OUTSTANDING AND RARE WINDSOR PAINTED SETTEE BRANDED G & R GAW. Found in a Maine home. Branded signature for Gilbert and Robert Gaw. Bottom branded two times and also has painted “#17 B.R.S.”. There is a tacked note written in 1917 signed “A.W.W. “This settee came from the house of Samuel R. Fisher in Phila. Probably belonged to his wife Hannah Rodman: Our grandmother Deborah Fisher Wharton remembers sleeping in it as a child”. Another label addressed “62 Washington St. Newport R. I.” “Property of Ethan M. Smith”. Partnership of Gilbert and Robert Gaw lasted between 1793-1798. (see “American Windsor Chairs”, Nancy G. Evane, 1996, pp 105 & 107). A settee with similar brand is in the Yale Collection. Also these makers were known to have billed George Washington $44 for twenty-four oval back chairs in 1796. Plank seat bench having six bamboo style splayed legs connected with bamboo style stretchers. The back having twenty-three bamboo turned rods with an elongated hoop back having connected scroll carved arms with fine turned front posts. An old black paint which, in parts, shows an earlier reddish paint. SIZE: 38” h x 57-1/2” across front of arms x 18-1/4” seat h. CONDITION: Very good with some wear to black paint and three small metal plates on back of top rail. 9-71447 (20000-40000)
Robert Seymour / R B Peake SEYMOUR'S HUMOROUS SKETCHES COMPRISING 92 CARICATURE ETCHINGS 1846 First Edition Antique English Literature & Art Decorative Leather Title: Seymour's Humorous Sketches, Comprising Ninety-Two Caricature Etchings. Illustrated in ProseAuthor: Richard Brinsley Peake - Richard Brinsley Peake was a dramatist of the early nineteenth century best remembered today for his 1823 play "Presumption; or, the Fate of Frankenstein," a work based on the novel "Frankenstein" by Mary Shelley., Robert Seymour - Robert Seymour was a British illustrator. Seymour is known for his illustrations of the works of Charles Dickens and for his caricatures.Publisher: George RoutledgeCity: LondonYear: 1846Printing Information: First EditionBinding Style: HardcoverPagination: vii/102 pages plus 92 leaves of platesWidth: 6.5" Height: 9.75"Book Details: Condition / Notes: This handsome antique volume is bound in later half green crushed morocco over cloth boards, bound by Root and Son. The spine has raised bands and stamped gilt lettering and ornamental designs. The book shows moderate external wear, with sunning to the spine and a small black stain at the bottom edge of the front cover. The binding is firm. This volume is adorned with gilt edges and marbled endpapers. The interior is clean and bright. This work is lavishly illustrated with a frontispiece, additional title page and a large number of tissue-guarded plates.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
PHIPPS, CONSTANTINE JOHN. A Voyage Towards the North Pole. 3 maps, 12 plates, folding tables. 4to, contemporary mottled calf, nicely rebacked retaining the original spine label; minor foxing and offsetting. London: W. Bowyer and J. Nichols, 1774
first edition. Sailing on the ships Racehouse and Carcass in 1773, Phipps attempted to navigate toward the North Pole under the theory that open sea water would not freeze. Although blocked by pack ice north of Spitsbergen, the expedition set a record reaching 80º48''N. "The voyage is perhaps best remembered for the presence of young Horatio Nelson, as midshipman aboard the Carcass, and his encounter with a polar bear"--Hill 1351; Books on Ice 1.10; Sabin 62572; Barrow, pages 303-11.
From the library of Dr. John M. Levinson, with his bookplate.
JUDAIC STERLING SILVER CEREMONIAL HOLIDAY OVAL DISH 1" x 15 ½" x 10 ?" Oval form dish with wide border and slightly ruffled serpentine rim, depicting a repousse design of Challah bread, flanked with radiant Stars of David, repousse handles, relief inscription on border "Remember Shabbath Holy Day"; marked on the inside "Sterling". Weighs 18.69 toz.
JOHNSON, James Weldon (1871-1938).Black Manhattan. New York: Alfred A. Knopf, 1930. 8vo. 12 plates. Original slate blue cloth decorated with chain motif in brown, orange lettering to upper cover and spine in the rare publisher’s dust jacket. Condition: Lettering rubbed on spine and covers, cloth frayed at ends; jacket price clipped, but crisp, bright, unfaded and unrestored.first edition of this history of the African-American community in New York. Johnson’s life was remarkably varied; though remembered chiefly as a prominent figure in the Harlem Renaissance, he was also one of the first African-American professors at New York University and was a United States consul in both Venezuela and Nicaragua.
PELLAR, Hans (illustrator, 1886- 1971) and Fritz von Ostini (1861-1927).Der Kleine König. Munchen: Georg W. Dietrich, [1909]. 24 pp. Large square 4to (270 x 290 mm). 12 full-page gilt color plates. Publisher’s cloth-backed pictorial boards, decorated endpapers. Condition: light toning, hinges starting; wear along extremities and foot of spine. original german fairy tale illustrated with striking jugendstil pictures by a student of heinrich lefler. Pellar painted a suite of watercolors that Von Ostini then wrote a story to accompany. Parents were so taken with the pictures that they often took the book apart and hung up the plates in their children’s nurseries. Pellar studied with Heinrich Lefler and is also remembered for his erotica.
MARYLAND WAR OF 1812 MILITARY SHOULDER-BELT PLATEAmerican War of 1812 silver (content unknown) military shoulder-belt plate, obverse of the oval plate engraved 30th Regt. (30th Regiment, Maryland Militia, Cecil County), monogrammed T.W.V., attributed to Col. Thomas Ward Veazey (American, 1774-1842, 24th Governor of Maryland), approx 2 7/8"l, 2 1/8"w, 12.5 grams *Provenance: The Veazey family was a prominent fixture of the Eastern Shore of Maryland. The initial immigrant ancestor was John Veazey, who settled on two tracts of land in Cecil County in the late seventeenth century. Thomas Ward Veazey was born on January 31, 1774 at the family estate Cherry Grove to Edward (c.1730-1784) and Elizabeth [nee de Coursey] (c.1730-1791) Veazey. Thomas was orphaned at a young age, and would receive his education at Washington College, where he graduated in 1795. Thomas married three times to Sarah Worrell (Kent County, Maryland, d.1795), Mary Veazey (d.1810), and Mary Wallace (Elkton, Maryland, 1789-1867). He fathered eleven children. His political career began in 1808 when he served as a presidential elector for James Madison. He later served in the Maryland House of Delegates from 1811 to 1812, relinquishing his seat in the General Assembly to participate in the War of 1812. During the conflict, he commanded militia forces defending Fredericktown in Cecil County, where the town was destroyed by fire during a British raid. After the war, he returned to Cherry Grove as a gentleman planter until in 1833, when he was chosen as a member of the Governor’s Council. In 1835, he was nominated as a candidate for governor, receiving fifty-three out of the seventy-six ballots cast. He was sworn in as the 24th Governor of Maryland on January 14, 1836 and would serve until 1839. His governorship weathered the constitutional crisis of 1837 and is remembered for its successful solution to the reapportionment crisis. His term would represent the last Whig Party administration to hold the Maryland governor’s office. He died on July 1, 1842 at Cherry Grove. This collection of historic items is offered through our consignor from the estate of Katherine Hartley Grauer [nee Craycroft] (1908-1997), great-granddaughter of Col. Thomas Ward Veazey.*
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)
THE VILLAGE, 1925 (TASSI 20) Etching, signed in pencil to margin17cm (6 3/4in), 22cm (8 3/4in)Provenance: Christie's, South Kensington, 16th April 2014, lot 120.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.20.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no. 9.Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air of quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: Gordon Cooke has linked The Village to Samuel Palmer's etching The Bellman of 1879 (op.cit., unpaginated, see Victoria & Albert Museum collection acc. no.E.1465-1926). In contrast, Roberto Tassi detected the influence of Jean-François Millet and declared that The Village revealed 'a new and absolutely original vision...with tilled fields, weary labourers, their wretched cottages and the evening stillness that weighs on everything.' (op.cit., p. 19) Ronald Alley has explained that the scene depicted was 'based mainly on scenery around Cudham in Kent, but with elements from Warning Camp in Sussex.’ (Ronald Alley, Graham Sutherland, London 1982, p. 58.)
Group of Small Treasures or Collectibles - 1986 150 Year Texas Bronze Medallion- Vintage Texas Agriculture Memorial Key- 1940-50's Keychain License Plate Tags (remember these)- An Old Master Lock- Vintage New York City Coin Keeper on Keychain- Arrowheads (found locally)- Cracker Jack Whistle- Marlboro Brass Lighter with Leather Case- Camel "Joe" Lighter- Marlboro Box Match Collectibleand more see photos
PABLO PICASSO "Etreinte", signed lower left and the reverse inscribed by the artist "Oui le 15.2.69 Picasso", watercolour and brush with ink on paper, 4.75" x 7.5". See illustration This watercolour was executed in 1901 or 1902. In 1969 the artist confirmed the authenticity on the reverse of the work. Provenance: Sold Palaif Galliera, Paris, 14th March 1975, Lot 23. Private Collection. Sold Sotheby's London Lot 229 24th June 2003. Private Collection Literature: Christian Zervos: Pablo Picasso, Supplement aux Annees, 1892-1902, Paris 1969, vol. 21, plate 123, no. 326. Josep Palau i Fabre, Picasso Vivo, Barcelona, 1980, page 314 no. 785, (illustrated and dated 2/1902) Entreinte, one of a series of related watercolours in his Carnet, no. 324, was executed during the artist's third visit to Paris from Spain. Zervos recalled that Picasso remembered dedicating the cover of the sketch book "Pour Louise". Louise Lenoir, known as Odette, is thought to have been Picasso's first girlfriend in Paris and it would seem to be her that is depicted with the artist in this series. As John Richardson has commented, "Many other drawings done at this lowest point of Picasso's early life are charged with desperate sexuality; but then, as he said, sex was the only appetite he could afford to indulge". (John Richardson: A Life of Picasso, vol. 1, London 1991, page 253)
Shaker Butternut and Pine Herb Cupboard, North Family, New Lebanon, New York, c. 1860, the top with overhanging rounded edges above two hinged cupboard doors with recessed panels and beveled edges fitted with brass and porcelain hardware opening to three shelves, on a projecting base of four drawers with divided interiors, turned pulls and printed paper labels applied to the drawer-fronts indicating the onetime contents, the feet an extension of the case sides, old surface, (imperfections), ht. 66, case wd. 46, dp. 18 3/4 in. Literature: Religion in Wood, p. 91; Masterpieces of Shaker Furniture, Edward Deming Andrews and Faith Andrews (Mineola, New York, Dover Publications, 1966), cover illustration and p. 91; Shaker: Furniture and Objects, p. 53, plate 6; The Book of Shaker Furniture, p. 63, plate 26; and Gather Up the Fragments, p. 148. Edward Deming Andrews's reminiscence of finding this cupboard and its mate (now at Hancock Shaker Village), is highly evocative of what it must have been like to explore the buildings at Mount Lebanon: "The 'nurse shop' at the North family, New Lebanon, was located on the second floor of the second family dwelling. In one long narrow room, brightly lighted by south windows there were two identical cupboards to hold the medicinal herbs grown in the physic gardens and widely used in the Shaker infirmaries. Herb labels are pasted on the outside of the four deep drawers. The wood is butternut." In another document Andrews wrote: "Through the kindness of Sister Rosetta Stephens we obtained both pieces." Shaker furniture scholar and cabinetmaker Tim Rieman dates this piece to circa 1860 based on the use of butternut, which is rarely seen in earlier Mount Lebanon pieces. It has full plank sides, and the back of the case is constructed of horizontal boards that run all the way to the floor. The drawers are divided for the storage of medicinal herbs. The intact labels pasted to the front of the drawers read: Lemon Balm, Catfoot, Tanzy, Peppermint, Wormwood, Mother Wort, and Cohosh. In the catalog for the 1973 Renwick exhibition Shaker Faith Andrews remembered that the present lot "was filled with herbs when we bought it." Estimate $40,000-60,000 one of the interiors of a drawer is missing, the right side has been recolored to an extent to address some sun-fading. 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.
Historic Colt Model 1860 "Long-Flute" Revolver.
Serial # 4218 This revolver was manufactured in 1861 and there are no Colt factory records on this early serial number. It is a rare Colt Model 1860 Army revolver, six shot, .44 caliber percussion with the scarce patented long flute cylinder. Other features include an 8" barrel, varnished walnut one piece grips, single action, shoulder stock cut. It is not martially marked. It is unknown whether this revolver left the factory with the nickel plated finish or whether this work was performed by a dealer such as Hartley & Graham or another large retailer of the period. It is readily evident that the nickel finish is of the original period and quality as all factory stamps are strong and void of nickel within the stampings. Revolver has all matching numbers including wedge. Action is perfect. Lock up is tight. Bore is strong with some light abrasion. The gun retains approximately 95% of this original nickel finish with some light freckling and high edge wear only. All the nipples are intact and the original walnut grips display only minor high edge finish wear with some minor bruises. As if the condition of this revolver, along with the scarcity of the long flute model, was not enough to spark an interest amongst Colt collectors, the history of this revolver definitely sets this example at a high water mark. This revolver was the personal side arm of General George H. Gordon of the 2nd Massachusetts Volunteer Infantry, Union Army. The gun comes with lineage of the transfer of ownership that begins with a letter from Mrs. Henry Scott whose husband was a nephew of General Gordon. At the time of purchase, two of the chambers were loaded with powder and ball. This revolver was featured in an article in the Gun Report dated March of 1985 by Dr. Joseph F. Ciano detailing not only this revolver by serial number, but also the exploits of General Gordon. Gordon was a graduate of West Point in the class of 1846. Fellow graduates of that year include: General Reno, General George McClellan, General Stonewall Jackson, General George Picket, and General A.P. Hill. Gordon’s first battle experience came during the Mexican War under the tutelage of General Winfield Scott. After the Mexican War, he went back to his hometown near Boston to practice law. At the outbreak of hostilities between the North and the South in 1861, he raised the 2nd Massachusetts Regiment of Volunteers. One of his officers was Robert Gould Shaw, whose statue resides at the Boston Commons. He was the famous leader of black troops who lost his life at Fort Wagner. This incident is best remembered today for the movie entitled "Glory" with Matthew Broderick. Gordon repelled his famous Confederate classmate Stonewall Jackson in the Shenandoah Valley Campaign in 1861. This occurred early in the war and he was promoted to Brigadier general as a result. Other notable battles that Gordon participated include: The First Battle of Winchester, the Second Battle of Bull Run and one of the bloodiest events of the Civil War, the Battle of Antietam. Original books written by General Gordon include: The Second Massachusetts & Stonewall Jackson, War Diary of Events in the War of the Great Rebellion 1863-1865, The Army of Virginia 1862 (published 1880) and Brook Farm to Cedar Mountain in the War of the Rebellion 1861-1862. Also included are books entitled "The Second Massachusetts Infantry" by James Walker 1867, "Potomac & the Rapidan" by A.H. Quint, (chaplain 2nd Massachusetts) 1864 and a "Record of the 2nd Massachusetts" by A.H. Quint (fly page has picture of Brevette Major General George H. Gordon). There is a hard cover book entitled "Class of 1846 West Point to Appomattox" by John Waugh, author signed. A book entitled "Civil War Hero: The Life of General George H. Gordon" is also included. There are also four vintage paperbacks. This revolver is accompanied by all of the above listed original books as well as CDV’s and a binder of pertinent paperwork. Rarely does such a fine and rare firearm with a storied history become available. A monumental weapon with Civil War history.
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)
ST. MARY'S HATCH, 1926 (TASSI 22) Etching, signed in pencil to margin12cm (4 3/4in), 18cm (7in)Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 52.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.22.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.13.Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note:St Mary's Hatch comes from ‘a series of small, densely worked etchings of rural England, thatched cottages and churches, fields with stooks of corn, the setting sun and the first evening stars, which were intensely poetic evocations of a more or less lost world of innocence and religious piety.’ (Ronald Alley, Graham Sutherland, London 1982, p. 9)
2V FABLES BY JOHN GAY WITH A LIFE OF THE AUTHOR & EMBELLISHED WITH SEVENTY PLATES 1793 Antique English Poetry Vignettes Decorative Leather Title: Fables by John Gay. With a Life of the Author and Embellished with Seventy PlatesAuthor: John Gay - John Gay was an English poet and dramatist and member of the Scriblerus Club. He is best remembered for "The Beggar's Opera" (1728), a ballad opera. The characters, including Captain Macheath and Polly Peachum, became household names.Publisher: Printed for John StockdaleCity: LondonYear: 1793Binding Style: HardcoverNumber of Volumes: 2 Full Set: YesWidth: 6.5" Height: 9.75"Book Details: Condition / Notes: This antique set has been rebound in quarter leather and new brown cloth, with a gilt-lettered red leather label to each spine. The spines display mild rubbing and minor chipping. The bindings are firm. This volume has new endpapers. The pages and plates display foxing throughout, largely concentrated at the margins. This work also has frontispieces and title page vignettes. A list of subscribers appears at the rear of the second volume, with publisher's advertisement on the last page.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: $7.50
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)
CRAY FIELDS, 1925 (TASSI 19) Etching, signed in pencil to marginimage size 11.5cm (4 1/2in), 12cm (4 3/4in)Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 55.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.19.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.11.Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: Gordon Cooke has noted that 'the Cray is a river, rising at St Mary Cray, near Farningham, where Graham Sutherland moved in 1927' (op.cit., unpaginated). Roberto Tassi has remarked that in this work ‘the bewitching atmosphere of [Samuel] Palmer…is clearly in the ascendant here, as we can see from the stars, the tall spikes and line of hop-poles’. (op.cit., p. 20)
The Sonny Mazza1930 Ford Model A Hemi Hot Rod Roadster
Today, the growth of hot rodding in the early 1950s is largely perceived to have been a west-coast phenomenon. But the truth is, by the time Dwight D. Eisenhower became president of the U.S. in 1953, there were hot rods everywhere. New England, in particular, had a large hot rod culture by the mid-‘50s, well served by publications filled with stories about the top cars, builders, drag strips, shows and clubs in the region.
The hot rod roadster offered here is one of the finest cars of its type to come out of the northeastern U.S. in the early 1950s. It is a survivor that exemplifies, in its pure lines and clean detailing, the best of hot rod design from that era. Its builder was Joe ‘Sonny’ Mazza, who started building it in the summer of 1953. Mazza, who lived in Lynn, Massachusetts, would become a well-known personage in drag racing in the Northeast ... but more on that later; for now let’s focus on young Sonny’s hot rod Ford.
The story of how Sonny Mazza assembled his Model A Roadster has been told in detail in at least one recent rodder’s magazine. The article relates a textbook example of how a good hot rod came together in the early years of the sport. Typically, the Mazza roadster was mostly assembled from whatever stuff happened to be readily obtainable locally. First came the body. In June 1953, 5 for the car, took Sonny found a rust-free ‘30 Model A Roadster on a used car lot right in Lynn. He paid $3 it home and dismantled it, discarding everything except the body. A ’32 Ford frame was already the standard platform for a hot rod in 1953 and Sonny, who was a member of Lynn’s Hi-Winders hot rod club, soon found one, priced at $25, to provide the foundation for his rod.
To give his roadster a low, racy profile, Sonny ‘channeled’ the Model A body, dropping it down over the ’32 frame rails. He found a ’32 Ford radiator shell and chopped it four inches to match the newly lowered cowl. The firewall was smoothed and, like the rest of the car, cleanly detailed. At the rear, a pair of ’48 Ford taillights with blue-dot lenses flanked the dual exhaust ports neatly cut into the rear body lower panel. The body and frame were finished in a pastel blue that was an off-the-shelf Ford fleet color.
Sonny wanted to build a fast drag car as well as a sleek custom roadster. He knew he would need a big, modern V8 to compete on the strip...and he found just what he was looking for, again right in Lynn, at a salvage yard. It was a nearly new 1952 Chrysler Firepower 331-cid V8, one of the original ‘hemi’ engines. Now, this was a pretty remarkable find—the Chrysler V8 and its hemispherical combustion chambers had just been introduced in 1951— it was still a pretty scarce item in 1953. Not only was it one of the hottest engines around, the hemi also looked great in a rod—its muscular valve covers (chromed, of course) leaving no doubt as to its heritage.
A Howard camshaft and Imperial pistons were installed into the big Chrysler engine. Sonny then topped it off with an aluminum intake onto which four Stromberg 97 carburetors were mounted. A custom radiator consisting of a BX racing core, sandwiched between stock ’32 Ford upper and lower tanks, was built at a cost of $125. Smithy mufflers helped quiet the big hemi for street driving.
The juice brakes, rear axle and a 3-speed transmission came from a ’48 Ford also found in a local salvage yard. A dropped front axle was de rigueur on a hot rod Ford, so Sonny sent $25 off to distant California for a chromed Bell axle with a 4" drop...nice! Wheels were Ford disks. The "hair pins" (radius rods) and headlight bar were fabricated by hand and then chrome plated.
The interior was trimmed in white naughahyde (synthetic leather) and a set of Stewart-Warner gauges were spread across the dash, which also soon sported a then nearly new 1952 Ford radio. A ’40 Ford steering wheel was used.
By 1954, Sonny Mazza had one cool – and fast – ride. Trips up to a drag strip at an airstrip in Sanford, Maine routinely netted timing slips showing 14-second passes at 100-105 mph. Sonny enjoyed driving and racing his rod for three years, but the registration renewal he obtained for the car in October of 1957 would turn out to be the last time it would be registered for nearly half a century. The car was apparently retired from both street use and drag racing soon after.
After parking the roadster, Sonny continued to be involved in the sport of drag racing. Along with fellow members of the Hi-Winders rod club in Lynn, he built a pre-war Fiat into a Hemi-powered dragster. A little later, Mazza built and raced ‘USA-1,’ a turbine-powered dragster that ran 198 mph. He is also remembered as the operator of Mazza’s Cafeteria, located at the New England Dragway in Epping, New Hampshire.
For nearly 50 years, the Sonny Mazza roadster languished in obscurity. Recently it reappeared, still in its original configuration and with its as-installed big Chrysler hemi still sporting the four Stromberg 97s. The last license Sonny Mazza bought for the roadster, a 1957 plate, accompanies the car to this day.
During the past two years, the svelte little roadster has been featured in several publications. A story by Dale M. Moreau featured the car in the September 2007 issue of Street Rodder magazine. A great full-page photo of the roadster parked in the staging area at a drag strip appeared in the 2006 Magneto, a calendar magazine dedicated to preserving the history of hot rodding in New England. Headlined, "Mazza Masterpiece," the photo clearly shows the clean lines and detailing of the car...a standout then and now.
A photo of the car at the drags in the mid-1950s also appears in A.B. Shuman’s "Cool Cars and Square Roll Bars," a recently published book of photos and recollections of ’50s hot rodding in New England. A portion of an old home movie also exists that shows the Mazza roadster at a rod and custom show in the early ’50s.
The little Ford roadster built by Sonny Mazza in 1953-54 is a pure American hot rod that will rank among the best roadsters at any event, east coast or west. As one admirer put it, "The Mazza roadster could be one of the most important east-coast survivor hot rods in existence." It shows, without a doubt, that a Massachusetts kid could build a proper hot rod just as well as a California kid. And, if looks don’t settle the issue—well, let’s crank up that Hemi and have a go...
ROSS, JOHN. A Voyage of Discovery . . . for the Purpose of Exploring Baffin's Bay, and Inquiring into the Probability of a North-West Passage. 3 folding maps, 25 engraved or aquatint plates (15 hand-colored), 3 folding tables and the Explanation plate. 4to, contemporary calf, nicely rebacked and recased. With the errata slip bound in after the Dedication leaf. London: John Murray, 1819
first edition of ross''s first arctic voyage. Although Ross''s expedition aboard the Isabella and the Alexander is credited with confirming the earlier discoveries of Bylot and Baffin and is notable for many of its scientific discoveries and an important encounter with "Arctic Highlanders" (i.e. Eskimos), it is best remembered for charges of cowardice levied against Ross upon his return for his failure to probe deeper into Lancaster Sound. Nevertheless, his first voyage launched an important series of British Northwest Passage expeditions leading to Franklin''s disappearance. Arctic Bibliography 14873; Books on Ice 2.5; Sabin 73376; TPL 1152; Abbey, Travel 634; Hill 1488.
From the library of Dr. John M. Levinson, with his bookplate.
(THORNWILLOW PRESS.) Cronkite, Walter. Remembering the Moon. Six plates by Irena Martens; set in Monotype Poliphilus and printed on Arches rag paper. Folio, pictorial Moroccan goatskin hand-bound by Karl Foulkes at the Spectrum Bindery; 1/4 morocco clamshell box; prospectus laid in. West Stockbridge and New York, 1989
number 119 of 250 specially-bound copies signed by cronkite and designer luke pontifell. Printed to coincide with the 20th anniversary of man's first landing on the moon. Walter Cronkite died this past July 18th, two days before the fortieth anniversary of the moon landing.
IMPORTANT CHIPPENDALE SERPENTINE-FRONT BUREAU DESCENDED IN THE FAMILY OF REVOLUTIONARY WAR GENERAL BENJAMIN LINCOLN BOSTON, CIRCA 1760-1780 HEIGHT 31”. WIDTH 36”. DEPTH 20.75”.IMPORTANT CHIPPENDALE SERPENTINE-FRONT BUREAU DESCENDED IN THE FAMILY OF REVOLUTIONARY WAR GENERAL BENJAMIN LINCOLN, Boston, Circa 1760-1780, In mahogany with white pine secondary woods. Classic Boston form. Two-piece top with good overhang. Four graduated full-width drawers with beaded edges and original hardware. Blocked ends. Flat bracket feet fitted with casters. Inverted "V" chalk mark on back of each drawer. Dimensions: Height 31". Width 36". Depth 20.75". Provenance: Descended in the family of Benjamin Lincoln until time of consignment.Illustrated:Harbor & Home: Furniture of Southeastern Massachusetts, 1710-1860, by Brock Jobe, Gary R. Sullivan and Jack O'Brien (Lebanon, N.H.: University Press of New England, 2009), p. 177-178, plate 60. According to the book, Lincoln may have kept this bureau in the East Front Chamber of his home in Hingham, Massachusetts, and it was valued at $15 in a period appraisal.Notes:Benjamin Lincoln (1733-1810), born to a wealthy and influential family of Hingham, Massachusetts, served as a major general during the Revolutionary War and was notably involved in three major surrenders: the Battle of Saratoga, the Siege of Charleston and at Yorktown.He was involved in public service for most of his life, serving in his early adulthood as town constable and selectman and in the militia. As an elected member of the Massachusetts Provincial Congress in the 1770s, he sat on committees overseeing militia organization and supply, a uniquely beneficial experience once the Revolutionary War broke out. He was promoted to major general of the Massachusetts militia in 1776.Lincoln served as second in command to Washington during the Yorktown campaign. British commanding officer General Cornwallis did not attend the surrender ceremony and thus British Brigadier General Charles O'Hara would surrender his sword. He first attempted to give it to George Washington, who declined and motioned to Lincoln, who accepted it.Lincoln served as the first Secretary at War from 1781 to 1783, and in 1787 he was a member of the Massachusetts state convention that ratified the Constitution. He held various positions in state and federal government, including serving as Lieutenant Governor of Massachusetts and Collector of the Port of Boston.Despite the major role he played in the Revolutionary War and the fledgling United States, Lincoln is not as well-remembered as many of his contemporaries. However, several towns and counties are named in his honor, particularly throughout the south, and his lifelong home was declared a National Historic Landmark. He is buried in Hingham.
93 FRANKLIN LIBRARY SIGNED FIRST EDITIONS LEATHER 93 Franklin Library Leather Bound, Signed First Editions, to include: "The Man Who Was Late", Louis Begley, "Charley Bland", Mary Lee Settle, "The Copper Beech", Maeve Binchy, "The General's Daughter", Nelson Demille, "Charity", Len Deighton, "Brotherly Love", Pete Dexter, "Murther & Walking Spirits", Robertson Davies, "Hope", Len Deighton, "Vortex" Larry Bond, "The Waterworks", E.L. Doctorow, "Leila", J.P. Donleavy, "The Road To Wellville", T. Coraghessan Boyle, "The Paperboy", Pete Dexter, "The Last Thing He Wanted", Joan Didion, "Billy Bathgate", E. L. Doctorow, "City of God", E. L. Doctorow, "Circle of Friends", Maeve Binchy, "Which Lie Did I Tell?", William Goldman, "Playland", "John Gregory Dunne, "The Phantom of Manhattan", Frederick Forsyth, "Foucault's Pendulum", Umberto Eco, "The Red White And Blue", John Gregory Dunne, "Another City, Not My Own", Dominick Dunne, "Intensity", Dean Koontz, "Esau", Philip Kerr, "A Certain Justice", P.D. James, "The Flaming Corsage", William Kennedy, "A River Town", Thomas Keneally, "A Season In Purgatory", Dominick Dunne, "Jump & Other Stories", Nadine Gordimer, "Delusions of Grandma", Carrie Fisher, "The Finishing School", Gail Godwin, "Father Melancholy's Daughter", Gail Godwin, "Decision", Allen Drury, "A Case of Curiosities", Allen Kurzweil, "A World of Love", Joseph P. Lash, "Among Schoolchildren", Tracy Kidder, "Siro", David Ignatius, "Last Tango In Brooklyn", Kirk Douglas, "An Inconvenient Woman", Dominick Dunne, "The Infinite Plan", Isabel Allende, "Eva Luna", Isabel Allende, "All God's Children Need Traveling Shoes", Maya Angelou, "The Robber Bride", Margaret Atwood, "English Music", Peter Ackroyd, "Private Lies", Warren Adler, "Seventh Heaven", Alice Hoffman, "The Cider House Rules", John Irving, "The Lyre of Orpheus", Robertson Davies, "God Knows", Joseph Heller, "Picasso", Arianna Stassinopoulos Huffington, "Exit Lady Masham", Louis Auchincloss, "Diary of a Yuppie", Louis Auchincloss, "Turtle Moon", Alice Hoffman, "Blues", John Hersey, "A Prayer For Owen Meany", John Irving, "Riven Rock", T.C. Boyle, "Angels & Insects", A.S. Byatt, "The Tax Inspector", Peter Carey, "The Alienist", Caleb Carr, "Quicker Than the Eye", Ray Bradbury, "Babel Tower", A. S. Byatt, "The Great Fake Book", Vance Bourjaily, "The Story of Henri Tod", William F. Buckley Jr., "Tomcat In Love", Tim O'Brien, "On The Firing Line", William F. Buckley, Jr., "Little Wilson & Big God", Anthony Burgess, "Single & Single", John le Carre, "The Kingdom of the Wicked", Anthony Burgess, "Summer's Lease", John Mortimer, "Death is a Lonely Business", Ray Bradbury, "The Curious Case of Sidd Finch", George Plimpton, "Broke Heart Blues", Joyce Carol Oates, "The Gift of Asher Lev", Chiam Potok, "The Things They Carried", Tim O'Brien, "Foxfire", Joyce CArol Oates, "Vittorio The Vampire", Anne Rice, "Merrick", Anne Rice, "Blonde", Joyce Carol Oates, "Mysteries of Winterthurn", Joyce Carol Oates, "His Little Women", Judith Rossner, "Fierce Invalids Home From Hot Climates", Tom Robbins, "American Pastoral", Philip Roth, "You Must Remember This", Joyce Carol Oates, "The Only Problem", Muriel Spark, "Will You Always Love Me?", Joyce Carol Oates, "Marya A Life", Joyce Carol Oates, " The Last Don", Mario Puzo, "A Turn in the South", V.S. Naipaul, "The Book and the Brotherhood", Iris Murdoch, "The Angel of Darkness", Caleb Carr, "Jazz", Toni Morrison, "Road Rage", Ruth Rendell. One of two large lots of these books in the sale. Condition: All books like new / as new. No owner's book plates or embossing. Most/some have the Franklin Library "notes" included.
GUSTAVE COURBET (1819 - 1877) "CLIFF NEAR ORNANS"Gustave Courbet (French, 1819 - 1877)
"Rock Cliff Near Ornans"
Oil on Canvas. Signed and dated '73 lower left.
Depicting cliffs of gray, rock reflected in the mirror-like surface of river Loue, with the grass grown summits forming a horizon before a growing cloudy sky; the water lapping a beach in the left foreground strewn with boulders.
Provenance:
- George Seney (1826-1893) NY, NY As president of the Metropolitan Bank (New York City), Seney was situated to become a financier of newly chartered railroads. Charters organized or financed by banker Seney and his Seney Syndicate included the East Tennessee, Virginia and Georgia Railway and the Nickel Plate Road. He was best remembered for amassing a substantial collection of pre-Impressionist 19th-century European and American paintings, some of which he gave to the Metropolitan Museum of Art. The donation included works by George Inness and Francis Davis Millet.
- Charles S. Haight Sr.- Sold through Sotheby's Parke-Bernet Galleries January 17th, 1941.
- Sotheby's Parke Bernet Galleries sold March 23, 1950 (lot 60- "Rock Cliff Near Ornans" Illustrated).
- Private collection Philadelphia Pennsylvania until 2019.
- Private collection, Washington DC.
Literature: World Collectors Annuary, Vol II 1950 by Fred A. Van Braam, Amsterdamn, Entry # 827.
See last images for Sotheby's Parke Bernet 1950 catalog entry.
Sight Size: 39.5 x 59.5 in.
Overall Framed Size: 47 x 67 in.
Condition:
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HARRIS, Joel Chandler (1848-1908) - FROST, Arthur Burdett (1851-1928).Uncle Remus His Songs and Sayings. New York: D. Appleton, 1895. Large 8vo (8 7/8 x 6 inches; 227 x 152 mm). Pictorial title (colophon on verso), 11 plates printed on tissue and mounted (each protected by a captioned tissue-guard), 100 illustrations, all after A B Frost. Original vellum-like parchment decorated, ruled and lettered in gilt, t.e.g. Condition : some leaves rather crudely opened; binding lightly rubbed and soiled. first edition with frost’s pictures, deluxe “large-paper” issue limited to 250 copies (this copy number 107) signed in full by harris at the end of his "Preface and Dedication to the New Edition" where he has also added by hand "Des hear dat roan mule a kickin' in de stale!". These classic African-American folk tales (apparently remembered by the author from his own childhood), originally appeared in the Atlanta Constitution beginning in 1879 and were first published in book form in 1881 (with illustrations by Frederick S. Church and James H. Moser). It is the present series of illustrations, however, that caught the buying public's imagination at the time, and it is these images that are now inextricably linked with the stories: it is not possible to hear a passage from the book without imagining the characters drawn by Frost. Harris himself understood the achievement of his illustrator, and his "Preface and Dedication" (pp.iii-v) is addressed to Arthur Burdette Frost ("The book was mine, but you have made it yours …"). Cf. Blanck's Peter Parley to Penrod pp56-57 (1881 edition).
IMPORTANT CHIPPENDALE SERPENTINE-FRONT BUREAU DESCENDED IN THE FAMILY OF REVOLUTIONARY WAR GENERAL BENJAMIN LINCOLN BOSTON, CIRCA 1760-1780 HEIGHT 31”. WIDTH 36”. DEPTH 20.75”.IMPORTANT CHIPPENDALE SERPENTINE-FRONT BUREAU DESCENDED IN THE FAMILY OF REVOLUTIONARY WAR GENERAL BENJAMIN LINCOLN, Boston, Circa 1760-1780, In mahogany with white pine secondary woods. Classic Boston form. Two-piece top with good overhang. Four graduated full-width drawers with beaded edges and original hardware. Blocked ends. Flat bracket feet fitted with casters. Inverted "V" chalk mark on back of each drawer. Dimensions: Height 31". Width 36". Depth 20.75". Provenance: Descended in the family of Benjamin Lincoln until time of consignment.Illustrated:Harbor & Home: Furniture of Southeastern Massachusetts, 1710-1860, by Brock Jobe, Gary R. Sullivan and Jack O'Brien (Lebanon, N.H.: University Press of New England, 2009), p. 177-178, plate 60. According to the book, Lincoln may have kept this bureau in the East Front Chamber of his home in Hingham, Massachusetts, and it was valued at $15 in a period appraisal.Notes:Benjamin Lincoln (1733-1810), born to a wealthy and influential family of Hingham, Massachusetts, served as a major general during the Revolutionary War and was notably involved in three major surrenders: the Battle of Saratoga, the Siege of Charleston and at Yorktown.He was involved in public service for most of his life, serving in his early adulthood as town constable and selectman and in the militia. As an elected member of the Massachusetts Provincial Congress in the 1770s, he sat on committees overseeing militia organization and supply, a uniquely beneficial experience once the Revolutionary War broke out. He was promoted to major general of the Massachusetts militia in 1776.Lincoln served as second in command to Washington during the Yorktown campaign. British commanding officer General Cornwallis did not attend the surrender ceremony and thus British Brigadier General Charles O'Hara would surrender his sword. He first attempted to give it to George Washington, who declined and motioned to Lincoln, who accepted it.Lincoln served as the first Secretary at War from 1781 to 1783, and in 1787 he was a member of the Massachusetts state convention that ratified the Constitution. He held various positions in state and federal government, including serving as Lieutenant Governor of Massachusetts and Collector of the Port of Boston.Despite the major role he played in the Revolutionary War and the fledgling United States, Lincoln is not as well-remembered as many of his contemporaries. However, several towns and counties are named in his honor, particularly throughout the south, and his lifelong home was declared a National Historic Landmark. He is buried in Hingham.
LAWSON, Robert (1892-1957).The Happy Valley. Complete set of four etchings (“Spring,” “Summer,” “Autumn” and “Winter”), 1930-1932. All but “Winter” signed in pencil and annotated by Lawson “Ed. 100” except “Winter” which is unannotated. Condition: edges with occasional chipping, short tears and tape residue not affecting images.Although remembered today as one of the finest children’s book illustrators of the twentieth century, Lawson produced 31 etchings between 1929 and 1933. He had several one-man shows of this work, including one at the Smithsonian Institute. His etchings were published in Contemporary American Prints, Fifty Prints of the Year and Fine Prints of the Year; he was also represented in “Traveling Exhibition of American Prints” that the American Federation of the Arts sent to Italy. In 1931, The Society of American Etchers gave him the John Taylor Arms Award. Despite the indicated limitations, it is unlikely that Lawson ever printed the full 100 copies of these plates. However widely recognized as a print maker, Lawson sold few of his etchings. To help his friend, Munro Leaf wrote a story in about an hour for Lawson to illustrate. It was The Story of Ferdinand. It was so successful that Lawson gave up etching for illustrating.
COOK, JAMES. Complete set of First Editions of the Hawkesworth, South Pole and Pacific Ocean voyages. Maps and plates. 9 volumes, including the atlas to the Third Voyage. 4to and folio, uniform full calf, minor rubbing; a few repaired tears to folding plates, scattered foxing, other faults as noted below. London, 1773; 1777; 1784
first voyage: Hawkesworth, John. An Account of the Voyages undertaken by Order of His Majesty for Making Discoveries in the Southern Hemisphere. 52 maps and plates. 3 volumes. One map paper-backed repairing a large tear. London: Strahan & Cadell, 1773.
second voyage: Cook, James. A Voyage Towards the South Pole, and Round the World. 64 maps and plates, with the Chart of the Southern Extremity of America hand-colored. 2 volumes. London: Strahan & Cadell, 1777.
third voyage: Cook, James; and King, James. A Voyage to the Pacific Ocean. 87 maps and plates (24 bound in the text volumes, 63 in the atlas). 4 volumes, including the folio Atlas. Small separation along fold of the General Chart, repaired tears to the Chart of the N.W. Coast, short repaired tear to one other plate, browning to the titles else a clean wide-margined set. London: W. and A. Strahan for G. Nichol and T. Cadell, 1784.
While Cook''s first voyage did not travel to Polar regions it set in motion his thoughts on the existence of a "southern continent." On his monumental second voyage aboard the HMS Resolution, Cook became the first to cross the Antarctic Circle and delve deep into the ice. However, he returned from the voyage presuming that if such a continent existed, that it would be unattainable. Cook''s third and final voyage, best remembered for its discoveries in the Pacific, also turned to the Arctic regions, as he responded to the call of the Admiralty to search for the elusive Northwest Passage. a fundamental set for collectors of travel and exploration. Holmes 3, 10 and 19; Beddie 648, 1216 and 1543; Hill 782, 358 and 361; Rosove 77 (second voyage); Taurus 1 (second voyage); Spence 314 (second voyage).
From the library of Dr. John M. Levinson, with his bookplate.
A PAIR OF CHRISTIAN DIOR GOLF CUFFLINKS & MORE Including gold plated oval golfer cufflinks, marked Christian Dior, in original box, gold plated and black cufflink, stud and button cover set and Lampl "Remember Pearl Harbor" pin.
*Marlin 1894 Cowboy Limited Roy Dale & Dusty Rogers Commemorative Rifle by America Remembers .45 LC cal. 24'' octagon barrel S/N 03032123. Gold plated receiver blue barrel and mag tube; walnut checkered stocks features scroll engraving and the left side of the receiver features a portrait of Roy ''Dusty'' Rogers Jr. along with a portrait of Roy and Dale while the right side of the receiver features Roy's ''wonder horse '' Trigger with Roy in the saddle and Roy and Dale riding on Trigger. Number 45 of 300. Condition: Excellent unfired condition in the original plastic hard case with outer sleeve. The current price to order this gun is $2 195.00 from America Remembers.
**MIB Colt Commemorative 1911 Pistol.
Serial # CV26316 This is No. 112 of 500 special edition pistols. Chambered for the .45 ACP cartridge. Based on the Model 1911 semi-automatic. This edition is entitled "Proud to be an American". Features the brushed stainless finish. Has special etchings and plating on both sides of slide with gold accents and checkered rosewood grips. Top slide stamped "America Remembers". 5" barrel. Gun is new in the box with all paperwork. Comes with a special wood and glass display case.
§ GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980)
PECKEN WOOD, 1925 (TASSI 21) Etching, signed in pencil to margin13.5cm (5 1/4in), 18cm (7in)Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 51.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.21.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.10.Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note: Ronald Alley has written about this work that the rural world it depicts ‘is one of the past, the evocation of a mode of village life which had almost completely passed away. The emphasis is on the autumnal fertility of nature, with man living in communion with nature and...the moment depicted is when the sun is setting, or near setting and the stars are beginning to come out.' (Ronald Alley, Graham Sutherland, London 1983, p. 59)
A collection of mixed dinnerware to include Paragon Remember Me dinner plates, Windsor part tea set etc (26)
[Rees]. Rees. Lloyd. The Small Treasures of a Lifetime: Some Early Memories of Australian Art and Artists. quarto. col plates & b/wills. opb. foxing to edge of page block and illus d/w. Ure Smith. 1969. with Butel. E. Peaks and Valleys: Lloyd Rees An Autobiography. quarto. b/w plates. ocb. some foxing to illus d/w. torn at bottom right corner. Collins. 1985. with Rees. A. and H. and Smith S. Lloyd Rees: Coming Home. quarto. signed by Alan and Janis Rees on free end paper. col & b/w ills. softcover. Rockhampton Art Gallery. 1999. with Lloyd R. A Tribute to Sydney. oblong octavo. col & b/.w plates. softcover. Macquarie Galleries. 1979. with Kolenberg. H. Lloyd Rees Etchings and Lithographs: A Catalogue Raisonne. quarto. col & b/w plates. soft cover. pamphlet entitled A Tribute to Light by Lloyd Rees: Eight Original Lithographs tipped in. The Beagle Press. 1986. Kolenberg. H. Lloyd Rees in Europe: Selected Drawings from his Sketchbooks in the Gallery's Collection. oblong quarto. col & b/w plates. ocb. illus d/w. AGNSW. 2002. with Free. R. Lloyd Rees. quarto. col & b/w plates. opb. foxing to illus d/w. Lansdowne Press. 1985. with Rees. L. with Free R. Lloyd Rees: An Artist Remembers. endpapers and preliminaries foxed. especially half title. col plates. opb. foxing to illus d/w. foxed. Craftsman House. 1987. with Lloyd Rees: Centenary Year Book. octavo. b/w ills. dpb. Angus & Robertson. 1994. (9) Provenance: The Art Library of the Late Peter Wood AO Toowoomba
MMM . . . DOUGHNUTS (MANUFACTURING.) 2 scrapbooks from the Doughnut Corporation of America. "To Adolph Levitt on the Silver Jubilee." 86 leaves. Folio (14 x 11 inches) with engraved relief presentation plate on front cover, minor wear * "The Story of D.C.A." [55] leaves. Folio (19 x 15 inches), cloth, moderate wear; some pages loose. Both volumes mounted with rubber cement, with a few items coming detached. New York, 1953 and circa 1944
The Doughnut Corporation of America was the major producer of doughnut-making machinery and supplies from its founding in 1920, and its promotional efforts played a central role in the rise of doughnuts to such prominence in the American snack landscape. They also operated the national Mayflower chain of retail shops. The first scrapbook in this lot consists entirely of letters written to the company's chairman Adolph Levitt upon the 25th anniversary of National Doughnut Month. The first item is a signed photograph of President Eisenhower making a gleeful selection from a pile of doughnuts, followed by Eisenhower's congratulatory 20 October 1953 Letter Signed to Levitt, reading in part "I well remember the fine patriotic service you rendered during the war in conjunction with the Red Cross. Your efforts were tremendously valuable in helping sustain the morale of the men in the armed services." The remaining letters are from suppliers, bakeries, doughnut shops, and other related industries, many of them sharing their memories of Levitt and the doughnut industry.
The second volume is a handsomely compiled corporate presentation of the company's factories, retail outlets, and advertising campaigns circa 1944. Together, these volumes comprise what may be the most important doughnut archive ever to appear on the auction market.
General Fred K. Mahaffey Archive Archive consisting of 4-star General's license plate two-star General's flag three-star General's flag and two four-star General's flags. 2nd Battalion presentation flag (framed) 2nd Division Presentation Tomahawk (framed) enameled General's badge The General's Army Ranger beret with three stars. In addition there are literally hundreds of letters from such notables as General Schwarzkopf General Colin Powell General Wesley Clark and Caspar Weinberger plus numerous photographs in and out of scrapbooks and so much more. This is the most complete General's Archive we have had the privilege to sell. General Fred Keith Mahaffey (1934-1986) never attended the Military Academy but was promoted to full General in 1985 when he was just 51 years old becoming one of the youngest ranking four-stars in the history of the modern Army. Mahaffey graduated from the University of Denver in 1955 and was commissioned from the ROTC program. He later earned a Masters Degree in International Affairs from George Washington University. During the Vietnam War Mahaffey commanded a battalion of the 9th Infantry Division in combat and in 1975 took over as CO of the 2nd Brigade 101st Airborne Division based at Ft. Campbell Kentucky. From 1981 to 1983 he commanded the 3rd Infantry Division in West Germany. During his stellar career General Mahaffey also served as Operations Officer for the 101st Airborne Assistant Commandant of the Infantry School at Ft. Benning Deputy Commanding General of the Combined Combat Arms Developmental Project and Deputy Chief of Staff of Army Operations. He was awarded three Silver Stars two Distinguished Flying Crosses and four Bronze Stars for valor in combat and four Legion of Merit medals for exemplary service. In 31 years of service he was recognized as a forceful commander and skilled meticulous operations officer. A soft spoken good-humored man with an easy-to-like personality he was popular with superiors and subordinates alike. General John A. Wickham Jr. Chief of Staff of the Army called him ''a great soldier and an inspirational leader.'' Except for West Point General Mahaffey had all the hallmarks of a future Chief of Staff and was charge of the crucial United States Readiness Command when he died prematurely of cancer on October 13 1986 age 52. ''The Army '' Wickham said ''grieves over this untimely loss.'' General Mahaffey was inducted into the Ranger Hall of Fame as an officer whose distinguished 31-year military career left a lasting imprint on the Ranger community. In combat during the Vietnam War General Mahaffey exemplified the Ranger Creed and was always found ''leading the way'' whenever his unit engaged the enemy. He encouraged his men to attend Ranger School as a way to ''make a good soldier better.'' General Mahaffey's unparalleled leadership knowledge of training and team-building and technical and tactical proficiency ensured that his units always possessed the highest levels of combat readiness cohesiveness and Ranger-like proficiency. As the Assistant Commandant of the United States Army Infantry School he was a proponent of Ranger training for the entire Army. While the Deputy Chief of Staff for operations for the Army General Mahaffey was instrumental in the reactivation of the 3rd Ranger Battalion and the 75th Ranger Regiment. On 16 May 1989 the 3rd Infantry Division dedicated its Headquarters building in his honor. At that ceremony he was remembered as a Commanding General who fostered the environment where all soldiers could develop their potential to the fullest and as a soldier whose uncompromising loyalty and devotion to duty served the Army superbly for over a quarter of a century. General Mahaffey's illustrious career truly epitomizes the Ranger Credo of ''Rangers Lead The Way.'' General Mahaffey is buried at Arlington National Cemetery. Condition: Very good to excellent.
Vintage c1930 Dresden Plate quilt measuring 73" x 74". Comprised of 9 Dresden Plate blocks 16" x 16', set straight 3 x 3, with 4.25" pink sashing and white cornerstones and a 4.25" white outer border. It is hand appliqued, machine pieced and hand quilted. Thin cotton batting and an off white cotton reverse and a pink fabric binds the edges. In good condition with several spots, discolorations and fading. This quilt is part of the Living Estate of widely respected Sharon Stark of Sharon's Antiques Vintage Fabrics and Textiles of Eastern PA. She was an author and long time collector and dealer of antique quilts, fabrics and textiles. Sharon is the authority on Feedsacks, and you may remember her Rickrack website. If you have any doubt, please ask questions! We will provide extra pictures, or can schedule an in person or video conference preview at your convenience. In house Flat Rate Shipping of $25 is a domestic shipping estimate for first quilt and includes insurance. We will gladly combine multiple lots for your convenience and economy. Each additional quilt or quilt top we can pack in the same box is $5 each. Please feel free to contact us with any questions.
GLADYS WHEAT (1889-1976) 1927 WOODCUT Gladys M. Wheat (Kansas/Missouri, 1889-1976) Untitled, 1927 Woodcut 9" x 12" A woodcut, signed and dated in the plate to the bottom right, pencil-numbered in the lower right margin (6/100), executed in a style similar to Birger Sandzen. Gladys Wheat was an artist and educator perhaps best remembered for her role as a professor of art at the University of Missouri. In a reeded black frame that measures 17 3/8" x 19 7/8".
(lot of 3) Victorian mahogany shaving dresser mirrors, 19th c., all having swivel framed flat plate mirrors, including: (1) with carved scrolled supports, base fitted with five drawers, glass drawer pulls, on tapered bun feet, (1) turned and spiraled supports, curved case with two drawers, (1) tapered supports topped with finials, on tapered bun feet, lacking one mirror support joint; all with loss to finish, largest: approx 30.5"h, 25.5"w, 8.5"d (for shipping purposes only) *Provenance: The Veazey family was a prominent fixture of the Eastern Shore of Maryland. The initial immigrant ancestor was John Veazey, who settled on two tracts of land in Cecil County in the late seventeenth century. Thomas Ward Veazey was born on January 31, 1774 at the family estate Cherry Grove to Edward (c.1730-1784) and Elizabeth [nee de Coursey] (c.1730-1791) Veazey. Thomas was orphaned at a young age, and would receive his education at Washington College, where he graduated in 1795. Thomas married three times to Sarah Worrell (Kent County, Maryland, d.1795), Mary Veazey (d.1810), and Mary Wallace (Elkton, Maryland, 1789-1867). He fathered eleven children. His political career began in 1808 when he served as a presidential elector for James Madison. He later served in the Maryland House of Delegates from 1811 to 1812, relinquishing his seat in the General Assembly to participate in the War of 1812. During the conflict, he commanded militia forces defending Fredericktown in Cecil County, where the town was destroyed by fire during a British raid. After the war, he returned to Cherry Grove as a gentleman planter until in 1833, when he was chosen as a member of the Governor’s Council. In 1835, he was nominated as a candidate for governor, receiving fifty-three out of the seventy-six ballots cast. He was sworn in as the 24th Governor of Maryland on January 14, 1836 and would serve until 1839. His governorship weathered the constitutional crisis of 1837 and is remembered for its successful solution to the reapportionment crisis. His term would represent the last Whig Party administration to hold the Maryland governor’s office. He died on July 1, 1842 at Cherry Grove. This collection of historic items is offered through our consignor from the estate of Katherine Hartley Grauer [nee Craycroft] (1908-1997), great-granddaughter of Col. Thomas Ward Veazey.*
Paintings, Sculpture and Mixed MediaProperty from the Estate of Elizabeth Colyear VincentElizabeth Colyear Vincent was born in Los Angeles, California on May 24, 1914. She was the second child of self-made California businessman Curtis Calhoun Colyear, founder of Colyear's New and Secondhand Furniture, a downtown Los Angeles institution in the early 1900s, followed by Colyear's Van & Storage. In 1912, Curtis Colyear incorporated Colyear Motor Sales Company, which would ultimately become the largest independent distributor of automotive replacement parts on the West Coast until it merged with another company in 1965. Mrs. Vincent was a fifth generation Californian whose life spanned most of the twentieth century. She attended the prestigious Westlake School and The University of Southern California, and she and her family escaped the perils of the 1918 Spanish Flu epidemic when her father moved the family away from the city to their ranch in the Las Virgenes Valley (Malibu Canyon). Her amazing life witnessed seventeen Presidents, two World Wars, nine children, fifteen grandchildren and several great grandchildren. Mrs. Vincent led a charmed life filled with a passion for the arts, orchids, boating, friends and family. In 1976, Mrs. Vincent settled in a Georgian Colonial house on the prestigious Harbor Island in Newport Beach, California. There, she was able to surround herself with all her passions – with an incredible collection of orchids which were cared for in an immense greenhouse; boating with the 96-foot 'Nordic Star' moored in the harbor just outside her door; arts and antiques, which were so lovingly displayed throughout her home; and friends and family, whom she entertained frequently.While enjoying a life full of beauty, Mrs. Vincent always remembered to give to those around her and supported numerous Southern California charities. In particular, her devotion to her two favorite causes, Hoag Hospital in Newport Beach and The Orange County Performing Arts Center®, never wavered until her passing. During the course of her lifetime, she enriched many lives through her generous philanthropic endeavors. Amassed over the course of a lifetime, the collection of Elizabeth Colyear Vincent features a diverse group of fine art, silver and silver-plate, furniture, decorations and jewelry. Bonhams & Butterfields are honored to present the auction of property from the Estate of Elizabeth Colyear Vincent to a new generation of collectors.
A river near Worcester
signed 'F.P. Weir' (lower left)
oil on canvas
20 x 30in
The Joseph Townsend family Samuel Malkin slip decorated charger dated 1726. The large plate has a dotted border surrounding three arched panels, the center one inscribed in raised press molded lettering Remember Lot's Wife Luke 17:32 1726, surmounted by an image of Lot's wife flanked by trumpeting angels and the makers initials SM in raised relief, 13 3/4" dia.
The passage from Luke has Jesus stating Remember Lot's Wife. This reference is to the famous Biblical scene when angels met Lot at the gates to Sodom where they warned him of its impending destruction. The angels forcibly removed and again warned him saying save yourselves with all haste. Look not behind you.. Lot's wife looked back on Sodom and turned into a pillar of salt.
The extensive notes and genealogy that accompany this plate suggest that it may be one of the earliest pieces of English tableware used in the colonies. According to family history, the original owner was Joseph Townsend, nephew of Richard T
KEITH HARING (AMERICAN, 1958-1990), "GROWING" (PLATE 2) Color screenprint on cardboard, from the Growing Portfolio, 1988. Signed and numbered from the edition of 100 in pencil (lower right). Printed by Rupert Jasen Smith, New York (with blind stamp).Literature: Klaus Littman. Keith Haring: Editions on Paper 1982-1990, The Complete Printed Works. Hatje Cantz Publishers: New York, 1993. pg. 88 and illustrated on pg. 90.
Keith Haring (American, 1958-1990)
Born 4 May 1958 in Reading, PA, Keith Allen Haring showed an early interest in cartoon drawing, an activity his father, an amateur cartoonist himself, encouraged. From 1976 to 1978, Haring studied commercial art at Pittsburgh’s Ivy School of Professional Art but left to study painting at the School of Visual Arts in New York’s Lower East Side. Haring’s practice of creating graffiti art in white chalk on unused subway advertising boards made him a recognizable figure to the general public, and he would produce more than fifty public artworks between 1982 and 1989. While many of these were commissioned, Haring voluntarily created works for hospitals, day care centers, and schools. During his life, he also had over fifty solo exhibitions and he has since been the subject of several retrospectives. Symbols and images such as barking dogs, flying saucers, and large hearts were a common feature of his earlier works and public graffiti. In later years, he examined political and societal themes through his own iconography, including drug use, apartheid, and homosexuality. On 16 February 1990, Haring died of complications from AIDS at his home in Greenwich Village. His legacy includes charitable work by the Keith Haring Foundation, which he established in 1989 to fund AIDS organizations and children’s programs. He is remembered as an accomplished street artist and celebrated for his use of iconography to establish a recognizable visual language.
BLAKE, William (1757-1827), illus. - HAYLEY, William (1745-1820).Ballads…founded on anecdotes relating to animals. Chichester: Printed by J. Seagrave for Richard Phillips, 1805. 213 pp. 8vo (157 x 96 mm). With 5 engravings designed and engraved by Blake. Contemporary red half morocco over marbled paper-covered boards, spine gilt stamped. Condition: binding rubbed, small split to upper joint, hinges tender. rare first complete edition of some of the most haunting examples of blake’s commercial works. Hayley was a prolific poet, today remembered primarily for having been Blake’s patron. He originally commissioned Blake to provide the ilustrations for fifteen separate parts of these didactic ballads for children, but the first were not successful so only three were issued in 1802. When the complete set were finally issued in book form in 1805, Blake re-engraved the plates and added two new designs ("The Horse" and "The Hermit's Dog"). The Preface states: “”VIRGINIBUS PUERISQUE CANTO.’ Or in plainer English prose: - This book is intended for young readers.” Gilchrist reported that the edition was published “for Blake’s benefit; which, I fear, proved nil. The book fell still-born from the press, though now in some degree of request, on account of Blake’s plates.” Gilchrist thought “The Horse” was “the finest in the series. Even though the horse’s hind leg be in an impossible position, and though there be the usual lack of correct local detail, very striking and soulful is the general effect; especially so is that serene, majestic, feminine figure, standing before her terrified child and bravely facing the frenzied animal, which, by mere spiritual force, she subdues into motionless awe” (p. 199). Bentley and Nurmi 374; Keynes 74; Ray 5.
Bennett Pottery transfer decorated "Remember the Maine" plate, and an American Pottery transfer portrait plate of Admiral Dewey Bennett plate - 8 1/2 in. Diam.; Dewey plate - 9 in.
LAST WILL AND TESTAMENT, SIGNED TWICE BY TOUSSAINT TOUSSAINT, PIERRE. Last Will and Testament. Seven folio sheets written recto and verso to make 14 pages, with the codicil an additional three folio sheets written recto and verso to make 6 pages; gathered with black and blue ribbons and wax seals; folded; some light soiling to sheets; still very good overall. [New York], 15 September 1842 and 3 December 1852
Important, detailed last will and testament, with attached codicil, of Pierre Toussaint (1766-1853), an African American remembered especially for his philanthropy and religious faith, and nominated for sainthood in 1968. The will, written in an unknown hand, and signed in 1842 by Toussaint, directs that his wife Juliette is to receive "all my household furniture, plate and wearing apparel, together with any money which may be in the house which we occupy at the time of my death." But as Juliette predeceased Toussaint by two years, all provisions in the will that pertained to her (and to her mother, who also died before Toussaint), became inoperative.
The original will lists as legatees the Trustees of St. Peter''s church (later St. Patrick''s) in New York City, Francis Myer, Ann Cottenet (a diamond ring), and Mary Anne Schuyler (a miniature of Toussaint and his adopted daughter Euphemia, who also predeceased him). The will further names Robert Schuyler and George L. Schuyler as trustees and administrators of the remainder of Toussaint''s estate, including all real property and investments. Toussaint also directed the trustees to try to locate within two years any living "child or children" of one "Mary Boquement formerly of the Island of St. Domingo, who died in the City of New York" and bequeath to them the sum of "four hundred dollars" in equal parts. The codicil to the will, additionally signed by Toussaint, was written more than a decade later, after the death of his beloved wife Juliette.
Born into slavery in Haiti in 1766, Toussaint early showed unusual intelligence and talent. He was fortunate to be a member of a devout Catholic household where he was taught the rudiments of reading and writing. In the aftermath of several slave revolts on the island, Pierre and his sister Rosalie arrived in New York City with the family of his master, Jean Jacques Berard, in 1787. Pierre trained as a hairdresser and due to his social graces, pleasant conversation and discreet nature, he quickly became a favorite of leading society matrons, including the wife of Alexander Hamilton and the daughters of Revolutionary War General Philip Schuyler. Toussaint had the gift of confidence with people: women and men, rich and poor, white and black --all sought his company and counsel, especially in times of personal crisis. Disaster befell the family when Toussaint''s master, Berard, died unexpectedly while making a trip to Haiti, leaving his widow without means of support. It fell to Toussaint, who earned a substantial living as a hair stylist, to act both as breadwinner and manager of the upper-class household of Madam Berard. Upon her death in 1807 he received his freedom. Soon after he married Juliette Noel, a Haitian woman he had known for many years. They offered shelter and help to many African Americans, especially orphans, in Haiti and New York. Toussaint also purchased the freedom of several members of his family. He collaborated with Elizabeth Ann Seton, founder of the Catholic Sisters of Charity, to establish an orphanage in New York City and he contributed funds to the building of St. Peter''s on Barclay Street in lower Manhattan, and several Catholic schools. In 1968 New York''s Cardinal Cook introduced Toussaint as a candidate for canonization.
LAMQUA, Guan Qiaochang A portrait of a Hong merchant, identified as Chin Qua, or Mowqua (Wu Bingjian) seated on a terrace in front of a pillar, with a camellia bush and a junk on an estuary beyond, oil on canvas, 25" x 19". See illustration Provenance: Apparantly aquired by John Reeves after his arrival in Canton in 1812 and thence by descent. Until recent years this outstanding portrait was accepted as the work of George Chinnery. It is now attributed to Lamqua, the leading practitioner among the China Trade Portraitists. In the 1830's Lamqua ran a studio in 13 Factory Street, Canton, in which he employed some 20 assistants. The quality of the present work, combined with the importance of John Reeves, suggest that this work is the work of Lamqua himself, but an element of studio participation cannot be ruled out. Unlike Chinnery, Lamqua was an astute businessman and he became a not inconsiderable rival to the English artist. He exhibited works at the Royal Academy in 1835 and 1845 and later in America. The present painting relates to another from the collection of Mr Harry Peters Jr. illustrated by Henry and Sidney Berry-Hill, "George Chinnery", published England, 1963, plate 41, where the sitter is described as Chin Qua. Academic opinion now favours Mowqua as the sitter. Indeed, it is possible that the work illustrated in Berry-Hill is, in fact, the present picture from the Goodman collection, with an erroneous acknowledgement in the text. Mowqua was a large and robust man and is remembered as an amiable character with a prodigious appetite. Following his father's death in 1812 until 1835, he was officially regarded as the second merchant, after Howqua, in the Co-Hong. In the great fire of 1822 (See lot 1002) he lost property valued at £120,000 and it was this set back, exacerbated by reckless borrowing, that meant his financial state was often precarious. See Patrick Conner: "George Chinnery 1774-1852, Artist of India and the China Coast", published England 1993 and Henry and Sidney Berry-Hill: "George Chinnery 1774-1852", published England 1963
MAWSON, DOUGLAS. The Home of the Blizzard: Being the Story of the Australasian Antarctic Expedition, 1911-1914. Plates and maps (including folding maps in the rear pocket of volume two). 2 volumes. Large 8vo, publisher's cloth pictorially stamped in silver, minor wear and scratches, Leaning on the Wind image on the front cover of volume two abraded; scattered minor foxing. With the errata slip tipped onto the title of volume one. Philadelphia: J. B. Lippincott Company, 1915
first american edition. Mawson''s 1911-14 expedition was undertaken purely for scientific research and for the mapping of the coast of the continent south of Australia. The expedition, however, is best remembered for a three-man sledging trip from which only Mawson returned. The First American Edition was actually issued in advance of the First British Edition due to poor book sales in England caused by the outbreak of World War I and is referred to by Rosove as the true first state. (See Rosove for a lengthy and interesting printing history of this work). Rosove 217.A2.
with--Bickel, Lennard. Mawson''s Will. New York, 1977 * Mawson''s Antarctic Diaries. Sydney, 1988.
From the library of Dr. John M. Levinson, with his bookplate.
GEORGE SAMUEL ELGOOD (1851-1943): HIS OWN GARDEN AT KNOCKWOOD KENT Watercolor on paper signed and dated 1903 lower center. With label from Christopher Wood London. 12 1/2 x 19 in. (sight) 21 x 27 1/2 in. (frame). Notes: The greatest master of the garden picture is undoubtedly George Samuel Elgood. He was a professional watercolourist a memeber of the Royal Institute of Painters in Watercolour a painter of landscapes Italian scenery and buildings but it is as a garden painter that he will be remembered. He held no less than twelve one-man exhibitions at the Fine Art Society up to the First World War and most of the works exhibited were of gardens. His output was greater than that of any other garden painter except possibly Beatrice Parsons and he was also an extremely knowledgeable gardener himself. He held very strong personal views about gardens and their design; he also shared many of Gertrude Jekyll's ideas about design and color which made him the ideal illustrator for her books. Elgood's genius lay in his extraordinary knack of combining form and colour in gardens in a harmonious and natural way. His pictures never look forced or exaggerated and are entirely believable as truthful views of the gardens as they were at that time. His work always shows a clear sense of design reflecting his love of Italian gardens and his architectural training.'' Literature: Penelope Hobhouse and Christopher Wood Painted Gardens English Watercolours 1850-1914 1988 pp. 15-23 plate 7. Estate of Katherine W. Mellon Stonington CT.
William Combe THE HISTORY OF THE COLLEGES OF WINCHESTER ETON AND WESTMINSTER 1816 Antique English History Education Hand Title: The History of the Colleges of Winchester, Eton, and Westminster; With the Charter-House, the Schools of St. Paul's, Merchant Taylors, Harrow, and Rugby, and the Free-School of Christ's HospitalAuthor: William Combe - William Combe was a British miscellaneous writer. His early life was that of an adventurer, his later was passed chiefly within the "rules" of the King's Bench Prison. He is chiefly remembered as the author of "The Three Tours of Dr. Syntax," a comic poem. His cleverest piece of work was a series of imaginary letters, supposed to have been written by the second, or "wicked" Lord Lyttelton. Of a similar kind were his letters between Swift and "Stella". He also wrote the letterpress for various illustrated books, and was a general hack.(Courtesy of Wikipedia)Publisher: Printed for and Published by R. AckermannCity: LondonYear: 1816Binding Style: HardcoverPagination: 369 unnumbered pages plus 47 color platesWidth: 11.75" Height: 14"Book Details: A history of the great Public Schools of England from their foundation to the beginning of the 19th century. It was seen by Ackermann as an obvious adjunct to the earlier works, as the "principal schools of England" were also the "nurseries of the Universities" and thus deserved a work that was the equal of the two earlier works on Oxford and Cambridge. "The text, with the exception of the parts dealing with Winchester [56pp.], Eton [72pp.], and Harrow [40pp.] (the work of W.H. Pyne), were entirely written by [William] Combe [Westminster 27pp.; Charterhouse 32pp.; St. Paul's 34pp.; Merchant Taylors 22pp.; Rugby 34pp.; Christ's Hospital 43pp. The] same artists were employed in its decoration, the highest praise for which is that it equals, if not surpasses, that of Oxford and Cambridge. The original drawings for the forty-eight coloured plates were distributed among Westall, who executed fifteen, and Pugin and Mackenzie, who did fourteen each, while one is by J. Gendall, who besides illustrating Ackermann's publications was employed for some years in managing his business, particularly in developing the new art of lithography. The actual engraving was done by Havell and Stadler, with a few plates by Bluck and Bennett, and four line engravings of costume by Agar after Uwins. … This and the [History of the University of Oxford (1813) and History of the University of Cambridge (1814)]… with the kindred nature of their subject and the splendour of their illustrations, form a magnificent trilogy." (Martin Hardie).Condition / Notes: This antique volume is disbound. The text block is intact. The tissue guard before the title page, the title page and a number of pages display light foxing. The text block has a gilt top edge. Old damp staining slightly affects the upper blank margins of eight plates and about 17 text leaves. This work is illustrated with 48 hand-colored plates (forty-four aquatint views and four engraved plates of scholars), by Havell, Stadler, Bluck, and others, after Westall, Mackenzie, Pugin, and others (second state of Plate 6 ["Winchester College, from the Meadow"] dated "Jany. 1, 1816"; second state of Plate 23 ["Westminster School Room"] with the masters' heads covered; third state of Plate 26 ["Charter House"] with the plate title re-engraved, and depicting boys playing cricket on the lawn instead of two washerwomen laying out linen). The text is watermarked 1816; plates watermarked 1812-1820. Pagination is discontinuous. This work has been collated.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: $10.50
WOODWARD, JOHN. 1655-1728.
Fossils of all Kinds, Digested into a Method.... London: Printed for William Innys, 1728. 2 parts in one volume. xviii, 56, 128 pp. With folding table and 7 plates (one folding). 8vo. Full period vellum. Brief dampstaining affecting margin of preliminary leaves, very mild toning to plates, generally internally clean. Covers somewhat bowed, a few stray stains, spine soiled.
English naturalist and geologist John Woodward is best remembered for his discovery that the stony surfaces of the earth are divided into strata, and that the enclosed shells were originally generated at sea.
Maud Cuney Hare NORRIS WRIGHT CUNEY A TRIBUNE OF THE BLACK PEOPLE 1913 First Edition Antique African Title: Norris Wright Cuney: A Tribune of the Black PeopleAuthor: Maud Cuney Hare - Maud Cuney Hare (nee Cuney) was an American pianist, musicologist, writer, and African-American activist in Boston, Massachusetts in the United States. She was born in Galveston, the daughter of famed civil rights leader Norris Wright Cuney, who led the Texas Republican Party during and after the Reconstruction Era. In 1913 she published a biography of her father.Essentially part of the second generation after emancipation, Cuney Hare studied at the New England Conservatory of Music in Boston and became an accomplished pianist. She lived in Jamaica Plain, a neighborhood of Boston, most of her adult life. A musicologist, she collected music from across the South and Caribbean in her study of folklore, and was the first to study Creole music. She is most remembered for her final work, "Negro Musicians and Their Music" (1936), which documents the development of African-American music. (Information courtesy of Wikipedia)Publisher: The Crisis Publishing CompanyCity: New YorkYear: 1913Printing Information: First EditionBinding Style: HardcoverPagination: xv/230 pagesWidth: 5.5" Height: 7.75"Book Details: Norris Wright Cuney, or simply Wright Cuney, (May 12, 1846 – March 3, 1898) was an American politician, businessman, union leader, and African-American activist in Texas in the United States. Following the American Civil War, he became active in Galveston politics, serving as an alderman and a national Republican delegate. Appointed as United States Collector of Customs in 1889 in Galveston, Cuney had the highest-ranking appointed position of any African American in the late 19th-century South. He was a member of the Union League and helped attract black voters to the Republican Party; in the 1890s, more than 100,000 blacks were voting in Texas.Establishing his own business of stevedores, he helped to unionize black workers in Galveston, opening jobs for them on the docks. He substantially improved employment and educational opportunities for blacks in the city. He eventually rose to the chairmanship of the Texas Republican Party and became a national committeeman.Cuney is regarded by many as the most important black leader in Texas in the 19th century and one of the most important in the United States. Born into slavery, he was freed by his white planter father and sent to Pittsburgh, Pennsylvania for his education. The war interrupted his plans to attend Oberlin College, but he continued to learn all his life. He also became active in black fraternal organizations, and was elected by black Masons as the grand master of the Grand Lodge of Texas in 1875. (Information courtesy of Wikipedia)Condition / Notes: This is a first edition with an introduction by James S. Clarkson.This antique volume is bound in dark blue cloth, with bright stamped gilt lettering to the spine and front cover. The book shows light shelfwear. The binding is firm. A previous owner's signature appears on the front pastedown. A portion of a line in the introduction is underlined in blue ink. The pages are otherwise clean and bright. This work is illustrated with a tissue-guarded frontispiece portrait of Norris Wright Cuney and 4 plates.Blockson 3647 (citing only the 1968 reprint).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
WEST PANS PORCELAIN 'LITTLER'S BLUE' STRAWBERRY-LEAF MOLDED PLATEWEST PANS PORCELAIN 'LITTLER'S BLUE' STRAWBERRY-LEAF MOLDED PLATE, circa 1765, Midlothian, Scotland, attributed to William Littler, the shaped border molded in relief with strawberry leaves, dia: 8.25 in. Provenance: With Leo Kaplan, New York, 9 December 1987 (as Longton Hall, circa 1750-53); Estate of Tom and Lee Stanley William Littler (1724-1784) is best remembered for developing a rich lustrous blue glaze akin to lapis lazuli. In 1738, he began his career in Staffordshire as an apprentice making salt-glazed stoneware. Eleven years later, he entered a partnership and oversaw the porcelain production at Longton Hall. After the default of the firm in 1760, Littler and his wife, Jane, moved to Scotland and started a new porcelain manufactory called West Pans in 1764. For two slightly larger similarly molded and glazed blue bordered plates attributed to his hand at West Pans, see The British Museum, accession no. 1887,0307,IV.13. For two of approximately the same size, see the Victoria & Albert Museum, for two examples, given by Lady Charlotte Schreiber, accession no. 414:683/A-1885 (Sch. I 442/A). Literature: Arthur Lane 'William Littler of Longton Hall and West Pans, Scotland' (ECC Transactions, Vol. 5 part 2, pp.82- 94).
KEMBLE, Edward Windsor (1861-1933).Uncle Remus. Two fine etchings of Uncle Remus telling Brer Rabbit stories to the Little Boy, 1888. (265 x 200 mm); (175 x 120 mm). One signed in pencil and the other in the plate and dated. Framed together. Unexamined out of frame. Condition: a few short tears visible.Kemble is best remembered as the original illustrator of Mark Twain’s Adventures of Huckleberry Finn (1884).