BOB KUHN ART COLLECTIONBOB KUHN ART COLLECTION
Including books, calendars, and prints, many signed. Five (5) books with "The Art of Bob Kuhn - Masters of the World", text by Tom Davis, inscribed and signed by Davis, Briar Patch Press, 1989, with blue leather spine and corners, in hard dust jacket, with another book of the same with glossy paper dust jacket, signed by Kuhn; "The Art of Remington Arms", text by Tom Davis, Sporting Classics, stated First Edition, 2003, limited edition 102/250, inscribed and signed by Bob Kuhn on the pictorial title page, green leather with hard dust jacket; "Animal Harvest - The Animal Art of Bob Kuhn", Ex Libris Bob Kuhn with multiple signatures of Kuhn, Sporting Classics, 1997;
"The Big Five" by Anthony Dyer with illustrations by Bob Kuhn, limited edition 933/1000 autographed by Dyer and Kuhn, Trophy Room Books, 1993. With many Remington Arms prints including "Upland Game Birds" signed portfolio sleeve with 12 prints; "Illustrations of North American Big Game from the Remington Game Art Collection" portfolio with 12 images; "American Waterfowl Hunting"; 150th Anniversary portfolio of 12 prints (1966); Pioneers in Conservation portfolio (1977), and several duplicate portfolios. With a 1968 "North American Big Game" calendar, signed by Kuhn; 1970 "Great Game of the World" calendar, signed; Boone and Crockett Club Conservation stamp and a variety of over 40 loose unframed prints including dogs, African game, North American game, fowl and more.
Condition:
The books are in excellent condition, some of the prints and portfolio covers have a few rough edges but most are in great condition.
Brian Zahn (American, Philadelphia, 20th century) and Robert Crumb (American, Philadelphia, 1943). Yarrowstalks issue number 3, circa 1967. 8 page newspaper with art by R. Crumb and 1 page of advertisements. Predating Zap Comix # 1, Yarrowstalks # 3 is considered Crumb's first published solo comic book. 15 3/4" x 11 1/4". Minor discoloration, minor creases and roughness to edges and corners, approximately 1/2" tear to edge of last page.
FINE LOT OF SIX PIECES OF RARE QUIMPER POTTERY. Lot of six including: 1) 9-1/2" diameter deep plate/shallow bowl decorated with an 8-pointed blue and white star with center being a moon face "Moon Face", marked with an early blue "HB" (mid to late 19th century). 2) 8-1/4" diameter plate decorated with a windmill, titled" " Villa du Molin Rouge", "HB" mark (late 19th century). A very rare decoration. 3) Unusual 9-1/2" diameter ruffle edge plate with butterfly handles. The scalloped border in deep blue with two applied colorful butterflies. The interior with dancing Breton and Bretonne, surrounded by sprays of flowers. Signed lower left "HR Quimper". Note: accompanying this piece is the August 1991 magazine "Collector Editions" with this piece on the cover. On bottom, marked "HR Quimper". 4) 9-1/2" plate decorated with a Bretonne in profile. Bottom marked "HR" (circa 1900). 5 & 6) Fine pair of "Le Croisic" form Quimper bowls, one having a Breton and Bretonne holding hands marked "HB" on base in deep blue; the other with flutist and bagpiper marked "HB" on base. Both wired for wall hanging (late 19th century). Note: probably made from 18th century molds. SIZE: Sizes as noted above. SIZE: Sizes as noted above. PROVENANCE: From a private New Jersey collection; 1) Acquired from Joan Datesman; 2) Acquired from Joan Datesman; 3) Acquired from Sandra Bondhus (illustrated in her book on pg 57); 5 & 6) Acquired from Sandra Bondhus. CONDITION: 1) Some minor edge roughness, otherwise very good. 2) Professional restoration, craquelure very good. 3) Very good to excellent. 4) A very small, fine hairline on edge, hardly worth noting. Otherwise very good. 5 & 6) Very minor edge roughness, very good. 50592-2
DEREK BOSHIER (British b. 1937) A PAINTING AND A SKETCH, "David Brauer on Planet Vasari Centauri, " AND "Brauernaut, " 2018, : DEREK BOSHIER (British b. 1937) A PAINTING AND A SKETCH, "David Brauer on Planet Vasari Centauri, " AND "Brauernaut, " 2018, comprising one painting and one drawing, "David Brauer on Planet Vasari Centauri, " 2018, oil on canvas, signed, titled, and dated verso in permanent marker. 48" x 24"; together with "Brauernaut, " n. d. , ink on paper sketch. 7 1/2" x 8 1/2". Note: David Brauer made Houston his permanent home after traveling to witness a space launch at NASA’s Johnson Space Center. His personal collection boasted many books, films, ephemera objects, and photographs documenting space travel and study. This passion earned him the nickname “Brauernaut” with Derek Boshier. This 2018 portrait depicts Brauer holding a book by Giorgio Vasari, the 16th-century Italian painter, architect, writer, and historian standing quite comfortably on a hot orange martian landscape with a spacecraft looming in the distance. Provenance: Both works exhibited in “AN ART HISTORIAN COLLECTS: The David E. Brauer Collection” at the Mobile Museum of Art, Mobile, Alabama. Estate of David E. Brauer, Houston, Texas. Condition Painting generally in good condition. Ink sketch has some spots and rough-cut edges, typical with nature of the work. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS. " NO REFUNDS will be issued based on condition.
THE LIFE OF GEORGE WASHINGTON, COMMANDER IN CHIEF OF THE AMERICAN FORCES, DURING THE WAR WHICH ESTABLISHED THE INDEPENDENCE O THE LIFE OF GEORGE WASHINGTON, COMMANDER IN CHIEF OF THE AMERICAN FORCES, DURING THE WAR WHICH ESTABLISHED THE INDEPENDENCE OF HIS COUNTRY, AND FIRST PRESIDENT OF THE UNITED STATES WITH THE LIFE OF GEORGE WASHINGTON. MAPS AND SUBSCRIBERS' NAMES.Philadelphia. 1804-1807., 1807. Five text volumes, plus atlas volume of 22pp. of subscribers' names and nine maps most double-page (map number 9 missing). The five volumes leather bound with title on binding edge. The map book having the inside two pages stuck with images of city of Washington. SIZE: Set of five 8-1/2" x 5-1/2". Maps 11" /9". CONDITION: Volumes are intact and appear to be complete, the bindings are as found and some writing on inside front an back pages. Map book has foxing, roughness to edges, and bottom right corners with losses, binding as found. 52157-1
Tachibana Morikuni (1679-1748 Japan) Edo Period Bird Woodblock from 'The Moving Brush in ''Rough'' Painting' Book, 1749- 8.25x12'' on 10x12.25'' sheet. Glued to backin paper at edges, toning, and scattered foxing. From the collection of Gordon Menzies, Seattle WA.
OUTSTANDING LOT OF EIGHT PIECES OF RARE QUIMPER POTTERY. Lot including: 1 & 2) Pair of 11-3/4" high x 8" wide Porquier-Beau glazed Terra-cotta wall plaques, one with Breton; other with Bretonne. Marked on rear with "PB" mark (circa 1890's). 3) 11-1/2" x 8" Porquier-Beau plaque decorated with a Breton wearing hat and carrying whip. Early "PB" mark (circa early 1890's). 4) 11" x 7-1/4" wall plaque with Bretonne, unmarked probably Malicorne (late 19th century. 5) An interesting 13-1/2" triple coronet wall pocket with fine detailed Breton and Bretonne, with coat-of-arms Fleur-dis-lis and floral sprays. Marked on bottom "HR Quimper". Also marked to the right of the Bretonne. 6 & 7) Pair of 11-1/2" x 3-1/2" door push plates. Both have a shell and decor-riche motif, one with Breton, the other with Bretonne. Marked on front and back "HR" (circa 1920's). 8) Interesting 8" high standing bagpipe-shaped vase with Breton and Bretonne on one side and coat-of-arms "Bretagne" and floral sprays. marked on base "HR Quimper" (circa 1900-1920). Reference: pg 56 of O'Neill's book on Quimper pottery. SIZE: Sizes as noted above. PROVENANCE: From a private New Jersey collection; 1 & 2) Acquired from Joan Datesman; 5) Acquired from Joan Datesman; 6 & 7) Acquired from Joan Datesman. CONDITION: 1 & 2) Very good to excellent. 3) Very good to excellent. 4) Very good, some inconsistencies in the blue edge which may have been touched up. 5) Very good, slight roughness to tip at bottom. 6 & 7) Bretonne piece has professional restoration, otherwise very good. 8) Very good. 50592-5
JONES Owen. ''The Grammar of Ornament.'' 1856 Folioof 100 Chromolithographs. Drawn on stone by F. Bedford. Published by Day and Son London. Owen Jones British Architect/Designer 1809 - 1874. From the home of a New Rochelle NY designer. Condition: Possibly re-bound. Cover pages with some creasing and dog-eared corners some with losses to corners. Some pages with rough edges or slight tears to margins some discoloration/staining to margins. Lithographs in overall good condition with strong colors. Occasional pencil annotations throughout as this was used as a reference book for 2 generations of designers.
1787 Connecticut Cent Mailed Bust Left Laughing VG8 PCGS
Miller 6.1-M 1. R.1. A collectible example of the variety, given the heavy wear and modest reverse roughness. The upper half of the obverse is clear, and just slightly off center to the lower left, leaving a clear trace of the die edge visible around the upper right. The legend on this side is mostly complete and visible. The reverse is somewhat soft due to the granular nature of the surface, but under a light, most details are legible. The date is clear and visible without the aid of magnification. This is a popular variety in the series, and is avidly sought after. Listed on page 59 of the 2009 Guide Book. (PCGS 358)
c. 1775 Revolutionary War American Musket Cartridge Waist Box Choice Quality: American Revolution. Revolutionary War American Musket Cartridge Waist Box. c. 1775 Revolutionary War Era, American Musket Cartridge Waist or "Belly" Box, Leather and Wood Construction with Rose Head Brass Nails/Tacks, Choice Very Fine. c. 1775 Excellent high quality and Rare American Militia Waist Box. This example is in excellent shape and is about 10" wide by 4" high by 3. 25" deep. Leather is still supple and pliable. Slightly worn, some crazing on waist straps, only missing the two nails on the bottom of the box to attach the straps to the box. It appears these nails came out may times and were replaced in period. This would have been the weakest point on the box and would have seen considerable wear. This has fantastic patina on all the nails and great brass tacks. Excellent period Rose Head Brass Nails/Tacks on the box to attach the outer Leather. Excellent natural even patina on its leather and the internal wood block with a 9-8-7 set up for the 24 holes, which each measure over 3/4" in diameter, thus being able to accommodate large rounds, likely for a smaller rifles, perhaps Kentucky Rifle. Flap shape reminiscent of English styling on boxes in Colonial Williamsburg Collection, etc. Small pair of lines (not cuts) in front leather flap. These American Musket Cartridge Waist boxes are hard to date. Neumann/Kravic dates them to 1775-1820, with this example similar to #23 on page 70 of their book, "Collector's Illustrated Encyclopedia of the American Revolution". Some believe that most Waist Boxes are attributed to the War of 1812, with few from the Revolutionary War. . . AMERICAN REVOLUTIONARY WAR MUSKET CARTRIDGE BOX:. . A helpful, Similar Item's Description located online. . A recent article in the Journal of the American Revolution with a description of American soldiers by a French Observer. He stated that the American Continental Army and Militia soldiers used a lot of Waist Boxes, often preferred them and sometimes even converted Shoulder Boxes to Waist Boxes. The British used largely Waist Boxes during the Revolutionary War. On close inspection, 5 of the Rose Head Brass Tacks are of a slightly different style than the others, possibly replacement tacks, as they are still of the period with patina, but are not exactly like the others. They appear to be added for reinforcement to weak spots on the straps and flap. We have seen other similar period examples offered in the $2, 500 price range. This example excellent for any Colonial America or Revolutionary War Era military collection or display. . Well documented with featured examples in Kochan and Troiani's Soldiers of the American Revolution and in Robert Reilly's article, "Together for Two Centuries. " (Military Collector and Historian, Journal of The Company of Military Historians, Vol. 45, 1993, pages 84-86), this basic pattern of cartridge box was issued to regular army units and militia alike, to include the militia units located in the English Colonies in North America that would eventually constitute the Continental Army. . The basic design of this box consisted of three to five pieces of leather, depending on the particular maker's pattern, which were sewn together around the front, back and sides of a wooden block, often fashioned of poplar or beech wood, and a piece of leather providing a protective flap over the top of the block. . The wood block was drilled with holes which carried the paper cartridges, with the number of holes varying considerably from 18 to 29 depending on the size of the block and the diameter of the holes which was determined by the caliber of the musket or carbine with which the box would be issued. The box was then fitted with a one or two piece shoulder sling or belt of linen or leather - the two piece slings and belts joined with either a plain, hand forged iron buckle or a metal adjustment hook. . . There is a difference in the terminology of the period that was used to describe these cartridge boxes that is germane to this particular box. While the British Army used the term "cartridge pouches" to describe these ammunition carriers, the American Army preferred the term "cartridge boxes" and these terms seem to be used without regard to the design of a particular pouch or box. . To further muddy the waters, while many of the cartridge carriers - pouches and boxes - were fitted with a shoulder sling, and were intended to be carried over the soldier's shoulder, the strap passing across his chest and back and the carrier resting on the opposite hip, there were those carriers that were referred to by the troops as "belly boxes" which were worn on a belt around the soldier's waist with the carrier, or box, positioned to his front and across his stomach, hence the name. . This "belly box" method of carrying the cartridges appears to have been quite popular with a variety of units and the preference is understandable. The box worn on a waist belt was more secure and would not continuously bang against the soldier's back and side on the march, it was less prone to snag on underbrush or other obstacles on the battlefield, and was less likely to be out of position or tangled in other equipment when reaching for a cartridge in the heat of battle. Because it was snugged into position on the soldier's front waist, he knew exactly where it was at all times. . . Further clouding this difference of pouch vs. box, and the shoulder borne carriers vs. "belly boxes" soldiers found it quite simple to modify a shoulder mounted carrier to a belly box. The shoulder strap, attached to the box by inserting the ends into the seam between the back panel and covering flap, and tacked to the rear of the wooden cartridge block, was intended to rise perpendicular to the carrier. . In the process of modifying the shoulder strap to a waist belt, the two pieces of the shoulder sling were folded down and out towards the ends of the carrier, leaving a tell-tale triangular fold where it was sewn to the end of the carrier and/or tacked in place, and resulting in two belt ends, one emerging from each side of the carrier. If the carrier was fitted with a one piece sling, it was easily cut, a buckle sewn to one end and the necessary holes punched in the opposite billet to fit the soldier's waist. . . From extent specimens, it appears this pattern of cartridge box was made with shoulder slings and, whether by original design or the result of modification by a soldier, was also worn as a belly box, as is the case with this cartridge box. . . A typical Revolutionary War Cartridge "Belly" Box measures 10" long, 4" high, and 3" deep. It is formed from three main panels of leather - the front, the back and the covering flap which is sewn to the top edge of the back panel. The front and back panels are sewn together at both ends and along the bottom of the box, forming a bag into which the wooden block was placed. There are small leather ears at each end of the box which prevent the weather from getting in under the sides of the covering flap. . The wooden block is anchored in the leather covering with a series of small iron flat headed brads on both ends and across the back. The block is drilled with 24 holes, each approximately 2 5/8" deep and . 79" in diameter - likely intended to carry . 75 caliber cartridges. The billet which kept the flap closed is still present, stitched to the inside of the covering flap. The leather button which mated to the billet and was stitched to the front panel of the box is now missing. . . The leather is crazed and there is some surface flaking, however this evidence of wear is well within the bounds one would expect to find on a Revolutionary War piece. The leather is supple and still very strong with no significant weak points or notable damage. . . Attached to the rear of the box are the two belt sections. Sewn into the seam that joins the back and covering flap of the box, each belt section is folded over as described above and tacked down with iron nails and sewn to the back panel of the box. The belt section on the right side of the box is fitted with a forged iron roller buckle with a square tongue and the iron still retains some of the original black lacquer finish. This right hand section is intact, is supple and while the leather is crazed with some surface flaking, it appears to be full length. The belt section on the left side of the box - the billet end - retains the full length that was employed by the soldier who wore this box and the end of the billet has been roughly shaped to a point where it fed into the buckle. The adjustment holes are notably square rather than round which confirms that the buckle with the square tongue is original to this box. The billet has suffered some wear due to age and use, and this section of the belt was torn when the box was found, and there was a risk the section of the belt would be separated from the box and lost. Such a loss would significantly detract from the overall appearance and historical context of the box, so a professional restoration was executed to restore the billet and strengthen the weakened section. The restoration was well blended and is not readily apparent from the outside of the billet. On the inside surface of the billet, the reinforcing leather is visible, but has been finished in such as way as to blend in as much as possible. . . The leather accoutrements dating from the earliest days of our Nation had several factors working against their survival in order to be available to modern collectors. At the risk of stating the obvious, by virtue of the fact they were the first accoutrements of their kind carried in North America, they have had to survive 200 plus years of wear and tear and have been subject to less than ideal storage. They were also produced and available at the time of issue in smaller numbers than later generations of accoutrements. Whether the accoutrements were issued to the pre-Revolutionary Army militias, captured from the British, or produced in the colonies, the numbers never reached the level of production witnessed during the Civil War that resulted in so much unused surplus. And finally, the Revolutionary War accoutrements were likely to have seen continued use after the war whether it was in a regular army or local militia unit, taken home by the soldier to defend his farm, or carried out on to the frontier as the country expanded west, and in any of those circumstances the accoutrements were simply used to destruction, leaving the very few that exist today in public and old established private collections. It is very unusual for one of these boxes to appear on the market, especially in such respectable condition. . . This rare and very collectable Revolutionary War Cartridge Box will make an important addition to even an advanced accoutrement collection and it would display very nicely with an early flintlock musket.
1786 Vermont Copper, VERMONTENSIUM Fine 15 PCGS
Ryder-8, Bressett 6-E, Low R.4. Mostly chocolate-brown surfaces show some mottling of charcoal and ruddy patina. Some roughness is visible, mostly in the form of verdigris at the peripheries. The digits of the date are all well struck and fully visible. The centering of the reverse is such that abundant denticles and the die edge are clearly visible at the upper left portions, but the upper parts of the letters at 5 o'clock are partially off the edge of the planchet. A handsome example of one of the most popular Confederation era types. Listed on page 68 of the 2009 Guide Book. (PCGS 545)
1 vol. (Bonnard, Pierre, illustrator.) Mirbeau, Octave. Dingo. Paris: Ambroise Vollard, 1924. #219/280 (of 370). Folio, contemp. 3/4 crushed red niger morocco & marbled bds., gilt-decorated & lettered spine with two leather onlays of heads of dogs, t.e.g., orig. wrappers & spine bound in; extremities occasionally slightly scuffed. With 55 etched illustrations by Bonnard. Tall copy, edges rough trimmed. Light foxing to end matter. Internally clean. The Artist & The Book 30 Property of a Pennsylvania Corporation. ,500-
18TH C. RUSSIAN MINIATURE PORTRAIT OF A SAINT Probably from a Traveler's Icon, enamel on domed oval copper, a Portrait of Saint Peter with an Angel, a book open under his hand, he appears to be writing, roughly 4" x 3". Spiderweb of fine crazing, overpainted edges, no frame. Scarce in any condition.
3 Books on Duck Stamps: 3 Books on Duck Stamps- 1. ) Gilmore, Jene- ''art For Conservation The Federal Duck Stamps''- Barre Publishers, 1971, signed and inscribed to Franklin Ford in pen by the author, dust jacket has tear, rough edges and sun fading. 2. ) Mc Caddin, Joseph- ''Duck Stamps and Prints, The Complete Federal and State Editions''- Park Lane, NY 1988, spine on dust jacket sun faded 3. ) Weidensaul, Scott- ''Duck Stamps, Art in the Service of Conservation''- gallery Books NY, 1989, some sun fading to dust jacket.
FOUR COLORED ETCHINGS FROM MCKENNEY & HALL'S THE INDIAN TRIBES OF NORTH AMERICA 19.75 x 14". Shrink-wrapped."ConditionToned. Some staining. Condition Elaborated:All individual wrapped/mounted on card board. Discoloration/spots noted on each one. Visible rough right edge, from where images were removed from book. No other damages/repairs detected.
President Lincoln With Tad Photograph Taken February 9, 1864 by Anthony Berger For Mathew Brady: Abraham Lincoln Related. Albumen Photograph of President Lincoln With Tad Taken February 9, 1864 by Anthony Berger For Mathew Brady. February 9, 1864 Civil War Period, Albumen Photograph, President Abraham Lincoln and his son Tad, taken by Anthony Berger For Mathew Brady, the only close-up Photograph showing Lincoln wearing spectacles, O-93, Fine. Rarely encountered large Albumen Photograph of President Lincoln with son Tad, taken February 9, 1864 by Anthony Berger For Mathew Brady. This Oval Albumen Photograph shows Abraham Lincoln seated, facing right, looking at a photo album with his son Tad, standing to the President's left, facing front, measuring 7. 5" x 5. 25" placed on a 10 x 8" cardstock frame. A 2 U. S. Revenue stamp on the blank verso has a handwritten "1865" date cancel. The outer cardstock frame has roughness with several fine splits reinforced long ago with small pieces of tape on the blank reverse and has small edge chips, which do not touch the photograph itself and could simply be matted out to hide. The original photograph was taken by Anthony Berger in the Mathew Brady studio in Washington, D. C. on February 9, 1864. O-93 is an image of Lincoln produced during the February 9, 1864 Lincoln sitting. Berger shot Lincoln seated in his famous "Lincoln chair" once used by Lincoln when he was in the House of Representatives, looking at a photo album with his son Tad standing next to him peering down at the book. It represents the "only close-up of (Abraham Lincoln) wearing spectacles. " The image was extremely popular and was produced in quantity when Lincoln was assassinated. This is the only close-up photograph showing Lincoln wearing spectacles. After Berger left Brady's studio, he copyrighted and sold his own retouched version. Francis Carpenter and Anthony Berger probably first crossed paths in the 1854 to 1855 time period. From 1853 to 1855, Carpenter maintained a "portrait painter" studio on the second floor of the same 359 Broadway, New York City building in which the famous Mathew Brady occupied the top three floors. . The 1855-56 Trow's Directory of New York City also places the artist Anthony (then known as Anton) Berger at the same address. Carpenter appears to have overlapped Berger's earliest tenure at 359 Broadway during the year 1855. That year also marks when Mathew Brady began advertising the use of a new revolutionary form of photography - the wet plate collodion process - which would soon overtake daguerreotypes and ambrotypes in popularity. . Carpenter had made an appointment for Lincoln to engage in a sitting on that day with Anthony Berger at Brady's Photographic Gallery located several blocks from the White House. Lincoln's humorous tale about Scott's experience probably foreshadowed his own misgivings about appearing before the lens of a camera. As Ohio politician Donn Piatt recalled, Lincoln "had a face that defied artistic skill to soften or idealize. " Carpenter, however, desired those portraits as studies of Lincoln to supplement the live sketches of Father Abraham he intended to create in the White House. Both were to serve him when he painted Lincoln's visage into his "First Reading" portrait. . Anthony Berger was the cameraman responsible for capturing Lincoln in 5 poses at Brady's D. C. gallery on January 8, 1864. Each of those views appears to have been taken by a four lens camera. Although it is not known which Brady photographer recorded those views, by virtue of Anthony Berger's role as manager of the gallery it stands to reason that he played at least some role in their creation and likely shot them unless he was then away from Washington City. . By 3 p. m. on February 9, 1864, Lincoln's Cabinet meeting had been adjourned and Carpenter joined Lincoln on the front portico steps of the White House to wait for a carriage to be brought up to take them, Mrs. Lincoln, and Tad Lincoln to Brady's gallery. But after a delay, Lincoln told Carpenter, "Well, we will not wait any longer for the carriage; it won't hurt you and me to walk down. " Carpenter recounted that the walk "of a mile or more was made very agreeable and interesting to me by a variety of stories, of which Mr. Lincoln's mind was so prolific. ". . We don't know exactly when Lincoln's photography session at Brady's gallery began, who assisted Anthony Berger, or how long it took to complete the session. In fact, Carpenter's contemporaneous reference in his diary only mentioned - "Got ambrotype of President at Brady's this P. M. " Apparently F. B. Carpenter at that time didn't understand the difference between the making of a positive image ambrotype and a negative on a wet-plate collodion glass plate (Berger employed the latter of the two processes). It was only later in his 1866 memoirs, Six Months at the White House, that Carpenter expanded upon the visit and identified Berger as the cameraman on February 9th. . We do know that Lincoln sat through seven poses in front of Anthony Berger's camera that day. Lloyd Ostendorf has labeled those views as O-88, O-89, O-90, O-91, O-92, O-93 and O-94 (See Charles Hamilton and Lloyd Ostendorf, Lincoln in Photographs: An Album of Every Known Pose, rev. ed. (Dayton, Ohio: Morningside, 1985), pp. 190-95. We also know that the process involved in preparing a glass plate for an exposure had to occur shortly before its use and required about 5 minutes of time, followed by another 5 minutes to complete the development of each specific negative shortly thereafter. Thus, even assuming that Berger was assisted by someone who worked on creating the plates as quickly as possible and a second person who focused solely upon their development, it is likely that Lincoln's session lasted at least an hour by taking into account the time necessary to pose him, to evaluate the natural light filtering into the studio through the skylights, and for other related delays. . O-93 is an image of Lincoln produced during the February 9, 1864 Lincoln sitting. Berger shot Lincoln seated in his famous "Lincoln chair" - once used by Lincoln when he was in the House of Representatives - looking at a photo album with his son Tad standing next to him peering down at the book. It represents the "only close-up of [Abraham Lincoln] wearing spectacles" and "was issued in huge quantities in many variations, with and without Brady's permission. " In fact, after Berger left Brady's employ, he copyrighted and began offering for sale his own retouched version of O-93 (below) shortly after Lincoln's assassination. .
PERSIAN ILLUMINATED LEAF - Early Leaf of Persian Book with gouache illustration of a court scene the reverse completely covered with text roughly 11'' (27.9 cm) x 7'' (17.8 cm) sheet toned chips and losses to edges.
Complete Works of Charles Dickens c. 1920: DICKENS, Charles. Complete Works (30 Volume Set). New York: Harper & Brothers, circa 1920. 5 1/2" H X 8 1/4" W (Octavo). 30 Volumes Complete. Later Edition Set in original olive green cloth binding. Gold tooling and title work to spine. Rough-cut fore-edge on each volume. PO Bookplate of "C. William Green" on inside front board of each volume. Set includes the classics Great Expectations, The Bleak House, David Copperfield, the Christmas Books, Oliver Twist, Pickwick Papers, etc. Provenance: the estate of Sarah Hunter Hicks Green, formerly of Historic Devon Farm, Nashville, Tennessee. (Higher-resolution photos are available at www. caseantiques. com) Condition Overall very good condition. A very clean set with minimal handling.
''The Inferno From La Divina Commedia of Dante Alighieri With Engravings by Blake'' William Blake and Dante Alighieri Folio published by Richard Wellis for Cheshire House 1931 Good- condition calf skin cover/binding engravings by Blake have been removed and are not with the book worn/ chipped/ peeling at edges and corners scratches on covers pencil markings interior from library library card on inside of back cover rough cut pages library bookplate inside front cover provenance College Library St. Mary-of-the-Woods College Indiana
9 vols. Leather Bindings - English and American Poetry: Hartshorne, Charles H., editor. Ancient Metrical Tales. London: W. Pickering, 1829. 1st ed. 8vo, late 19th-Century 3/4 blue calf & marbled bds., gilt, t.e.g.; scuffed, occasionally rubbed, by Stikeman. Minor internal spotting. * Bourne, Vincent. The Poetical Works. Oxford, 1826. 8vo, later 19th-Century 3/4 tan calf, gilt, gilt-floral spine compartments, t.e.g., black morocco spine label; corners & edges often rubbed. * Allingham, William, editor. The Ballad Book. London: Macmillan, 1864. 24mo, late 19th-Century 3/4 scarlet morocco & marbled bds., gilt-lettered spine, a.e.g.; occasionally scuffed. * Home, F.W. Songs of a Wayfarer. London: Pickering, 1878. 8vo, contemp. 1/2 brown morocco & marbled bds., spine gilt, t.e.g.; occasionally slightly scuffed. * Another copy of the preceding, full gilt-paneled brown morocco, spine gilt, inner dentelles gilt, a.e.g.; occasionally slightly scuffed. * Meredith, Owen. Lucile. London, 1882. 4to, slightly later 3/4 crushed navy blue morocco & marbled bds., gilt, gilt-lettered & floral spine, a.e.g.; corners slightly bumped, by Stikeman. Wood-engraved plates. * Palgrave, Francis T., ed. The Treasury of Sacred Song. Oxford: Clarendon, 1889. Sm. 8vo, contemp. 3/4 green morocco & marbled bds., gilt-lettered spine, t.e.g., other edges untrimmed, raised bands; occasionally scuffed. * Mack, Anna E., ed. Because I Love You. Boston: Lee and Shepard, (1894). 12mo, contemp. 3/4 orange-brown morocco & bds., gilt floral & morocco inlaid spine, gilt-lettered spine, a.e.g. (rough trimmed); occasionally scuffed, by Stikeman. * A Collection of English Verse, Chiefly Lyrical. New Haven: privately printed, 1894. 8vo, early 20th-Century richly gilt-paneled & foliate decorated full crushed green levant morocco, richly gilt decorated spine, a.e.g. (rough trimmed), inner dentelles gilt, raised bands, brown morocco spine label; minor wear.
SPECTACULAR ENGRAVED COLT MODEL 1860 ARMY REVOLVER. Cal. 44. SN 193702. Usual configuration, nickel finish, with 8" bbl, silver-plated brass trigger guard and iron back strap with fine smooth 1-pc ivory grip. Frame is wonderfully engraved with full coverage foliate arabesque patterns by L. D. Nimschke. Engraving extends 3-3/4" up the bbl with flourishes around the muzzle and a dash & dot border around the bbl address. Hammer is full coverage engraved with wolf's head & foliate arabesque patterns on both sides and shaded dolphin patterns on the top edge. Back strap has the typical Nimschke fan at the top with small arabesque flourishes & a scalloped border elsewhere. Butt strap has a scallop & dot border with light arabesque pattern & the trigger guard has arabesque flourishes with more around the trigger guard screw & a small fan engraved around the bbl lug serial number. Ends of the wedge are also engraved. Cylinder has dash cuts around the front & rear edges of the raised area. This is Nimschke's deluxe coverage. Accompanied by a copy of a 4-page letter from R.L. Wilson, which indicates that this revolver will be featured in the "forthcoming The Colt Engraving Book". Mr. Wilson concludes that this is late vine style engraving circa 1870 and is one of only two known to him. He states that this revolver is an important & rare Colt and is one of the most rare of all patterns and types of decoration on the 1860. CONDITION: Extremely fine. Overall retains 95-96% strong bright orig nickel with some minor flaking on the bbl lug cut outs and a spot or two on the bbl. Frame retains virtually of its orig nickel, as does the back strap with a couple of minor spots & light wear at the heel. Butt strap is a little rough with some pimpling & wear. Trigger guard retains about 70% orig silver. Cylinder is very fine with some fine pitting on the face & some minor flaking on the circumference and overall retains 96-97% orig strong nickel with about 97-98% Ormsby naval battle scene. Mechanics are fine, strong bore with moderate pitting. 4-56819 JR443 (17,500-27,500)
ALBERT GUILLAUME (1873-1942) AMBIGU-COMIQUE / GIGOLETTE. 1894.
22 x 16 inches. Affiches-Camis, Paris.
Condition B+: wrinkles and creases at edges; pinholes in corners. Matted and framed.
Guillaume was a prolific illustrator and humorist who did work for magazines, books and almanacs. He was also a painter and a poster designer. Working for the big Parisian printer Camis (along with Francisco Tamagno and Georges Meunier) he designed a string of very successful posters for commercial goods. He also did a lot of advertising for music hall stars, and Gigolette is his best image within this field. He depicts a tantalizing blonde sitting on a table, smoking and drinking absinthe. Gigolette, a female version of gigolo, was a café-concert show about a rough and tumble young woman, and she exudes "bad girl" danger, attitude and allure in every respect. Guillaume places her against a dark amorphous background composed of patrons attending this evening of outdoor entertainment in a poor Parisian suburb, in a manner identical to that used by Toulouse-Lautrec three years earlier in his seminal poster Moulin Rouge. DFP II 452, Maitres 30, Maindron 6.
16th C. German Steel Swept Hilt Bastard Sword: Central Europe, Germany, ca. 16th century CE. A wonderful example of a forged-steel bastard sword (also known as a hand-and-a-half sword) with an elongated handle meant to be grasped by either one hand or two hands if the pommel is included. The lengthy, double-edged blade features sharpened edges, a fuller coursing down roughly 20% from the shoulder, and a pointed tip that could pierce even the strongest armor plating. The swept hilt guard features an openwork design with an S-shaped frontal section decorated with a trio of incised striations as well as a radiating back section. The lengthy handle is wrapped with braided steel wire to facilitate the swordsman's grip and is capped with an octagonal, lozenge-shaped pommel. Size: 50. 6" L x 10. 3" W (128. 5 cm x 26. 2 cm). . Cf. Withers, Harvey J. S. "The Illustrated Encyclopedia of Swords and Sabres. " Lorenz Books, London, 2010, p. 116, bottom example. . . Provenance: ex-estate of Eldert Bontekoe, Pegasi Numismatics, Ann Arbor, Michigan, USA, acquired in 2015; ex-Winston Luke collection, Bowie, Maryland, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #159237 Condition Minor abrasions and pitting to blade, guard, and pommel, with very light loosening to some handle wires, otherwise intact and excellent. Beautiful patina throughout. Edges and point are still quite sharp.
BOOK "PURCHASE OF FLORIDA", FULLER, 1906"The Purchase of Florida, Its History and Diplomacy" was written by Hubert Fuller, published in 1906 by Burrows Bros. Co. The first 330 pages are text, followed by 51 pages of appendices, then an index followed by some pages of current books published by the publisher of this book. There is a map following the front endpaper. The book covers early relations with Spain,Treaty of 1795, Louisiana Purchase, War of 1812, Seminole Wars, Treaty of 1819 and ending with the Florida Treaty. Very good condition, except for a few specks of foxing, and both covers loosening at the hinges. but still holding well. Pages have rough cut edges. Shelf wear top and bottom of hinge and a few marks on the black cloth covers. Shows use but not abuse. Owner's name and 1928 date stamped inside front cover.
Book: Rough Notes on the Birds Observed During Twenty-Five Years' Shooting and Collecting in the British Islands
by E.T. Booth. Published by R.H. Porter, London 1881-1887. Three volumes quarter leather & marbled boards. t.e.g. Vol. I 35 lithographic plates, Vol. II 32 color plates, Vol. III 49 color plates. All in clean condition. Some foxing on title page Vol. I & Vol. II. Edges rubbed. Vol. I has book plates & tipped in prospectus sheet and obit. for Booth from the Feb. 22, 1890 Bucks Herald. From an anonymous Bath County Virginia estate.
1795 Washington Liberty and Security Halfpenny AU58 PCGS
Baker-31B, Breen-1261. Birmingham Edge. An above average specimen of this scarce edge variety. Beautiful light brown with some remaining frost and luster. Boldly struck and extremely attractive, with clear evidence of double striking at the center of the obverse. There are no mentionable marks, sots, or roughness on either side. Fuld estimated that this edge device, reading BIRMINGHAM, REDRUTH, & SWANSEA (followed by the symbols for various planets), appears on only 35 to 40 extant specimens. It would take patience and luck to find a better one than this. Listed on page 80 of the 2009 Guide Book. (PCGS 758)
SEYPPEL, CARL MARIA. My Book with Vignettes by C. M. Seÿppel. 29 pages with Seyppel's humorous Egyptian motifs, many pages also containing cut and mounted illustratins (not Seÿppel) ; one printed explanatory leaf. 8vo, rough linen with "My Book" printed on front cover and with two wrought iron bands on cover, clasps and large lock and key closure, some dampstaining on front cover near clasp, rough paper edges (partly for effect, partly from wear), text block split before page 2 but can be repaired, other moderate wear. New York: White & Allen, circa 1890
A curious and odd little volume by the illustrator of Smith and Schmidt in Africa and The Hottentot Blue-book.
ALPHONSE MUCHA (1860-1939) [ILSÉE PRINCESSE DE TRIPOLI.] 1897. 138 hand-colored proofs. Bound in two ornate, silk-covered albums, all edges gilt.
Each sheet approximately 11 1/2x9 inches, visible approximately 8 7/8x6 7/8
Condition varies, generally A. 138, of 140, hand-colored (watercolor) proofs, each uniformly displayed within gold-rimmed passepartouts. Albums elegantly bound with green and white floral-patterned silk.
Mucha's idea of an "art book," in which each page is richly illustrated, was influenced by the work of Eugene Grasset and Carlos Schwabe. Mucha frames each page with a graphic cord that interweaves, in a different pattern, with the borders on every page. The overall result is his "most complete statement in the Art Nouveau style . . . [and] one of the best examples of total book design" (Mucha p.12). "Ilseé was a bibliographical rarity from the day of its publication and . . . it is Mucha's most successful book, displaying his authoritative mastery of design on every page, and at a time of distinguished book illustration and production, it is unquestionably a masterpiece" (ibid).The book was originally conceived by H. Piazza on the basis of Edmond Rostand's successful theatrical production of Princess Lointaine, starring Sarah Bernhardt, for which Mucha had designed the costumes. Piazza set the project into motion but was unable to reach a financial agreement with Rostand. Instead he hired Robert de Flers to rewrite the mythical love story. By the time Piazza signed a contract with de Flers, and completed his subscription for the book, there were only three months left for Mucha to work on the illustrations. While the fairytale story is of little literary consequence, the concept and execution of the design was extraordinary. In order to help Mucha achieve this Herculean task, Piazza moved him into a new, larger studio on the Rue du Val de Grâce, where he would have hand printing presses on location to help him with his work. Mucha himself described the feverish pace and style of work in his new studio. "The work on Ilseé proceeded as follows: the script, which had been made for me from the proofs of the book, was divided into separate pages and I sketched the compositions for each of them in pencil on tracing paper. Then I drew the figural part on to the stone which I passed to the lithographer who completed the page following my pencil rough. As soon as the stone was finished, it went to the print shop and straight on to the press. Thus for at least six weeks my studio was converted into a lithographic workshop with all its inconveniences" (Alphonse Mucha: The Master of Art Nouveau, p. 103). Mucha's son, Jiri, describes the scene in the studio as being "literally a conveyor belt. While father drew the next page, the lithographers were transferring the previous one on to the stone, or in the case of the borders, multiplying a decorative motif, which he had drawn for them on stone, into a complete pattern" (ibid. p. 98). The immediate result of all the work done by Mucha and his team of lithographers and assistants was the monochromatic keystone printing of the 141 total images for the book (including fleurons, chapter headings and chapter frontispieces). As Jiri Mucha also pointed out (in reference to his father's working on decorative panels), "the printer produced several monochrome proofs . . . which [Mucha] proceeded to color. This was a great time-saver, as he did not have to draw everything again and again if he did not like the first or second colored version" (ibid. p. 89). No other monochromatic proofs for Ilseé have ever surfaced on the market. The images in these albums are colored in a manner that dramatically differs from the final printed version, which is overwhelmingly autumnal, with a predominance of oranges, browns and greens. This, Mucha's hand-painted vision, is a true fairy tale, alive with a rainbow of different colors and shading. Piercingly exquisite, his color selection brings each page to life in a manner that almost negates the need for any text. In addition to colors, he is very liberal with the use of gold and silver. Far more of these hand-colored pages are gilded with metallic inks than in the printed version. The grand vision of Mucha's project had to be drastically downsized most probably to meet production deadlines and cost. Yet "Mucha's own high-regard for his illustrations for Ilsée is evident from their presence . . . at his exhibition in the Salon des Cent" (Spirit of Art Nouveau p. 229). In June, 1897, the prestigious Salon des Cent dedicated a show to over four hundred of Mucha's works. The printed catalogue for the exhibition lists these 140 "aquarelles originales d'Ilseé" for sale, with an additional 112 "croquis originaux pour Ilseé." The Spencer Collection at the New York Public Library owns a collection of 28 of Mucha's rough sketches and the original artwork for the cover of Ilseé. They were purchased from Viennese book dealer Christian Nebehay in 1969, described as "mounted in their original binding." The 28 sketches and the cover art are contained in a box covered in the identical green and white floral silk fabric that binds these two albums of watercolors. That such unusual fabric bindings should appear on two different collections suggests that they were originally one, bought at the Salon des Cent by the same collector, and expensively bound in fitting tribute to their importance.
Book: Johnson's New Illustrated (Steel Plate) Family Atlas
With Descriptions, Geographical, Statistical, and Historical. By J.H. Colton and A.J. Johnson, Richmond, Virginia, 1860. Folio. Blind-stamped, gilt decorated red leather. Complete with 91 hand-colored engraved maps and engraved frontis piece on 60 sheets. Cover is detached as are maps through number 5, plus 29-33. Edges of loose pages are tattered, generally not affecting images. Maps 29-30 and 32-33 are rough; 3" tear on top of map 46. Pages are toned with moderate foxing. Maps are imminently frameable. Fair + condition overall. Maps generally are good- very good + condition. WAF.
NATIVE AMERICAN/WESTERN U.S. EXPEDITION EPHEMERA1st item: "Map Showing the Location of the Indian Reservations Within the Limits of the United States and Territories" compiled from the Official and other Authentic Sources, under the Direction of the Honorable John H. Oberly, Commissioner of Indian Affairs. William H. Rowe, Draughtsman, photo lithographed with printed color by Norris Peters, published by Office of Indian Affairs, Washington, D.C., 1888. Issued with the Annual Report of the Department of the Interior. Map depicting the United States, detailing the locations in color of Native American reservations such as the "Indian Territory" of the Cherokee, Creek, Chotaw, etc. in what would become the state of Oklahoma. Includes inset maps of "Indian Territory" lower center, "Mission Ind. Res. in California" and "Alaska", lower left. Title and scale of statue miles, lower right, references, left center. "West from Greenwich", centered above map, "West from Washington", centered below map. Map surrounded by scale notations and triple line border. Image - 20 3/4" H x 32 3/4" W. Sheet - 22 1/2" H x 34" W. 2nd item: "U. States Indian Frontier in 1840" Map, by George Catlin, lithographed with printed color by Tosswill and Company, published for the Domestic Committee of the Board of Missions by Daniel Dana, Jr., New York, 1844. From "Journal of a Tour in the "Indian Territory"." by Nathaniel Sayre Harris; Episcopal Church . Board of Missions. Domestic Committee. Map depicting the locations in color of the Native American tribes that had been moved west of the Mississippi River as of 1840 including the Sacs and Foxes, Kickapoo, Delawares, etc., and the surrounding states. Uncolored territories of the Chippeways, Sioux, Crows, etc., Texas and Mexico surround colored areas. Map surrounded by notations and line border. Image - 8 1/2" H x 5 1/8" W. Sheet - 9 3/4" H x 6" W. 3rd-29th items: 27 lithographs, most with hand coloring, from the "Report of the United States Pacific Railroad Expedition and Surveys (USPRR) CAL (Senate Document: Reports of Explorations and Surveys to Ascertain the Most Practicable and Economical Route for a Railroad from the Mississippi River to the Pacific Ocean)", circa 1855. The prints feature scenic views from the American West including "The Great Basin from the Canada de Las Uvas with Lost Mountains in the Distance", drawn by Charles Koppel, lithographed by August Hoen and Company, Baltimore, images of Native Americans such as "Distribution of Goods to the Assiniboines", drawn by John M. Stanley, lithographed by Sarony, Major and Knapp, New York, and U.S. Military bases including "U. S. Military Post Benicia". "Near Mouse River" print housed in plastic sleeve. Images approximately - 6 1/8" H x 9 1/4" W. Sheets approximately - 8 1/2" H x 11 1/2" W. 30th-34th items: 4 tinted lithographs from "Report of an Expedition Down the Zuni and Colorado Rivers", by Captain Lorenzo Sitgreaves, Corps of Topographical Engineers, circa 1854. Titles include "Zuni Indian [Buffalo Dance]" and "Canon Peak from Camp 7", both drawn by Richard H. Kern, lithographed by the Ackerman Firm, New York, "View Near Gypsum Bluffs on Red-River" and "Mount Webster", both lithographed by Henry Lawrence, New York. Images approximately - 3 7/8" H x 7" W. Sheets approximately - 5 7/8" H x 8 3/4" W. 35th-38th items: 3 tinted lithographs from United States Geological Surveys (USGS), including "Mt. Agassiz - Unita Range - Utah" and "Eocene Bluffs -Green River - Wyoming" from the "Geological Exploration of the Fortieth Parallel", circa 1870-1880, and "Bullion Ravine Looking East. Diorite. Mt. Kate in the Middle Distance" from "Geology of the Comstock Lode and the Washoe District, with Atlas, USGS Monograph", by G. F. Becker, 1882. Images approximately - 9" H x 6 1/4" W. Sheets approximately - 12" H x 9 1/4" W. 39th-46th items: Assorted grouping of Native American colored lithographs, including "Hos-ta, (The Lightning.) Governor of the Pueblo of Jemez. Aug. 20", illustrated for United States Executive Documents. 31rst Cong., 1st sess., 1849-1850, drawn by Richard H. Kern, lithographed by Peter S. Duval, Philadelphia, circa 1894, "PL. CXVII" from the Bureau of Ethnology Eigth Annual Report, 1892, "Sioux War Shirt, Apache Caps, Pouches, Moccasins, Totems, &c." with "Description and Explanation of Plate II" text page, published by A. D. Worthington and Company, Hartford, "Lamina XCIII T. IX. 24. Tejidos.", and "91", "286", and "291", by George Caitlin. "Hosta" housed in plastic sleeve. "PL. CXVIII" mounted to matte. Images range in size from 6 3/4" H x 4" W to 5 1/2" H x 8" W. Sheets range in size from 8 7/8" H x 5 3/8" W to 7 1/2" H x 11 1/8" W. All items mid/late 19th century. Provenance: Collection of Charles and Ann Wells, Nashville, Tennessee. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
1st item: Toning impressions from colored areas on surface of map. Minute black scuffs along lower right paper crease. 15" section of left edge of map cut away, paper tears, top left edge of sheet. Toning impressions visible en verso. 2nd item: Minute toning spots across top of sheet. Toning spots visible en verso. 3rd-29th items: Light overall toning, foxing spots, and water damage. Several sheets with rough edges from book removal. Two pieces of white tape, top left and right of "Butte de Morale" print. 30th-34th items: Light overall toning and foxing spots. "Canon Peak" with rough top edge from book removal. "Zuni Indian" with piece of scotch tape, top left corner, and paper tear, top right corner. 35th-38th items: Light overall toning. 39th-46th items: Light overall toning. Foxing spots, largest 1/4", top left of "298".
Rare book: American Coast Pilot, published 1804 Furlong, Captain Lawrence. THE AMERICAN COAST PILOT: CONTAINING THE COURSES AND DISTANCES BETWEEN THE PRINCIPAL HARBOURS, CAPES AND HEADLANDS, FROM THE PASSAMAQUODDY, THROUGH THE GULPH OF FLORIDA; WITH DIRECTIONS FOR SAILING INTO THE SAME, DESCRIBING THE SOUNDINGS, BEARINGS OF THE LIGHT-HOUSES AND BEACONS FROM THE ROCKS, SHOALS, LEDGES, &c. TOGETHER WITH THE COURSES AND DISTANCES FROM CAPE COD AND CAPE ANN TO GEORGES' BANK, THROUGH THE SOUTH AND EAST CHANNELS, AND THE SETTING OF THE CURRENTS, WITH THE LATITUDES AND LONGITUDES OF THE PRINCIPAL HARBOURS ON THE COAST TOGETHER WITH A TIDE TABLE. Printed by Edmund M. Blunt, Newburyport, Massachusetts, 1804. 4th edition volume, 1st edition illustrated with maps and plans.
Provenance: Edmund March Blunt (1770-1862) published the first edition of Captain Lawrence Furlong's AMERICAN COAST PILOT in 1796, beginning his long career as a nautical book and chart maker. Blunt was actually the primary author of this work, using Furlong's name for credibility. The earliest editions did not contain any charts, but instead included verbal descriptions of sailing directions, tide tables, latitudes and longitudes, and navigational landmarks, as well as other information of use to sailors. In the later editions Blunt began to include small charts of harbors and sections of the coast. Over the years, Blunt continued to issue editions of this sea pilot and also produced separate charts based, at first, on the charts of others but later on his own charts and those of his sons, George William and Edmund. About 1827, Blunt retired and the firm was carried on by his sons, who continued to issue some of the best American sea charts of the period. Of note was the alliance between the Blunts and the U.S. Coast Survey, which allowed the Blunts access to the latest U.S. surveys. In all, the Blunt firm issued 21 editions of the AMERICAN COAST PILOT, which became an essential work for native and foreign sailors along the American coast. Finally, in 1867, the rights were sold to the Coast Survey for $20,000, ending the Blunt's long run as preeminent supplier of information on the American coast.
Partially rebound in dark brown leather, with newer leather labels and end pages. Bumping and rubbing to corners, hinges and text block sound, with the exception of pages 175-193, missing, and page 183, partial but present and unattached. Pages stained, with rough edges, but remarkably intact for a volume apparently in use for many years. Maps present are: Newburyport Harbour, Isle of Sable, Newport Harbour, New York Harbour, Charleston Harbour. Maps missing are: Portland Harbour, Portsmounth Harbour, Annis Squam Harbour, Boston Harbour, Bay and River Delaware, Bay of Chesapeake.
Mid-11th C. Viking Steel Broadsword w/ Silver Inlay: Northern Europe, Scandinavia, late Viking to early Medieval period, ca. mid-11th century CE. A superb broadsword forged from steel that bears a lengthy, double-edged blade that terminates in a sharpened tip. Within one side of the fuller that runs roughly 80% down is an inlaid 10% silver name reading "SETRIDVS" enclosed within petite crucifixes and the opposite side of the blade bears a singular crucifix, perhaps identifying the initial owner of this weapon. The tapered handle is long enough to accommodate a single hand and is encapsulated with a broad, straight guard and a rounded triangular pommel. Size: 41. 1" L x 9. 6" W (104. 4 cm x 24. 4 cm); quality of silver: 10%. . A Viking's sword was a hugely valuable object, passed down through families as an heirloom, and was probably the most expensive item that a Viking could own. For example, from the hundreds of items found in Viking burials in Iceland, only sixteen are swords; they are more common in other parts of the Viking world, especially in Norway, but were still a high-status item. A sword given by King Haakon the Good (king of Norway from 934 to 961 CE) to the Icelander Hoskuldur in the Laxdaela Saga was worth a half mark of gold, or the value of sixteen dairy cows, which was a tremendous sum of money for the time. . Cf. Withers, Harvey J. S. "The Illustrated Encyclopedia of Swords and Sabres. " Lorenz Books, London, 2008, p. 108, top example. . . Provenance: ex-estate of Eldert Bontekoe, Pegasi Numismatics, Ann Arbor, Michigan, USA, acquired before 2000. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #159170 Condition Pommel likely reattached to top of handle. Minor nicks to blade edges, guard, and handle, with chipping to one letter of inlaid name, and very slight bending to overall form of blade. Fabulous patina throughout and great preservation to inlaid name.
RARE SPORTING BOOKS 2: "PHIZ" & HALPIN (1) Browne, Hablot. "Phiz". Racing and Chasing: The Road, the River, and the Hunt. London, Ward, Lock, and Tyler. Fifty drawings engraved by graphotype. Retains original covers which are rough, spine gone but volume intact. Some internal foxing, plates generally good. (2) Halpin, Warren T. Hoofbeats Drawings and Comments. Philadelphia, J.B. Lippencott, 1938. Covers worn and stained, spine faded. Slight wrinkling at lower edge partway into interior.
SCARCE SHARPS EMPLOYEE CUSTOM TARGET RIFLE. Cal. 45-70 or 45-90. SN 161308. Very fine target rifle with 30” oct bbl that has the “Old Reliable” mark and the company name & Bridgeport address on top flat. It has a replacement globe front sight and Sharps ladder rear sight with reproduction vernier tang sight with 5” staff. It has checkered, very nicely figured, flame grain, center crotch cut, American walnut with schnable tip forearm & pistol grip stock with checkered grip cap & coarse checkered Sharps steel buttplate. The wrist is checkered in #2 style with a separately checkered wrist and a separate diamond on each side by top tang. There is a replaced long sliver by the right side of top tang that is virtually invisible until the stock is removed. It has a 2” x 1” silver oval in left side of buttstock. There is a Creedmore sight base at the heel. This rifle appears to have begun life as a sporting rifle with bbl weight of 5 lbs. 10 oz., as marked on bottom flat under forearm, which is different from a long range or Creedmore rifle. There is a variety of serial numbers inside the piece with the buttstock having three different serial numbers, including this one. It appears that it was upgraded to its present configuration using new factory parts. Tang sight is unnumbered, with only a small “A” in a shield on the underneath side. Accompanied by a Sharps Rifle Co. letter stating that this rifle is listed in order book No. 5 as a Model 1874 Sporting Rifle and invoiced at Bridgeport Factory on June 16, 1877 to Sharps employee, George F. Hull. Rifle is 45 caliber with 30” oct bbl, sgl trigger, open sights & oil finished stocks. Weight listed at 9 lbs. 14 oz. Mr. Hull was a machinist & millwright who conducted his own business in Bridgeport, CT. He was hired in 1875 and remained a Sharps employee until the factory closed in late 1880. Dr. Labowskie further states that Mr. Hull “is known to have purchased several rifles while working for Sharps or perhaps took them in lieu of pay.” He also states that those Hull rifles known to collectors today are modified with respect to high quality stock work, with deluxe wood & other features. He states that he has personally examined this rifle and finds that it would qualify as a custom mid-range target rifle and that the tang sight is a modern reproduction and front sight is a replacement. Also accompanied by copies of two letters from Mr. Hull to Nelson King, the supervisor at Sharps, soliciting employment. Additionally accompanying is a copy of a 1986 letter from Dr. R.L. Moore, basically stating the same information as previously noted. CONDITION: Very fine. Bbl retains about 95-96% blue, turning plum, with strong blue in very sheltered areas. There are a number of small nicks and a few scattered spots of light pitting. Receiver & lockplate retain case colors in sheltered areas, being mostly a gray patina. Forearm has a crack at left rear edge and buttstock, repairs as previously noted. Otherwise wood is sound and retains most of a professionally restored finish. Mechanics are crisp, strong bright bore with some orange peel roughness just in front of chamber. 4-60719 JR416 (12,500-17,500)
4 vols. Trollope, Anthony. The Prime Minister. London: Chapman & Hall, 1876. First English edition in book form. 8vo, contemp. 3/4 scarlet morocco & marbled bds., gilt spine compartments & lettering, t.e.g., other edges rough trimmed; corners & spine ends rubbed. Very occasional minor spotting. With orig. parts Part 1 front wrapper bound in at back of vol. 4. Sadlier 3204a
SHIP DECORATED LIVERPOOL JUG. This black decorated jug features an American sailing ship flying two flags and a commissioning pennant on one side. This transfer is not recorded in the Arman book on historical Liverpool jugs. The opposite transfer features a shore scene of a large figure of Hope leaning on an anchor with a ship passing by. There is an anchor on the ship's top flag and the word "HOPE" tops the transfer. There is black lineal decoration around the base and top. SIZE: 8" h x 9" at widest. CONDITION: Jug unrestored. Generally solid but has a large crack across the base and 1/3 of the way up the side. There is some minor staining to the body. Another crack runs from the edge of the spout to the base of the spout. The rim has a noticeable chip and roughness around the top. 50803-9
2 vols. Trollope, Anthony. He Knew He Was Right. London: Strahan, 1869. First English book form edition. 8vo, contemp. 3/4 scarlet morocco & marbled bds., gilt, t.e.g., other edges rough cut; spines darkened, occasionally scuffed, joints & spine ends occasionally rubbed. Complete with 1/2 titles. With 64 illus. by Marcus Stone. Very occasional, very minor foxing. Sadlier
Indian School: Mullah Dopiaza and Dancing Girl: Indian School: Mullah Dopiaza and Dancing Girl Two gouaches with gold highlights on paper with hand painted mount, laid on card. 17 5/8 x 10 3/4 in. (sheet). Double sided. p> Condition The Mullah side with scattered losses, vertical staining, a few splits and minor lifting. The reverse with minor abrasions, scuffing and scattered losses. These two images are on one card pulled from a book with a rough edge. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
ANDREW GRIMA - a 1960's 18ct yellow gold, variscite and diamond set brooch/pendant,
with maker's mark A.G. Ltd, also stamped GRIMA, 0.750 and hallmarked for London 1971, of shaped circular outline the polished variscite panel asymmetrically overlaid to three edges with pierced and textured mounts, additionally claw set with three round brilliant cut diamonds; together with accompanying correspondence regarding the original design for the brooch/pendant; an original sketch by Grima for matching earrings; Goldsmith's Hall Grima Retrospective exhibition catalogue; a signed beautifully illustrated book of Grima's work and other literature (Qty)
Width 7.5cm
Born in 1921, Andrew Grima was a British Royal jeweller, designer and artisan. He became the foremost modern jewellery designer in the West End of London in the 1960s and 1970s, selling his designs from his exclusive gallery in Jermyn Street. Grima received the Queen''s Royal Warrant in 1966 and was commissioned to make various items of jewellery for the British and Scandinavian Royal Families. A Freeman of the City of London and Liveryman of The Worshipful Company of Goldsmiths, Grima also established shops in New York, Sydney, Zurich, Tokyo and Lugano. Winner of twelve De Beers Diamond International Awards Grima was particularly interested in the organic possibilities of jewellery design, deciding to move away from the forms and materials of classical jewellery prevalent at the time. Preferring yellow gold to silver, textured and unconventional stones over classic shapes and cuts, Grima''s work features exotic stones valued both for their visual impact and associations. Precious stones when used are incorporated decoratively, not as integral parts of the design.
This brooch/pendant is off-set with diamonds and a large shaped circular variscite panel - a relatively rare phosphate mineral. Variscite is believed to be soothing, calming and balancing for both the body and mind. It is also said to aid the blood and heart, give emotional stability, self-confidence and bring abundance!
The lot is being sold with correspondence from Grima, including an accompanying sheet from his progress of work book featuring a rough sketch of the brooch/pendant as well as a design for a pair of 18ct gold and diamond matching ear-clips.
Grima died on 26th of December 2007, aged 86. Today his wife Jojo and daughter Francesca maintain his legacy through private commissions from their shop in Gstaad and bi-annual exhibitions in London.
R. CRUMB & BRIAN ZAHN YARROWSTALKS NO. 3Brian Zahn (American, Philadelphia, 20th century) and Robert Crumb (American, Philadelphia, 1943). Yarrowstalks issue number 3, circa 1967. 8 page newspaper with art by R. Crumb and 1 page of advertisements. Predating Zap Comix # 1, Yarrowstalks # 3 is considered Crumb's first published solo comic book. 15 3/4" x 11 1/4". Minor discoloration, minor creases and roughness to edges and corners, approximately 1/2" tear to edge of last page.
Dasiatys sephen
Designed by Stephane Mesnil
Historically used as a decorative material, particularly in the 17th and early 18th centuries, the term "shagreen" began to be applied to leather made from sharkskin or the skin of a rayfish. The word was derived from the French chagrin referring to the "annoyance" of the sounds of the rasping surface of the leather. Shagreen has an unusually rough and granular surface, and is sometimes used as luxurious leather for book bindings, knife handles, tabletops, pocket-books and boxes. Ray skins are naturally covered with circular, closely set, calcified papillae known as placoid scales, which vary in size depending on the age and size of the animal. The leather preparator grinds these scales down to give a roughened surface of rounded pale protrusions, between which the dye (again, typically green vegetable dye) shows when the material is colored from the other side.
Fabricated in Thailand from farmed raised stingrays of the variety Dasiatys sephen, the skins are naturally gray in color but can be dyed a variety of shades, including the light green seen here. The styling of this elegant frame harkens back to furniture design of the 1930s incorporating exotic materials. Edged with a narrow border of inlaid bone, fully backed with stained oak, this attractive piece can either be used to hang on the wall or with its own integral easel for ease of display on a tabletop, height 22in.
ONLY KNOWN INSCRIBED AND SIGNED PROOF HEMINGWAY, ERNEST. For Whom the Bell Tolls. Publisher's Advance Proof Copy with author's corrections. [i-ii], [1] dedication, [1], [476], [2] pages. Folio, 476 leaves printed on rectos only, thread-bound stiff brown paper wrappers pasted down on the spine and spine edges printed white paper label covering most of the front wrapper, thumb-soiled, scattered creasing, title and author handwritten in pencil on spine; vertical crease along front cover near spine with early repair on verso, faint dampstaining along exposed edges, into outer margins of inscription page through page 5, also affects rear endpaper, and very light and scattered throughout contents; brown hand-sewn leather cover, outer surface in a natural nap finish, inside is polished with title and author burned in cursive on inside rear flap; custom plain cloth clamshell box. New York: Scribner's, 1940
publisher''s proof copy inscribed and signed by hemingway to longtime friend and employee toby otto bruce, with manuscript corrections and dedication to the author''s third wife, martha gellhorn. The inscription on the front free endpaper reads: "To Otto with much affection and deep appreciation for all he did to make this book. Ernest Hemingway."
Hemingway met Bruce in Piggott, Arkansas while visiting his in-laws after the birth of his and wife Pauline Pfeiffer''s first son Patrick in the summer of 1928. Bruce, the local furniture maker, was one of Pauline''s classmates and a friend of the Pfeiffer family. At this time Hemingway was in the final phase of writing A Farewell to Arms. For diversion from family and work, he would often go hunting with Bruce and the two developed a fast friendship. Hemingway most often called him "Otto" or "Tobes," and Bruce called Hemingway "Cap" or "Pop," short for his usual letter closing "Poor old Papa."
When the author''s Whitehead Street home was listed in the 1935 Key West Guide to Local attractions, Hemingway asked Bruce to build its privacy wall from old city bricks stored at the Key West Naval Station. A year later Hemingway offered him a job as his driver, shaking hands on a salary of $65 a month, room and board if he wished, and "all the booze and cigarettes [he] could stand" (McLendon, Papa Hemingway in Key West. Key West: Langley Press, 2000, page 145). Toby''s first task was to purchase the dove grey Buick Special convertible Hemingway had his eye on. To the author''s delight, Toby also had a spotlight installed on the car so they could shoot raccoons and rabbits on nighttime excursions. From that point on Toby bought all of the Hemingway cars and, in his own words, became his "driver, secretary, man-Friday, getaway-money-holder, and drinking companion" on salary for the next six years and "for free" thereafter for the rest of Hemingway''s life (McLendon. op cit., p.145). Toby also resurfaced the floor of the author''s poolhouse/office, added an elaborate wall shelf for his manuscripts, and oversaw the installation of the swimming pool Pauline had ordered in a vain attempt to hold their marriage together. He would later serve as the administrator for the Hemingways'' Key West estate and, with his wife Betty, help the author''s last wife, Mary Hemingway, dispose of her husband''s contents in the back room of Sloppy Joe''s Bar, Hemingway''s well-known afternoon watering hole and "second home."
Bruce played an instrumental role by helping to keep the family peace during the turbulent last years of Ernest and Pauline''s marriage. This period saw Hemingway absent for long stretches while serving as war correspondent during the Spanish Civil War, commencing For Whom the Bell Tolls, and strengthening his relationship with journalist Martha Gellhorn, who would become his third wife in 1940. Soon after Hemingway and Martha moved to Cuba in 1939 , he called Toby to their Havana home, La Vigía, to do some repair work and serve as Hemingway''s secretary. This included the supervision of the typewritten copy of the manuscript which he read as the novel was being written.
In appreciation of Bruce''s support, Hemingway dubbed him "The Iron Man" and awarded him the commission to design the dust jacket. Toby roughed out a sketch of a small village nestled at the foot of a mountain, a bell tower, and the woods with an outline of the bridge that was blown up by protagonist Robert Jordan. An artist in New York completed the drawing, but Hemingway proudly declared that it was "the Iron Man''s masterpiece" (McLendon, op cit. page 205). He also presented Bruce with this final galley proof, telling him it was his "insurance policy . . . its value will go up with Hemingstein stock . . . let''s hope the company doesn''t run dry!" (op cit p.205). The book was indeed a great success, making Hemingway rich and achieving universal critical acclaim. And, with Ernest and Pauline''s divorce having become formal on Labor Day, the path was clear for him to declare in print for its October release "This book is for Martha Gellhorn." That dedication is penciled in his hand to the front blank of this proof.
The first edition differs from the proof in several respects. Chapter Three in the proof was divided (page 50, line 12) into Chapters Three and Four in the first edition, creating a total of forty-three chapters from the forty-two in the proof. Several new paragraphs were created from longer ones in the proof. The character Agustín was spelled Augustín throughout the proof.
Most of Hemingway''s pencil corrections made their way into the first printing. The majority are minor spelling or language corrections such as changing La Gloria to La Gloire, parientes to padres, Sardo to Sordo, etc., but one full sentence change in the final chapter appears on page 470, lines 16/17: The proof shows "Augustín wheeled his horse and brought his right fist down with a gesture and rode up the draw." Hemingway crossed out "with a gesture" and penciled in the margin "so it was as though he cried again with the movement of it." The first edition prints an altered combination of the two: "Agustín wheeled his horse and brought his right fist down as though he cursed again with the motion of it and rode up the draw." A printed list of other corrections is available upon request.
The only other recorded (unsigned, uncorrected) copy of an advance proof for this novel is in the Thomas Cooper Library at University of South Carolina. See McLendon, James. Papa Hemingway in Key West. Key West: Langley Press, 2000; Pratt, Steven. Toby Bruce: Hemingway''s Aide-de-camp and an Extraordinary Man. Printed in Key Wester, Volume 2, Issue 9 July 2004. The photograph at left is attributed to Lloyd Arnold and is the property of the Bruce family. The assistance and research of Hemingway scholar and bibliographer Edgar Grissom was invaluable to this description.
Provenance: Bruce family collection.
17TH C. CONTINENTAL STATUE OF ST. ANNE Carved and Polychromed Standing Figure, hollowed back, well delineated features and drapery of robe, roughly 44" x 15" x 18", losses to paint, a few bits of wood gone, edge of book damaged.
LOT OF SADDLE AND WINCHESTER 1873 RIFLE - GIFTS FROM TEDDY ROOSEVELT. The following items were the property of Lucille Mulhall, an Oklahoma rodeo performer Wild West Show entertainer, and were given to her by Teddy Roosevelt around 1900. Ms. Mulhall was allegedly called "The First Cowgirl" by Mr. Roosevelt and later became a star in the silent movies performing with Tom Mix & Will Rogers. These statements are all included in a notarized letter dated May 6, 1991 by Ann Mulhall Robinson, the great niece of Lucille Mulhall. Ms. Robinson states that she is the last Mulhall survivor and that the saddle and two Winchester rifles that had belonged to her aunt had been kept in the family until she sold them. (1) Fine leather riding saddle of late 19th century vintage with no maker's name, having a wide, smooth 1-pc seat of about 13" with high cantle and smooth pommel without horn. It has long wide fenders with light border decorations and pierced iron stirrups on straps with jockeys. The rear of the skirts behind the cantle has two iron staples and rings and it is lined with a tan canvas. The pommel is affixed with a 2-1/4" X 2" silver shield plaque secured with three screws inscribed "Presented / to / LT. COL. T. ROOSEVELT / 1st U.S. Vol. Cav. / By The Rough Riders / 1898" with three or four small flourishes of arabesque engraving. This engraving is all in period style showing light to moderate wear. CONDITION: Leather is fine, slightly crackled on the pommel and worn on the edge of the cantle and is dry and flexed in various places. Canvas lining is soiled and worn. (2) Winchester Model 1873. Cal. 44. SN not visible. Standard rifle with 24-1/4" rnd bbl, full magazine and uncheckered wood with straight stock & crescent buttplate. Receiver is lightly engraved with the vignette of what appears to be Buffalo Bill roping a steer on the left side and a cowboy on a horse with a steer on the right side surrounded with light patterns of foliate arabesque engraving. The dust cover & top of the receiver have similar engraving. The buttstock is more than 3/4 wrapped with light colored rawhide with patterns of brass tacks in a circle on the left side and a swastika on the right side with rows of tacks around the buttplate, bottom of the stock and front edge of the rawhide. The forearm has two laced straps, one at each end with three tacks on each side of each of the wrappings. CONDITION: Overall retains a medium gray/brown artificially aged patina. Rawhide wrapping has oil stain with light wear and the exposed wood has a dark oil stain. Mechanics are a little loose, strong dark bore. Accompanied by the reproduced chapter 23 of a book regarding famous cowboys & cowgirls apparently titled The Real Thing. Lucille Mulhall, in 1900, was apparently about 14 years old in Oklahoma territory when vice-presidential candidate, Theodore Roosevelt, came to Oklahoma City for a Rough Riders convention. Miss Mulhall's father, Zack, apparently had a cowboy & Indian group of performers who entertained Mr. Roosevelt and about 25,000 people at the fairgrounds. Apparently Miss Mulhall rode in the review and lassoed a wild steer and reportedly Mr. Roosevelt became enchanted by her. A few days later he apparently returned to the Mulhall's ranch with them and became quite friendly with Zack Mulhall & his family. During his stay with the Mulhalls he apparently went riding one morning with Lucille and spotting a large wolf expressed a wish to have its hide. Without saying anything Lucille went out, roped the wolf, killed it with a stirrup iron and had the skin tanned and sent it to Mr. Roosevelt. During his inauguration parade, after the election, the Mulhall family & performing troupe rode at the head of his parade and were entertained at the vice-president's residence where the wolf pelt was on display. Miss Mulhall went on to become world famous as a rider and steer roper winning a grand prize of $10,000 in 1904 at Dennison, Texas. She later performed with the 101 Ranch troupe and numerous celebrities. Another item accompanying this lot is the book, The Wild West / A History of the Wild West Show. On page 73 is a picture of Lucille Mulhall "The first cowgirl" as she appeared in 1905 with the 101 Ranch. She later performed with Tom Mix and other celebrities including Buffalo Bill & Will Rogers throughout the United States and South Africa. 4-54844 JR159 (37,500-47,500)
BOOK: LEVIATHAN OR THE MATTER, FOR ME, AND POWER OF A COMMON WEALTH ECCLESTIASTICALL AND CIVIL, BY THOMAS HOBBES OF MALMESBVR BOOK: LEVIATHAN OR THE MATTER, FOR ME, AND POWER OF A COMMON WEALTH ECCLESTIASTICALL AND CIVIL, BY THOMAS HOBBES OF MALMESBVRY, LONDON, 1651, PRINTED FOR ANDREW CROOKE.Leather bound book having bookplate of John Davies Knatchbull Lloyd F.S.A. First edition, first issue. Complete with folding table at pg 40, small folio with later handsome binding with spine label. Fine engraved illustrated title page with a secondary title page having small engraved ornament with penned signature. A very desirable copy of an important work. SIZE: 11-1/2" x 7-1/2". CONDITION: Generally very good, binding has some edge roughness. 52075-2
KENTUCKY MAP, 1800 PAYNE"The State of Kentucky with Adjoining Territories" Map, by John Payne, engraved by John Scoles, published by John Low, New York, 1800. From "A New and Complete System of Universal Geography" by John Payne. Copper plate engraving of Kentucky and the surrounding areas including the "Northwestern Territory" of Illinois and Virginia and the "Southwestern Territory" including the "Tennessee Government", parts of Georgia and South Carolina depicting towns and roads, county lines, names of counties, rivers, mountains, and forts. Title, lower left. "Long W from Phila.", top right above map, "West from London", lower left below map. Map surrounded by scale notations and line border. Image - 7 3/8" H x 8 1/2" W. Sheet - 8 1/2" H x 10 1/2" W. Early 19th century. Provenance: Collection of Charles and Ann Wells, Nashville, Tennessee. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Toning impression of map on surface of sheet. Slight toning on edges of map. Minute foxing spots on surface of map. Left edge of sheet rough from removal from book. Toning, foxing spots visible en verso.
Four unframed paintings by Marion Huse (American, 1896-1967), including: "Blonde Woman, Bust", oil on Masonite, unsigned, portrait of a woman with blonde hair that is pulled back, figure wears collared shirt and holds book, both shirt and skin tone appear slightly purple, background is mostly blue, wear/loss to edges with most damage to upper left and lower right, scratches and areas of abrasion mostly to figure's face, 24" h. x 15 1/4" w.; "Untitled", oil on board, signed lower left, School of Paris style portrait of woman with brown hair wearing a blue dress with white collar, background undefined red space with some darker paint strokes framing figure, wear to edges, areas of abrasion around figure, 20" h. x 16" w.; "Untitled, c. 1940", oil on Masonite, unsigned, portrait of a woman with brown hair and eyes wearing a white top, figure appears sad/contemplating, background predominately blue, wear/chips to edges, scratches and abrasions to figure's hair, 19 3/4" h. x 16" w. ; along with "Stylized Female Head", oil on plywood, unsigned, roughly outlined female head with long hair and a ruffled collar, tones of purple with white, unfinished painting verso of figure against green, some chips in wood along edge, large crack in wood on right side, some scrapes, 15 3/4" h. x 15 1/4" w. [Works by Marion Huse are currently being offered at Vose Galleries and Childs Gallery, and have been sold by Spanierman Gallery in the past. This work was given to the Brockton Art Museum (MA) by the artist's husband, Dr. Robert Barstow; the BAM in turn gifted the Huse Collection to the New Britain Museum of American Art which later chose to sell some Huse works through auction at Winter Associates, Inc., CT] NB (2272) T
GOLDEN COCKEREL PRESS - The Journal of James Morrison, Boatswain's Mate of the Bounty . . . With an introduction by Owen Rutter . . . Limited Edition. pictorial title & other decorations (by Robert Gibbings); 2 colour buckram, gilt-lettered spine, gilt-top & other edges rough trimmed, roy. 8vo. 1935. * limitation of 325 numbered copies, this one partly unopened & with book label of Duncan Guthrie.
Mark Twain ROUGHING IT 1872 Antique American Travel & Exploration First US Edition Wild West Frontier Satire Samuel Clemens Title: Roughing ItAuthor: Mark Twain - American author and humorist. He is noted for his novels Adventures of Huckleberry Finn (1885), called "the Great American Novel", and The Adventures of Tom Sawyer (1876). Twain was a friend to presidents, artists, industrialists, and European royalty. Twain was popular, and his wit and satire earned praise from critics and peers. Upon his death he was lauded as the "greatest American humorist of his age", and William Faulkner called Twain "the father of American literature".Publisher: American Publishing CompanyCity: HartfordYear: 1872Printing Information: First US EditionBinding Style: HardcoverPagination: 591 pages plus publisher's catalogWidth: 6.5" Height: 9"Book Details: "Roughing It" is a book of semi-autobiographical travel literature written by American humorist Mark Twain. It was written during 1870–71 and published in 1872 as a prequel to his first book "The Innocents Abroad" (1869). This book tells of Twain's adventures prior to his pleasure cruise related in "Innocents Abroad."Roughing It follows the travels of young Mark Twain through the Wild West during the years 1861–1867. After a brief stint as a Confederate cavalry militiaman (not included in the account), he joined his brother Orion Clemens, who had been appointed Secretary of the Nevada Territory, on a stagecoach journey west. Twain consulted his brother's diary to refresh his memory and borrowed heavily from his active imagination for many stories in the book."Roughing It" illustrates many of Twain's early adventures, including a visit to Salt Lake City, gold and silver prospecting, real-estate speculation, a journey to the Kingdom of Hawaii, and his beginnings as a writer.In this memoir, readers can see examples of Twain's rough-hewn humor, which would become a staple of his writing in his later books, such as "Adventures of Huckleberry Finn" (1884), "The Adventures of Tom Sawyer" (1876), and "A Connecticut Yankee in King Arthur's Court" (1889).(Information courtesy of Wikipedia)Condition / Notes: This is the first American edition of this work (the first English edition having been released a week prior), and displays the second state of p. 242, without the word "his" on line 21. This antique volume is bound in publisher's green cloth with stamped gilt lettering and ornamentation on the spine and front cover as well as blindstamped ornamentation on the covers. Light rubbing and chipping is evident to the edges of the spine and covers. The hinges are cracked. The text block is solid. The inscription of a previous owner, H.A. Sherrill, is visible on the front flyleaf. The pages are clean with light age toning. This work features numerous textual illustrations as well as seven plates, including an extra frontispiece. The publisher's advertisements appear on the verso of the final leaf.Howes C481; BAL 3337.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
Waldo Peirce: (American, 1884-1970)Resting By The Road, 1939, signed lower right "W. Pierce '39", titled label verso, watercolor on paper, 12 x 18 in. (sheet); modern carved and gilt wood frame, 21-1/4 x 26-1/4 in. Exhibited: Midtown Galleries, New York, NY, (label verso), n. d. ; Congregation B'nai Jeshurum artshow (label verso), n. d. ; Provenance: Midtown Galleries, New York, NY (label verso); The Kapnek Bluethenthal Collection Condition on original sketch book paper with rough torn bottom edge, mounted on board, mounting board hinged in to linen mat, toning; linen mat with staining at three sides, frame with wear and some losses to gilt