NEW YORK CAST IRON CENTRAL PARK LAMP POST Spring City Foundry (American 1843) New York city cast iron lamp post, type-G, modeled after the type-B (1907), originally designed by Beaux Arts architect Henry Bacon (American 1866-1912), after 1911, from Central Park, in four pieces comprising a later plastic globe, fluted shaft and laurel and acanthus patterned base, the base marked "N. Y. City" and "S. C. F. M68". Note: "M68" refers to the lamp post's original location near the 68th street entrance. The posts are still in production under the pattern name "Madison". Provenance: : From the Collection of Bruce Cusmano, Metropolitan Artifacts, Atlanta, Georgia. Approximate measurements: overall h. 138", base dia. 17".
A Pair of New Orleans Cast Iron Garden Settees late 19th c. with "Hinderer's Iron Wks NOLA" foundry stamp and "April 25 1881" en verso in the "Curtain" pattern with rosette and scroll crest rectangular panel back centered by cartouche scroll arms reticulated seat "S" form legs with stretchers height 36 in. width 41 in. depth 20 in. Note: Established by Frederick C.A. Hinderer in 1886 Hinderer's Iron Works operated at 302-304 Camp Street until 1894 and at 1112-1118 Camp Street from 1894-1920. Examples of the foundry's ornamental ironwork are seen throughout New Orleans. The design of these throne-like seats is heavily influenced by Renaissance Revival design and was produced not only by Hinderer but also by North American Ironwork/J.L. Mott of New York c. 1895. Interestingly the patent stamp on the Hinderer chairs seen here predates the Mott production by more than a decade. Reference: Israel. Antique Garden Ornaments Two Centuries of American Taste p. 221 and p. 179 pl. 4.35.
ENGLISH VICTORIAN BRITANNIA CAST IRON PUB TABLEPresented on this lot is an English Victorian Britannia Cast Iron Pub Table circa, 1900. Britannia is the national personification of Britain as a helmeted female warrior holding a trident and shield. An image first used in classical antiquity, the Latin "Britannia" was the name variously applied to the British Isles, Great Britain, and the Roman province of Britain during the Roman Empire. A British cultural icon, she was featured on all modern British coinage series until the redesign in 2008. The Britannia style of table became popular in public houses from the middle of the 19th Century. The Beerhouse Act of 1830 led to a growth in the establishment of public houses throughout the country together with an associated need to furnish them quickly and cheaply. With typical Victorian ingenuity, the mass production of iron castings made producing both indoor and outdoor furniture relatively cost efficient and easy, giving rise to the style which was to become “Britannia”, characterized by a tripod arrangement of cast iron legs, held together with an iron centre base. The Britannia name came from the use of an image of “Britannia” cast into the top of each leg, making them a patriotic reminder of the Victorian era. Britannia design legs were cast in several foundries across the Midlands and Yorkshire and sent for assembly to pub and hotel fitters. One of the most prolific suppliers of this style to the trade, was Lund and Reynolds. Their business was based in Kirkgate, Bradford. Each cast iron cabriole leg has a centred Britannia figure with clawed feet, ornate lion's heads and floral design along the pierced upper apron framework. Solid black painted circular wood top, medial pierced scrolled cast iron shelf exhibits past repair, wood top exhibits paint peeling, cast iron areas are painted white, slight oxidation and paint scuffing observed. A nice piece. Measures 24"W diameter x 31.5"H approximately. Weight approximate 58lb, 12oz.
Harry Jackson (American, 1924-2011) Washakie II: Harry Jackson (American, 1924-2011) . . Washakie II, alternatively titled Sunset Washakie . Signed, dated, inscribed, and numbered "© Harry Jackson 1981/WA II II S 14P" and with the foundry stamp "WFS/Italia" and the artist's thumbprint, all incised in the bronze, also signed and dated in paint "© Harry Jackson/1986" all on the side of the bronze base, alternate title given on a presentation plaque affixed to the plinth. . Painted bronze, height 18 3/8 in. (46. 7 cm), on a faux-painted metal plinth. . Condition: Good. . . Provenance: The collection of Joseph Thomas Alvarez III, California. . . N. B. Harry Jackson began his career as a painter, and color emerged, at first conservatively, as an important aspect of his sculpture beginning with Cowboy's Meditation in 1963. In the early 1950s Jackson had experimented with Abstract Expressionism, but his desire to depict solid form within space caused him to turn away from their strict focus on two dimensions. Still, at heart Jackson remained a colorist. Jackson wrote, "I can't imagine the world without color. " (1) His dream became to make polychrome bronzes that were, in essence, three-dimensional paintings. In the example at hand, Jackson has presented Shoshone chief Washakie on horseback, turned towards the sunset, bathed in rich warm colors on the front and in softened shades of blue and lavender shadows on the reverse. . . 1. Harry Jackson, Forty Years of His Work 1941-1981 (Cody, Wyoming: A WFS Publication, Bootstrap Fine Art Productions, 1981), p. 53. . Estimate $3, 000-5, 000 . . . The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617. 350. 5400 or Marlborough/508. 970. 3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
ALLEN'S FIRST IMPORTANT PROJECT, LONG BEFORE THE GREEN MOUNTAIN BOYS ALLEN, ETHAN. Articles of agreement for the Salisbury Furnace. Document Signed, 4 pages on one leaf, split along fold, each part 318 x 201 mm; slight separations at folds with minor loss on blank portions of second sheet; numerous cross-outs and emendations, but signed and sealed by the 4 partners (John Hazeltine, Samuel Forbes, Elisha Forbes, and Ethan Allen), and signed by 2 witnesses and a justice of the peace. [Salisbury, CT], 16 January 1762
the founding partnership document of salisbury furnace. This northwestern Connecticut site became, under later ownership, one of the most important iron foundries in early America, and is best remembered for producing hundreds of cannons for the Continental Army during the American Revolution.
Adding to the interest and significance of this document is the name of the company''s junior partner, a young farmer named Ethan Allen (1738-1789) who was living in Cornwall, CT at the time. Allen later settled in Vermont and went on to greater fame as leader of the "Green Mountain Boys" in the Revolution. Allen seems to have been the visionary behind this project, and recruited John Hazeltine to provide much of the capital, while the Forbes brothers provided the technical expertise. As one historian describes it, "Allen''s managerial talent (and his sense of civic responsibility) fell far short of his entrepreneurial skills. In three tumultuous years in Salisbury he repeatedly demonstrated his physical prowess by assaulting his neighbors, shocked and (privately) entertained the townspeople with his rich command of profanity, and soon parted company from his partners" (Gordon, 30). All four partners sold out their interests in the Salisbury Furnace by 1765. The Connecticut Committee of Safety seized the Salisbury works from its new owner in 1776, and converted it to cannon production.
The agreement between Allen, Hazeltine, and the Forbes brothers describes their partnership to "build a furnice to run iron ore into pig mettle . . . on a stream and nigh by an ironworks . . . in ye west part of sd Salisbury." Hazeltine agrees to contribute 50% toward the initial stock and construction, the Forbes brothers each giving 18.75%, while "Ethan Allen agrees to build one eighth part," or 12.5%. On the second sheet, which originally faced the signature page, is a partial draft of what appears to have been the original proposed agreement, with a notary statement on the verso. Allen''s involvement in this foundry was his first venture into public affairs, and it proved to have far-reaching significance to the armament of the American military.
References: Robert B. Gordon. A Landscape Transformed: The Ironmaking District of Salisbury, Connecticut (New York, 2001), 28-33; Kenneth T. Howell and Einar W. Carlson. Men of Iron: Forbes & Adam (Lakeville, CT, 1980), 37-50; Bernard W. Powell. "The Cannon Founders of Salisbury, Connecticut," Foundry Magazine, May 1997.
Arman, bronze with gold patina, sculptured dissected Violin in perspex box Signed edition 134/ 150 ( Edition number partly obscured by mount) foundry mark A .Valsuani perdue, Armand Pierre Fernandez, (born in France1928 died 2005), is one of the most important international object artists and a co-founder and member of the Nouveau R?alisme. He studied at the Ecole Nationale des Arts D?coratifs in Nice from 1946 to 1949 and then continued his studies for two years at the Ecole du Louvre in Paris. An acquaintance with Yves Klein led to the idea of organising joint happenings and events, which the two artists realised in 1953. Armand's neo-dadaist 'Cachets' (stamp prints) of 1955, and later the 'Allures' (prints made with objects dipped into paint) and the 'Coup?s' (cut-up objects) followed by the 'Col?res' (objects which were smashed and then mounted) were still influenced by Kurt Schwitters. When the last letter of his name was accidentally forgotten on a catalogue cover in 1958, he decided to adopt this spelling of his name. In 1957, Arman became interested in common objects as works of art. First he did what came to be called his "allures d"objet" (object impressions) where he would dip an object into paint and press it on canvas; thereby leaving the object's shadow or impression. Then he figured the object itself was worth paying attention to and he started to "treat" them in his own way. Arman's way of treating objects is very special: his intention is to remove the material function of an object so that as a work of art its only possible function is to "feed the mind" and not serve a material purpose anymore. What better way could he find to achieve that result than by breaking, slicing or even burning objects such as a violin, telephone, typewriter or even a whole car. He also makes objects useless by accumulating them (2,000 wrist watches in a plexiglass box are fun to watch but not very functional unless you like to "pick your time") The artist discovered his famous 'Poubelles', Plexiglas cases with rubbish cast in resin, at the beginning of the 1960s. From the 'Poubelles' Arman developed the so-called 'Accumulations', a number of the same objects assembled in show cases. These arrangements consist mainly of objects of every-day life, with which the artist ironically questions the one-sided waste character of mass products. He taught at the University of California until 1968. From 1975 onwards Arman spent seven years working on a monumental sculpture made of 60 cars which he called 'Long Term Parking'. From the mid-1960s Arman made numerous visits to New York, and he soon came to regard the USA as his second home, taking American citizenship in 1972. The stocks of new objects that he discovered there directed him towards new and more abstract accumulations. These culminated in 1967?8 in the Renault Accumulations (e.g. Renault Accumulation No. 106, 1967; see 1986 exh. cat., p. 221), highly sculptural works made from separate pieces supplied by the Renault car factory, and in large-scale commissioned monuments such as Long Term Parking (h. 18 m, 1982?3; Jouy-en-Josas, Fond. Cartier Mus.), a gigantic tower consisting of 60 cars embedded in concrete. In his later work he also recast some of his earlier Rages and Combustions in bronze, and in another series, Armed Objects, he used concrete as a base in which to fix the object, somewhat in the way he had previously used transparent plastic. He broadened his imagery to include tools while remaining faithful above all to objects symbolizing the excesses of the consumer society. Arman was also an avid collector of objects, artefacts and works of art, including watches, radios, cars, European pistols, African carved sculpture (especially Kota guardian figures) and Japanese armour Awards: Officier de la L?gion d'Honneur, Grand Prix Marzotto, Commandeur des Arts et Lettres, Officier de l'Ordre National du Merite, Member of the Academia Brera. Provenance; Purchased from Windsor and Eton Fine Arts Co. Ltd. 12/12/1979 and now consigned by the purchaser h:28.50 w:17.50 d:6 in.
A Pair of Important Gothic Revival Cast Iron Benches mid-19th c. the backs with quatrefoils between barbed spokes shaped arms hexagonal lattice seat conforming rail straight legs stretchers height 34 in. width 55 in. depth 17 in. Note: The pattern for these high-style benches appears in simultaneous production in 1842 by James Yates (Rotherham England) and Israel P. Morris (Philadelphia) making this form one of the earliest made in the United States. A bench from the Morris foundry bearing the 1842 date which is installed in the garden at Richmond Plantation (Natchez Mississippi) is identical to those offered here. Reference: Israel. Antique Garden Ornament Two Centuries of American Taste p. 82 fig. 6.7
A Large New Orleans Cast Iron Sugar Kettle, mid-19th c., bearing foundry mark "Leeds, NO, #48", flared lip, and deep body, height 22 in., diameter 55 1/2 in. Note: Repaired. $2500/3500 Note: Charles Leeds operated a large foundry employing over 400 people at what is now 923 Tchoupitoulas Street in New Orleans in the mid-19th c. A maker of steel cotton bale presses and other agricultural items like the sugar kettle seen here, the foundry converted to military production in 1861 producing ironclad ships including the CSS Mississippi, and continued to produce arms for anti-Reconstruction forces after the war. Leeds was elected the 33rd Mayor of New Orleans in 1874.
Cast iron doorstop, caddie holding golf bag, Production Pattern & Foundry Co., Chicopee, MA, 1960, chipping throughout, no stampings, 8" tall x 6" w Estimate $50-5,000
PAIR OF VICTORIAN PATINATED BRONZE FIGURAL GAS LAMPS, BY R.W. WINFIELD & CO., BIRMINGHAM DATED MARCH 1866 the original acid etched glass shades with pierced everted surmounts, raised on figural supports cast as Native Americans, one a chief with a bow, the other a female figure, on decorative circular stands with serpent form feet, with Victorian lozenge marks (2) 55cm high Estimate £ 1,000-1,500 + fees Note: R. W. Winfield & Co. were well known during the 19th century for their production of metal bedsteads, rocking chairs, gas lights and fittings. They exhibited at both the Great Exhibition of 1851, and again at the International Exhibition of 1862. At the former, they were one of 170 exhibitors awarded the council or first class medal for "superior excellence in general brass foundry, metallic bedsteads, and gas fittings." The design registry at Kew holds the design and illustration for these lamps confirming that they were produced by Winfield and registered in the summer of 1866.. Sold for £1,250 (buyer's premium included)
WOOD & METAL INDUSTRIAL DECORATIVE ITEMSGrouping of wood and metal industrial decorative items. Production Pattern & Foundry castings each 3 1/2"H, rectangular piece 8" x 5" x 2". From the Roman and Williams designed 211 Elizabeth Street in New York City.
Edith Woodman Burroughs American, 1871-1916 Edgar Allan Poe, 1909 Signed Edith Woodman Burroughs, dated MCMIX, inscribed as titled and with the poet's birth year MDCCCIX, and stamped with foundry mark R. B. W. and with the Grolier Club seal Bronze with brown patina, in a wood frame Diameter 7 inches, overall 11 x 11 inches This portrait of Edgar Allan Poe (1809-1849), commemorating the centenary of his birth, was commissioned by the Grolier Club of New York and bears the Club's icon. Founded in 1884 by Robert Hoe and eight fellow bibliophiles, the Grolier Club, named for French scholar Jean Grolier, was created "to foster the study, collecting, and appreciation of books and works on paper, their art, history, production, and commerce." Edith Woodman Burroughs studied sculpture at the Art Students League in New York City under Augustus Saint-Gaudens and Kenyon Cox, and after three years she produced decorative figures in bronze, some for Tiffany & Company. The League awarded her a fellowship to study in Paris for two years, where she met the painter Bryson Burroughs, whom she married in 1893. They returned to New York City, and she began creating small bronzes of female figures, such as Circe (1907; Newark Museum, NJ) and portraits such as one of John La Farge (1908; The Metropolitan Museum of Art, New York). Following a trip to Paris in 1909 and exposure to Aristide Maillol's work, she modeled life-sized figures in stone. In 1915 she had a one-person exhibition in New York City of thirty-nine works, which included figures for a fountain at the Panama-Pacific Exposition in San Francisco. She died the following year. C
A Victorian white painted cast iron urn or fountain attributed to Andrew Handyside Foundry. The upper socle cast with the portrait heads of 'Milton, Shakespere, Scott, Stephenson, Watt, Wellington, Nelson' and Peel the underside of the basin cast with interlaced strap-work and foliate ornament set on a chamfered base, 111cm high x 125cm diameter. IllustratedProvenance: this model appears as drawing No27 in the 1874 catalogue of Andrew Handyside. Andrew Handyside acquired the firm in 1848, formerly owned by Weatherhead and Glover 1818-1843; thence Thomas Wright 1843-1848. He expanded the production to cover architectural, engineering and decorative wares such as garden vases and fountains.
RARE LÉON MESSAGÉ, LOUIS XV STYLE ORMOLU ENCRIER, CIRCA 1895, INSCRIBED 'L MESSAGE SC' AND CAST BY BARBEDIENNE, 10 3/4 X 13 1/2 X 9 3/4 IN. (27.3 X 34.3 X 24.8 CM.)RARE LÉON MESSAGÉ, LOUIS XV STYLE ORMOLU ENCRIER, CIRCA 1895, INSCRIBED 'L MESSAGE SC' AND CAST BY BARBEDIENNE, the scrolling foliate asymmetrical cartouche shaped base with two swirling foliate cast lidded inkwells, surmounted by a rocaille and acanthus leaf and seated Enfant Guerrier allegorical of Mars infant holding a flaming torch, on scrolling feet, signed L.Messagé Sc., and with foundry mark F.BARBEDIENNE Dimensions: 10 3/4 x 13 1/2 x 9 3/4 in. (27.3 x 34.3 x 24.8 cm.) Provenance: This encrier is reproduced on one of the plates in Léon Messagé Cahier des dessins et Croquis style Louis XV published in 1890. As explained by C.Payne, this inkwell is a product of Messagé's imagination and is extremely rare as it is one of a few known sculpture models recorded with only Messagé signature. Another one, with the Messagé signature, sold for $36,000 at Sotheby's New York, A Private Collection, Volume II, 20 April 2007, lot 125. On his death, in 1901, Messagé's widow ceded all her husband's designs to Linke indicating that the offered lot was cast and finished during Leon Messagé's life time. Other examples with the Barbedienne Foundry mark but without the Messagé signature are known and often stamped or signed by François Linke indicating they were produced after his passing. As demonstrated by C. Mestdagh, Léon Messagé achieved his first success at the 1882 Paris Exhibition, working for Joseph Emmanuel Zwiener. A few years later, he provided most of the designs to François Linke for the Paris Great Exhibition of 1900. The album of Croquis et Dessins, Style Louis XV was published by Messagé himself, under his address of 40 rue Sedaine, Paris. He also designed a different encrier for Linke, for the 1900 Great Exhibition, modelled as two putti with a paddle, seated on a similarly shaped foliate cast scrolling base, one sold for £33,600 at Christie's London, 29 March 2007, lot 75.
Vintage Charlie Russell Cast Iron Bookends: This lot features a set of cast iron Charlie Russell bookends from Great Falls, Montana. The bookends have fronts painted gold with a cast portrait of C. M. Russell. The backs of the items read "Great Falls Iron Works". The Great Falls Iron Works were started in 1890 by L. S. Woodbury. Paris Gibson, founder of Great Falls, was vice president of the firm. At its start, the iron works included a combination foundry, blacksmith shop, and machine shop. The operation was designed to to support the mining industry in the Belt, Nei-hart and Hughesville areas southeast of Great Falls. Among its first jobs was the casting of lamp posts and original sewer pipes for Great Falls and other Montana cities. Demand for heavy, cast iron products eventually diminished in favor of lighter materials and in 1959 the foundry portion of the plant was closed. The items measure 6. 75"H x 4. 5"W x 2"D. Condition For a complete representation of condition and for additional images please call 800-686-4216. It is the buyer
John Swatsley (B. 1937) "Charleston Locomotive": John Swatsley (American, B. 1937) "Best Friend of Charleston Locomotive" Signed lower left. Original Watercolor painting on Illustration Board painting. . . Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . This painting is the original which appeared on the Fleetwood First Day Cover for the U. S. 22c Best Friend of Charleston stamp issued October 1, 1987. . . As railroads came to be built, American ingenuity and spirit took over, and the design and production of locomotives in this country soon became reality. While sail cars and horse drawn entities were not unknown, it was the experimental steam engine which quickly fired the imagination of the nation's mechanically-minded entrepreneurs. The Charleston & Hamburg Line had as its chief engineer Horatio Allen, who in 1829 had designed the "Stourbridge Lion" -- America's first operational locomotive. The success of the imported Lion gave Allen the encouragement he needed to attempt an American-made version. Thus, the first American-built steam locomotive was produced at the West Point Foundry and was named, "Best Friend of Charleston. " In December of 1830, it became the first locomotive ever to pull a train of cars by steam power along American railroad tracks. And one month later, the six-mile railroad began formal operation hauling some two hundred guest passengers, most of whom were shareholders and their families, at a speed of twenty-one miles per hour, and marking its progress by intermittent explosions from a small Army field gun, specially requisitioned for the trip. Later, the two hundred guests were replaced by a much more realistic number -- forty to fifty -- of paying customers who traveled the Charleston & Hamburg Line. . . Image Size: 13. 75 x 12 in. . Overall Size: 20. 25 x 18 in. . Unframed. . (B10102) 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, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. 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 . - 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 multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
CAST IRON POINTER ATTRIBUTED TO FRED ALTEN (AMERICAN, 1871-1945), Lancaster, Ohio, early 20th century. Purportedly custom made by Alten for a friend or family member while he was employed at the Alten Foundry, which produced some ornamental iron dogs as a small part of foundry production. 3.5" high x 1.5" wide x 8.5" long. See Bishop (1978: 58, fig. 51) for the exact example.
A Fine Louis XVI-Style Gilt Bronze-Mounted Rosewood Parlor Cabinet, 19th c., New York, mounts marked "P.E.G. 1716" for Pierre E. Guerin, rouge marble top, pedimented breakfront case, glazed cabinet doors, interior with mirrored back and glass shelves, finely cast bronze mounts overall, on tapered legs, height 56 in., width 53 in., depth 14 1/2 in. $5000/7000 Note: The marks on the bronze of this cabinet are from Pierre E. Guerin (1843-1911) who established his New York foundry in 1864 providing mounts for renowned cabinet makers such as Leon Marcotte and Pottier and Stymus. (1) The four digit stamped number on the top of this cabinet gives further evidence of a New York maker. Both Herter Brothers (2) and Pottier and Stymus (3) used commission or production numbers of this type. Reference: (1) Laux. "The Furniture Mounts of P.E. Guerin," Magazine Antiques, (May 2002: p. 140-149. (2) A Herter number stamp is illustrated in Howe, et. al., Herter Brothers, Furniture and Interiors for a Gilded Age, p. 244, appendix 4, cat. 24.; (3)A report from the 1876 Philadelphia Exhibition states that Pottier and Stymus tracked the each article made with a four or five digit number (see Kristin Herron, "The Modern Gothic Furniture of Pottier and Stymus", Magazine Antiques, May 1999, p. 765).
A Very Rare American Bronze Patinated Zinc Figure of Andrew Jackson, 19th c., after the 1853 original in Washington D.C. by Clark Mills (American, 1810-1883), with brass foundry plaque from Cornelius and Baker, Philadelphia on base, inscribed "Patented, May 15, 1855" on side of sculpture, height 19 1/2 in., length 18 1/2 in., width 5 in., on a stone-shaped base, overall height 23 1/2 in. $30000/50000 Note: The larger than life size original of this Clark Mills Andrew Jackson equestrian statue was unveiled in 1853 in Washington D.C.'s Lafayette Square. The sculptor ambitiously chose the moment when Jackson, reining in his rearing horse, reviews his troops prior to the pivotal Battle of New Orleans. In preparation, Mills studied the uniform worn by Jackson that was displayed in the Washington D.C. Patent Office. The statue's design astounded everyone, since the only portions of the sculpture to touch the ground were the horse's hind feet. According to a contemporary account, the statue was lauded for, "...exhibiting the features, the person, the apparel, the attitudes, and almost the action, which belonged to him [Jackson] at the moment of rendering the highest service to his country." This monument was the first equestrian statue erected in the United States, as well as the first major bronze cast. A second statue was placed in Jackson Square in New Orleans in 1856 (where it was chosen over the design by local sculptor Achille Perelli), and a third in Nashville in 1880. The unveiling of the statue in New Orleans took place amidst great celebration; there was a procession of local dignitaries to the site, music, speeches (including one by Clark Mills), and a 100 cannon salute from the levee. In 1840 on the 25th anniversary of the Battle of New Orleans, during his last visit to the city, General Andrew Jackson had laid the cornerstone in the "Place d'Armes" where his statue was eventually to reside. Based on the "Place des Vosges" in Paris, the park was not re-named in Jackson's honor until 1851, several years after his death. Mills is considered one of America's first sculptors. Born in upstate New York, he ran away from home at the age of 13, eventually settling in Charleston where he began to work as an ornamental plasterer and sculptor. Initially he was hesitant to enter the contest for the Jackson Sculpture commission, fearing he was neither qualified nor experienced enough. Mills was awarded the Jackson commission based in part on the success of his bust of the revered South Carolina statesman John C. Calhoun (1782-1850). To prepare for the sculpture's production, Mills practiced by casting large-scale bells. He eventually sold the design rights to the prominent Philadelphia firm of Cornelius and Baker (in partnership 1851-1861), a company known for its lighting fixtures and one of the pioneers in zinc casting. The company's skills are readily evident in this rare patinated zinc reduction. The technique was so advanced and innovative that Cornelius and Baker had the process patented. The Jackson sculpture, lot 372, is inscribed "Patented May 15, 1855" and tagged with the company's brass nameplate. It is marked with the letter "R" - possibly a maker's mark- and the Roman Numeral "XXIIII" - likely the number of production. This may have been a production technique for Cornelius and Baker and their sculptures seem often to incorporate some variation of letter and number combination, sometimes situated under the tail, other times beneath the coat. The Jackson sculpture was the company's most successful; examples of Cornelius and Baker Jackson sculptures are in the collections of the National Portrait Gallery in Washington D.C., the Tennessee State Museum, the Morris Museum in Georgia, the Virginia Museum of Art in Richmond, the New York Historical Society, the Andrew Jackson Historical Park Museum in South Carolina, and The White House. Reference: Barber, James. Andrew Jackson - A Portrait Study. National Portrait Gallery. 1991.pp. 212-216. ; Benezit. Dictionnaire des Peintres, Librairie Grund, 1976, vol. 7, p. 424. ; Ward, John William. Andrew Jackson - Symbol for an Age. Oxford University Press, London, 1962.
AMERICAN LOYALIST JOHN KING APPOINTED CONDUCTOR OF ROYAL ARTILLERY, 1778 Ink on vellum, 10 x 16 in. , with seal affixed on upper lef. : AMERICAN LOYALIST JOHN KING APPOINTED CONDUCTOR OF ROYAL ARTILLERY, 1778 Ink on vellum, 10 x 16 in. , with seal affixed on upper left edge; dated 2 October 1778 John King, Jr. was a brass and bronze founder working in New York City at the outbreak of hostilities in 1775. He may have been related to Daniel King of Philadelphia, who produced small bronze artillery for the Patriot military and naval forces during the war. During the occupation of New York City by the British, beginning in 1776, John King remained loyal to the Crown and through his work had contact with important British Ordnance officers, including Brigadier General James Pattison, from whom he accepted an appointment as Conductor of Artillery in 1778. John King served as Artillery Conductor through the entire war, seeing action in the Siege of Rhode Island. Captured at sea while enroute to Savannah in 1779, he was later exchanged and served in the Southern campaigns. He sailed for England upon the evacuation of New York in 1783 and was appointed a Founder at the Royal Brass Foundry at Woolwich in 1784 and was Foreman by 1789. In 1797, he was promoted to Master Founder and continued in this capacity until his death in 1813, overseeing the production of all bronze artillery for the British Ordnance Board. This sealed, vellum document dated 2 October 1778 is King's original commission as Conductor, signed by Brigadier General Pattison and countersigned by Major General Sir James Grant, then serving as Commissary General in North America. It is one of only a handful of New York-dated, wartime commissions for officers that have survived. James Grant had earlier fought in America in command of Highland troops, including the taking of Fort Duquense and commanded the successful 1761-62 Expedition against the Cherokee Indians, as well as holding various key field commands during the first three years of the Revolution. Shortly after signing this document, he departed for the West Indies, in command of a British expeditionary force to take the French Sugar Islands. Condition All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
RARE LÉON MESSAGÉ, LOUIS XV STYLE ORMOLU ENCRIER, CIRCA 1895, INSCRIBED 'L MESSAGE SC' AND CAST BY BARBEDIENNE, 10 3/4 X 13 1/2 X 9 3/4 IN. (27.3 X 34.3 X 24.8 CM.)RARE LÉON MESSAGÉ, LOUIS XV STYLE ORMOLU ENCRIER, CIRCA 1895, INSCRIBED 'L MESSAGE SC' AND CAST BY BARBEDIENNE, the scrolling foliate asymmetrical cartouche shaped base with two swirling foliate cast lidded inkwells, surmounted by a rocailles and acanthus leaf and seated Enfant Guerrier allegorical of Mars infant holding a flaming torch, on scrolling feet, signed L.Messagé Sc., and with foundry mark F.BARBEDIENNE Dimensions: 10 3/4 x 13 1/2 x 9 3/4 in. (27.3 x 34.3 x 24.8 cm.) Provenance: This encrier is reproduced on one of the plates in Léon Messagé Cahier des dessins et Croquis style Louis XV published in 1890. As explained by C.Payne, this inkwell is a product of Messagé's imagination and is extremely rare as it is one of a few known sculpture models recorded with only Messagé signature. Another one, with the Messagé signature, sold for $36,000 at Sotheby's New York, A Private Collection, Volume II, 20 April 2007, lot 125. On his death, in 1901, Messagé's widow ceded all her husband's designs to Linke indicating that the offered lot was cast and finished during Leon Messagé's life time. Other examples with the Barbedienne Foundry mark but without the Messagé signature are known and often stamped or signed by François Linke indicating they were produced after his passing. As demonstrated by C. Mestdagh, Léon Messagé achieved his first success at the 1882 Paris Exhibition, working for Joseph Emmanuel Zwiener. A few years later, he provided most of the designs to François Linke for the Paris Great Exhibition of 1900. The album of Croquis et Dessins, Style Louis XV was published by Messagé himself, under his address of 40 rue Sedaine, Paris. He also designed a different encrier for Linke, for the 1900 Great Exhibition, modelled as two putti with a paddle, seated on a similarly shaped foliate cast scrolling base, one sold for £33,600 at Christie's London, 29 March 2007, lot 75.
Pierre Jules Mene (French, 1810-1879) "Plaque Lievre et Poisson", 1854, and "Plaque Canard et Becasse", 1855, a pair of patinated bronze nature morte plaques, the first depicting a hare and game fish, suspended by a cord and above a short ledge, signed upper right and under the ledge "P J Mene" and with presentation inscription in the upper right, "a mon ami Le Pottevin/P J Mene/1er Janvier 1854", the second depicting a duck and woodcock, suspended by a cord with a mesh blanket and cattails, signed upper right "P J Mene" above a presentation inscription "a mon ami/Le Poittevin/1855", each sight 9-1/8" x 4-7/8", presented in a molded oak frame, possibly original, within a beige velvet slip and narrow giltwood frame of later date, overall 19-1/4" x 15-1/4". Mene, unlike many other bronze artists, took a keen interest in the casting and chasing process for the production of his models and, from 1837, had his own foundry. This afforded him the opportunity to occasionally add details such as the presentation inscription here. The recipient "Le Poittevin" was almost certainly the French marine artist Eugene Le Poittevin (1806-1870), who was a member of Mene's intimate circle which also included animalier sculptors Rosa Bonheur (1822-1899) and Auguste Cain (1821-1894). Reference: Pierre Kjellberg, Bronzes of the 19th Century: Dictionary of Sculptors (Atglen, PA: Schiffer, 1994); Theodore Stanton, ed., Reminiscences of Rosa Bonheur (New York: D. Appleton, 1910).
US 100-POUNDER PARROTT SHELL TEST ROUND. Excavated. Having a small hole in the nose and was not fitted for a fuse. Having a reproduction sabot cast from unknown material. Manufactured at West Point Foundry and fired on their test range. This shell was an important Parrott test rnd and one of the precursors to the end product that fit the 2-1/2 caliber’s for the length to prevent tumbling. Not pictured in any reference book. It is 2-3/4" shorter than the Parrott manufactured shell. CONDITION: Scrape on side where it hit the rocks. 4-55848 JM175 (500-850)
c.1922 Douglas 2¾hp Model WRegistration no. BO7182Engine no. 77277
The Bristol-based Douglas Foundry took up motorcycle production in 1907. Development of fore-and-aft twin made for a slim machine with a low center of gravity, and the design's virtues were soon demonstrated in competition, Douglas machines taking first, second and fourth places in the 1912 Junior TT in the Isle of Man. Douglas were quick to realize the advantages of the countershaft gearbox, its three-speed entries gaining the Team Prize in the 1914 Six Days Trial.
Without reserve
A THREE PIECE AESTHETIC MOVEMENT BELGE NOIR AND VERDE A...A THREE PIECE AESTHETIC MOVEMENT BELGE NOIR AND VERDE ANTICO METAL MOUNTED MARBLE CLOCK GARNITURE, PARIS, 1880-1890, the flaming chalice patinated metal finial on a circular base over a stepped frieze with applied Verde Antico green marble frieze, above an enameled Arabic numeral dial with two escapements, the clockworks marked with a pastille, "Medaille d'Argent, Vincenti, 1855," and with numbers 6586 and 5-2; the clock face flanked by string inlaid and incised gilt stylized flowers, raised on a stepped plinth with restrained starbursts and inlaid motif, raised on splayed acanthine feet, with two matching compotes on like gilt incised and inlaid stepped bases. Height: 20 1/2" Width: 12" Depth: 6 1/2" Note: The manufacture of this clock, though marked Vincenti, was most likely made under the supervision of Amédée Roux. Vincenti & Cie.'s origin dates back to 1823, when watchmaker/mechanic Jean Vincenti founded the company in Montbeliard. The company fell into financial bankruptcy and dissolved in 1828, giving way to another business in October 1829, still called Vincenti et Cie, with which Albert Roux, father of Amédée Roux, officially joined as leading shareholder. Quite quickly, annual production reached 8,000 watch movements. In addition to large volumes, in 1830 the factory mounted mechanisms for music boxes, carcel oil lamps, metronomes, spinning counters, and lark mirrors. In November 1833, Albert Roux established a large-scale watch and clock factory. Besides a house located opposite the original factory, Albert Roux had new workshops and offices built, and moved in early 1834. The factory in 1840 had a water wheel. The prefectural decree of February 26, 1846 authorized the maintenance of a 6 hp steam engine to operate the metal lathes of the watchmaking factory, replaced by a more powerful machine in 1858 (10 hp). A workers' housing and a house are built, respectively in 1850 and 1856. Amédée Roux succeeded his father in 1858, year of creation of the new company Amédée Roux et Cie, which continued to manufacture pendulum and chime movements, travel alarm clocks, Morse receivers, railway regulators, cogs for water and gas meters, etc. The factory was enlarged in 1864. At the end of this year, the factory produced 5,500 pendulum movements per month. Around 1890, she launched into the production of phonograph movements, prepayment counters, then automobile counters, taximeters, speed indicators, recording cylinders, igniter-extinguishers, pigeon-passenger arrival constators. They were awarded medals at the Paris exhibitions of 1834, 1839, 1844, 1849, 1855 and 1867, the pastille marks apparently still used well into the late 19th century, as seen here. A foundry and a brass rolling workshop were built around 1895. In 1902, the factory was again enlarged and equipped with a room for the steam engine. The factory closed in 1929. Aesthetic Movement was a short-lived decorative, architectural, and literature style popular from 1880-1890. Elements of modernism can be seen herein by way of the functionality and simplicity of line and form, while retaining some old world embellishments. A predecessor in some ways of modernism, this is a lovely example of Aestheticism in this garniture. Provenance: Lifelong Collection of Clocks and Antiques, Navasota, Texas.
Condition:
Some apparent repairs throughout, side handles replaced, replaced pendulum, top finial possibly with some pieces lacking, a foot loosened, but overall in good to very good condition, wear commensurate with age. Simpson Galleries does not guarantee any timepiece or clock mechanism. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
9038 - Bull, "Marco the Magi's Production of Le Grand David and his own Spectacular Magic Company", Bronze
David F. Bull, "Marco the Magi's Production of Le Grand David and his own Spectacular Magic Company", bronze, depicting the broom suspension when Le Grand David would be levitated on the stage by Marco the Magi (Cesareo R. Pelaez), signed in bronze "Bull 1984" and foundry mark, "1984 White Horse Production Inc. 1/3 TX", 24"h x 54"w x 36"d (including wooden base), housed in the Cabot St Cinema Theatre's upper lobby. Provenance: From Marco the Magi's Le Grand David Spectacular Magic Show of the Cabot St Cinema Theatre and the Larcom Theatre, Beverly MA.
A THREE PIECE AESTHETIC MOVEMENT BELGE NOIR AND VERDE ANTICO METAL MOUNTED MARBLE CLOCK GARNITURE, PARIS, 1880-1890, : A THREE PIECE AESTHETIC MOVEMENT BELGE NOIR AND VERDE ANTICO METAL MOUNTED MARBLE CLOCK GARNITURE, PARIS, 1880-1890, the flaming chalice patinated metal finial on a circular base over a stepped frieze with applied Verde Antico green marble frieze, above an enameled Arabic numeral dial with two escapements, the clockworks marked with a pastille, "Medaille d'Argent, Vincenti, 1855, " and with numbers 6586 and 5-2; the clock face flanked by string inlaid and incised gilt stylized flowers, raised on a stepped plinth with restrained starbursts and inlaid motif, raised on splayed acanthine feet, with two matching compotes on like gilt incised and inlaid stepped bases. Height: 20 1/2" Width: 12" Depth: 6 1/2" Note: The manufacture of this clock, though marked Vincenti, was most likely made under the supervision of Amédée Roux. Vincenti & Cie. 's origin dates back to 1823, when watchmaker/mechanic Jean Vincenti founded the company in Montbeliard. The company fell into financial bankruptcy and dissolved in 1828, giving way to another business in October 1829, still called Vincenti et Cie, with which Albert Roux, father of Amédée Roux, officially joined as leading shareholder. Quite quickly, annual production reached 8, 000 watch movements. In addition to large volumes, in 1830 the factory mounted mechanisms for music boxes, carcel oil lamps, metronomes, spinning counters, and lark mirrors. In November 1833, Albert Roux established a large-scale watch and clock factory. Besides a house located opposite the original factory, Albert Roux had new workshops and offices built, and moved in early 1834. The factory in 1840 had a water wheel. The prefectural decree of February 26, 1846 authorized the maintenance of a 6 hp steam engine to operate the metal lathes of the watchmaking factory, replaced by a more powerful machine in 1858 (10 hp). A workers' housing and a house are built, respectively in 1850 and 1856. Amédée Roux succeeded his father in 1858, year of creation of the new company Amédée Roux et Cie, which continued to manufacture pendulum and chime movements, travel alarm clocks, Morse receivers, railway regulators, cogs for water and gas meters, etc. The factory was enlarged in 1864. At the end of this year, the factory produced 5, 500 pendulum movements per month. Around 1890, she launched into the production of phonograph movements, prepayment counters, then automobile counters, taximeters, speed indicators, recording cylinders, igniter-extinguishers, pigeon-passenger arrival constators. They were awarded medals at the Paris exhibitions of 1834, 1839, 1844, 1849, 1855 and 1867, the pastille marks apparently still used well into the late 19th century, as seen here. A foundry and a brass rolling workshop were built around 1895. In 1902, the factory was again enlarged and equipped with a room for the steam engine. The factory closed in 1929. Aesthetic Movement was a short-lived decorative, architectural, and literature style popular from 1880-1890. Elements of modernism can be seen herein by way of the functionality and simplicity of line and form, while retaining some old world embellishments. A predecessor in some ways of modernism, this is a lovely example of Aestheticism in this garniture. Provenance: Lifelong Collection of Clocks and Antiques, Navasota, Texas. Condition Some apparent repairs throughout, side handles replaced, replaced pendulum, top finial possibly with some pieces lacking, a foot loosened, but overall in good to very good condition, wear commensurate with age. Simpson Galleries does not guarantee any timepiece or clock mechanism. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS. " NO REFUNDS will be issued based on condition.
Lot of 4: Walt Disney Character Items.
Description Includes Mickey Mouse bookend banks marked "Walt Disney Productions", Foundry mold with reprinted booklet, and a plaque from Disneyland featuring Mickey Mouse pointing to monorail.
Condition (Very Good). Size Largest: 10" T.
19TH C. FRENCH IRON TORCHIERE OF EGYPTIAN BOY ON COLUMN...Western Europe, France, ca. late 19th century CE. After "Egyptien" by Mathurin Moreau (French, 1822 to 1912) for the Val d'Osne Foundry. Cast iron and paint. An exemplary and enlightening cast iron torchiere or streetlamp in the form of a charming Egyptian youth standing atop a Classical baluster. Dynamically posed in a contrapposto stance, the delightful child raises a sizable torch fitted with an electric lightbulb high above his head with his left hand while placing his right on his hip. His slender body is dressed in a shendyt that wraps around his waist with billowing folds of fabric cascading down the front, secured by a slender belt and a sash with a decorative pattern of repeated circles that diagonally crosses from his left hip to his right shoulder. Gold-painted armbands adorn his biceps. Size: 14.8" W x 95.7" H (37.6 cm x 243.1 cm); Size without bulb: 85.7" H (217.7 cm)
He gazes downward, his head bowing under the heavy weight of his pleated nemes and elaborate headband featuring a stylized uraeus, as his cherubic visage displays almond-shaped eyes, a naturalistic nose, and bow lips flanked by fleshy cheeks. Though his body is painted black, save for the whites of his eyes, the youth's clothing boasts vibrant pigments in hues of gold, copper, teal, and maroon. The endearing figure mounts a cylindrical baluster, which showcases relief decoration of floral motifs and is highly embellished with brilliant shades of burgundy, marigold, olive, cyan, and gold on a creamy beige ground. A gorgeous glass covering with swirling indentations to resemble a flame caps the child's torch, allowing him to light the way for passersby. Designed to serve as a streetlamp, this piece is believed to have been exported to the Storyville District of New Orleans in the late 19th century and then moved to the French Quarter around 1914 when the Storyville District was destroyed. A beautiful example of Napoleon III style, exemplifying the period's interest in both the Classical past and the archeological findings of the day!
Napoleon's invasion of Egypt in 1798 to 1801 and the subsequent publication by the French government of the "Description de l'Egypte" (1809-22) awakened a European interest in the culture of ancient Egypt known as the Egyptian Revival, which lasted throughout the 19th century. This example is not only a perfect representation of the Egyptian-revival manner, but also showcases French academic style in the modelling of the child and also derives from a much older European tradition known as the "blackamoor" - a term used to describe stylized and stereotyped portrayals of African people in primitive or orientalist costumes and serving a subordinate or functional purpose.
This figure was based on an iron sculpture made by Mathurin Moreau for Val d'Osne Foundry, which is now located in Musee de Saint-Dizier (inventory number 2012.5.1). The designs for the figure and baluster are published in "Societe Anonyme des Hauts-fourneaux et fonderies du Val d'Osne" (1900. Paris: Impr. Typographique de P. Dubreuil) as plate 577, 36 "Egyptien" and plate 569, K, respectively. According to the National Trust Collections of the United Kingdom, "Val d’Osne was a leading French art foundry that produced high-quality cast-iron ornaments throughout the 19th century and into the 20th. Established in 1835 by J.P. Andre Victor, the firm manufactured an extensive range of products from their Haute-Marne ironworks including candelabra and torcheres, garden sculpture, architectural furnishings and fountains. Casts could be purchased from catalogues or from the company’s Paris showrooms. Val D’Osne expanded to buy out its competitors Barbezat & Cie and Ducel, taking on their pattern books. Barbezat was known for its collaborations with important artists and sculptors, including the academy sculptor Mathurin Moreau (1822-1912)… Moreau modelled for Barbezat and Val D’Osne from 1849 to 1879 and was a shareholder in the company."
Cf. National Trust Collections, Hughenden Manor, Buckinghamshire, England, NT 428756 and Cliveden Estate, Buckinghamshire, England, NT 765997.
Provenance: private Eagle, Colorado, USA collection, acquired in the 1990s
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#168916
Condition:
Functions as a lamp. Some minor loss and fading of paint on baluster, child's clothing, and child's eyes. Screws visible on left arm and back for wiring, as well as base of figure for attachment to column. Otherwise, intact and excellent with lovely patina.