The Philadelphia Bowl by Wedgwood. Black transfer on cream. Interior with scene of the Continental Congress rimmed with patriotic swags and "Proclaim Liberty Throughout All The Land Unto All The Inhabitants". Exterior with historical Philadelphia scenes alternating with fruits. Marked to base "The Philadelphia Bowl Expressly Designed For The Bailey Banks & Biddle Co. These drawings, by Alan Price, were taken from 18th century pictorial records in the Historical Society of Pennsylvania" with three Wedgwood marks. On carved wood base. MEASUREMENTS: 12-1/4" diameter x 5-1/4" high without base. CONDITION: No defects noted. No box.
19: FERNAND LEGER (1881-1955) WATERCOLOR AND INDIA INKFernand (Joseph Henri) Leger (1881-1955)Deux Portraits (1952)Many thanks to Comite Leger for the following information and comments: This gouache is a study for the illustration of 'Source entière' by the French poet Andre Frénaud (Seghers edition). Attached, 2 photos of the art book. If this work is presented to us, we could deliver a certificate and proceed to the inclusion in the catalogue raisonné on our website www.comiteleger.fr (free access) for works on paper period 1946-1955.The India ink drawing with watercolor and gouache relating to Arthur Rimbaud's book of poems, Les Illuminations is signed F.L. 52 lower right. Graphite inscription verso reads: 'original gouache executed by Fernand Leger in Paris and ceded [given over] by the artist to the undersigned October 14, 1952.' Ink stamp EDITIONS DES GAULES and stamp of the name LOUIS GROSCLAUDE above signature in graphite. The sheet is watermarked PERRIGOT ARCHES SPECIAL MBM FRANCE.In late 1947 Louis Grosclaude, a Swiss publisher based in Zurich, requested that Léger create fifteen illustrations for an edition of Arthur Rimbaud's book Les Illuminations. The project appealed to Léger; during the difficult times in the years following the end of the Second World War, it would enable the artist to open a Swiss bank account and deposit a substantial sum of money. A contract between Grosclaude and Leger was signed 28 January 1948. Léger completed the ink drawings with watercolor and gouache by the end of the year. In addition to the designs that Léger sent to Grosclaude for Les Illuminations, he sold the publisher many watercolors that were ostensibly related to them. Grosclaude stamped these works he acquired on the reverse with his name. The receipt of purchase from 1967 for this work on paper from Sears Roebuck Company, The Vincent Price Collection, is included.Sheet measures 22 x 30 with a framed size of 31.5 x 39.5 inches.Good to very good condition, minor edge chips, minor foxing lower areas, scattered light soiling, no damage, puncture, tear or repair, not laid down, pictured here outside the frame.Provenance: A Kansas City estate. This work is listed on appraisals back to 1977. A receipt from Sears, Roebuck and Company The Vincent Price Collection dated 2/16/67 is included.
WEDGWOOD, THE PHILADELPHIA BOWL, MADE FOR BAILEY, BANKS & BIDDLE CO., 20TH CENTURY HEIGHT: 5 1/4 IN. (13.34 CM.) X DIAMETER: 12 1/2 IN. (31.75 CM.)WEDGWOOD, THE PHILADELPHIA BOWL, MADE FOR BAILEY, BANKS & BIDDLE CO., 20TH CENTURY, decoration from drawings taken by Alan Price from the Pennsylvania Historical Society Dimensions: Height: 5 1/4 in. (13.34 cm.) x Diameter: 12 1/2 in. (31.75 cm.) Provenance: Estate of General Colin L. Powell, to benefit America's Promise Alliance and the Colin Powell School at City College of New York.
Thomas Koether (NY, FL b. 1940) "Shaman's Doll": Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. . Titled: "Shaman's Doll" . Dated: '94 . Oil on Canvas. . Titled and signed verso. . Having gallery label verso. . . In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student's League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of '71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces, one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness, landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France. . . Overall Size: 18 x 16 in. . . (189 - 4309) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com Available payment options on Bidsquare
Thomas Koether (New York, FL / Europe, Australia): Thomas Koether (New York, FL / Europe, Australia) Abstract Painting. Sight size: 36 x 42 inches. Signed lower right. Oil on canvas. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student's League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of '71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces, one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness, landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition * By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
1926 Durant Model PK PickupChassis no. W5579363
William C. Durant founded General Motors, but lost control to banks when he became overextended. He later took over Chevrolet and upon folding it into General Motors he took control again. In 1921 he began Durant, which he planned to model on GM by creating different brands for different price levels. Durant was brought down, like so many, by the Depression. His company went under in 1933. He lived out his years in Flint Michigan on a small GM pension and wages from managing a bowling alley.
This Durant pickup truck is green with black fenders, a wood-lined bed and wood spoke wheels. The interior is black leather and the truck has a side-mounted spare.
This vehicle is a remnant of one of the most colorful of all motoring pioneers.
Without reserve
Eight Assorted Wind-up Toys and Black Collectibles, a ceramic Mammy still bank, an Occupied Japan wind-up painted celluloid "Baby Porter" and "Dancing Couple" with original boxes, a painted bisque Black baby, a Fisher Price paper-mounted wooden wind-up horse, a celluloid and tin wind-up boy on a tricycle, a wind-up plush rabbit, and a Japanese wind-up plush bear.
A Royal Worcester cabinet plate by W J Bagnall depicting plums and blackberries beside a mossy bank, 7" diameter, together with a further similar Royal Worcester cabinet plate by H H Price depicting peaches and grapes beside a mossy bank, 7" diameter (small hairline crack to the rim) (2).
Thomas Koether (NY, FL, Europe, B. 1940): Thomas Koether (New York, Florida / Europe, Australia) Abstract Painting. Size: 9. 5 x 12. 5 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness ? landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition * By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
Tony Hillerman. The Great Taos Bank Robbery. : Hillerman, Tony. The Great Taos Bank Robbery (and other Indian Country Affairs). Albuquerque: University of New Mexico Press, 1973. Tony's first book of non-fiction. This is the first edition with the first state dust jacket (single rear cover image of Shiprock, NM). This is a fine copy in a superb, bright price-clipped dust jacket. Dimensions: 8 1/4 x 5 3/4 x 5/8 inches. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
James Edward Smith ENGLISH BOTANY 1799 Antique Horticulture Hand Colored Engraved Plates By James Sowerby Title: English Botany; or, coloured figures of British plants, with their essential characters, synonyms, and places of growth. To which will be added, occasional remarks. Author: James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica and The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to Rees's "Cyclopaedia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, Flora Graeca, the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: James SowerbyCity: LondonYear: 1799Printing Information: First EditionBinding Style: HardcoverWidth: 6" Height: 9.5"Book Details: English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. The brief, but formal descriptions were supplied by the founder of the Linnean Society, James Edward Smith, and published and illustrated by the botanical illustrator and natural historian, James Sowerby.The Periodical was published in 36 volumes over 23 years and was given the full title, English Botany or, Coloured Figures of British Plants, with their Essential Characters, Synonyms and Places of Growth, the descriptions supplied by Sir James E. Smith were illuminated by Sowerby's 2,592 hand-colored plates. The volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to 'Sowerby's Botany', though somewhat erroneously.While extensive, the work was never intended to be comprehensive; Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. The descriptions given are accurate and systematic, in the use of binomial nomenclature, with Latin and English description; but a wider audience was intended with digression into general discussion and cultivation. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, the volumes were to become well known. Identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works.Smith and Sowerby's partnering was not their only one, other early publication of Smith's descriptions with Sowerby plates, included Icones pictae plantarum rariorum descriptionibus et observationibus illustratae during 1790-93 and A Specimen of the Botany of New Holland, a survey of exotic species found in the new colonies of Australia. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerby's name as the publisher, with a credit to himself as illustrator, allowed those enamoured by the novelety of his illustrations to perpetuate this misnomer. The title is still given in book sales as "Sowerby's".The illustrations allowed a reader not familiar with botany to identify plants; also, the aesthetic appeal of the vivid hand colored engravings earned Sowerby much praise. However, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a 'superficial knowledge' could be gained from the text. Despite disagreement between the two men, they continued to issue the work: the absence of Smith's name in the title was corrected in later volumes and editions.Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi. Without Smith, Sowerby added colored figures of English fungi, (1797–1815) for the species of this domain. Later editions of the book were to take advantage of a mechanical color printing, further increasing the affordability of the book. The third edition in 1883 saw editor John Boswell alter the text and include a "popular portion".[Information courtesy Wikipedia.]Condition / Notes: This is the ninth volume of a thirty-six volume botanical series illustrated by James Sowerby. This antique volume is bound in leather with stamped gilt ornamentation on the spine. The book shows moderate external wear including rubbing and spotting to the front and back covers and rubbing to spine and spine edges. The rear board is beginning to separate. The bookplates of a previous owner are affixed to the front and rear pastedowns.Moderate soiling is visible on the endpapers. The hand-colored plates and text are clean with moderate age toning. The hand-coloring remains vivid.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
A collection of miscellaneous Art Deco ceramics including a blue and white banded coffee pot by Price Brothers, a Crown Devon Sooty money bank, a Gray's Pottery jug with painted floral decoration, a Carlton ware salad bowl and matching servers in the Wild Rose pattern, etc
James Edward Smith ENGLISH BOTANY 1803 Antique Horticulture Hand Colored Engraved Plates By James Sowerby Title: English Botany; or, coloured figures of British plants, with their essential characters, synonyms, and places of growth. To which will be added, occasional remarks. Author: James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica and The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to Rees's "Cyclopaedia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, Flora Graeca, the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: James SowerbyCity: LondonYear: 1803Printing Information: First EditionBinding Style: HardcoverWidth: 6" Height: 9.5"Book Details: English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. The brief, but formal descriptions were supplied by the founder of the Linnean Society, James Edward Smith, and published and illustrated by the botanical illustrator and natural historian, James Sowerby.The Periodical was published in 36 volumes over 23 years and was given the full title, English Botany or, Coloured Figures of British Plants, with their Essential Characters, Synonyms and Places of Growth, the descriptions supplied by Sir James E. Smith were illuminated by Sowerby's 2,592 hand-colored plates. The volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to 'Sowerby's Botany', though somewhat erroneously.While extensive, the work was never intended to be comprehensive; Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. The descriptions given are accurate and systematic, in the use of binomial nomenclature, with Latin and English description; but a wider audience was intended with digression into general discussion and cultivation. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, the volumes were to become well known. Identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works.Smith and Sowerby's partnering was not their only one, other early publication of Smith's descriptions with Sowerby plates, included Icones pictae plantarum rariorum descriptionibus et observationibus illustratae during 1790-93 and A Specimen of the Botany of New Holland, a survey of exotic species found in the new colonies of Australia. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerby's name as the publisher, with a credit to himself as illustrator, allowed those enamoured by the novelety of his illustrations to perpetuate this misnomer. The title is still given in book sales as "Sowerby's".The illustrations allowed a reader not familiar with botany to identify plants; also, the aesthetic appeal of the vivid hand colored engravings earned Sowerby much praise. However, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a 'superficial knowledge' could be gained from the text. Despite disagreement between the two men, they continued to issue the work: the absence of Smith's name in the title was corrected in later volumes and editions.Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi. Without Smith, Sowerby added colored figures of English fungi, (1797–1815) for the species of this domain. Later editions of the book were to take advantage of a mechanical color printing, further increasing the affordability of the book. The third edition in 1883 saw editor John Boswell alter the text and include a "popular portion".[Information courtesy Wikipedia.]Condition / Notes: This is the sixteenth volume of a thirty-six volume botanical series illustrated by James Sowerby. This antique volume is bound in leather. The front board is detached and the rear hinge is cracked. The bookplates of previous owners are affixed to the front and rear pastedowns. Moderate smudging and soiling appears on the flyleaf and title page.The hand-colored plates and text on laid paper are clean with moderate age toning. The plates are very well-preserved.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
FARNDON, Walter, (American, 1876-1964): ''The Old Building Near Meadow Bank Building, New York City, New York, Oil/Canvas, 42'' x 35'', signed lower right, fine period gilded gesso frame, 51'' x 43'', several gallery labels affixed verso. This picture was purchased from Christie's in 1998 for a record price of $48,300 (includes buyer premium).CONDITION: Relined, scattered touches of inpaint, sold as is.
"Circus Riders" Jon Corbino (1905 Jon Corbino (Massachusetts, Florida, 1905 - 1964) "Circus Riders" Signed lower right. Gallery labels verso. Oil/Canvas Board. Sight Size: 20 x 24 inches. Original price $16,500. A highly acclaimed artist for heroic themes revealing the anxieties of America during the 1930s, Jon Corbino depicted disasters such as wars and floods. These paintings were tributes to the perseverance of man against unknown forces of the universe. He was much admired for his skill in draftsmanship and brilliant, smoldering colors. In 1941, he received the first grant awarded to a visual artist from the National Institute of Arts and Letters. His work is represented in 64 U.S. museums as well as the Lotus Club, New York, NY; First National Bank of Chicago; Fine Arts Society, Sarasota, FL; Hallmark Cards, Inc., Kansas City, MO; Ringling College of Art and Design, Sarasota, FL; Georgetown University Library, Washington, D.C.; The United States Post Office, Long Beach, Long Island, NY; Town of Rockport, Massachusetts, Rockport, MA.
Bill Mack Majesty Oil Painting: Bill Mack Original Majestic Eagle Oil Painting on Canvas, Signed Bill Mack Upper Right, Dated and signed in back of the canvas see photos. Certificate of Authenticity of PRINCESS FINE ARTS. Purchase Price $40, 000 USD (Forty Thousand Dollars) Measures 32 1/2 Inches by 42 Inches Framed Measures 44 Inches by 53 Inches Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00 Available payment options on Bidsquare Congratulations on your winning bid(s)! ALERT! ALERT! ALERT! INVOICES IN EXCESS OF $2, 000. 00 MAY NOT BE MADE VIA PAYPAY. INVOICES OVER $2, 000. 00 MUST BE PAID BY WIRE TRANSFER! PAYPAL WILL NOT REFUND US THEIR FEE IF YOU MISTAKENLY USE THIS METHOD OF PAYMENT THEREFORE THIS FEE WILL BE CHARGED BACK TO YOU. WE REGRET THAT PAYPAL HAS CHANGED POLICY ON THIS LEAVING US NO ALTERNATIVE. Please pay your invoice as soon as you receive it. We accept payment from all major credit cards, cashier's check, bank/wire transfer & cash For local pick-ups . If paying by check please send to auction house address listed above. If your invoice is not paid in 5 business days, disputes will be opened and we reserve the right to offer the lot to the under bidder. To make payment please contact our gallery at (954) 342-9684. Please note: All invoices exceeding $2, 000 USD MUST be paid via bank/wire transfer. Please note all items must be picked up within 10 business days or a $10. 00 storage fee will be charged per lot. WIRING INFORMATION - Kodner Estate Holdings, LLC Domestic Route Wire Code 021000021 International Wire, swift code - CHASUS33 Account Number 926685053 Chase Bank Address. 270 Park Ave NY. NY 10017 Please include $15 for domestic wire transfers and $20. 00 for international wires.
21 vols. (1 wrappers) James A. Michener - First Editions: Michener, James A. : The Quality of Life. Girard Bank, 1970. 8vo, orig. bds. , paper label. * A Michener Miscellany. New York, (1973). 1st ed. 8vo, orig. cloth, d/j (a few small close tears at edges). * Chesapeake. New York, (1978). 1st ed. 8vo, orig. cloth, d/j (price label on front flap). * The Covenant. New York, (1980). 1st trade ed. 8vo, orig. cloth, d/j. Minor wear. * U. S. A. New York, (1981). 1st ed. 4to, orig. cloth, d/j (minor edge wear). Color photo illus. * Writer's Handbook. New York, (1992). 1st ed. 4to, orig. stiff wrappers, minor wear. Illus. * Space. New York, (1982). 1st ed. 8vo, orig. cloth, d/j. NF. * Texas. New York, (1985). 1st ed. 8vo, orig. cloth, d/j. NF. * Legacy. New York, (1987). 1st ed. 8vo, orig. cloth, d/j. NF. * Alaska. New York, (1988). 1st ed. 8vo, orig. cloth, d/j. NF. * Journey. New York, (1989). 1st Am. ed. 8vo, orig. cloth, d/j. NF. * Caribbean. New York, (1989). 1st ed. 8vo, orig. cloth, d/j. NF. * The Novel. New York, (1991). 1st ed. 8vo, orig. bds. , d/j. NF. * Pilgrimage. Emmaus, Pa. : Rodale Press, (1990). 1st ed. 8vo, orig. bds. , d/j. NF. * Mexico. New York, (1992). 1st ed. 8vo, orig. bds. , d/j. NF. * The World is My Home. New York, (1992). 1st ed. 8vo, orig. bds. , d/j. NF. * Creatures of The Kingdom. New York, (1993). 1st ed. 8vo, orig. bds. , d/j. NF. * James A. Michener Retells South Pacific. New York, etc. , (1992). 1st ed. 4to, orig. bds. , d/j. Color illus. NF. * Kings, John. In Search of Centennial. New York, (1978). 4to, orig. cloth, d/j (a few close tears). Illus. * (Michener, James A. , editor, intro by. ) First Fruits:... Israeli Writing. Phila. : J. P. S. , (1973). 1st ed. 8vo, orig. cloth, d/j (some edge wear, price clipped). * Hayes, John P. James A. Michener: A Biography. Indianapolis, (1984). 1st ptg. 8vo, orig. cloth, d/j. Inscribed & signed by Hayes on 1/2 title. NF.
A ROYAL WORCESTER TWO HANDLED VASE AND COVER
the vase painted by R Price, signed, with a continuous still life of ripening fruit on a woodland bank and gilt, 25cm h, black printed mark, painted 2713, late 20th c
1902 $5 PB CH 4718 ELKINS NATIONAL BANK WV - RARE VG/F Very scarce and rare bank. Only 1 other 1902 $5 PB is known at Track and Price in the same grade and only 2 are known at National Bank Note Census Only damage is tiny piece of edge missing over S in STATES. SN 5432. nice descending SN
Thomas Koether (NY, FL b. 1940) "Precipice": Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. . Titled: "Precipice" . Dated: '80 . Oil on Canvas. . Signed lower right. . Overall Size: 36 x 24 in. . (63 - 4302). . In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. . . ONE PERSON SHOWS . 2001 SRQ ON MAIN, Sarasota, Florida . 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator . 1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida . 1993 MATRIX, Renegade Gallery, East Hampton, New York . 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York . 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida . 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY . 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia . 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY . 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY . 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY . 1974 AJANTA GALLERY, New York, New York . 1973 St. Croix, Virgin Islands . 1972 St. Croix, Virgin Islands . 1971 Ars Bar, Ibiza, Spain . 1970 Ars Bar, Ibiza, Spain . 1969 Ars Bar, Ibiza, Spain . 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands . . SELECTED GROUP AND JURIED SHOWS . 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY . 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida . 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum . 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida . 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida . 1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY . 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University . 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York . 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York . 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York . 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia . 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York . 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York . 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York . 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York . 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia . 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia . 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia . 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia . 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia . 1971 LE CENTER AMERICAN, Paris, France Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com Available payment options on Bidsquare
Thomas Koether (B. 1940) "Cove at Byron Bay": Thomas Koether (New York, Florida / Europe, Australia B. 1940) "Cove at Byron Bay" (Australia). Oil on Paper. Signed lower left. Created 1981. Sight Size: 11 x 17 in. Overall Size: 20 x 25. 5 in. Framed behind glass. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes from Helmuth Stone Services can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
Harding Family archive, account book: Extensive archive relating to David Morris Harding (1795-1854) and wife Frances "Fanny" Grieves Davis Harding (1801-1865), including ledgers for David Morris Harding's whiskey business and plantation, later known as Devon Farm; Civil War and Slave related ephemera; land documents; and numerous receipts. David M. Harding Account Book for Whiskey Credited for the year of 1849 with records of sales to John Davis, John Harding, and others; partial book titled Account of Making Whiskey with 2 pages in back listing certain repeated names of people (likely slaves) with quantities (likely a production record); a large book that appears to be an early textbook or reference book with wine and beer measures but also geometry and other problems, dates around 1814; 7 land indentures between David M. Harding and Thomas Harding, Christopher Robertson, and other early Nashville landowners, with witness signatures including William Harding and Giles Harding; Survey map of land along Harpeth River; several pages of accounts with John Nichol for household items including furnishings such as tea china and tumblers, fine beaver gloves, food and sundry supplies; a hand written recipe for Cold Beer; a $2, 000 check from a New Orleans bank for Mr. George Harding; a scrap of paper with prices for architectural work including stairs, 1804 s. f. flooring, roof, windows, doors etc; and a 1863 Civil War Pass for Mrs. Harding's driver and Fanny Harding's oath of allegiance to the United States Government. There are also several small note books, including one inscribed Thomas Harding, the others apparently David Harding's notes of checks written and amounts received from various accounts. One appears to have a 2 page reference to slaves purchased from the Echols family. Another has 8 checks, dated 1822, from the Commercial and Farmer's Bank of Baltimore, where Harding often traveled to purchase slaves. Provenance: the estate of Sarah Hunter Hicks Green, formerly of Historic Devon Farm, Nashville, Tennessee. (Higher-resolution photos are available at www. caseantiques. com) Condition Most items exhibit expected toning and light fading but are in overall good condition. Textbook and account books are fragile with edge and corner losses and lack covers, some pages detached. Fanny Davis's oath of allegiance and travel pass were both found on old self-adhesive photo album page, and we have not attempted to remove them. Some land indentures have tears at fold lines.
Thomas Koether (New York, Florida, Born 1940): Thomas Koether (New York, Florida, Born 1940) "Offshore" Large Abstract Oil on canvas painting. Signed lower left. Dated verso. Sight size: 48 x 60 in. Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
TWO CAST IRON PATRIOTIC BANKSa centennial Liberty Bell still bank and an Uncle Sam mechanical bank. The larger: 11" high, 4 1/2" wide, 4" deep. Uncle Sam bank lacking door and key, wear and surface losses to both. Provenance: Property of a Litchfield County Collector. Weoffer in-house packing and shipping of this item to an address in the United States for $45.00 via USPS Priority Mail. The price includes insurance up to $5,000.00. Tracking information will be sent to your email address. International buyers areresponsible for arranging 3rd party shipping.
DAVIES, William Henry Banks, (British, 1833-1914): ''Loch Maree'', Highland Scene with Sheep and Cattle, Oil/Canvas, 9.25'' x 17.25'', signed lower right and dated 1882, framed 15'' x23''. In 2005 his painting ''Gathering the Flocks, Loch Maree'' fetched a hammer price of more than $100K at Sothebys.CONDITION: Frame is newer but shows restoration, scattered craquelure, indentation from back in the upper left quadrant, possible older reline, sold as is.
James Edward Smith ENGLISH BOTANY 1796 Antique Horticulture Hand Colored Engraved Plates By James Sowerby Title: English Botany; or, coloured figures of British plants, with their essential characters, synonyms, and places of growth. To which will be added, occasional remarks. Author: James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica and The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to Rees's "Cyclopaedia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, Flora Graeca, the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: James SowerbyCity: LondonYear: 1796Printing Information: First EditionBinding Style: HardcoverWidth: 6" Height: 9.5"Book Details: English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. The brief, but formal descriptions were supplied by the founder of the Linnean Society, James Edward Smith, and published and illustrated by the botanical illustrator and natural historian, James Sowerby.The Periodical was published in 36 volumes over 23 years and was given the full title, English Botany or, Coloured Figures of British Plants, with their Essential Characters, Synonyms and Places of Growth, the descriptions supplied by Sir James E. Smith were illuminated by Sowerby's 2,592 hand-colored plates. The volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to 'Sowerby's Botany', though somewhat erroneously.While extensive, the work was never intended to be comprehensive; Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. The descriptions given are accurate and systematic, in the use of binomial nomenclature, with Latin and English description; but a wider audience was intended with digression into general discussion and cultivation. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, the volumes were to become well known. Identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works.Smith and Sowerby's partnering was not their only one, other early publication of Smith's descriptions with Sowerby plates, included Icones pictae plantarum rariorum descriptionibus et observationibus illustratae during 1790-93 and A Specimen of the Botany of New Holland, a survey of exotic species found in the new colonies of Australia. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerby's name as the publisher, with a credit to himself as illustrator, allowed those enamoured by the novelety of his illustrations to perpetuate this misnomer. The title is still given in book sales as "Sowerby's".The illustrations allowed a reader not familiar with botany to identify plants; also, the aesthetic appeal of the vivid hand colored engravings earned Sowerby much praise. However, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a 'superficial knowledge' could be gained from the text. Despite disagreement between the two men, they continued to issue the work: the absence of Smith's name in the title was corrected in later volumes and editions.Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi. Without Smith, Sowerby added colored figures of English fungi, (1797–1815) for the species of this domain. Later editions of the book were to take advantage of a mechanical color printing, further increasing the affordability of the book. The third edition in 1883 saw editor John Boswell alter the text and include a "popular portion".[Information courtesy Wikipedia.]Condition / Notes: This is the fifth volume of a thirty-six volume botanical series illustrated by James Sowerby. This antique volume is bound in leather with stamped gilt ornamentation on the spine. The book shows moderate external wear including rubbing and spotting to the front and back covers and rubbing to spine and spine edges. The front and rear hinges are cracked and the front board is detached. The bookplates of a previous owner are affixed to the front and rear pastedowns, with some pencil markings visible around them.Light spotting is visible on the flyleaf and title page. This book is lavishly illustrated with numerous hand-colored plates, which like the text are are clean with moderate age toning. The hand-coloring remains vivid.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
Harding Family archive, account book Extensive archive relating to David Morris Harding (1795-1854) and wife Frances "Fanny" Grieves Davis Harding (1801-1865), including ledgers for David Morris Harding's whiskey business and plantation, later known as Devon Farm; Civil War and Slave related ephemera; land documents; and numerous receipts. David M. Harding Account Book for Whiskey Credited for the year of 1849 with records of sales to John Davis, John Harding, and others; partial book titled Account of Making Whiskey with 2 pages in back listing certain repeated names of people (likely slaves) with quantities (likely a production record); a large book that appears to be an early textbook or reference book with wine and beer measures but also geometry and other problems, dates around 1814; 7 land indentures between David M. Harding and Thomas Harding, Christopher Robertson, and other early Nashville landowners, with witness signatures including William Harding and Giles Harding; Survey map of land along Harpeth River; several pages of accounts with John Nichol for household items including furnishings such as tea china and tumblers, fine beaver gloves, food and sundry supplies; a hand written recipe for Cold Beer; a $2,000 check from a New Orleans bank for Mr. George Harding; a scrap of paper with prices for architectural work including stairs, 1804 s.f. flooring, roof, windows, doors etc; and a 1863 Civil War Pass for Mrs. Harding's driver and Fanny Harding's oath of allegiance to the United States Government. There are also several small note books, including one inscribed Thomas Harding, the others apparently David Harding's notes of checks written and amounts received from various accounts. One appears to have a 2 page reference to slaves purchased from the Echols family. Another has 8 checks, dated 1822, from the Commercial and Farmer's Bank of Baltimore, where Harding often traveled to purchase slaves. Provenance: the estate of Sarah Hunter Hicks Green, formerly of Historic Devon Farm, Nashville, Tennessee. (Higher-resolution photos are available at www.caseantiques.com)
James Edward Smith ENGLISH BOTANY 1801 Antique Horticulture Hand Colored Engraved Plates By James Sowerby Title: English Botany; or, coloured figures of British plants, with their essential characters, synonyms, and places of growth. To which will be added, occasional remarks. Author: James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica and The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to Rees's "Cyclopaedia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, Flora Graeca, the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: James SowerbyCity: LondonYear: 1801Printing Information: First EditionBinding Style: HardcoverWidth: 6" Height: 9.5"Book Details: English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. The brief, but formal descriptions were supplied by the founder of the Linnean Society, James Edward Smith, and published and illustrated by the botanical illustrator and natural historian, James Sowerby.The Periodical was published in 36 volumes over 23 years and was given the full title, English Botany or, Coloured Figures of British Plants, with their Essential Characters, Synonyms and Places of Growth, the descriptions supplied by Sir James E. Smith were illuminated by Sowerby's 2,592 hand-colored plates. The volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to 'Sowerby's Botany', though somewhat erroneously.While extensive, the work was never intended to be comprehensive; Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. The descriptions given are accurate and systematic, in the use of binomial nomenclature, with Latin and English description; but a wider audience was intended with digression into general discussion and cultivation. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, the volumes were to become well known. Identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works.Smith and Sowerby's partnering was not their only one, other early publication of Smith's descriptions with Sowerby plates, included Icones pictae plantarum rariorum descriptionibus et observationibus illustratae during 1790-93 and A Specimen of the Botany of New Holland, a survey of exotic species found in the new colonies of Australia. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerby's name as the publisher, with a credit to himself as illustrator, allowed those enamoured by the novelety of his illustrations to perpetuate this misnomer. The title is still given in book sales as "Sowerby's".The illustrations allowed a reader not familiar with botany to identify plants; also, the aesthetic appeal of the vivid hand colored engravings earned Sowerby much praise. However, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a 'superficial knowledge' could be gained from the text. Despite disagreement between the two men, they continued to issue the work: the absence of Smith's name in the title was corrected in later volumes and editions.Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi. Without Smith, Sowerby added colored figures of English fungi, (1797–1815) for the species of this domain. Later editions of the book were to take advantage of a mechanical color printing, further increasing the affordability of the book. The third edition in 1883 saw editor John Boswell alter the text and include a "popular portion".[Information courtesy Wikipedia.]Condition / Notes: This is the thirteenth volume of a thirty-six volume botanical series illustrated by James Sowerby. This antique volume is bound in leather with moderate chipping and rubbing to the edes and surface of the covers and spine. The front hinge is cracked. The bookplates of previous owners are affixed to the front and rear pastedowns. The text block is well-preserved.The hand-colored plates and text are clean with moderate age toning. Impressions of the text appear on several plates. The hand coloring remains vivid.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
James Edward Smith ENGLISH BOTANY 1801 Antique Horticulture Hand Colored Engraved Plates By James Sowerby Title: English Botany; or, coloured figures of British plants, with their essential characters, synonyms, and places of growth. To which will be added, occasional remarks. Author: James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica and The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to Rees's "Cyclopaedia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, Flora Graeca, the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: James SowerbyCity: LondonYear: 1801Printing Information: First EditionBinding Style: HardcoverWidth: 6" Height: 9.5"Book Details: English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. The brief, but formal descriptions were supplied by the founder of the Linnean Society, James Edward Smith, and published and illustrated by the botanical illustrator and natural historian, James Sowerby.The Periodical was published in 36 volumes over 23 years and was given the full title, English Botany or, Coloured Figures of British Plants, with their Essential Characters, Synonyms and Places of Growth, the descriptions supplied by Sir James E. Smith were illuminated by Sowerby's 2,592 hand-colored plates. The volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to 'Sowerby's Botany', though somewhat erroneously.While extensive, the work was never intended to be comprehensive; Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. The descriptions given are accurate and systematic, in the use of binomial nomenclature, with Latin and English description; but a wider audience was intended with digression into general discussion and cultivation. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, the volumes were to become well known. Identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works.Smith and Sowerby's partnering was not their only one, other early publication of Smith's descriptions with Sowerby plates, included Icones pictae plantarum rariorum descriptionibus et observationibus illustratae during 1790-93 and A Specimen of the Botany of New Holland, a survey of exotic species found in the new colonies of Australia. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerby's name as the publisher, with a credit to himself as illustrator, allowed those enamoured by the novelety of his illustrations to perpetuate this misnomer. The title is still given in book sales as "Sowerby's".The illustrations allowed a reader not familiar with botany to identify plants; also, the aesthetic appeal of the vivid hand colored engravings earned Sowerby much praise. However, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a 'superficial knowledge' could be gained from the text. Despite disagreement between the two men, they continued to issue the work: the absence of Smith's name in the title was corrected in later volumes and editions.Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi. Without Smith, Sowerby added colored figures of English fungi, (1797–1815) for the species of this domain. Later editions of the book were to take advantage of a mechanical color printing, further increasing the affordability of the book. The third edition in 1883 saw editor John Boswell alter the text and include a "popular portion".[Information courtesy Wikipedia.]Condition / Notes: This is the twelfth volume of a thirty-six volume botanical series illustrated by James Sowerby. This antique volume is bound in leather with stamped gilt ornamentation on the spine. The book shows moderate external wear including rubbing and spotting to the front and back covers and rubbing to spine and spine edges. The front and rear hinges are cracked. The bookplates of a previous owner are affixed to the front and rear pastedowns.This book is lavishly illustrated with numerous hand-colored plates, which like the text are are clean with moderate age toning. The hand-coloring remains vivid.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
THOMAS JEFFERSON ALS TO SIR PEYTON SKIPWITH ADDRESSED TO: SIR PEYTON SKIPWITH, PRESTWOULD MONTICELLO, DEC. 24 1795THOMAS JEFFERSON ALS TO SIR PEYTON SKIPWITH, Addressed to: Sir Peyton Skipwith, Prestwould Monticello, Dec. 24 1795, An autographed letter signed from Thomas Jefferson to his friend Sir Peyton Skipwith of Prestwould (near Clarksville, Va.), discussing nails Jefferson has been making at Monticello and the current price and market of nails; Dear Sir Monticello Dec. 24. 95. I have just received your favor of the 9th and am sorry it is not in my power to do any thing in the business mentioned in it. I have been authorised by Mr. Short only have have a part of his stock sold and invested in Canal shares & some land; but not at all to settle, pay or meddle with any debt. I retain your account however & will inclose (sic) a copy of it in my first letter and do whatever else he shall direct. probably it will be from 6. to 9. months before I get an answer. The person who delivered your letter has examined my little nailing in [] it; parts, and received whatever information he desired. When I began the business, it was a fine one, but a fall in the price of nails & rise in the price of nail rod have made it less profitable by 20 percent within this 12 month. This you know is a great thing to be struck off from clear profits. I am apprehensive the fall in the price of nails is permanent. The rise of iron, like the rise of price in every thing else we get from or thro' the great trading towns proceeds chiefly from their immense circulation of bank-paper. Those towns are now in the state we were in about 1778, with this unfortunate difference that the [ ]are able to sink the value of the precious metals with that of their paper; whereas our old paper left the metals at their former level. I am with great esteem Dear Sir your most obed't ser't Sir Peyton Skipwith Th Jefferson
1929 $20 Ch 10043 Livingston Manor, NY VF30+: A scarce note from the only bank in Sullivan County with few if any known at the VF or higher level. Ch 10043 with a great location: Livingston Manor. NY. SN# D000268A. One light horizontal fold and old corner fold visible on reverse, otherwise one of the best notes from this bank as VF35 is the highest note at Track and Price
James Edward Smith ENGLISH BOTANY 1802 Antique Horticulture Hand Colored Engraved Plates By James Sowerby Title: English Botany; or, coloured figures of British plants, with their essential characters, synonyms, and places of growth. To which will be added, occasional remarks. Author: James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica and The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to Rees's "Cyclopaedia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, Flora Graeca, the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: James SowerbyCity: LondonYear: 1802Printing Information: First EditionBinding Style: HardcoverWidth: 6" Height: 9.5"Book Details: English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. The brief, but formal descriptions were supplied by the founder of the Linnean Society, James Edward Smith, and published and illustrated by the botanical illustrator and natural historian, James Sowerby.The Periodical was published in 36 volumes over 23 years and was given the full title, English Botany or, Coloured Figures of British Plants, with their Essential Characters, Synonyms and Places of Growth, the descriptions supplied by Sir James E. Smith were illuminated by Sowerby's 2,592 hand-colored plates. The volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to 'Sowerby's Botany', though somewhat erroneously.While extensive, the work was never intended to be comprehensive; Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. The descriptions given are accurate and systematic, in the use of binomial nomenclature, with Latin and English description; but a wider audience was intended with digression into general discussion and cultivation. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, the volumes were to become well known. Identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works.Smith and Sowerby's partnering was not their only one, other early publication of Smith's descriptions with Sowerby plates, included Icones pictae plantarum rariorum descriptionibus et observationibus illustratae during 1790-93 and A Specimen of the Botany of New Holland, a survey of exotic species found in the new colonies of Australia. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerby's name as the publisher, with a credit to himself as illustrator, allowed those enamoured by the novelety of his illustrations to perpetuate this misnomer. The title is still given in book sales as "Sowerby's".The illustrations allowed a reader not familiar with botany to identify plants; also, the aesthetic appeal of the vivid hand colored engravings earned Sowerby much praise. However, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a 'superficial knowledge' could be gained from the text. Despite disagreement between the two men, they continued to issue the work: the absence of Smith's name in the title was corrected in later volumes and editions.Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi. Without Smith, Sowerby added colored figures of English fungi, (1797–1815) for the species of this domain. Later editions of the book were to take advantage of a mechanical color printing, further increasing the affordability of the book. The third edition in 1883 saw editor John Boswell alter the text and include a "popular portion".[Information courtesy Wikipedia.]Condition / Notes: This is the second volume of a thirty-six volume botanical series illustrated by James Sowerby. This antique volume is bound in leather with stamped gilt lettering and ornamentation on the spine. The book shows moderate external wear including rubbing and spotting to the front and back covers and some chipping to the spine cover. Front and rear hinges are cracked. The bookplates of previous owners are affixed to the front and rear pastedowns.Moderate smudging and soiling is visible on the flyleaf and title page. The hand-colored plates and text are clean with moderate age toning. The hand-coloring remains vivid.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
ALONZO WOOD AND COMPANY'S BANK RAISED $5 - RARE A very rare bank with few surviving notes as it was only in business 1863-1867. Haxby NY-795, the bank is only survived by, from this researcher can find, One $1 note, one $2 note, and a $1 and a $2 raised to $10. Heritage sold a $2 and a $1 raised to $10 a few years ago. This note began life as a Alonzo Wood $1 note and was raised to a $5 on several places on the note but the One can also still be found. It should grade Fine to Very Fine with tiny pinholes across the obverse. The bank is so rare that this note should be a prize for any collector of New York Obsolete notes and it is bright with vibrant ink and colors. Don Kelly's 2018 reference would call it NY4090-20 and would price it about $400 in VG and $1000 in Very Fine
James Edward Smith ENGLISH BOTANY 1797 Antique Horticulture Hand Colored Engraved Plates By James Sowerby Title: English Botany; or, coloured figures of British plants, with their essential characters, synonyms, and places of growth. To which will be added, occasional remarks. Author: James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica and The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to Rees's "Cyclopaedia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, Flora Graeca, the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: James SowerbyCity: LondonYear: 1797Printing Information: First EditionBinding Style: HardcoverWidth: 6" Height: 9.5"Book Details: English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. The brief, but formal descriptions were supplied by the founder of the Linnean Society, James Edward Smith, and published and illustrated by the botanical illustrator and natural historian, James Sowerby.The Periodical was published in 36 volumes over 23 years and was given the full title, English Botany or, Coloured Figures of British Plants, with their Essential Characters, Synonyms and Places of Growth, the descriptions supplied by Sir James E. Smith were illuminated by Sowerby's 2,592 hand-colored plates. The volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to 'Sowerby's Botany', though somewhat erroneously.While extensive, the work was never intended to be comprehensive; Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. The descriptions given are accurate and systematic, in the use of binomial nomenclature, with Latin and English description; but a wider audience was intended with digression into general discussion and cultivation. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, the volumes were to become well known. Identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works.Smith and Sowerby's partnering was not their only one, other early publication of Smith's descriptions with Sowerby plates, included Icones pictae plantarum rariorum descriptionibus et observationibus illustratae during 1790-93 and A Specimen of the Botany of New Holland, a survey of exotic species found in the new colonies of Australia. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerby's name as the publisher, with a credit to himself as illustrator, allowed those enamoured by the novelety of his illustrations to perpetuate this misnomer. The title is still given in book sales as "Sowerby's".The illustrations allowed a reader not familiar with botany to identify plants; also, the aesthetic appeal of the vivid hand colored engravings earned Sowerby much praise. However, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a 'superficial knowledge' could be gained from the text. Despite disagreement between the two men, they continued to issue the work: the absence of Smith's name in the title was corrected in later volumes and editions.Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi. Without Smith, Sowerby added colored figures of English fungi, (1797–1815) for the species of this domain. Later editions of the book were to take advantage of a mechanical color printing, further increasing the affordability of the book. The third edition in 1883 saw editor John Boswell alter the text and include a "popular portion".[Information courtesy Wikipedia.]Condition / Notes: This is the sixth volume of a thirty-six volume botanical series illustrated by James Sowerby. This antique volume is bound in leather with stamped gilt ornamentation on the spine. The book shows moderate external wear including rubbing and spotting to the front and back covers and rubbing to spine and spine edges. The front and rear hinges are cracked and the boards are beginning to separate. The bookplates of a previous owner are affixed to the front and rear pastedowns, and some pencil notation is visible on the front pastedown..Moderate soiling and spotting arevisible on the endpapers and title page. The hand-colored plates and text are clean with moderate age toning. The hand-coloring remains vivid.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
Thomas Koether (New York, FL / Europe, Australia): Thomas Koether (New York, FL / Europe, Australia) Abstract Painting. Sight size: 21 x 15. 5 inches. Oil on paper. Signed lower right. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student's League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of '71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces, one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness, landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition * By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
James Edward Smith ENGLISH BOTANY 1800 Antique Horticulture Hand Colored Engraved Plates By James Sowerby Title: English Botany; or, coloured figures of British plants, with their essential characters, synonyms, and places of growth. To which will be added, occasional remarks. Author: James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica and The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to Rees's "Cyclopaedia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, Flora Graeca, the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: James SowerbyCity: LondonYear: 1800Printing Information: First EditionBinding Style: HardcoverWidth: 6" Height: 9.5"Book Details: English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. The brief, but formal descriptions were supplied by the founder of the Linnean Society, James Edward Smith, and published and illustrated by the botanical illustrator and natural historian, James Sowerby.The Periodical was published in 36 volumes over 23 years and was given the full title, English Botany or, Coloured Figures of British Plants, with their Essential Characters, Synonyms and Places of Growth, the descriptions supplied by Sir James E. Smith were illuminated by Sowerby's 2,592 hand-colored plates. The volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to 'Sowerby's Botany', though somewhat erroneously.While extensive, the work was never intended to be comprehensive; Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. The descriptions given are accurate and systematic, in the use of binomial nomenclature, with Latin and English description; but a wider audience was intended with digression into general discussion and cultivation. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, the volumes were to become well known. Identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works.Smith and Sowerby's partnering was not their only one, other early publication of Smith's descriptions with Sowerby plates, included Icones pictae plantarum rariorum descriptionibus et observationibus illustratae during 1790-93 and A Specimen of the Botany of New Holland, a survey of exotic species found in the new colonies of Australia. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerby's name as the publisher, with a credit to himself as illustrator, allowed those enamoured by the novelety of his illustrations to perpetuate this misnomer. The title is still given in book sales as "Sowerby's".The illustrations allowed a reader not familiar with botany to identify plants; also, the aesthetic appeal of the vivid hand colored engravings earned Sowerby much praise. However, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a 'superficial knowledge' could be gained from the text. Despite disagreement between the two men, they continued to issue the work: the absence of Smith's name in the title was corrected in later volumes and editions.Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi. Without Smith, Sowerby added colored figures of English fungi, (1797–1815) for the species of this domain. Later editions of the book were to take advantage of a mechanical color printing, further increasing the affordability of the book. The third edition in 1883 saw editor John Boswell alter the text and include a "popular portion".[Information courtesy Wikipedia.]Condition / Notes: This is the tenth volume of a thirty-six volume botanical series illustrated by James Sowerby. This antique volume is bound in leather with moderate external wear including rubbing and spotting to the front and back covers and rubbing to spine and spine edges. The binding is split. The bookplates of a previous owner is affixed to the front and rear pastedowns.The front flyleaf and title page display light smudging and spotting. The hand-colored plates and text are clean with moderate age toning. The hand-coloring remains vivid.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
Thomas Koether (NY, FL, Europe Australia b. 1940): Thomas Koether (New York, Florida / Europe, Australia, born 1940) "Tangier Boudoir" Oil on canvas abstract painting. Sight size: 30 x 30 inches. Signed lower right. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student’s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator 1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Joplin (T.) On The General Principles and Present Practice of Banking in England and Scotland second edition 1824 § Gray (S.) Remarks on the Production of Wealth 1820 § Cooke (Edward) The Real Cause of the Increased Price of the Necessaries of Life 1819 § Powell (John) An Analytical Exposition of the Financial Principles and Ruinous Consequences of the Financial and Commercial Systems of Great Britain 1826; some from volumes of 'The Pamphleteer' occasional browning disbound; and 8 others similar 8vo (12)
HENRI-JOSEPH HARPIGNIES (FRENCH, 1819-1916)Henri-Joseph Harpignies
French, 1819-1916
Landscape
Oil on canvas
Signed lower left. A dusky river landscape of gnarled trees along the bank. Artist's plaque to the fine gilt frame.
Stretcher: 12 x 20 in. (30.48 x 50.80 cm.), frame: 19 1/2 x 27 1/2 in. (49.53 x 69.85 cm.)
The Wallace Estate: Lee Renfrew Wallace and her husband Mahlon Brookings Wallace III lived an extremely happy and luxurious life filled with world travels, safaris, collecting, and philanthropy. From backgrounds in race-horse breeding and championship cattle ranching, the socialite couple paid homage to the St. Louis area community in a variety of ways.
Mr. Wallace served as Director of Commerce Bank, President of the St. Louis Zoo Friends Board, and was charitable to numerous organizations he believed in. Behind every great man is a better woman, and his wife Lee was renowned for being the glue of the family while she warmly served as Director of Development for local educational institutions and made an impact with her lasting spirit. The couple’s art collection ranges in style and period and spans a broad price-point.
Condition:
Craquelure.
BERT BEIRNE, AMERICAN (20/21ST CENTURY), STILL LIFE WITH QUIMPER & PEACHES, OIL ON PANEL, 5 5/8"H X 11 5/8"W, 9 3/4"H X 15 3/4"W (FRAME)Bert Beirne, American, (20/21st Century) Still Life with Quimper & Peaches, oil on panel Signed lower right. Biography from the Archives of AskArt: "A native of Cincinnati, Ohio, Bert Received a BFA degree from the University of Cincinnati. She has lived in the Atlanta area since 1968 (Studio in Flowery Branch, GA) and is a co-founder of the Dunwoody Fine Arts Association. From her beginnings as a painter of marine subjects, she developed an interest in the styles of the Flemish painters, and has studied with artists in Scottsdale, Taos, and Raleigh. She is also a member of the National Association of Independent Artists. Bert chooses her subjects from a variety of materials and textures--Madeira lace, Persian rugs, metal , porcelain, glass, fruit, leather, wood, shellfish, sheet music. Bert's oil paintings have won top awards in numerous regional and national shows and are included in private and corporate collections throughout the United States, Canada, England, Ireland, Germany, Puerto Rico, and Japan. A few of these collections are the following: Arthur Andersen and Company, Bank of America, Isabel Anderson Comer Museum, King and Spalding, Sun Bank, Price Edwards and Company." oil on panel Dimensions: 5 5/8"H x 11 5/8"W, 9 3/4"H x 15 3/4"W (frame)
A Marilyn Monroe set of documents relating to the purchase of her Brentwood home, 1962
The first a carbon copy of a letter written by Milton A. Rudin [MM's attorney]; dated "January 12, 1962," it reads in part "Dear Al: Our client, Marilyn Monroe, has made an offer to purchase a residence at 12305-5th Helena Drive, Los Angeles, California...the offer was a preliminary offer of $52,500, although the asking price is $69,000...Marilyn is quite anxious to buy this property...;" the second is an 'Escrow Statement' from City National Bank of Beverly Hills; dated "Feb. 8, 1962" it appears as though MM was able buy the house for "$57,500;" $11,500 off the original asking price.
11 x 8 1/2in and 12 x 8 1/2in
James Edward Smith ENGLISH BOTANY 1795 Antique Horticulture Hand Colored Engraved Plates By James Sowerby Title: English Botany; or, coloured figures of British plants, with their essential characters, synonyms, and places of growth. To which will be added, occasional remarks. Author: James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica and The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to Rees's "Cyclopaedia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, Flora Graeca, the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: James SowerbyCity: LondonYear: 1795Printing Information: First EditionBinding Style: HardcoverWidth: 6" Height: 9.5"Book Details: English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. The brief, but formal descriptions were supplied by the founder of the Linnean Society, James Edward Smith, and published and illustrated by the botanical illustrator and natural historian, James Sowerby.The Periodical was published in 36 volumes over 23 years and was given the full title, English Botany or, Coloured Figures of British Plants, with their Essential Characters, Synonyms and Places of Growth, the descriptions supplied by Sir James E. Smith were illuminated by Sowerby's 2,592 hand-colored plates. The volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to 'Sowerby's Botany', though somewhat erroneously.While extensive, the work was never intended to be comprehensive; Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. The descriptions given are accurate and systematic, in the use of binomial nomenclature, with Latin and English description; but a wider audience was intended with digression into general discussion and cultivation. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, the volumes were to become well known. Identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works.Smith and Sowerby's partnering was not their only one, other early publication of Smith's descriptions with Sowerby plates, included Icones pictae plantarum rariorum descriptionibus et observationibus illustratae during 1790-93 and A Specimen of the Botany of New Holland, a survey of exotic species found in the new colonies of Australia. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerby's name as the publisher, with a credit to himself as illustrator, allowed those enamoured by the novelety of his illustrations to perpetuate this misnomer. The title is still given in book sales as "Sowerby's".The illustrations allowed a reader not familiar with botany to identify plants; also, the aesthetic appeal of the vivid hand colored engravings earned Sowerby much praise. However, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a 'superficial knowledge' could be gained from the text. Despite disagreement between the two men, they continued to issue the work: the absence of Smith's name in the title was corrected in later volumes and editions.Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi. Without Smith, Sowerby added colored figures of English fungi, (1797–1815) for the species of this domain. Later editions of the book were to take advantage of a mechanical color printing, further increasing the affordability of the book. The third edition in 1883 saw editor John Boswell alter the text and include a "popular portion".[Information courtesy Wikipedia.]Condition / Notes: This is the fourth volume of a thirty-six volume botanical series illustrated by James Sowerby. This antique volume is bound in leather with moderate external wear including rubbing and spotting to the front and back covers and rubbing to spine and spine edges. The front and rear boards are detached. The bookplates of a previous owner are affixed to the front and rear pastedowns, with some pencil markings visible around them.Light spotting and smudging are visible on the flyleaf and title page. This book is lavishly illustrated with numerous hand-colored plates, which like the text are are clean with moderate age toning. The hand-coloring remains vivid.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
James Edward Smith ENGLISH BOTANY 1794 Antique Horticulture Hand Colored Engraved Plates By James Sowerby Title: English Botany; or, coloured figures of British plants, with their essential characters, synonyms, and places of growth. To which will be added, occasional remarks. Author: James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica and The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to Rees's "Cyclopaedia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, Flora Graeca, the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: James SowerbyCity: LondonYear: 1794Printing Information: First EditionBinding Style: HardcoverWidth: 6" Height: 9.5"Book Details: English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. The brief, but formal descriptions were supplied by the founder of the Linnean Society, James Edward Smith, and published and illustrated by the botanical illustrator and natural historian, James Sowerby.The Periodical was published in 36 volumes over 23 years and was given the full title, English Botany or, Coloured Figures of British Plants, with their Essential Characters, Synonyms and Places of Growth, the descriptions supplied by Sir James E. Smith were illuminated by Sowerby's 2,592 hand-colored plates. The volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to 'Sowerby's Botany', though somewhat erroneously.While extensive, the work was never intended to be comprehensive; Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. The descriptions given are accurate and systematic, in the use of binomial nomenclature, with Latin and English description; but a wider audience was intended with digression into general discussion and cultivation. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, the volumes were to become well known. Identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works.Smith and Sowerby's partnering was not their only one, other early publication of Smith's descriptions with Sowerby plates, included Icones pictae plantarum rariorum descriptionibus et observationibus illustratae during 1790-93 and A Specimen of the Botany of New Holland, a survey of exotic species found in the new colonies of Australia. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerby's name as the publisher, with a credit to himself as illustrator, allowed those enamoured by the novelety of his illustrations to perpetuate this misnomer. The title is still given in book sales as "Sowerby's".The illustrations allowed a reader not familiar with botany to identify plants; also, the aesthetic appeal of the vivid hand colored engravings earned Sowerby much praise. However, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a 'superficial knowledge' could be gained from the text. Despite disagreement between the two men, they continued to issue the work: the absence of Smith's name in the title was corrected in later volumes and editions.Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi. Without Smith, Sowerby added colored figures of English fungi, (1797–1815) for the species of this domain. Later editions of the book were to take advantage of a mechanical color printing, further increasing the affordability of the book. The third edition in 1883 saw editor John Boswell alter the text and include a "popular portion".[Information courtesy Wikipedia.]Condition / Notes: This is the third volume of a thirty-six volume botanical series illustrated by James Sowerby. This antique volume is bound in leather with stamped gilt lettering and ornamentation on the spine. There is moderate rubbing and wear to the spine and the edges of the covers. The binding is sound. The bookplates of previous owners are affixed to the front and rear pastedowns.The hand-colored plates and text are clean with moderate age toning. The hand-coloring remains vivid.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
James Edward Smith ENGLISH BOTANY 1790 Antique Horticulture Hand Colored Engraved Plates By James Sowerby Title: English Botany; or, coloured figures of British plants, with their essential characters, synonyms, and places of growth. To which will be added, occasional remarks. Author: James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica and The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to Rees's "Cyclopaedia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, Flora Graeca, the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: James SowerbyCity: LondonYear: 1790Printing Information: First EditionBinding Style: HardcoverWidth: 6" Height: 9.5"Book Details: English Botany is the title of a major publication of British plants, an enormous set of volumes that was issued between 1790 and 1813. The brief, but formal descriptions were supplied by the founder of the Linnean Society, James Edward Smith, and published and illustrated by the botanical illustrator and natural historian, James Sowerby.The Periodical was published in 36 volumes over 23 years and was given the full title, English Botany or, Coloured Figures of British Plants, with their Essential Characters, Synonyms and Places of Growth, the descriptions supplied by Sir James E. Smith were illuminated by Sowerby's 2,592 hand-colored plates. The volumes were issued by subscription, as a part work over 23 years, until its eventual completion in 1813. This amounted to 36 volumes which came to be referred to 'Sowerby's Botany', though somewhat erroneously.While extensive, the work was never intended to be comprehensive; Smith would be the first to do such a survey with his first two volumes of Flora Britannica at the end of that century. The descriptions given are accurate and systematic, in the use of binomial nomenclature, with Latin and English description; but a wider audience was intended with digression into general discussion and cultivation. Combined with increased sales of books, and the amateurs and gardeners enthusiasum for botany, the volumes were to become well known. Identification of the plants, in correspondence with the details in the plates, gave the work accuracy and utility beyond that of decorative books and more akin to formal botanical works.Smith and Sowerby's partnering was not their only one, other early publication of Smith's descriptions with Sowerby plates, included Icones pictae plantarum rariorum descriptionibus et observationibus illustratae during 1790-93 and A Specimen of the Botany of New Holland, a survey of exotic species found in the new colonies of Australia. However, the first four volumes of English Botany came to be misattributed due to a request by Smith to remain anonymous on the title. Sowerby's name as the publisher, with a credit to himself as illustrator, allowed those enamoured by the novelety of his illustrations to perpetuate this misnomer. The title is still given in book sales as "Sowerby's".The illustrations allowed a reader not familiar with botany to identify plants; also, the aesthetic appeal of the vivid hand colored engravings earned Sowerby much praise. However, Smith was derisive of the ability of images alone to describe a plant. The graphics needed the formal description and explanation, without which only a 'superficial knowledge' could be gained from the text. Despite disagreement between the two men, they continued to issue the work: the absence of Smith's name in the title was corrected in later volumes and editions.Considered to be the first extensive coverage of British flora, there was none of the kingdom Fungi. Without Smith, Sowerby added colored figures of English fungi, (1797–1815) for the species of this domain. Later editions of the book were to take advantage of a mechanical color printing, further increasing the affordability of the book. The third edition in 1883 saw editor John Boswell alter the text and include a "popular portion".[Information courtesy Wikipedia.]Condition / Notes: This is the first volume of a thirty-six volume botanical series illustrated by James Sowerby. This antique volume is bound in leather with stamped gilt lettering and ornamentation on the spine. The book shows light external wear including rubbing and spotting to the front and back covers and rubbing to spine and spine edges. The binding is sound. The bookplates of previous owners are affixed to the front and rear pastedowns.The front flyleaf and title page display light smudging and spotting. The hand-colored plates and text are clean with light age toning. The hand-coloring remains vivid.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
FERNAND LEGER (1881-1955) WATERCOLOR AND INDIA INKFernand (Joseph Henri) Leger (1881-1955)Deux Portraits (1952)Many thanks to Comite Leger for the following information and comments: This gouache is a study for the illustration of 'Source entière' by the French poet Andre Frénaud (Seghers edition). Attached, 2 photos of the art book. If this work is presented to us, we could deliver a certificate and proceed to the inclusion in the catalogue raisonné on our website www.comiteleger.fr (free access) for works on paper period 1946-1955.The India ink drawing with watercolor and gouache relating to Arthur Rimbaud's book of poems, Les Illuminations is signed F.L. 52 lower right. Graphite inscription verso reads: 'original gouache executed by Fernand Leger in Paris and ceded [given over] by the artist to the undersigned October 14, 1952.' Ink stamp EDITIONS DES GAULES and stamp of the name LOUIS GROSCLAUDE above signature in graphite. The sheet is watermarked PERRIGOT ARCHES SPECIAL MBM FRANCE.In late 1947 Louis Grosclaude, a Swiss publisher based in Zurich, requested that Léger create fifteen illustrations for an edition of Arthur Rimbaud's book Les Illuminations. The project appealed to Léger; during the difficult times in the years following the end of the Second World War, it would enable the artist to open a Swiss bank account and deposit a substantial sum of money. A contract between Grosclaude and Leger was signed 28 January 1948. Léger completed the ink drawings with watercolor and gouache by the end of the year. In addition to the designs that Léger sent to Grosclaude for Les Illuminations, he sold the publisher many watercolors that were ostensibly related to them. Grosclaude stamped these works he acquired on the reverse with his name. The receipt of purchase from 1967 for this work on paper from Sears Roebuck Company, The Vincent Price Collection, is included.Sheet measures 22 x 30 with a framed size of 31.5 x 39.5 inches.Good to very good condition, minor edge chips, minor foxing lower areas, scattered light soiling, no damage, puncture, tear or repair, not laid down, pictured here outside the frame.Provenance: A Kansas City estate. This work is listed on appraisals back to 1977. A receipt from Sears, Roebuck and Company The Vincent Price Collection dated 2/16/67 is included.
Thomas Koether (B. 1940) "Bio Physical Collage": Thomas Koether (New York, Florida / Europe, Australia B. 1940) "Bio Physical Collage". Mixed Media. Signed lower right. Sight Size: 17. 75 x 14. 5 in. Overall Size: 26. 75 x 23 in. Framed behind glass. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes from Helmuth Stone Services can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
Thomas Koether (B. 1940) "Attempted Evasion": Thomas Koether (New York, Florida / Europe, Australia, B. 1940) "Attempted Evasion". Signed, titled "Attempted Evasion" and dated ('94) verso. Oil on Canvas. Canvas Size: 34 x 32 in. Overall Size: 35 x 33 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes from Helmuth Stone Services can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
HARDING FAMILY ARCHIVE, ACCOUNT BOOKExtensive archive relating to David Morris Harding (1795-1854) and wife Frances "Fanny" Grieves Davis Harding (1801-1865), including ledgers for David Morris Harding's whiskey business and plantation, later known as Devon Farm; Civil War and Slave related ephemera; land documents; and numerous receipts. David M. Harding Account Book for Whiskey Credited for the year of 1849 with records of sales to John Davis, John Harding, and others; partial book titled Account of Making Whiskey with 2 pages in back listing certain repeated names of people (likely slaves) with quantities (likely a production record); a large book that appears to be an early textbook or reference book with wine and beer measures but also geometry and other problems, dates around 1814; 7 land indentures between David M. Harding and Thomas Harding, Christopher Robertson, and other early Nashville landowners, with witness signatures including William Harding and Giles Harding; Survey map of land along Harpeth River; several pages of accounts with John Nichol for household items including furnishings such as tea china and tumblers, fine beaver gloves, food and sundry supplies; a hand written recipe for Cold Beer; a $2,000 check from a New Orleans bank for Mr. George Harding; a scrap of paper with prices for architectural work including stairs, 1804 s.f. flooring, roof, windows, doors etc; and a 1863 Civil War Pass for Mrs. Harding's driver and Fanny Harding's oath of allegiance to the United States Government. There are also several small note books, including one inscribed Thomas Harding, the others apparently David Harding's notes of checks written and amounts received from various accounts. One appears to have a 2 page reference to slaves purchased from the Echols family. Another has 8 checks, dated 1822, from the Commercial and Farmer's Bank of Baltimore, where Harding often traveled to purchase slaves. Provenance: the estate of Sarah Hunter Hicks Green, formerly of Historic Devon Farm, Nashville, Tennessee. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Most items exhibit expected toning and light fading but are in overall good condition. Textbook and account books are fragile with edge and corner losses and lack covers, some pages detached. Fanny Davis's oath of allegiance and travel pass were both found on old self-adhesive photo album page, and we have not attempted to remove them. Some land indentures have tears at fold lines.
Sir James Edward Smith ENGLISH BOTANY OR COLOURED FIGURES OF BRITISH PLANTS 1840 Antique British Plants Hand Title: English Botany; Or, Coloured Figures of British Plants, with Their Essential Characters, Synonyms, and Places of GrowthAuthor: SIr James Edward Smith - Sir James Edward Smith was an English botanist and founder of the Linnean Society.Smith was born in Norwich in 1759, the son of a wealthy wool merchant. He displayed a precocious interest in the natural world. During the early 1780s he enrolled in the medical course at the University of Edinburgh where he studied chemistry under Joseph Black and natural history under John Walker. He then moved to London in 1783 to continue his studies. Smith was a friend of Sir Joseph Banks who was offered the entire collection of books, manuscripts and specimens of the Swedish natural historian and botanist Carolus Linnaeus, following the death of his son Carolus Linnaeus the Younger. Banks declined the purchase but Smith bought the collection for the bargain price of £1,000. The collection arrived in London in 1784 and in 1786 Smith was elected Fellow of the Royal Society.Between 1786 and 1788 Smith made the grand tour through the Netherlands, France, Italy and Switzerland visiting botanists, picture galleries and herbaria. He founded the Linnean Society of London in 1788, becoming its first President, a post he held until his death. He returned to live in Norwich in 1796 bringing with him the entire Linnean Collection. His library and botanical collections acquired European fame and were visited by numerous entomologists and botanists from the entire Continent. In 1792, he was elected a foreign member of the Royal Swedish Academy of Sciences.Smith spent the remaining thirty years of his life writing books and articles on botany. His books included "Flora Britannica" and "The English Flora" (4 volumes, 1824 – 1828). He contributed 3,348 botanical articles to "Rees's Cyclopædia" between 1808 and 1819, following the death of Rev. William Wood, who had started the work. In addition, he contributed 57 biographies of botanists. He contributed seven volumes to the only major botanical publication of the eighteenth century, "Flora Graeca," the publications begun by John Sibthorp. A fruitful collaboration was found through descriptions Smith supplied to publisher and illustrator, James Sowerby. Depiction of flora in England had previously only found patronage for aesthetic concerns, but an interest in gardening and natural history saw illustrated publications, such as the exotic "A Specimen of the Botany of New Holland" and the 36-volume "English Botany," reaching new audiences.In 1797 Smith published "The Natural History of the Rarer Lepidopterous Insects of Georgia," the earliest book on American insects. It included the illustrations and notes of John Abbot, with descriptions of new species by Smith based on Abbot's drawings.Smith's friendship with William Roscoe (after whom he named the genus Roscoea) saw him contribute 5000 plants between 1806 and 1817 to supplement the Roylean Herbarium. This was to become the Smith Herbarium held by the Liverpool Botanic Garden. After Smith's death the Linnean Collection, together with Smith's own collections, were bought by the Linnean Society for £3,150.He was married to Pleasance Reeve (1773–1877). She survived her husband by 49 years and edited his memoirs and correspondence. They are buried together at St Margaret's, Lowestoft.The standard author abbreviation Sm. is used to indicate this individual as the author when citing a botanical name. (Information courtesy of Wikipedia)Publisher: Printed by Richard and John E. Taylor, for the Proprietor, C. E. SowerbyCity: LondonYear: 1840Binding Style: HardcoverNumber of Volumes: 1 Full Set: NoPagination: 132 pages plus 254 hand-colored platesWidth: 6.25" Height: 9.5"Book Details: A highly important botanical work, and a beautifully illustrated record of the native trees, flowers and plants of Great Britain during the first half of the 19th century.Condition / Notes: This is a scarce seventh volume of a twelve-volume second edition of this landmark work. This antique volume is bound in black cloth, with a stamped printed spine label. The book shows external wear, with light soiling and mild rubbing to the covers. The rear hinge is cracked. The pages are clean and without markings. The engraved plates are bright, showing vivid colors. This work is illustrated with 254 mostly numbered hand-colored plates. BIBLIOGRAPHY WHICH REFERS:BM (NH) V, p.1982; Bradley Bibliography I, p.395; cf. Dunthorne 291; cf.Great Flower Books (1990) p.140; Henrey III, 1366-1368; Hunt 717; cf. Johnston Cleveland Collections 601; Nissen BBI 2225; Pritzel 9711; Stafleu & Cowan TL2 12.221For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $4.50
Thomas Koether (NY, FL b. 1940) ". the Sentinel": Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. . Titled: "Messenger and the Sentinel" . Dated: '83 - 05 . Oil on Paper laid on Canvas. . Signed verso. . . In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student's League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of '71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces, one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness, landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France. . . Overall Size: 11. 25 x 15. 25 in. . (350 - 4303) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com Available payment options on Bidsquare