Thirty-One Volumes of New Orleans and Louisiana Interest, including H. C. Warmouth, War, Politics and Reconstruction, Guy Caldwell, Early History of the Ochsner Medical Center (with presentation inscription from Alton Ochsner), Caroline Dormon, Wild Flowers of Louisiana (autographed), Charles L. "Pie" Dufour, Darwin Fenner, Sister Jane Frances Heaney, A Century of Pioneering: A History of the Ursuline Nuns in New Orleans, 1727-1827, Charles B. Brooks, The Siege of New Orleans, J. B. Bernard de la Harpe, The Historical Journal of the Establishment of the French in Louisiana, the Congressional Report of the Battle of New Orleans Sesquicentennial Celebration, 1815-1965, Allan P. Sindler, Huey Long's Louisiana, Gerald M. Capers, Occupied City: New Orleans Under the Federals, 1862-1865 (autographed), Henry A. Kmen, Music in New Orleans: The Formative Years, 1791-1841, Samuel Carter III, Blaze of Glory: The Fight for New Orleans, 1814-1815, Peter V. Rogers, Tragedy is My Parish (autographed), E. Martinez and M. LeCorgne, Uptown/Downtown: Growing Up in New Orleans (autographed), Huey P. Long, Every Man a King, James Gill, Lords of Misrule, the Official U.S. State Papers and Correspondence on the Purchase of the Territory of Louisiana, G. L. St. Martin & J. K. Voorhies, ed., Ecrits Louisianais du Dix-Neuvieme Siecle, Brian Cheramie, Louisiana Lures and Legends, Wayne Mack, Saga of the Saints, Richard B. McCaughan, Socks on a Rooster: Louisiana's Earl K. Long, Robert Mann, Legacy to Power: Senator Russell Long of Louisiana (autographed by both the author and Senator Long), Deno Seder, Wild About Harry: A Biography of Harry Lee, Joe Gray Taylor, Louisiana Reconstructed, 1863-1877, John Wilds, James W. Porch and the Port of New Orleans (autographed), Nolan B. Harmon, The Famous Case of Mary Clark Gaines, Sister Dorothea Olga McCants, They Came to Louisiana, Ray M. Thompson, Land of Lafitte the Pirate, two monographs by Dr. Karl Koenig, Jazz Lectures and History of the March, and the 1955 Y.M.B.C. of New Orleans Blue Book.
5 vols. Military History - The Franco-Prussian & other 19th-Century European Conflicts: Brockett, L.P. The Year of Battles; or The Franco-German War of 1870-71. New York: J.W. Goodspeed, 1871. 8vo, orig. green cloth, gilt-lettered & pictorial spine; light edge wear. Fold. map (cello-tape repairs on verso), wood-engraved full-page illus. & maps, plans. 404 pp. * Another issue of the preceding, New York: H.S. Goodspeed, 1871. 8vo, orig. black publisher's morocco, gilt-lettered spine; extremities rubbed. With full-page, illus., maps, plans. 642 pp. * Cassell's History of The War between France and Germany, 1870-1871. London, etc.: Cassell, [1871]. 2 vols. 4to, orig. gilt & black-stamped pictorial red cloth; some fading to covers, joints frayed, hinges starting to separate. Wood-engraved frontispieces, full-page & text illus. Internally clean. * Barnwell, R. Grant. The Russo-Turkish War. New York: International, (1877). 8vo, orig. pebbled brown cloth, black-lettered spine; some light wear to head & feet of spine. With full-page & text illus., maps. Contemp. pencil inscription on front free endpaper recto.
Daum L'Homme Arborescent by Jean Pierre Demarchi Glass Sculpture on Base In form of multiple serpentine layers of frosted and polished glass, on silvered metal rectangular base with velvet underlining. Glass etched with "Daum France" and "Demarchi". Has silvered metal plaque "L'Homme Arborescent/J.P.Demarchi/Edition Daum". Edition of 500. Sculpture measures approx. 11"H x 10-3/4"W x 3-1/4"D on base approx. 1-1/4"H x 6-7/8"L x 5-5/8"W.
FOUR PIECES OF CHINA. European early to mid 20th century. A hand painted double handle vase with image of two figures in 18th century dress as well as gilt accents and a gilt foliate motif on reverse marked ''J.P.L. France'' 12.75''h. A hand painted plate of roses with gilt border marked ''Souvenir / T & V / France'' 12''d. A hand painted double handled vase decorated with foliate motif and gilt accents marked ''Victoria / Carlssar / Austria'' 7''h. Together with a hand painted vase of swans signed ''Carl Engel'' 12''h. Portion of loss to the lip of the J.P.L. vase some chipping to the base of the Victoria vase and minor glaze loss to the underside of lip on the Engel vase.
LIMOGES EWER. With handpainted monk and floral decoration and a Dragon handle. Signed ''J.P.L France''. 15'' h. Some minor glaze loss.
Books: Fine art furniture decorative arts and travel guides Bernier Rosamond. MATISSE PICASSO MIRO: AS I KNEW THEM. New York: Alfred A. Knopf 1991. Bridgman George B. BRIDGMAN'S LIFE-DRAWING. London: John Lane the Bodley Head Limited 1926. Neuhaus Eugen. WILLIAM KEITH: THE MAN AND THE ARTIST. Berkeley California: University of California Press 1938. Peters Harry T. CURRIER & IVES: PRINTMAKERS TO THE AMERICAN PEOPLE. Garden City New York: Doubleday Doran & Co. Inc. 1942. Walker Phoebe Flory (et al). WATERCOLOR PORTRAITURE. New York: G.P. Putnam's Sons 1949. Watson Ernest W. COLOR AND METHOD IN PAINTING: AS SEEN IN THE WORK OF 12 AMERICAN PAINTERS. New York: Watson-Guptill Publications Inc. 1946. Weisberg Gabriel P. ART NOUVEAU BING: PARIS STYLE 1900. New York: Harry N. Abrams Inc. 1986. Conrad Barnaby (et al). INTERVIEWS WITH MASTER PHOTOGRAPHERS. New York: Paddington Press Ltd. 1977. Signed by author. Conrad Barnaby. JOHN REGISTER. San Francisco: Chronicle Books 1989. Signed by author. Fowler Don D. THE WESTERN PHOTOGRAPHS OF JOHN K. HILLERS. Washington & London: Smithsonian Institution Press 1989. ARCHITECTURAL MONOGRAPHS: JOHN SOANE. London: Academy Editions 1983. Inscribed: For Millei From the author London April 1984. Chaffers William. MARKS AND MONOGRAMS ON EUROPEAN AND ORIENTAL POTTERY AND PORCELAIN. California: Borden Publishing Co. 1946. With dustjacket. Giacomotti Jeanne. FRENCH FAIENCE. New York: Universe Books 1963. 1st edition. With dustjacket. Honey William Boyer. EUROPEAN CERAMIC ART FROM THE END OF THE MIDDLE AGES TO ABOUT 1815: A DICTIONARY OF FACTORIES ARTISTS TECHNICAL TERMS ET CETERA. London: Faber and Faber Limited 1952. With dustjacket. Schmidt Robert. EARLY EUROPEAN PORCELAIN AS COLLECTED BY OTTO BLOHM. Munchen: F. Bruckmann 1953. Limited edition 355/1500. With dustjacket. Tilmans Emile. PORCELAINES DE FRANCE. Paris: Editions Mondes 1953. CORONATION EXHIBITION:1953. London: The Antique Porcelain Co. Ltd. 1953. IRO-NABESHIMA: THE COLOURED NABESHIMA CERAMIC WARE. Japan: Heian-Do 1954. Limited edition. With dustjacket. STAATLICHE PORZELLAN-MANUFAKTUR: MEISSEN. Berlin:1978. Pamphlet. Aronson Joseph. THE ENCYCLOPEDIA OF FURNITURE. New York: Crown Publishers 1949. Jarry Madeleine. LE SIEGE EN FRANCE: DU MOYEN AGE A NOS JOURS. Paris: Paul Hartmann 1948. With glycin book cover. Oglesby Catharine. FRENCH PROVINCIAL DECORATIVE ART. New York: Charles Scribner's Sons 1951. With dustjacket. Viaux Jacqueline. FRENCH FURNITURE. New York: G.P. Putnam's Sons 1964. With dustjacket. Watson F. J. B. FURNITURE: TEXT WITH HISTORICAL NOTES AND ILLUSTRATIONS. London: William Clowes and Sons Ltd. 1956. M. HARRIS & SONS CENTENARY BOOK. London: M. Harris & Sons 1968. Limited edition numbered 121. Barton John. THE HOLLOW CROWN: THE FOLLIES FOIBLES AND FACES OF THE KINGS AND QUEENS OF ENGLAND. London: Hamish Hamilton 1971. With dustjacket. Fillitz Hermann. SCHATZKAMMER: THE CROWN JEWELS AND THE ECCLESIASTICAL TREASURE CHAMBER. Vienna Kunsthistorisches Museum 1963. Gudiol Jose. THE ARTS OF SPAIN. New York: Doubleday & Co. 1964. With dustjacket. Neuhardt Johannes. SALZBURGS ALTE SCHATZKAMMER: 11 JUNI BIS 15 SEPTEMBER 1967 IN DEN ORATORIEN DES SALZBURGER DOMES. Salzburger Domkapitel 1967. Steingraber Erich (ed). ROYAL TREASURES. London: Weidenfeld & Nicolson 1968. With dustjacket. Zucker Benjamin. GEMMES ET JOYAUX: MYSTERES PASSIONS MAGIES. Editions Saphir 1988. With dustjacket. LOUIS XIV FASTE ET DECORS: MAI-OCTOBRE 1960. Paris: Musee des Arts Decoratifs 1960. TREASURES OF BRITAIN AND TREASURES OF IRELAND. London: Drive Publications Ltd. 1968. 1st edition. With dustjacket. Together with pamphlet. THE COURT OF JEWELS: AN ASSEMBLY OF FABULOUS GEMS FROM THE WORLD-FAMOUS WINSTON COLLECTION. Ambriere Francis. LES GUIDES BLEUS: ALLEMAGNE REBUBLIQUE FEDERALE BERLIN; AUTRICHE; BOURGOGNE LYONNAIS; ITALIE; PORTUGAL MADERE ACORES; and YOUGOSLAVIE. Paris: Hachette 1962 65 68 70 & 72. (6 vols). Two with slipcases. Ambriere Francis. LES GUIDES BLEUS: HOLLANDE; GRECE; and EGYPTE. Paris: Hachette 1956. (3 vols). With dustjackets. Ambriere Francis. LES GUIDES BLEUS ILLUSTRES: VERSAILLES ET LES TRIANONS and MOSCOU LENINGRAD. Paris: Hachette 1953 & 63. (2 vols). Baedeker K. MIDI DE LA FRANCE; NORD-EST DE LA FRANCE; and SUD-EST DE LA FRANCE. Paris: Leipzig 1892 97 and 99. (3 vols). Champigneulle Bernard. VERSAILLES: LE CHATEAU LES JARDINS LES TRIANONS. Paris: Bordas 1949. Chettle G. H. HAMPTON COURT PALACE. London: Her Majesty's Stationery Office 1969. Clyne Douglas. YOUR GUIDE TO PORTUGAL. London: Alvin Redman 1965. With dustjacket. Delalle Ivo. TROGIR. Trogir: L' Association de Tourisme de la Commume de Trogir 1969. Foder Eugene (ed). FODER'S SCANDINAVIA 1970. London: Hodder and Stoughton 1970. With dustjacket. Gebelin Francois. THE CHATEAUX ON THE LOIRE. Paris: Editions Alpina 1950. Joffet Robert. BAGATELLE: HISTOIRE ET GUIDE. Paris: La Maison Rustique nd. Kininmonth Christopher. THE TRAVELLERS' GUIDE TO SICILY. London: Jonathan Cape 1972. Levron Jacques. ANGERS: SON CHATEAU SES MONUMENTS. Paris: B. Arthaud 1952. Muirhead L. Russell. SHORT GUIDE TO PARIS. London: Ernest Benn Limited 1951. With dustjacket. Pillement Georges. LES HOTELS DU FAUBOURG SAINT-GERMAIN. Paris: Editions Bellenand 1950. Segogne d' Henry De. LES CURIOSITES TOURISTIQUES DE LA FRANCE: SEINE ET OISE (2); EURE ET LOIR; and MANCHE. France: Kleber-Colombes 1952. (4 vols). With dustjackets. Vernes Suzanne. GUERMANTES. Paris: Editions Proba 1949. Author signed. ATLAS HISTORIQUE. Munich: Stock 1968. LES GUIDE LEBEY: DE RESTAURANTS DE PARIS. Paris: A. Leconte 1988. With dustjacket. Together with pamphlet. VERSAILLES. 1950-51. BUTTERFIELD & BUTTERFIELD: THE ESTATE OF MICHAEL TAYLOR: SAN FRANCISCO. 1987. With dustjacket. CHRISTIES INTERNATIONAL MAGAZINE: OCTOBER-NOVEMBER 1988; JANUARY-FEBRUARY 1989; and FEBRUARY-MARCH 1989. (3 vols). CHRISTIES: REVIEW OF THE SEASON: 1972-80 & 1988-89. (11 vols). With dustjackets. CHRISTIES: REVIEW OF THE YEAR: 1970/71. With dustjacket. CHRISTIES: CATALOGUE OF MAGNIFICENT JEWELS: 1969 & 1970. (2 vols). COLLECTION LADY KENT: ET A DIVERS AMATEURS. 1959. COLLECTION LOUIS MANTE. 1956. ETUDE COUTURIER-NICOLAY. 1983. SOTHEBY & CO: THIRY RENAISSANCE JEWELS AND WORKS OF ART FROM THE COLLECTION OF THE LATE ARTURO LOPEZ-WILLSHAW. 1970. With dustjacket. SOTHEBY & CO: THE RENE FRIBOURG COLLECTION (vols III & VII). With dustjackets. SOTHEBYS: PARKE BERNET LOS ANGELES: 1976. SOTHEBYS: THE IVORY HAMMER. (vols I & II). SOTHEBYS: THE JEWELS OF THE DUCHESS OF WINDSOR. 1987. With dustjacket. SOTHEBYS: THE PATINO COLLECTION. 1986. With dustjacket. THE BURLINGTON HOUSE FAIR. 1982. THE CONNOISSEUR YEAR BOOK: 1956. With dustjacket. THE GROSVENOR HOUSE ANTIQUES FAIR. 1984. VENTE DES FLORALIES. 1966. (97pcs) Provenance: From the literary collection of a titled French lady. 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Asa Park (Kentucky 1790-1827) Portrait of Lafayette Kentucky Portrait of the Marquis de Lafayette ca 1824-1825 a half-portrait of Lafayette housed in an ornately carved gilt and gesso frame unsigned; 27.75 x 23 in. As the 50th anniversary of the Declaration of Independence approached President James Monroe invited Gilbert du Motier marquis de Lafayette to tour the United States and relight the fires of 1776. Lafayette General George Washington??Ts cherished comrade-in-arms left France on July 13 1824 and landed on Staten Island New York on August 15. During the next 15 months he was honored with great pomp and circumstance in all 24 states of the Federal Union. Aged veterans turned out in large numbers to cheer his progress especially in Kentucky where it was said that ?although a nobleman by descent he was a republican in principle and was more ennobled by nature than by all the titles of hereditary.?Lafayette??Ts visit to Kentucky was cause for celebration throughout the commonwealth. He had already been warmly greeted in Washington by Henry Clay then speaker of the House of Representatives. In that chamber to the right of the speaker??Ts rostrum Ary Scheffer??Ts full length portrait of Lafayette hung a present from the artist in 1823. Inspired by that gift the Kentucky State Legislature commissioned Matthew Harris Jouett to paint a full length replica which was then placed on the right side of the speaker??Ts rostrum in the Kentucky State House. The Scheffer portrait became the inspiration for numerous engraving??Ts of Lafayette??Ts likeness and is also the source for the portrait at hand. The most likely painter of this portrait is Asa Park (1800-1827). He first advertised himself in the Lexington Reporter November 10 1816 as being from ?Boston under the patronage of the celebrated Stuart and Penniman.? Penniman was a sign painter from whom Park learned the skills required to create the sharply linear facial contours and strongly contrasting color values seen here. From 1818 until 1826 Park kept various studios in Lexington notably the one listed in the 1818 city directory at Mulberry and Main. From this base he was active in Danville and other central Kentucky locations as an itinerant. He moved to Cincinnati in 1820 in response to the severe economic downturn in Kentucky??Ts economy. He returned to Lexington in 1823. Park was an active member of the Lexington Masonic Order charged with creating displays for Lafayette??Ts grand reception. The Kentucky Reporter for May 23 1825 notes that he painted an image of the ?spread eagle of the United States? whose ?execution is in a fine bold style.? It was placed in the principal room Lafayette visited where ?walls were ornamented with??|portraits??|contributed by our artists.? Lafayette had been made a Mason by George Washington the Grand Master Mason of America and many of the leading political and military figures of the day in Kentucky were Masons. What better tribute could be placed in a Masonic Hall than a compelling portrait of this type created by Park? Feted at the Masonic Hall Lafayette received a rapturous reception in Lexington. Mary Austin Holley wife of Transylvania University President Horace Holley composed an idyllic verse for him. ?Let the love of our country pervade every breast Till it wake every soul to intense emulation Already its children in gladness are met To raise the loud anthem to brave Lafayette.? In April of 1826 Park closed his studio in Lexington and died there in January of 1827. He was buried in the garden of his surrogate father Edward West on High Street with full Masonic honors. Estill Curtis Pennington Lewis Collins Historical Sketches of Kentucky Cincinnati Ohio: J.A. & U.P. James 1847 p. 263.William Barrow Floyd Jouett-Bush-Frazer Early Kentucky Artists Lexington Kentucky: 1968 p. 60. Subsequent head and shoulder portraits of Lafayette by Jouett are now in the collections of the National Portrait Gallery and Mead Art Gallery at Amherst College New Hampshire. Estill Curtis Pennington ''The Larger World of Asa Park? in A Boston Painter in Kentucky: Asa Park (1790-1827) Georgetown Kentucky: Anne Wright Wilson Fine Art Gallery 2006 p. 15. James Ramage Kentucky Rising??| Lexington Kentucky: University Press of Kentucky 2011 p. 13. Condition: Relined; with craquelure. Stretcher is replaced. Circular area of inpainting u.l. background approx. 3''. An additional small dime-sized spot of inpainting to the left of Lafayette's ear with other scattered spots of inpainting.
Autographs of World War II Generals Eight 4-Stars Including One MOH Lot of 10 including: Wallace M. Greene Jr. USMC General TNS 1964; J. Lawton Collins TLS 1966; Harold K. Johnson TNS 1966; Harry Vaughan Major General Military Aide to President TNS 1952 on White House Stationery; Earle G. Wheeler TNS 1963; N.F. Twining TNS 1957; L.L. Lemnitzer TLS 1959; Alfred M. Gruenther TNS 1957; H.A. Drum General Commanding 1st Army TLS 1942; A.A. Vandegrift TLS 1946. TNS 1p Washington DC 4 Jan. 1957. On American Red Cross letterhead. Signed by Alfred M. Gruenther as President of the Red Cross. Alfred Maximilian Gruenther (1899-1983) graduated from USMA in 1918 and became the youngest 4-star general in WWII. He commanded U.S. forces in Austria after the war and was appointed supreme allied commander in Europe from 1953 until his retirement in 1956. After retiring he served the Red Cross until 1964. TLS 1p n.p. but likely Washington DC (where he worked and died) 19 July 1966 on Collins' letterhead. Joseph Lawton Collins (1896-1987) graduated from USMA in 1917 and commanded the 3rd Battalion 22nd Infy. in France in 1919. He achieved the ranks of Colonel and Brig. Maj. and Lieut. General (both brevet and full ranks) during WWII the remainder including General post-war. He was Chief of Staff of the Army from 1949-1953 which covered most of the Korean ''police action.'' He was also involved in crafting the Army's role in NATO. TNS 1p Washington DC 25 Oct. 1963. Signed by Earle G. Wheeler as Army Chief of Staff. Earle Gilmore Wheeler (1908-1975) graduated from USMA in 1932. Just before WWII he was teaching at West Point and spent the first years of the war training Infantry divisions. He went to Europe in 1944 and when he returned in 1945 he became an artillery instructor at Fort Sill. He was back and forth to Europe for the next decade in both U.S. and NATO positions. He was appointed Chief of Staff of the Army in 1962 and Chairman of the Joint Chiefs of Staff in 1964 a position he held through the height of the involvement in Vietnam. TNS 1p Washington DC 25 June 1952. Signed H.H. Vaughan as Military Aide to the President on White House stationery. Harry H. Vaughan (1893-1981) was one of very few generals to not attend West Point. Instead Harry's degree was from Westminster College Fulton MO. Vaughan became friends with Harry Truman during training in 1917. He seems to have left active service and moved to reserves after WWI and several of his promotions in rank stem from reserve duty. He was recalled to active duty in 1942 and sent to Australia. After the war he became Truman's military aide (1945-1953). During this time he achieved higher ranks up to Major General (1947). Vaughan was in the middle of several scandals during his time in Washington. He retired from the military when Truman left office in 1953. TNS 1p Washington DC 30 Apr. 1957. Nathan Farragut Twining (1897-1982) started military service with the 3rd Oregon Infantry a National Guard unit on Mexican border patrol in 1916. With the build up for WWI he was recalled to active duty and was appointed to USMA graduating in 1918. In 1923 he began air training at Brooks Field TX. In 1940 he was assigned to the Chief of the Air Corps in Washington. In mid-1942 he went to the South Pacific as chief of staff to Maj. Gen. Harmon commanding the U.S. Army Air Forces. The following year he was put in command of the first Joint Air Command Army Navy Marine and Allied Air Forces in the South Pacific. He was named Chief of Staff of the Air Force in June 1953 and in 1957 was nominated as Chairman of the Joint Chiefs by Eisenhower serving until 1960 in that capacity. TLS 1p Washington 22 Apr. 1959. Thanking recipient for well wishes on his appointment as Chief of Staff of the Army on letterhead signed by L.L. Lemnitzer. Lyman Louis Lemnitzer (1899-1988) graduated from USMA in 1920. He achieved the rank of Brig. General in the early days of WWII and by the end helped negotiate the Italian and German surrenders. Following the war he was assigned to the Joint Chiefs' Strategic Survey Committee before commanding the 7th ID in Korea. He became Chief of Staff of the Army in 1957 and was appointed Chairman in 1960. He got tied up in the politics of Cuba and only served one term as Chairman. He became Supreme Allied Commander of NATO in late 1962 a post he held until his retirement in 1969. TNS 1p Washington DC 13 Jan. 1966. On Army Chief of Staff letterhead signed by Harold Johnson. Harold Keith Johnson (1912-1983) graduated from USMA in 1933. Johnson requested an overseas assignment and was sent to the Philippines. He was there when Bataan fell survived the death march and spent the war as a prisoner. When the Americans started closing in the Japanese transferred their prisoners. American fighter planes sank one of the ships carrying POWs killing 300 of them. Johnson survived and was taken to Japan; he was transferred again to Korea where the 7th Infantry liberated him in Sept. 1945. Johnson went back to Korea five years later as that police action commenced. He became Chief of Staff of the Army in 1964 and was involved in the escalation of Vietnam. He advocated full mobilization decisive action and rapid withdrawal. When Lyndon Johnson did not follow this recommendation Johnson threatened to resign and later regretted not doing so. He retired from active service in 1968. TLS 1p Washington DC 15 Apr. 1946. On Marine Corps Commandant's letterhead signed by General A.A. Vandgrift. Alexander Archer Vandegrift (1887-1973) attended the University of VA; he won his commission in the Marine Corps through a week-long competitive examination. He got off to a rough start; his early evaluations were less than stellar. He went through most of the training programs available and by the time the U.S. entered WWII Vandegrift was a Major General. He was assigned to the south Pacific and for his service in the Solomon Islands he would receive the Medal of Honor. In 1944 he became Commandant of the Marine Corps and the following year was appointed General the first Marine officer to attain 4-star rank on active duty. He left active service at the end of 1947. TLS 1p Governors Island NY 15 Jan. 1942. On letterhead of the commander of the 1st Army signed by H.A. Drum Lt. Gen. Hugh Aloysis Drum (1879-1951) initially wanted to join the Jesuit priesthood. He joined the Army and rose rapidly through the ranks becoming Pershing's Chief of Staff during WWI. By 1931 he was a Major General Lieutenant General in 1939. He was in charge of Eastern Defense Command in WWII and retired by age in 1943 although he remained commander of the New York Guard until the end of the war. TNS 1p Washington DC 19 June 1964. On U.S. Marine Corps Commandant's letterhead signed by Wallace M. Greene Jr. Wallace Martin Greene Jr. (1907-2003) graduated from the Naval Academy in 1930. He had several assignments until being sent to Shanghai where he helped defend the international settlement during the Sino-Japanese hostilities in 1937 and 1938. He served in the Pacific during WWII and held many assignments until being nominated as Commandant of the Marine Corps to begin in 1964. By the time Greene's term as commandant expired in 1968 the Marine build up in Vietnam went from less than 1000 to over 100 000. He retired 31 Dec. 1967. Condition: Folds as expected. Otherwise excellent overall. One stray ink mark on last.
J.D.P. TAXI France an early Jouets de Paris example yellow tin lithography bright colors black roof black trim seated driver cast head lamps roof rack embossed tin seating opening doors toolbox on running board clockwork driven a scarce example. 10 1/2'' l. Ingersoll Collection. Minor retouch to one door overall (Exc. Cond.)
J.D.P. TAXI France an early Jouets de Paris example yellow tin lithography bright colors grey roof black trim seated driver cast headlamps embossed tin seating opening doors clockwork driven rear lantern a scarce example. 10 1/2'' l. Replaced roof & repainted spokes.
After J.P. Mene (France, 1810-1879) sculptured bronze horse mounted on a polished marble base
12"h x 16"l x 8"w
JEAN POUYAT LIMOGES FRANCE LARGE PORCELAIN EWER, BLACK BIRD OGALLALA SIOUX, CA. 1891-1932 13 ½" x 7 ¾" x 6 ¼" Tall porcelain ewer with "S" scroll handle, hand decorated in polychrome with gilt highlights, depicting an official portrait of Chief Black Bird Ogallala Sioux. Marked on the base with the green J.P./L./France underglazed factory mark (ca. 1891-1932) and acid etched mark Pouyat Limoges encircled by a laurel leaf wreath on the bottom.
JACOB PETIT FRENCH PORCELAIN ENCRIERJacob Petit, France (1797-1868). French porcelain inkwell with recumbent hound resting on a blue & gold decorative cushion with gold tassels and cords. Fitted with 2 quill holders and 2 inkwells. Marked on underside J.P. in blue. Measures 13.5"L x 8.25"W x 6"H.
AFTER P.J. MENE BRONZE HORSES 'L' ACCOLADE'After P.J. Mene, France (1810-1879) Sculpture of a mare and a stallion in rich brown patina, inscribed on base 'P.J. Mene 1869'. Stallions are mounted on oval naturalistic base with foliage atop a stepped oval green marble base. Measures 15"H x 21"L x 12"W.
GROUP OF DECORATIVE BINDINGS, MOST INSCRIBED TO PHILANTHROPIST ANNE MORGANGROUP OF DECORATIVE BINDINGS, MOST INSCRIBED TO PHILANTHROPIST ANNE MORGAN, [Bindings] 14 titles, the first 8 inscribed to Anne Morgan by the authors, the 9th also to Anne Morgan by an unknown individual : Albert de Bertier de Sauvigny. Pages D'Histoire Locale 1914-1919. Imprimerie de Compiegne. 1934. Red quarter leather with gilt embossing, marbled endpapers, bound by Brentano's; Paul Morrand. Champions du Monde. Paris: Bernard Grasset. 1930. Limited edition, number 277. Red quarter leather with gilt embossing, marbled endpapers; Marcel Olivier. Circuit Americain. Paris: Bernard Grassett. 1934. Red quarter leather with gilt embossing, marbled endpapers; Jacques Marquette. Une France Nouvelle Pour le Monde Nouveau. New York: Maison Francaise. 1944. Red quarter leather and gilt embossing, marbled endpapers; John Markle. Representative American. New York: Leonard Scott. 1929. Blue leather with gilt floral decoration and blue moire silk pastedowns/endpapers, inscribed limited edition, number 69 of 300, binder's stamp for Stikeman NY; Bernard Fay. Georges Washington Gentilhomme. Paris: Grassett. 1932. Red quarter leather; Andre Labarthe. Retour au Feu. New York: Editions de la Maison Francaise. 1943. Burgundy three quarter leather with gilt embossed spine; Andre Girard. Bataille Secrete en France. New York: Brentano's. 1944. Burgundy three quarter leather with gilt embossed spine; Malvina Hoffman. Heads and Tales. New York: Charles Scribner's. 1936. Green leather with gilt embossing; A.S.W. Rosenbach. The All-Embracing Doctor Franklin. Philadelphia: Privately Printed. 1932. Number 17 of 198. In slipcase. Inscribed to Arthur Houghton by author; John H. Ward. Eternal Energies. Rindge: Richard Smith. 1955. Blue quarter leather with marbled endpapers, inscribed to Arthur Houghton by author; Mark Twain. Innocents Abroad, vol. 1. Boston: Joseph Knight. 1895. Green quarter leather with marbled boards and endpapers; C.R.L. Fletcher. Gustavus Adolphus. New York: G.P. Putnam's. 1890. Green quarter leather with marbled boards and endpapers; Louis Rougier. Les Accords Petain Churchill. Montreal: Editions Beauchemin. 1945. Quarter bound in red leather with gilt, marbled endpapers (14) Provenance: Estate of Nina Rodale Houghton, wife of the late Arthur A. Houghton, President of The Metropolitan Museum of Art Carmichael Farm, Queenstown, Maryland Anne Morgan, daughter of J.P. Morgan
One leaf-shaped enameled porcelain dish with gilt edges; bottom stamped "Lenox, Made in USA"; condition good, minor losses to gilt; H 1 1/4 x L 8 1/4" x W 8 1/4" (approx.); three porcelain dishes with gilt and floral designs along the rim; bottom marked with "J.P.L. France, J. POUYAT Limoges"; some loss to enamel and gilt, some surface scratches, some wear; one glass plate with wall mount, with blue, silver, and gold religious motif, bottom marked "1979 WEIHNACHTEN" with illegible artist signature; some wear, minor losses; H 11 1/4" x W 11 1/4" (approx.) ; one red glazed ceramic rectangle vase with floral starburst motif; bottom marked "263-?1 W. GERMANY"; good condition, minor wear; H 8 1/4" x W 5" x D 3 1/4" (approx.); one glass and pewter decanter; bottom marked "Royal Holland Pewter Daalderop, Made in Holland" some wear, pewter bottom slightly loose, some surface scratches; H 10" x W 4 1/2" x D 4 1/2" (approx.)
[SNUFF BOTTLES]
A Group of Auctions and Dealers' Catalogue on Snuff Bottles
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— SYDNEY L. MOSS LTD. An Exhibition of Chinese Snuff Bottles. London, 1965.
— SYDNEY L. MOSS LTD. An Exhibition of Chinese Snuff Bottles. London, 1965.
— Y.F. Yang & Co. A Catalogue of Chinese Snuff Bottles. Hong Kong, 1975.
— Chinese Snuff Bottles. 1976.
— SOTHEBY'S. Fine and Important Chinese Snuff Bottles from the Collection of Bob C. Stevens, Part III. New York, 1982.
— SOTHEBY'S. Fine Chinese Snuff Bottles: from the Collection of Dr. Paula Hallett, immediately followed by Snuff Bottles the property of various owners. New York, 1985.
— SOTHEBY'S. Important Chinese Snuff Bottles: from the Collection of Janos Szekeres, Part I. New York, 1986.
— SOTHEBY'S. Important Chinese Snuff Bottles: from the Collection of Janos Szzekeres, Part II. New York, 1987.
— SOTHEBY'S. Important Chinese Snuff Bottles: from the Collection of Eric Young, Part I. London, 1987.
— SOTHEBY'S. Important Chinese Snuff Bottles: from the Collection of Eric Young, Part II. London, 1987.
— GALLRIE ZACKE. Feine Chinesische Snuff Bottles Und Snuff Dishes. Vienna, 1987.
— SOTHEBY'S. Important Chinese Snuff Bottles. London, 1988.
— SOTHEBY'S. Chinese Snuff Bottles from the Burghley House Collection. Stamford, 1989.
— SOTHEBY'S. Important Chinese Snuff Bottles: from the Kaynes-Klitz Collection, Part II. Hong Kong, 1990.
— LAWRENCE, Clare. The Thewlis Collection of Chinese Snuff Bottles. 1990.
— SOTHEBY'S. Chinese Snuff Bottles from the Collection of John Ault. London, 1990.
— SOTHEBY'S. Fine Chinese Snuff Bottles: from the Collection of Arthur Gadsby. Hong Kong, 1991.
— LAWRENCE, Clare. Chinese Snuff Bottles from the Dick Hardy Collection and Other Sources. 1991.
— J.W.A. INTERNATIONAL INC. Important Chinese Snuff Bottles, 1991.
— J.W.A. INTERNATIONAL INC. Important Chinese Snuff Bottles. Miami, 1992.
— DENNIS G. CROW LTD. A Catalogue of Chinese Snuff Bottles. Los Angeles, 1992.
— CHRISTIE'S. Fine Chinese Works of Art, Jade Carvings, Jadeite Jewellery, and Snuff Bottles. Hong Kong, 1992.
— J.W.A. INTERNATIONAL INC. Important Chinese Snuff Bottles.
— J.W.A. INTERNATIONAL INC. Important Chinese Snuff Bottles. Sydney, 1994.
— J.W.A. INTERNATIONAL INC. Agate Masterpieces of the Qing Dynasty.
— DENNIS G. CROW LTD. A Catalogue of Chinese Snuff Bottles. Los Angeles, 1995.
— SOTHEBY'S. The Gerry P. Mack Collection of Important Chinese Snuff Bottles. New York, 1997.
— SOTHEBY'S. The Neal W. AND Frances R. Hunter Collection: Fine Chinese Snuff Bottles. New York, 1998.
— SOTHEBY'S. Important Chinese Snuff Bottles: from the Mack Collection, 2000.
Property from the Estate of Alexander Brody, Honolulu, Hawaii. ????????Alexander Brody?????
JEAN-BAPTISTE CAMILLE COROT (?) (FRANCE) 1796-1874 HOMMAGE D'ORPHéE à L'AURORE. ETCHING, C. 1855. UNRECORDED IN DELTEIL, MELOT AND I.Jean-Baptiste Camille Corot (?) (France) 1796-1874 Hommage d'Orphée à l'aurore. Etching, c. 1855. Unrecorded in Delteil, Melot and IFF. Published by Delarue but unrecorded as being by Corot. Typographic address of the publisher, l.l. and "Corot", l.r. Corot did do a painting of this subject so this may be an "after". Printed in black ink on cream laid paper with complete margins. 262 x 199 mm. (10 1/4 x 7 13/16 in.) Henri Harpignies (France) 1819-1916. Charette devant une ferme - Paysage de l'Allier. Etchng, 1874. Ref: Beraldi 33; IFF 22. Ed: Unknown. Signed in the plate, l.l. Printed by the artist (?) on dark cream laid paper with complete margins. Moderate, even light staining. 83 x 119 mm.(3 1/4 x 4 5/8 in.) Paul Huet (France) 1803-1869. Le Soir. Lithograph, 1829. Delteil 44, iii/III. Plate 3 of 6 Paysages. Ed: Unknown. Uncommon. Printed in black ink on soft, sturdy laid paper with complete margins. Typographically titled, l.c. Unidentified collectors mark (?) Les Braconniers in brown ink, l.l. 138 x 125 mm. (5 7/16 x 4 7/8 in.). Lithograph, 1829. Delteil 42, ii/II. Plate 1 of 6 Paysages. Ed: Unknown. Uncommon. Printed in black ink on soft, sturdy laid paper with complete margins. Typographically titled, l.c. Some minor scuffs, handling creases and stains on lower sheet, not affecting image. 155 x 127 mm. (6 x 5 in.) Henri Grenaud (France) 1830-1893. Portrait of J-B C. Corot. Etching, c. 1854. Ref: Beraldi, vol.IV, p. 229. Ed: Unknown. Uncommon. Typographic text signature, l.l. and address of the printer, Auguste Delâtre, l.r. Printed in black ink on chine collé with complete margins. A very good impression. 255 x 181 mm. (10 x 7 1/8 in.) (5)
SET OF EIGHT LIMOGES PORCELAIN PLATESGreen mark "J.P. / L. France", further marked "Made expressly for Hardy & Hayes Co. Pittsburgh" Condition: good. No chips. Rubbed wear to gilt decoration. 8 1/2 inches diameter each Condition:
PIERRE-JULES MENE (FRANCE, 1810-1879), "L'ACCOLADE", BRONZE, HEIGHT 18.5". WIDTH 12". LENGTH 27.5".PIERRE-JULES MENE, France, 1810-1879, "L'Accolade", an Arab mare courting a stallion. Incised "P.J. Mene 1869". Black marble base. Dimensions: Bronze, height 18.5". Width 12". Length 27.5". Provenance: Note:Pierre-Jules Mene's first version of this was shown at the Exposition Universelle in 1855, for which he won a medal. Cast in three sizes, this is the largest version.
PIERRE-JULES MENE (FRANCE, 1814-1879), "L'ACCOLADE", BRONZE CASTING, HEIGHT 13.5". LENGTH 21". WIDTH 11".PIERRE-JULES MENE, France, 1814-1879, "L'Accolade", an Arab mare courting a stallion. Inscribed "P.J. Mene". Green marble base. Dimensions: Bronze casting, height 13.5". Length 21". Width 11".
A Limoges Porcelain Plaque in a Giltwood Frame
Late 19th/Early 20th Century
signed Weiss, stamped J.P./ L. France and inscribed M. Gold in pencil to the reverse.
Height of porcelain 16 x width 13 inches.
After Paul Dubois (French, 1829-1905)
Le courage militaire
bronze
inscribed P. Dubois and A. Mr. J. Meline De?pute?/ L'industrie Franc?aise/ 1882, with F. Barbedienne Fondeur Paris foundry mark and Réduction Mécanique/ A. Collas/ Breveté seal
Height 33 1/2 inches.
(3) BOSTON MASS. REPOUSSE COIN SILVER TEA SERVICE(lot of 3) American coin silver tea service, 19th c., all pieces with repousse floral pattern, including: (1) teapot, J.B. Jones (John B. Jones, Boston, Massachusetts, 1782-1854), hinged lid with pineapple finial, acanthus scroll handle, engraved underfoot "Frances Dumaresq, May 15th, 1820," approx 4.75"h, 9.5"l (spout to handle), (1) creamer, retailed by Lincoln & Foss, Boston, Massachusetts, raised on three feet with shell joins, cartouche engraved "L.D.P., Oct. 18th, 1855," approx 5"h, (1) sugar basket, retailed by Lincoln & Foss, with beaded bail handle, cartouche engraved "L.D.P., Oct. 18th, 1855," approx 3 7/8"h, 5.75"w; 28.32ozt total (inclusive of spacers)
CARLOS ESTEVEZ MIXED MEDIA - "EL ARTE SIN SU HISTORIA"Carlos Estevez (Cuban, b. 1969). "El Arte Sin Su Historia" mixed media on paper, 2002. Signature, title, and date with location (Havana) handwritten below. A powerful piece by Cuban artist Carlos Estevez titled "El Arte Sin Su Historia" which translates as "Art Without Its History". Estevez presents a marionette figure, one of his recurring themes, raising both arms and the right leg in an elegant dance-like pose while its head lies on the floor suggesting that "Art Without Its History" amounts to a disfunctional puppet. All is delineated in a simple yet dramatic palette of red and white on a black ground, mounted behind plexiglass in an elegant custom frame. Size (sight view): 28.25" L x 19.75" W (71.8 cm x 50.2 cm) Size (frame): 29.125" L x 20.875" W (74 cm x 53 cm)
About the Artist: "Carlos Estevez's work is animated by a deep interest in questions of human spirituality. His stated goal is to use his work to reveal the invisible realm to the spirit that lies hidden beneath the visible world, a process that he refers to as an alchemical, metaphysical transformation of mystery into knowledge. The imagery that populates his paintings, drawings, sculptures, and installations bears a dreamy, child-like quality, with recurring references to marionettes, automatons, fantastical architectures, cosmic geometries, angelic beings, and strange, chimerical creatures.
A recipient of the Joan Mitchell Foundation Painters & Sculptors Grant, the Cintas Foundation Fellowship in Visual Arts, and the Grand Prize in the First Salon of Contemporary Cuban Art in Havana, Carlos Estévez was born and raised in Cuba and moved to Miami in 2004, where he lives and works. He graduated from the University of Arts (ISA) in Havana and solo exhibitions of his work have been presented at the National Museum of Fine Arts, Havana; Tucson Museum of Art, Arizona; The Patricia and Phillip Frost Art Museum at Florida International University, Miami; Center of Contemporary Art, New Orleans; Lowe Art Museum at Miami University, Florida; and the Stoors Gallery at University of North Carolina Charlotte. Estévez has participated in group exhibitions presented at the 6th and 7th Havana Biennials; the 1st Biennial of Martinique; Arizona State University Art Museum in Tempe; Pérez Art Museum Miami, Florida; Maison de l'Amerique Latin, Paris, France; Casa de América, Palacio de Linares, Madrid, Spain; and several others.
Estevez has been an artist-in-residence in Academia de San Carlos, UNAM, Mexico; Gasworks Studios, London, England; The UNESCO-ASCHBERG in The Nordic Artists' Center in Dale, Norway; Art-OMI Foundation, New York; The Massachusetts College of Art, Boston; Cite Internationale des Arts, Paris; Montclair University, New Jersey; Siena Art Institute, Italy; Sacatar Foundation, Isla Itaparica, Salvador de Bahia, Brazil; and McColl Center for Art + Innovation in Charlotte, NC; among other places.
His work is included in numerous prestigious collections, such as those of the National Museum of Fine Arts, Havana; Museum of Fine Art, Boston; The Ludwig Forum, Aachen, Germany; The Bronx Museum, New York; Perez Art Museum Miami, Florida; Drammens Museum for Kunst of Kulturhistorie, Norway; Tucson Museum of Art, Arizona; Denver Art Museum, Colorado; Yale University Art Gallery, Connecticut; Arizona State University Art Museum, Arizona; Fort Lauderdale Art Museum, Florida; The Patricia and Phillip Frost Art Museum at FIU, Florida; The Mint Museum, North Carolina; BNY Mellon Art Collection, New York; and The Lowe Art Museum, Florida.
Estevez first monograph Carlos Estevez: Entelechy. Works from 1992 to 2018 by Carol Damian, Ph.D. was published in 2019 by Tucson Museum of Art and Historic Block, Arizona; also, Images of Thought. Philosophical Interpretations of Carlos Estevez's Art by Jorge J. E. Gracia was published in 2009 by State University of New York Press, Albany; and Carlos Estévez: Bottles to the Sea, edited by Jorge J. E. Gracia was published in 2015 by State University of New York Press, Albany." (Artist's Website)
Artist Statement: "Art for me is a learning process. It is my way of understanding life. My work is very connected to my own experience. What I think, what I feel, and all my dreams are contained in my artwork.
My process is similar to the process of alchemists. They were looking for the formula to make gold, and what they found instead was knowledge. My goal is to find knowledge through art. I want to translate my life experiences into images and share them with other people. I think that art is a magic form of communication and the key is to look at yourself as deep as possible so that you can communicate with the deepest territories of others.
The source of my work is the human existence. Of course, my work is influenced by what I read, which is mainly philosophy. However, I don't transfer any concept to my art intentionally. It does not work that way. I read a book and I use it as fuel for my brain. What I get from readings could be far from its original intentions. I do my own interpretation and this becomes the inspiration for my work. I never know exactly what, how, and when it is going to happen, but one day an image appears that is connected with something I have read.
I work in different media –painting, sculpture, drawing, installation, and finding objects. I jump from one to the other and this sequence is interrupted constantly. The work that I do reflects my inner world, and it must be done with all the complexity that this process requires. That is why it need to be very detailed. Every single element is important: the background images, colors, textures, lines and the title.
The fragments are the way in which we think. The thinking process or the perception process as a whole is not linear or compact. My obsession is to discover the meaning of life. Why are we here in this universe? This transcendental answer can perhaps never be answered, or perhaps it has many different answers. One thing is for sure, neither science nor history can reach the human knowledge that art achieves." (Artist's Website)
Provenance: Private Los Angeles, California, USA collection
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#179259
Condition:
Signature, title, and date with location (Havana) handwritten below. Artwork is mounted in a custom frame behind plexiglass. Artwork has not been examined outside the frame but appears to be in overall excellent condition. Frame is excellent as well and fit with suspension wire.
19TH C. FRENCH IRON TORCHIERE OF EGYPTIAN BOY ON COLUMN...Western Europe, France, ca. late 19th century CE. After "Egyptien" by Mathurin Moreau (French, 1822 to 1912) for the Val d'Osne Foundry. Cast iron and paint. An exemplary and enlightening cast iron torchiere or streetlamp in the form of a charming Egyptian youth standing atop a Classical baluster. Dynamically posed in a contrapposto stance, the delightful child raises a sizable torch fitted with an electric lightbulb high above his head with his left hand while placing his right on his hip. His slender body is dressed in a shendyt that wraps around his waist with billowing folds of fabric cascading down the front, secured by a slender belt and a sash with a decorative pattern of repeated circles that diagonally crosses from his left hip to his right shoulder. Gold-painted armbands adorn his biceps. Size: 14.8" W x 95.7" H (37.6 cm x 243.1 cm); Size without bulb: 85.7" H (217.7 cm)
He gazes downward, his head bowing under the heavy weight of his pleated nemes and elaborate headband featuring a stylized uraeus, as his cherubic visage displays almond-shaped eyes, a naturalistic nose, and bow lips flanked by fleshy cheeks. Though his body is painted black, save for the whites of his eyes, the youth's clothing boasts vibrant pigments in hues of gold, copper, teal, and maroon. The endearing figure mounts a cylindrical baluster, which showcases relief decoration of floral motifs and is highly embellished with brilliant shades of burgundy, marigold, olive, cyan, and gold on a creamy beige ground. A gorgeous glass covering with swirling indentations to resemble a flame caps the child's torch, allowing him to light the way for passersby. Designed to serve as a streetlamp, this piece is believed to have been exported to the Storyville District of New Orleans in the late 19th century and then moved to the French Quarter around 1914 when the Storyville District was destroyed. A beautiful example of Napoleon III style, exemplifying the period's interest in both the Classical past and the archeological findings of the day!
Napoleon's invasion of Egypt in 1798 to 1801 and the subsequent publication by the French government of the "Description de l'Egypte" (1809-22) awakened a European interest in the culture of ancient Egypt known as the Egyptian Revival, which lasted throughout the 19th century. This example is not only a perfect representation of the Egyptian-revival manner, but also showcases French academic style in the modelling of the child and also derives from a much older European tradition known as the "blackamoor" - a term used to describe stylized and stereotyped portrayals of African people in primitive or orientalist costumes and serving a subordinate or functional purpose.
This figure was based on an iron sculpture made by Mathurin Moreau for Val d'Osne Foundry, which is now located in Musee de Saint-Dizier (inventory number 2012.5.1). The designs for the figure and baluster are published in "Societe Anonyme des Hauts-fourneaux et fonderies du Val d'Osne" (1900. Paris: Impr. Typographique de P. Dubreuil) as plate 577, 36 "Egyptien" and plate 569, K, respectively. According to the National Trust Collections of the United Kingdom, "Val d’Osne was a leading French art foundry that produced high-quality cast-iron ornaments throughout the 19th century and into the 20th. Established in 1835 by J.P. Andre Victor, the firm manufactured an extensive range of products from their Haute-Marne ironworks including candelabra and torcheres, garden sculpture, architectural furnishings and fountains. Casts could be purchased from catalogues or from the company’s Paris showrooms. Val D’Osne expanded to buy out its competitors Barbezat & Cie and Ducel, taking on their pattern books. Barbezat was known for its collaborations with important artists and sculptors, including the academy sculptor Mathurin Moreau (1822-1912)… Moreau modelled for Barbezat and Val D’Osne from 1849 to 1879 and was a shareholder in the company."
Cf. National Trust Collections, Hughenden Manor, Buckinghamshire, England, NT 428756 and Cliveden Estate, Buckinghamshire, England, NT 765997.
Provenance: private Eagle, Colorado, USA collection, acquired in the 1990s
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#168916
Condition:
Functions as a lamp. Some minor loss and fading of paint on baluster, child's clothing, and child's eyes. Screws visible on left arm and back for wiring, as well as base of figure for attachment to column. Otherwise, intact and excellent with lovely patina.
EXHIBITED 1962 W. DRAPER PORTRAIT OF SON "WILLY"William Franklin Draper American, 1912-2003), "Willy" oil on canvas, 1962. Signed "Wm. F. Draper '62" on lower left. A large-scale portrait by American award-winning portraitist William Draper, depicting his son and namesake William "Willy" Jr. who was a star tennis player in his teens and went on to teach at the Georgia Tennis Club in East Hampton, Long Island. William Jr. is presented as a handsome nineteen year old, sitting with his arms on the rails of a chair, and gazing toward his left. He wears a patterned blue and beige sweater over a sky blue polo shirt with khaki shorts. The blue hues of his garments beautifully match his twinkling bright blue eyes, a trait he shared with his father. A wonderful portrait of the artist's son, set in an attractive custom frame. Size of painting: 41.5" L x 27.5" W (105.4 cm x 69.8 cm) Size of frame: 49.875" L x 35.875" W (126.7 cm x 91.1 cm)
Though a respected as "an artistic descendant of John Singer Sargent" - noted for his expressive style and freely brushed and textured paintings, Draper once said, "Portraits are always a challenge. It's like a puzzle." According to Edgar J. Driscoll, Jr's memorial statement, "Paul E. Curran, a friend of 20 years, said a Draper portrait was a 'five day affair,' begun on Monday and wrapped up Friday afternoon. Before he finished, he always got an objective opinion of the piece from someone who knew his subject. 'He'd get an opinion of how well he portrayed the individual,' Curran said."
Peter Rathbone, Director Emeritus of the Boston Museum of Fine Arts, whose portrait Draper also painted stated, "Nature endowed William F. Draper with enough talents to require him to choose among them before embarking on a professional career. Yet to those who know him, it is hard to imagine that any natural bent could rival his personal endowment as a painter of portraits . . . Draper's painting belongs to the tradition of Sargent. Like Sargent's, his style is fluid with virtuoso brushwork as the identifying characteristic. Like Sargent, the preparation of the painting by Draper is all in the artist's eye. Unlike Sargent's detachment, Draper's understanding and love of people and his appreciations of physical subtleties are happily projected into his work. These traits are the source of the warmth and vitality of his portraiture. They are also the reasons why his portraits are fine likenesses. And it is not too much to say that something of his own vibrant personality is reflected in everything he paints." ("Portraits Period" by Portrait Brokers of America, 1990, p. 46)
William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D.C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc., the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D.C.), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999.
More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D.C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan.'' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano.
On the verso are two exhibition labels, one from Portraits, Inc. in New York City and another from FAR Gallery in New York City.
This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques.
Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003)
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PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#152319
Condition:
Portrait is in excellent condition. Signed "Wm. F. Draper '62" on lower left. On the verso are two exhibition labels, one from Portraits, Inc. in New York City and another from FAR Gallery in New York City. Draper Estate stamp on verso as well. Frame has some inactive insect holes and age wear with scuffs, abrasions, and nicks/chips as shown. Minor stains on verso of framing that do not interfere with the painted portrait. Perforations on verso of frame, likely from previous display.
SET OF SIX LIMOGES PORTRAIT PORCELAIN PLATESFrench, late 19th century, each with "J.P.L France" mark to base, hand painted enamel portraits, scrolling gilt florals and accents, portraits include: Marie Antionette; Duchess de Talleyrand; Madame Elizabeth; Auguste Strobel; Caroline von Holnstein; and Countess Grosvenor; each 9-1/2 in. diameter
Condition:
anomalies and pinholes, loss to gilt, surface accretion; Marie Antionette with smudge to face
14 PIECE LIMOGES SHELL PORCELAIN SERVICEFrench, late 19th century, comprising: one long platter with shaped gilt border, with hand painted shell and seaweed decoration, two plate hanger discs attached to base, marked with "Limoges/A L [Anchor]/France" and signed illegibly, 2-1/4 x 24 x 9-3/4 in.; one square platter with shaped gilt border, with hand painted shell and coral decoration, base marked with "Haviland/France" impressed "16 L" and signed "L. B. McDaniel.", 1-1/2 x 16-1/2 x 10-3/4 in.; 12 circular plates with shaped gilt borders, with hand painted shell and seaweed decoration, base marked "PATd15bhMch92/J.P./L./France" and signed illegibly, 8-5/8 in.
Provenance: Estate of Madolyn L. Nickerson, Highlands, North Carolina
Condition:
surface accretion, chip to bottom right, loss to gilt and paint, minor marking to sides, wear to base; surface accretion, minor loss to gilt and paint, small manufacturing flaws to top left corner (dents), marking to sides, wear to base; loss to gilt and paint throughout, minor manufacturing flaws and markings, wear to bases, one plate with chip to rim, one with chip to base, one with hairline crack
FOUR PIECE MARYLAND COIN/STERLING SILVER TEA SERVICEBaltimore, early 19th and 20th century, urn forms with wooden handles, bands of scroll, berry and foliate decorations, most with "K" monogram, 11-1/4 in. coffee pot, teapot and sugar basket with marks for Littleton Holland (Baltimore, Maryland, working 1800-1847), later matching creamer with marks for The Schofield Co. (Baltimore, Maryland, working 1903-1967), 90.96 oz. T. gross weight
Provenance: Estate of Harriet G. Chinn, Abingdon, Virginia
Note: William King Tea Set and Francis Smith Candle Sticks
The William King tea service comes into the possession of the Harriet Gwathmey Chinn estate through the direct lineage of her descendancy to Mary Francis Trigg, first wife of William King. William King born in Ireland around 1770. He immigrated to America in 1784 and spent 5 years engaged with a merchant in Philadelphia until joining his father, Thomas King, in Abingdon, Virginia in 1791. With a 100 pound legacy from his grandmother, he had established himself in Washington County, VA, as a successful merchant. He built mercantile supply stores along the Great Road, the road by which thousands of people traveled from the American Northeast into the hills of Appalachia. He also purchased 150 acres of land in Saltville and began producing salt, which proved incredibly lucrative. When William King died at the age of 39 in 1808, he was worth approximately $1,000,000. King married Mary Frances Trigg (b. Dec 2, 1781 ? d. Apr 25, 1839) on May 27, 1799. She and William King had no children. On March 27, 1811, King?s widow married Francis ?Frank? Smith (b. 1772 ? d. Jul 26, 1841). Mary Frances and Francis Smith had one child, a daughter, Mary Frances Trigg Smith (b. Aug 7, 1812 ? d. Jan 12, 1890). It is through her that these items entered this family line. Mary Frances Trigg Smith married Wyndham Bolling Robertson (b. Jan 26, 1803 ? d. Feb 11, 1888). Robertson was governor of Virginia from 1836 to 1837. Mary Frances and Robertson had 8 children, with Catherine Markham ?Kate? Robertson being the great grandmother of Mrs. Chinn. While it cannot be verified, it is presumed that it is through her these items passed down. Sources:
Summers, L. P. History of Southwest Virginia 1746-1786 Washington County 1770-1870 , J.L. Hill Printing Company, 1903.
Pamala Hutchinson Garrett. Markham of Chesterfield, Dec. 18, 2021, https://www.markhamchesterfield.com
Condition:
teapot with pushed in base and repairs, finial repaired, base bent, all with small dents, wear and light scratches
PAIR OF COIN SILVER CANDLESTICKS ANDREW ELLICOTT WARNER...Maryland, 19th century, rounded rectangular form with gadroon border, one with script monogram "F. Smith", marks for Andrew Ellicott Warner (Baltimore, Maryland, working 1805-1870), 29.74 oz. T., 10 in.
Provenance: Estate of Harriet G. Chinn, Abingdon, Virginia
Note: William King Tea Set and Francis Smith Candle Sticks
The William King tea service comes into the possession of the Harriet Gwathmey Chinn estate through the direct lineage of her descendancy to Mary Francis Trigg, first wife of William King. William King born in Ireland around 1770. He immigrated to America in 1784 and spent 5 years engaged with a merchant in Philadelphia until joining his father, Thomas King, in Abingdon, Virginia in 1791. With a 100 pound legacy from his grandmother, he had established himself in Washington County, VA, as a successful merchant. He built mercantile supply stores along the Great Road, the road by which thousands of people traveled from the American Northeast into the hills of Appalachia. He also purchased 150 acres of land in Saltville and began producing salt, which proved incredibly lucrative. When William King died at the age of 39 in 1808, he was worth approximately $1,000,000. King married Mary Frances Trigg (b. Dec 2, 1781 ? d. Apr 25, 1839) on May 27, 1799. She and William King had no children. On March 27, 1811, King?s widow married Francis ?Frank? Smith (b. 1772 ? d. Jul 26, 1841). Mary Frances and Francis Smith had one child, a daughter, Mary Frances Trigg Smith (b. Aug 7, 1812 ? d. Jan 12, 1890). It is through her that these items entered this family line. Mary Frances Trigg Smith married Wyndham Bolling Robertson (b. Jan 26, 1803 ? d. Feb 11, 1888). Robertson was governor of Virginia from 1836 to 1837. Mary Frances and Robertson had 8 children, with Catherine Markham ?Kate? Robertson being the great grandmother of Mrs. Chinn. While it cannot be verified, it is presumed that it is through her these items passed down. Sources:
Summers, L. P. History of Southwest Virginia 1746-1786 Washington County 1770-1870 , J.L. Hill Printing Company, 1903.
Pamala Hutchinson Garrett. Markham of Chesterfield, Dec. 18, 2021, https://www.markhamchesterfield.com
Condition:
both with pushed in bases and heavy repair, one with replaced bobeche, one with bent and loss the decoration, both with wear and scratches
GRP: ASSORTED BOOKS ON EUROPEAN ART HISTORY AND EXPLORA...Large lot of miscellaneous books, dealing primarily with European exploration, art, and history. Titles include "The British Empire before the American Revolution volume II;" The British Isles and the American Colonies, The Southern Plantations 1748-1754 by Lawrence Henry Gipson; The British Empire before the American Revolution volume IV, Zones of International Friction: North America, south of the Great Lakes region 1748-1754 by Lawrence Henry Gipson (two copies); The British Empire before the American Revolution volume V, Zones of International Friction: The Great Lakes Frontier, Canada, The West Indies, India 1748-1754 by Lawrence Henry Gipson (two copies); The British Empire before the American Revolution volume IX, The Triumphant Empire: New Responsibilities within the Enlarged Empire 1763-1766 by Lawrence Henry Gipson (two copies); The British Empire before the American Revolution volume XI, The Triumphant Empire: The Rumbling of the Coming Storm 1766-1770 by Lawrence Henry Gipson; The British Empire before the American Revolution volume XIII, The Triumphant Empire: The Empire beyond the Storm 1770-1776 Summary of the Series Historiography by Lawrence Henry Gipson; The British Empire before the American Revolution volume XIV, A Bibliographical Guide to the history of the British Empire 1748-1776 by Lawrence Henry Gipson; The British Empire before the American Revolution volume XV, A Guide to Manuscripts: Relating to the History of the British Empire 1748-1776 by Lawrence Henry Gipson (two copies); The Complete Guide to Prints and Printmaking edited by John Dawson; A Plan of the Cities of London and Westminster, and Borough of Southwark; membership directory for Fine Arts Philatelists; FAP Journal vol. 17 no. 1 & 2 edited by Clare McAlister, Kay Ziegler, and Katie Berry; The Art of Calligraphy a Practical Guide by Marie Angel; Bicentennial Engagement Calendar 1776*1976 from Colonial Williamburg; The Old World and The New 1492-1650 by J. H. Elliott; Sir Walter Ralegh by Robert Lacey; The British Library The Reference Division Collections; "Four Rare Books Selected for Sale on the World Book Fair at Earls Court, London"; The First Annual Frederic W. Goudy Award presented to Hermann Zapf 1969; "The Parcae" Two Marble Busts by Michelangelo for the Tomb of Julius II published by Paul Rosenberg & Co.; Prints of the Italian Renaissance by Jay A. Levenson; Battles of the Nudes by Evelyn Ehrlich and John H. Neff; Printmaking Today a studio handbook by Jules Heller; Rand McNally, "Atlas of the American Revolution" (two copies); Bruce L. Larson, "Lindbergh of Minnesota. A Political Biography"; "Raleigh & Roanoke," The New York Public Library; Stefan Lorant, "The New World"; W.P. Cumming, S.Hillier, D.B. Quinn, G.Williams, "The Exploration of North America 1630-1776"; edited by Michael Alexander, "Discovering the New World"; edited and annotated by Stefan Lorant, "The New World"; W. P. Cumming, R. A. Skelton, D. B. Quinn, "The Discovery of North America," American Heritage Press, New York (two copies); based on the works of Theodore de Bry, edited by Michael Alexander, "Discovering the New World" (four copies); Hugh Honour, "The New Golden Land. European Images of America from the Discoveries to the Present Time"; Ernst and Johanna Lehner, edited by Gerard L. Alexander, "How They Saw the New World," Tudor Publishing Company; Roswin Finkenzeller, Wilhelm Ziehr, Emil M. Buhrer, "Chess. A Celebration of 2,000 Years"; "Man of the House. The Life and Political Memoirs of Speaker Tip O'Neill with William Novak," Random House, New York; Peter Jowett, "Introducing Kittens"; "Appearance and Reality. Recent Studies in Conservation," The Metropolitan Museum of Art; "FAP Journal volume 17 no. 3, May/June, 1971"; "FAP Journal volume 17 no. 5, November/December 1971"; "Ivory: The Sumptuous Art. Highlights from the COllection The Walters Art Gallery, Baltimore"; "Sotheby's Preview, September 1997"; "Prestype. The quality leader in Lettering, Symbols, Shading Patterns, Tapes"; Fred Eager, "The Italic Way to Beautiful Handwriting Cursive & Calligraphic"; Roy Brewer, "Eric Gill: The Man wh Loved Letters"; Shipley, "The English Rediscovery of America"; I. C. S. Staff, "Perspective and Freehand Drawing"; Lee M. Hollander, "The Skalids. A Selection of their Poems, with Introduction and Notes"; edited by Ernst Cassirer, Paul Oskar Kristeller, John Herman Randall, Jr., "The Renaissance Philosophy of Man"; Frances and Joseph Gies, "Omen in the Middle Ages. The Lives of real Women in a Vibrant Age of Transition"; "1983-84 Collection of Gifts and Books Inspired by the Renaissance," The Folger Shakespeare Library; Margaret Bartran, "The Guide to Color Reproductions," The Scarecrow Press, Inc., New York and London, 1966; illustrated by Folon, "Passport for Human Rights"; Frederick Copleston, S. J., "A History of Philosophy: volume 3, Late Mediaeval and Renaissance Philosophy, part I, Ockham to the Speculative Mystics"; Eileen Power, "Medieval People"; Ray ALlen Billington, "Westward to the Pacific. An Overview of America's Westward Expansion"; "The Chess Bookman, September 1978, No. 14. A list of antiquarian, scarce, used and new chess publications and a magazine for chess collectors"; compiled by Henry Hunvald and with illustrations by Jeff Hill, "Chess, quatations from the Masters"; Carl Zigrosser and Christa M. Gaehde, "A Guide to the COllecting and Care of Original Prints"; Gemalde, Aquarelle, Zeichnungen, "Gerhard Rechenbach"; "Nathan Cabot Hale scultor on The Removal of Fig Leaves ..."
SKU: 02316
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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.
A GROUP OF THREE PICKARD STYLE PARCEL GILT VASES, EARLY...A GROUP OF THREE PICKARD STYLE PARCEL GILT VASES, EARLY 20TH CENTURY, from smallest to largest, a bluster example with pink rosebuds in landscape, signed, "E. Marker," verso gilt leaf in black, "Hand Painted Pickard China," obscuring green underglaze German porcelain mark, 1912-1918; a tall baluster form vase with landscape, signed, "E. Challinor," verso in black "Hand Painted Pickard China," on gilt leaf, and an underglaze green "J.P., L., France," 1912-1918; and an Art Nouveau style "Iris" vase, unmarked, largest height: 14", diameter: 5".
Condition:
Some surface wear, some expected interior soil, minor rubbing and surface scratches, but overall in very good condition, wear commensurate with age and use. 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."
AN ANTIQUE MAP, "CARTE DES VARIATIONS DE LA BOUSSOLE," ...AN ANTIQUE MAP, "Carte des Variations de la Boussole," PARIS, CIRCA 1765, engraving on paper, hydrographer Jacques Nicolas Bellin (1703-1772), plate: 36 1/4" x 23 1/4"; sheet: 25 5/8" x 37 1/2". Note: From J.F. Letenneur: "Exceptional onboard document of this rare and fabulous maritime atlas, a masterpiece by the greatest French hydrographer of the 18th century, with maps of all the coastlines known at the time. Bound with the coat of arms of the King of France, the atlas was taken by the English aboard the frigate la Nymphe, off the coasts of Ushant August 10, 1780, during one of the naval battles of the American War of Independence which took place on European waters. In the context of the war at the end of the 18th century, and of the rivalry between the French and British Navy, maritime atlases, were strategic tools, and this "Hydrographie Françoise" more so than any other, because its purpose was to provide the best maritime charts for the French ships that were fighting on the American side against the British. (The handwritten captions throughout most of the atlas are prices for individual maps and all include the same mention: "for sailors"). These atlases were not the kind to be kept in a library, but precious tools, based on the observations of the travelers and continuously improved upon, as reflect in the present copy. It was bound with the engraved title page of the edition of 1737-1765, but the index includes maps printed after 1765 (until 1772), and the copy was augmented by six maps that do not appear in the index (until 1776), as well as 14 pages of text from the Versailles edition of 1773. The later maps are signed by Verdun de la Crenne and were done during the campaigns of the Flore (1771-1772) and of the Isis led by Fleurieu in 1768-1769. The captions explain that the maps were created using the latest technology of the day that could measure longitude (maritime clocks)." Reference: Les Fregates "La Surveillante" (1778-1779) et "La Nymphe" (1780), by M. A. KERNEIS, Bulletin de la Societe academique de Brest 1891-1892, pp. 55 to 112; Relation des combats et des evenements de la Guerre Maritime de 1778 entre la France et l'Angleterre, melee de reflexions sur les Manoeuvres des Generaux... By Yves-Joseph de Kerguelen de Tremarec, Paris, 1796 (P. 154-155-156) ; Phillips, Atlases 587-590, 4288; NMM 210; Shirley, British Library M.BELL-1a. Courtesy: David Rumsey Map Collection.
Condition:
Some yellow/orange toning, a tear of approximately 1" inch at center joint in lower margin, some surface/ink rubbing and mild soil, but overall in good to very 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."
TN LUNSFORD BRAMLETT ARCHIVE, INCL. POLK WHITE HOUSE IN...Archive of six (6) documents pertaining to Lunsford Meredith Bramlett, Esq. (1785-1858), Tennessee judge, planter and politician, 8 items total. 1st-2nd items: One page printed and handwritten White House dinner invitation from President James Knox Polk (1795-1849), 11th president of the United States, serving from 1845 to 1849, to the Honorable Lunsford M. Bramlett, Chancellor &c of the middle division of the State of Tennessee, dated Thursday, February 10, for the following Wednesday, February 16, 1848, at 6 o'clock p.m. Includes one envelope, postmarked February 12th and 16th, red wax seal, en verso. 3rd item: Handwritten document signed by William W. Bibb (1781-1820), First Governor of Alabama, stating that he "...hereby license[s] Lunsford M. Bramlett, Esq., to practice as an attorney and Counsellor at law...within this territory..." dated February 7, 1818, and signed by Bibb, below. Later ink inscription, en verso. 4th item: Handwritten five-page copy of Bramlett's Last Will and Testament, primarily pertaining to the welfare of his wife, daughters, sister, grandchildren, slaves, and land that he owned in Pulaski, TN, original document signed by Bramlett and witnessed by L. W. Ezell and P. H. Ezell, dated November 10, 1853, copy dated December 1, 1871, witness signature for William F. Ballantine and J.B. Stacy, Jr. 5th item: Black bordered printed bifolium invitation addressed to John Marshall, Esq., of Franklin, TN, for Bramlett's funeral from his residence, on Saturday, April 22, 1854, at 4 o'clock p.m. Later pencil inscriptions, below, ink inscription, en verso. 6th item: One piece of lined paper with handwritten inscription reading, "L. M. Bramlett/$5.00", possibly intended as a receipt or a promissory note. Also includes two (2) handwritten documents pertaining to Anna B. Bright, possibly Anna Bramlett Bright, including one (1) copy of a Lincoln County, TN land deed, dated circa 1877. Note: A miniature portrait of Bramlett is also included in this auction. North Carolina-born Lunsford Bramlett was licensed to practice law in Alabama in 1818 but had moved to Giles County, Tennessee by 1820, where census records show him living with his first wife, at least one daughter, and eleven slaves. His second wife was Mary Crockett, daughter of Dr. Samuel Crockett and Frances Bland Dudley. Mary was the granddaughter of Guilford and Anne Eaton Dudley. Bramlett served as an attorney and Judge in Giles County, was Attorney and Chancellor for the middle division of the State of Tennessee, and unsuccessfully challenged James K. Polk for Congress in 1827. Note: Lot 232 in this auction features a period portrait of Lunsford Bramlett.
Property of the Lincoln County Museum, Fayetteville, TN; Bequest of Mary Bright Wilson (1909-2004), formerly of Fayetteville, and descended in her family.
Condition:
All items in overall good, legible condition with toning/acid burn, foxing spots, tears, dampstaining, to be expected from age. 1st-2nd items: Invitation with light toning. Envelope with wear, tears, staining, to be expected from age and manner of use. 3rd item: Bibb signature in very good condition.
CIVIL WAR ARCHIVE OF JACOB K. LONAS, KNOXVILLECivil War Archive of Jacob Kimberlin Lonas (earlier spelling Lones), Sergeant/Captain, 4th TN Infantry which later became the 1st TN Cavalry. He was born on July 18, 1842 to Charles and Rebecca Lones, the first of nine children. The Lones' were a prominent Knoxville family that originally moved to the area in the 1770's. Military biography (courtesy: Record Group 94 and Dyer, pp 1636-1637): Lones enlisted in the Union Army on April 1, 1862 at the age of 19. Commissioned Captain by the Governor of Tennessee on February 1, 1864, Lones saw action during the Tullahoma Campaign, Chickamauga, Sparta, East Tennessee Campaign, New Hope Church, Allatoona Hills, Kenesaw Mountain, the Siege of Atlanta, the Raid on Atlanta and West Point Railroad, Franklin, Nashville, Pursuit of Hood, and the expedition into Mississippi. Jacob died on February 7, 1929 and is buried in Berry Highland Memorial Cemetery. Archive includes two tintypes, one of Jacob and one of Jacob as a captain with two members of his company, Jacob's tan colored captain's epaulette, letters, books, and documents spanning from before the Civil War until the 1920's. Notable letters dating from the Civil War include a report from Jacob to Lieutenant Thurman that details how certain members of his command were wounded or killed in combat, dated January 23, 1865, Waterloo, Alabama. Jacob writes "1st Lut John Roberts wounded near Lovejoy Station Ga on the 29th of July and dies at Jonesborou (sic) Ga August 1st 64 of wound" and "Privat (sic) James L Smith killed near Linville Tenn Dec 24th 1864." One letter, dated March 31st 1865 addressed from Lones to Nashville, TN, provides a brief history of the Command of Co C First Regiment Tennessee Cavalry Vols. Another letter, dated March 30th 1864, Knoxville, TN, addressed from F.W. Reith Lt. Col. Commanding to Guards and Prikits (sic) stating "will pass Luiet (sic) Lones through the lines until the 3rd of April." Also included is Lones' copy of the New Testament, New York: American Bible Society, 1846, inscribed "J.K. Lones April 1862" on front page. Tucked into the bible is a handwritten note from R. Lones (probably his mother, Rebecca Lones) with two copies of a list of seven behaviors to uphold as a good Christian. The majority of the Civil War era documents are Quartermaster invoices completed by Jacob, starting 1863 and ending 1866, detailing the receipt and return of supplies. Also included are Muster Rolls and Payroll forms, ca. 1864-1867. Several copies of Jacob's Pension statements, dating from 1862-1925, are present in the archive. Documents pertaining to Jacob's wife, Pauline Lones nee Sharp, and her family are also included in the archive. One letter is dated July 24, 1860, from John Baxter, written by J.M. Fleming, to the Honorable Seth J.W. Lucky Chancellor & C., sitting in Chancery at Knoxville, TN. In the letter Baxter is "humbly complaining" that a few months back he gave Andrew Sharp, the father of Pauline Lones, $5900 with which to purchase a "family of Negroes from one McMahem of Sevier County..." but this deal allegedly did not follow through as planned. The letter specifies amounts paid for expenses related to the slave trade, such as "...$1200...in the purchase of one Negro man..." and "...$30 per month for the labour (sic) of [a] Negro while in their employ." Baxter does state at the end of the letter that Andrew Sharp should not be held responsible for the debt and Baxter asks his Honor for an injunction. Also included are love letters sent to Jacob by Pauline ca. 1870-1890, journal entries/essays by Pauline ca. 1868, several school "rewards" given to Pauline ca. 1861, newspaper clippings, postcards, and wedding invitations received by the couple after they were married on January 31, 1871. A copy of Jacob's will, dated January 14, 1899, is also present. In the will, Jacob appoints his wife as executor and primary benefactor. It describes property he owned in Knoxville, "including a livery stable on Henly (sic) Street South on Clinch Street and bounded by Sharp on the North and running back 130 feet, to an Alley being the same property, purchased from B.P. Flenniken..." Another notable letter from the archive is dated August 7, 1918, and was written by Sgt. L.L. Lones to Jacob K. Lones, his uncle, addressed "Some where is France." Responding to a letter from his uncle, he spends the majority of the letter asking about members of his family and his home. The bottom of the letter is marked in purple pencil that it has been censored. The letter is in a "Soldier's Mail" envelope with a "Passed by Censor No. 6376" stamp on the middle left of the envelope. A number of other letters, mementos, including a late 19th century photograph album, checks, a 1865 copy of the History of the First Regiment of Tennessee Cavalry by William Thurman, Louisville, KY Hart & Mapother Printers, etc., are also included in the archive. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Overall good condition with some toning and losses along fold lines and at corners/edges. Thurman book and photo album have considerable binding wear and losses (and Thurman book lacks cover).
PAIR OF JACOB PETIT PORCELAIN CORNUCOPIA VASESDESCRIPTION: Pair of Jacob Petit hand painted porcelain vases in an amethyst ground color finished with gold gilt in a floral design. Marked "J.P" on the bottom of each. CIRCA: 19th ct ORIGIN: France DIMENSIONS: H:11" L:9" and D:5" each vase CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
ANTIQUE JACOB PETIT PORCELAIN VASEDESCRIPTION: An antique Jacob Petit, porcelain vase. Features an overall scrolled Rococo design. The feet are designed with scrolled rococo floral and shell motifs, centered by a scrolled cartouche with gilded floral motifs. Atop the base is the vase, designed with further scrolled rococo gilded accents, and enveloped with gilded enameled floral motifs. Centering the vase are scenes of a traditional French garden courting scene on one side and the other, a nautical scenes of sail boats arriving at a harbor. Flanking the scenes are Bacchanal gilded figure motif handles, and finished with a convex, jagged, verdant motif rim. Garnished throughout in a puce hue with enameled floral motifs. Marked:"J.P." in an underglaze blue along the underside.
CIRCA: 19th Ct.
ORIGIN: France
DIMENSIONS: H:15 1/8" L:10" W:4.75"
CONDITION: Fair age appropriate condition. Expected loss of gilding. Along the rim, there is a seashell that has been repaired and repainted. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
J. POUYAT FRANCE PORCELAIN TALL VASE, RED POPPIESStriking tall vase crafted from fine porcelain and hand painted with stunning red poppies. J. P. over L, France backstamp. Signed Horn 1903.
Dimensions: 6.25"L x 3.5"W x 13"H
Manufacturer: J. Pouyat
Country of Origin: France
Condition:
Age related wear.
JEAN POUYAT LIMOGES VASEA breathtaking vessel featuring a hand painted flower illustrated with gilded handles. J. P. L France backstamp.
Dimensions: 6.75"L x 6"W x 17.25"H
Country of Origin: France
Condition:
Age related wear.
JEAN POUYAT LIMOGES PORCELAIN PITCHER, GOLD AND CURRENT...Features a round form with a skinny neck, embellished with currents and leaf motif. Finished with a wide gilded lip. J.P. over L. France. Also signed AB.
Issued: 20th Century
Dimensions: 7.5"L x 7.5"W x 4.5"H
Manufacturer: Jean Pouyat
Country of Origin: France
Condition:
Age related wear.
ANTIQUE JEAN POUYAT LIMOGES LARGE TRAYA large, round tray featuring a hand painted portrait of a lady with costume mask in hand; gilded border. J. P. L France backstamp.
Dimensions: 0.75"H x 18" dia
Country of Origin: France
Condition:
Age related wear.
JEAN POUYAT, LIMOGES PORCELAIN ELONGATED SERVING BOWLThis gorgeous canoe shaped dish with crashing wave-like handles, pink and green finish, is decorated with hand painted pink roses and gilded with extravagant gold edges. J.P. over L. France backstamp.
Issued: 1891-1932
Dimensions: 7.25"L x 4.24"W x 3"H
Manufacturer: Jean Pouyat
Country of Origin: France
Condition:
Age related wear.
(32 PC) LIMOGES JEAN POUYAT TEA SERVICE PORCELAIN SETDESCRIPTION: (32 Pc) A thirty two pieces french Limoges Jean Pouyat Tea Service porcelain set. This J.P Limoges white porcelain set is further decorated with a yellow and blush color delicate floral motif. Marked "J.P. L." Limoges. This set includes: (1 Pc) A Limoges Jean Pouyat Porcelain Coffee Pot. Marked "J.P. L." Limoges. (H: 9" W: 8 1/2"). (1 Pc) A Limoges Jean Pouyat Porcelain Creamer. Marked "J.P. L." Limoges. (H: 5 3/4" W: 4 3/4"). (1 Pc) A Limoges Jean Pouyat Porcelain Sugar Lidded Bowl. Marked "J.P. L." Limoges. (H: 6 3/4" W: 6 1/2"). (4 Pcs) Four Limoges Jean Pouyat Porcelain Cups. Marked "J.P. L." Limoges. (H: 2" W: 3 1/2"). (9 Pcs) Nine Limoges Jean Pouyat Porcelain Saucer Plates. Marked "J.P. L." Limoges. (W: 5 3/4"). (2 Pcs) Two Limoges Jean Pouyat Porcelain two handled Serving Dish. Marked "J.P. L." Limoges. (W: 10 3/4"). (11 Pcs) Eleven Limoges Jean Pouyat Porcelain Dessert Plates. Marked "J.P. L." Limoges. (W: 7 3/8"). (3 Pcs) Three Limoges Jean Pouyat Porcelain Fruit Bowls. Marked "J.P. L." Limoges. (W: 5 1/4 H:1"). CIRCA: Early 20th Century. ORIGIN: France. DIMENSIONS: See lot description for details. CONDITION: Antique condition. With major porcelain cracks, chips and gilt loss. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
DAUM FRANCE & J.P. DEMARCHI GLASS STATUEDESCRIPTION: A Daum France glass sculpture by J.P. Demarchi titled: "L' Homme Arborescent" Features concentric curved glass layers with frosted glass interior. Incised signature "Daum france" and "Demarchi" near base. Includes original storage case.
CIRCA: 20th Cent.
ORIGIN: France
DIMENSIONS: (Statue) H: 10.75" x W: 4" x D: 12" (Case) H: 4.25" x W: 13.5" x L: 13.75"
CONDITION: Small chip to lower part of statue, missing base. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
(4 PC) J.P. LIMOGES PORCELAIN TEA SETDESCRIPTION: (4 Pc) Jean Pouyat (J.P.) Limoges Porcelain Tea Set in white porcelain with hand painted floral motif depicting green branches with yellow flowers and finished with gilt accents on rim and tray handles. Set includes: a large tray, a teapot, a creamer and a lidded sugar bowl. Set pieces are marked on bottom "J.P. (over) L France".
CIRCA: 20th Century.
ORIGIN: France.
DIMENSIONS: Tray is H: 3/4" W: 14" D: 14". Tea Pot is H: 5" W:9". Creamer is H: 3" 1/4 W: 5". Bowl is H: 4" W:6 1/2".
CONDITION: Vintage condition. Some chips and missing gilt. Repaired. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
(4 PC) LIMOGES SERVING PORCELAIN SETDESCRIPTION: (4 Pc) A Limoges porcelain serving dish and pitcher set. Pieces from two different sets, Includes: (3) PHL Floral Motif Plates (H: 1.25" x D: 8") (1) "Wright Tyndale & Van Roden, J.P.L France" Tea pitcher with floral and gilt accents. (H: 9.25" x D: 6") CIRCA: 20th Ct. ORIGIN: France DIMENSIONS: See Above CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
LARGE J.P LIMOGES PORCELAIN PLATTERDESCRIPTION: A Large porcelain platter by J.P Limoges features a cobalt blue ground color with a spiraling design at the center. Further decorated with encroaching gilded leaf patterns. Marked along the underside "J.P Limoges France" CIRCA: 20th Cent. ORIGIN: France DIMENSIONS: L: 20.5" W: 13.5" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
(2 PC) FRENCH PORCELAIN TUREENSDESCRIPTION: Two French porcelain tureens, including makers, J.P. France and T&H, each having floral motifs. Marked on the underside. CIRCA: 20th Century ORIGIN: France DIMENSIONS: H. 6.5" x L. 13" CONDITION: Good condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
JEAN POUYAT LIMOGES DOUBLE HANDLED VASEImpressive hand painted vase with lustrous roses nestled in lush greenery; stylized gilt handles; scalloped gilt rim.
J. P. L France backstamp. Minor scratches; fade to gilt.
Issued: 20th c.
Dimensions: 10"W x 7.5"H
Manufacturer: Jean Pouyat Limoges
Country of Origin: France