: 24.6 ozProperty from the Demaris J. Williams Trust
GRAND CURLEWCharles Sumner Bunn (1865-1952)
Shinnecock, NY, c. 1900
17 1/2 in. long
In 1971 Milton Weiler’s “Classic Shorebird Decoys” portfolio was published with text by William J. Mackey Jr. Across from Weiler’s Plate No. 3, illustrating a closely related curlew, Mackey writes, “In hand [the maker's] decoys have the feel of real birds. His knowledge and study of the live bird and his skill with a knife transferred the feel of the wishbone, the unfolded wings, and the modeling of the bone structure to blocks of wood. His was a unique talent not given to any other decoy maker.” Mackey also states, “Nothing finer has been found ever since.”
This newly discovered and exceptionally rare Long Island shorebird now joins a small and elite group of curlew by this celebrated carver and guide. It has been passed down through a prominent New York family who lived in the city and escaped to Long Island and specifically the Hamptons. The family had a strong sporting heritage dating back to at least the 19th century and played host to figures, including Ogden M. Pleissner. This decoy, along with one rigmate, was retired from gunning to be displayed in their Upper East Side apartment. The bird is now making its debut to the decoy community on the heels of its mate, capping one of the greatest shorebird decoy discoveries in recent memory.
Very few decoys of this coveted model have surfaced, with fewer still held in private collections. One example from the William J. Mackey Collection was acquired by Dr. James McCleery in the 1970s, setting a record price for any decoy at the time. After that bird traded again in the McCleery auction decades later, it rejoined the ranks of the top decoys ever sold. The second comparable in private hands recently reached the market from the estate of Dr. Lloyd Griffith. And, lastly, this decoy’s rigmate reached the auction block in the Sporting Sale 2022. Condition reports provided for the aforementioned private collection examples suggest that all four have survived in fairly comparable condition.
Rounding out his monumental curlew model, two related examples from the rig of T.F. Norton have been held in the Long Island Museum at Stony Brook since they were gifted in 1966. One of these two appears to be the model for Weiler’s illustration. This survey makes this lot the sixth of this model to surface publicly, and only the fourth to come to auction.
The grand body is larger than some waterfowl and accordingly was made with two-piece construction, held together by wooden pegs. "The shorebirds are ‘sui generis,’” writes historian and curator Bob Shaw, “carved to suggest nuances of body forms and underlying bone and muscle that no other carver even attempted.” Regarding his best works, Shaw states, “[They] transcend the decoy genre to rank among the finest bird portraits created by an American artist.”
Original paint with moderate gunning wear and a replaced bill. Shallow flat area around stick hole has been restored.
Provenance: Private Collection, by descent in a prominent New York City family
Literature: Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, pp. 180-181, related example illustrated.
Robert Shaw, "Call to the Sky: The Decoy Collection of James M. McCleery, M.D.," Houston, TX, 1992, back cover and pp. 36-37, related example illustrated.
Milton C. Weiler and William J. Mackey Jr., "Classic Shorebird Decoys: A Portfolio of Paintings," New York, NY, 1971, pl. 3, related example illustrated and discussed.
Timothy Sieger, "The Decoys of Long Island," Water Mills, NY, 2010, front dust-jacket cover, frontispiece, and pp. 38-39, related example illustrated.
E. Jane Townsend, “Gunners Paradise: Wildfowling and Decoys on Long Island,” Stony Brook, NY, 1979, p. 106, Norton rig pair illustrated.
Sotheby's and Guyette and Schmidt, "American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery," New York, NY, January 22–23, 2000, lot 207, related example illustrated.
Quintina Colio, "American Decoys," Ephrata, PA, 1972, p. 69, related examples illustrated (image reversed).
Middle East and Africa.
Isabel Burton. The Life Of Captain Sir Richard. R. Burton, K.C.M.G., F.R.G.S.. 2 Vols. NY: D. Appleton & Company, 1893. 8vo. Gilt-pictorial black cloth, lightly soiled, edges partly worn/frayed. Contents very good, front hinge Vol 1 cracked. Numerous portraits, text illustrations, plates (b&w and color), and 5 maps. Bookplate of J. Barton Townsend on front pasttedown, signature of J. M. Johnston Jr. on front black (paper clip stain), partly unopened.
Charles Sumner Bunn (1865-1952)
Shinnecock, NY, c. 1900
18 in. long
In 1971 Milton Weiler’s “Classic Shorebird Decoys” portfolio was published with text by William J. Mackey Jr. Across from Weiler’s Plate No. 3, illustrating a closely related curlew, Mackey writes, “In hand [the maker's] decoys have the feel of real birds. His knowledge and study of the live bird and his skill with a knife transferred the feel of the wishbone, the unfolded wings and the modeling of the bone structure to blocks of wood. His was a unique talent not given to any other decoy maker.” Mackey also states, “Nothing finer has been found ever since.”
This newly discovered and exceptionally rare Long Island shorebird now joins a small and elite group of curlew by this celebrated carver and guide. It has been passed down through a prominent New York family who lived in the city and escaped to Long Island and specifically the Hamptons. The family had a strong sporting heritage dating back to at least the 19th century and played host to figures including Ogden M. Plesissner. This decoy was retired from gunning to be displayed in their Upper East Side apartment. The bird is now making its debut to the decoy community, marking one of the greatest shorebird decoy discoveries in recent memory.
Very few decoys of this coveted model have surfaced, with fewer still held in private collections. One example from the William J. Mackey Collection was acquired by Dr. James McCleery in the 1970s, setting a record price for any decoy at the time. After that bird traded again in the McCleery auction decades later, it rejoined the ranks of the top decoys ever sold. The second and last known comparable in private hands, recently reached the market from the estate of Dr. Lloyd Griffith. Condition reports provided for the two aforementioned private collection examples suggest all three have survived in fairly comparable condition.
Lastly two related examples from the rig of T.F. Norton have been held in the Long Island Museum at Stony Brook since they were gifted in 1966. One of these two appears to be the model for Weiler’s illustration. This survey makes this lot the fifth of this model to surface publicly, and only third to come to auction.
The grand body is larger than some waterfowl and accordingly was made with two piece construction, held together by wooden pegs. "The shorebirds are ‘sui generis,’” writes historian and curator Bob Shaw, “carved to suggest nuances of body forms and underlying bone and muscle that no other carver even attempted.” Regarding his best works, Shaw states, “[They] transcend the decoy genre to rank among the finest bird portraits created by an American artist.”
Original paint with even gunning wear and some flaking mostly to front. Head has touch-up to neck crack and back of head and replaced bill. Shallow flat area around stick hole has been restored.
Provenance: Private Collection, by descent in a prominent New York City family
Literature: Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, pp. 180-181, related example illustrated.
Robert Shaw, "Call to the Sky: The Decoy Collection of James M. McCleery, M.D.," Houston, TX, 1992, back cover and pp. 36-37, related example illustrated.
Milton C. Weiler and William J. Mackey, Jr., "Classic Shorebird Decoys: A Portfolio of Paintings," New York, NY, 1971, pl. 3, related example illustrated and discussed.
Timothy Sieger, "The Decoys of Long Island," Water Mills, NY, 2010, front dust-jacket cover, frontispiece, and pp. 38-39, related example illustrated.
E. Jane Townsend, “Gunners Paradise: Wildfowling and Decoys on Long Island”, Stony Brook, NY, 1979, p. 106, Norton rig pair illustrated.
Sotheby's and Guyette and Schmidt, "American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery," New York, NY, January 22–23, 2000, lot 207, related example illustrated.
Quintina Colio, "American Decoys," Ephrata, PA, 1972, p. 69, related examples illustrated (image reversed).
Follower of Jean-Fran?ois Millet: (French, 1814-1875)Potato Gatherer, bears signature lower right "J. F. Millet", oil on canvas, 16-1/4 x 13 in. ; gilt wood and composition frame, 25 x 21-7/8 in. - Provenance: John Fenning, New York to Herman Kertscher, New York, sold December 4, 1909 for $2, 000 (accompanied by original receipt); Marjorie J. Doll by descent to Estate of Paul W. Doll, Jr. , Lake Toxaway, North Carolina Dimension Condition original stretcher and tacking edge, yellowed varnish, surface dirt, crackle, cupping with quilting verso; frame with some resurfacing, losses to composition, wear˜
SIX HARDCOVER BOOKS ON AMERICAN MUSEUM COLLECTIONS Assortment of six hardcover books on American museum collections comprising, editor Andree Bober, "The Collections: The University Of Texas At Austin", Edward Park, "Treasures Of The Smithsonian", John Walsh and Deborah Gribbon, "The J. Paul Getty Museum and Its Collections: A Museum For The New Century", editors Earle D. Clowney and David F. Dorsey, Jr., "In The Eye Of The Muses: Selections From The Clark Atlanta University Art Collection", editor Peter H. Hassrick, "The Georgia O'Keefe Museum", and various authors, "The Art Institute Of Chicago: Twentieth-Century Painting And Sculpture". Provenance: From the Private Collection of Joel A. Katz, Atlanta, Georgia. Approx. "The Collections: The University Of Texas At Austin" h.12.25", w. 10.25", d. 2.75".
6 vols. Vonnegut, Kurt, Jr. Signed Copies: God Bless You, Mr. Rosewater. New York, etc. : Holt, Rinehart and Winston, (1965). 1st ed. 8vo, orig. bds. ; stained, d/j (some chipping to edges, slightly dusty, some spotting). Signed on front free endpaper recto by Kurt Vonnegut, Jr. G+. * The 1st Delacorte ptg. of the preceding, [1971]. 8vo, orig. cloth, d/j. Inscribed & signed by Kurt Vonnegut, Jr. on 1/2 title. NF. * Breakfast of Champions. (New York) : Delacorte, (1973). 1st ptg. 8vo, orig. cloth, d/j. Inscribed & signed in red marker by Kurt Vonnegut, Jr. on 1/2 title. NF. * Wampeters Foma & Granfalloons. (New York) : Delacorte, (1974). 1st ptg. 8vo, orig. cloth, d/j (slightly scuffed, minor chipping at edges). Inscribed & signed in red marker by Kurt Vonnegut, Jr. on front free endpaper recto. VG+. * Timequake. New York: Putnam's, (1997). 1st ptg. 8vo, orig. bds. , d/j. Signed by Kurt Vonnegut on 1/2 title. NF+/F. * Bagombo Snuff Box. New York: Putnam's, (1999). 1st ptg. 8vo, orig. bds. , d/j. Signed by Kurt Vonnegut on title page. NF+/F.
Jacob D. Custer, Mahogany Shelf Clock, Norristown, Pennsylvania, c. 1830, the scroll-top case with freestanding columns flanking the 12 3/4-in. painted iron Arabic numeral dial signed J. D. Custer/Norristown/Patent with grain painted border around the perimeter and flowers in the spandrels and arch, lower mahogany veneered panel and four turned feet, eight-day time and strike movement with "pin" countwheel strike on great wheel with double-ended hammer, anchor escapement, pendulum, and two lead weights, ht. 38 1/2 in. Provenance: The Time Museum, Rockford, Illinois (Inventory #980), Sotheby's Masterpieces from the Time Museum, October 14-15, 2004, Lot 1105; George Goolsby; Terry and Karen Brotherton. Literature: This clock is illustrated and discussed in Edward F. LaFond, Jr. and J. Carter Harris, Pennsylvania Shelf and Bracket Clocks, 1750-1850, p. 48. Estimate $15,000-25,000 Weights are replacements, repairs to reverse of scrolls, lacking pendulum, original hands, dial undisturbed including signature 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.
J.J. Elliott Monumental Carved Mahogany Quarter-chiming Hall Clock, c. 1900, case attributed to R.J. Horner & Co., W. 23rd Street, New York, from the estate of Colonel Park Shaw of Carefree, Arizona, finely carved removable crest with winged figures flanking a center raised boss supported by flowers, leaves, and scroll decoration over the gadrooned crown molding, below winged griffins flank the composite brass arabic numeral dial with seconds bit, subsidiary dials for Chime-Silent and Westminster/Whittington chime selection, moon's age in the arch and pierced brass grillwork on spandrels and center, the glazed waist door flanked by human and fish-form caryatids over the fully carved base panel with central putti, birds, a grotesque mask, and allegorical human depictions of the wind on a punch-decorated ground, eight-day, three-train, quarter-chiming movement by J.J. Elliott, LTD, London, with nine tubular bells, deadbeat escapement, rack and snail strike, brass-faced seconds-beating pendulum and three brass-cased weights, ht. 116 in. Provenance: This clock was reportedly owned by John Jacob Astor IV of the prominent Astor family of New York. Purchased from Tiffany & Co. of New York in the early 20th century by Mr. Astor and given as a gift to a friend by the name of Ms. Huntington, a Metropolitan Opera singer. After the passing of Mr. Astor in 1914 aboard the famous Titanic, Ms. Huntington sold it to a Dr. and Mrs. John A. Burke, an eminent New York physician. Dr. Burke and his wife retired to Pittsfield, Massachusetts, his native city, sometime in the late 1920s early 1930s. An article dated October 1934 appeared in the Berkshire Evening Eagle titled "John Jacob Astor's Clock Stands in Local Homestead" recalls a short history of the clock. It was then gifted to or purchased by Mr. and Mrs. Shaw in 1967, also of Pittsfield. It was then handed down to A. Park Shaw Jr. who became a Colonel in the U.S. Army and resided in his later years in Carefree, Arizona, until his death last year. Mrs. Cherri Shaw is parting with this beloved family piece with a heavy heart but believes it will find a new caring custodian. There is extensive family history, including black-and-white photographs, repair invoices, and original typed correspondences between R.P. Swanson, manager of the clocks department at Tiffany & Co., R.W. Elliott of F.W. Elliot Ltd., of Croydon, England, the maker of the movement, and Park Shaw Jr. between the dates of July 1968 and November 1969 trying to piece together the history of this monumental carved clock. There is a photocopied letter dated October 7th, 1969 on F.W. Elliot letterhead to a Rosealind Silberman stating the possible carver of this clock was named Orpen, and the mechanism was imported into the states by Harris and Harrington sometime between 1886-1901. Colonel Park Shaw (1923-2016) graduated from the Kentucky Military Institute in 1942. After graduation he immediately enlisted and was commissioned as a 2nd Lieutenant at Fort Benning, Georgia. He participated with General MacArthur with the initial assault on Luzon in 1945. He later was involved in the initial occupation of Hokkaido, Japan. Following the war, Col. Shaw served on the General Staff of the 6th Army at Presidio in San Francisco. In 1991, he was inducted into the Infantry Officers' Candidate School Hall of Fame. In 2006 he was inducted to the Arizona Veterans' Hall of Fame awarded by Governor Janet Napolitano. Estimate $40,000-60,000 original painted moon's phase with touch-ups, lacking the carved bun feet, seating board has later screws and some splits, tubes not marked, Pendulum on cardboard. Folder with ephemera. Has winding key and door key. 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.
John Frederick Herring, Jr. (English, 1820-1907), "Coming to Drink", oil on canvas, signed "J.F. Herring" lower right, label en verso "A.W. John Simmons, Croydon, Surrey", 10 1/8 in. x 14 1/8 in., in a later frame. $4000/6000 Note: This gem-like small picture is typical of the younger Herring's oeuvre: a farmyard with horses and ponies beside a rustic building and pump, a flock of chickens on the bank of a small stream or pond, and a view of cattle on a wide pasture in the distance. The handling is admirably clear and bold, and the surface is remarkably fine.
Samuel S. Grosch Mahogany Shelf Clock, Marietta, Pennsylvania, c. 1820, with four freestanding turned columns supporting an arched cornice with six plinths topped by brass finials, 13 1/2-in. painted iron dial marked Saml. S. Grosch, Marietta, Pa., Arabic hour, minute, and center calendar numerals, blued steel hour, minute, calendar, and sweep hands, painted dial with country scene with pendulum aperture a tilt-top table, veneered side panels framed with banded inlay, brass paw feet, removable bird's-eye maple veneered panels inside front door, two hinged sections of backboard for access to weights, and eight-day double compounded, weight-powered movement with rack and snail strike, pull repeat, and front-mounted escape wheel and pallets, ht. 36 in. Provenance: Herbert Nilson Collection; Skinner, Sale #2444, February 2009, Lot 50; Terry and Karen Brotherton. Literature: This clock is pictured and discussed in Edward F. Lafond, Jr. and J. Carter Harris, Pennsylvania Shelf and Bracket Clocks, 1750-1850, p. 59; Stacy Wood and Stephen Kramer III, Clockmakers of Lancaster County and Their Clocks, 1750-1850, pp. 63, 221; and The American Clock, pp. 114, 115. Estimate $20,000-30,000 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.