Signed Acoma Pottery Jar w/ Birds - Lucy M. Lewis: Native American, North America, New Mexico, Sky City, Acoma Pueblo, ca. 1930 CE. Large and unusual pottery olla from the most famous of all Acoma potters - Lucy M. Lewis. Polychrome jar in shades of brick red, cream and dark brown in three registers. Top and bottom fineline arrow patterns in the style made famous by Lucy and since used by many Acoma artists. Central band of birds, best guess is roadrunners, a bird found throughout the southwest. Bottom concave with signature "Lucy M. Lewis, Acoma" in black pen and two indiscernible initials in pencil. Lewis was born between 1890 and 1898 in the New Mexico Territory and died March 12, 1992. Size: 11. 25" W x 10" H (28. 6 cm x 25. 4 cm). . Lewis' designs were inspired by the pottery of their ancient ancestors, the Anasazi. She made pottery using traditional coiling methods and was mostly self-taught and her art natural and innate. Her works grace museums across the world and she has been compared to Jackson Pollock and Pablo Picasso for her innovations. She was invited to the Whitehouse in 1983 and was awarded the Governor's Award of New Mexico for her contributions to the world of art. . . This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques. . . Provenance: ex-private Honolulu, Hawaii, USA collection; ex-private Albuquerque, New Mexico, USA collection. . 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. . #163401 Dimension Condition Almost invisibly repaired from about 20 pieces - prior owner paid $750 last year for this restoration.
RARE SPECIAL ORDER WINCHESTER MODEL 1876 LEVER ACTION RIFLE. Cal. 45-60. SN 9464. Second model '76 with 26" rnd bbl, full magazine, and half nickel front sight & "1876" marked ladder rear sight. It has a screwed –on dust cover rail with impressed thumb print dust cover. Mounted with about 3X, uncheckered, very highly figured, American walnut with straight stock & ultra-rare Schutzen style nickeled brass buttplate. Buttstock & forend cap have factory sling loops. According to a list of features found on p. 138 of The Winchester Model 1876 "Centennial" Rifle, Houze, there is only one such Model 1876 ever made with a Schutzen style stock. Accompanied by a Cody Firearms Museum letter that fully identifies this rifle with "fancy Schutzen stock" & that it was shipped Sept. 26, 1879. CONDITION: Very good to fine. Bbl & magazine tube retain 40-50% thin orig blue with balance a blue/brown patina. Receiver retains about 50% faint orig case colors, stronger in very sheltered areas. Lever retains traces of orig case colors & hammer about 80% faded case colors. Wood is sound with light to moderate handling & use marks & retains 70-75% orig finish on forearm with some dark oil staining. Stock has some dark oil stain around top tang, otherwise retains most of its orig factory oil finish. Buttplate retains about 60-70% strong orig nickel finish. Mechanics are fine, strong bright bore with some scattered fine pitting. 4-57476 JR204 (17,500-27,500)
EXTREMELY RARE, ONE OF A KIND MARLIN PROTOTYPE RIFLE. Cal. 45-70. NSN. Only mark on entire rifle is on top of receiver in tiny letters "L.L. HEPBURN". Rifle is in 1889 configuration with 26-1/8" oct bbl, full magazine, German silver Rocky Mountain front sight & semi-buckhorn rear sight. It has uncheckered, very nicely figured, American walnut with straight stock & crescent buttplate. Receiver is built like a scaled-up Model 1889 with flat side bolt that has a guide rail in top edge that meshes with a notch in receiver. It has straight lever with visible locking lug extension that meshes into a notch in lever. Lever also has the 1889 style lock at toe & short curl 1889 style hammer. This style of side eject Marlin was principally the idea of Marlin's genius inventor, Lewis L. Hepburn. Marlin was, at that time, still making the Model 1881 lever action rifle in 45-70 so it is apparent that when Mr. Hepburn designed the Model 1889, which was made only in the short hand gun sized cartridges, he made this rifle as a prototype which obviously evolved into the Model 1895. This is a one of a kind & until recently completely unknown. CONDITION: Very fine. Bbl retains 95-97% strong bright orig blue with only very faint edge wear & some flecks of light patina. Magazine tube retains about 95-96% strong orig finish turning plum. Receiver retains most of its orig finish mixed with flaked light patina turning plum on top. Lever retains 60-70% case colors, strong in sheltered areas, turning to silver patina elsewhere. Hammer retains about all of its dark case colors. Top tang is a light brown patina & buttplate a silver/brown patina. Wood is sound with usual handling & use light nicks & scratches with forearm retaining about 70% orig varnish & buttstock about 95% with some oil staining around wrist. Mechanics are crisp, very bright shiny bore. A once in a lifetime opportunity to own a large frame prototype Marlin. 4-56588 JR581 (25,000-40,000)
*RARE PARKER TRY-GUN DAMASCUS DBL BBL SHOTGUN. Cal. 12 ga. SN 173259. Built on a #2 frame in VH grade. It has 30" twist steel bbls choked FULL/FULL with matted rib, sgl bead, doll's head extension, extractor & dbl triggers. Receiver has zigzag border patterns & in large letters "PARKER BROS" engraved on each side. Made without safety & there are three holes at the rear of the top rib. Stock is articulated in various directions to enable the gun maker/stock maker to exactly fit the client. Wood is very nicely figured American walnut with checkered splinter forearm & pistol grip stock. It has a very thick, checkered hard rubber buttplate. Accompanied by two homemade adjusting tools, one made from a screwdriver & the other from a simple piece of steel with a "T" handle. Also accompanied by a Parker letter which indicates this shotgun was ordered & shipped on Sept. 26, 1916 to Abercrombie & Fitch Co. of New York City as a VH, 12 ga. Tri-gun. It's total cost was $75.00. Also accompanying is a reprint of an article regarding the Parker Tri-gun by Ronald Kirby, which appeared on p. 112 of an issue of the Dbl Gun Journal. Weight: 8 lbs. 10.7 oz. CONDITION: Fine to very fine. Bbls retain about 98% strong dark brown twist pattern with a couple of small dings at the muzzle end. Receiver retains traces of case colors in the sheltered areas with the balance turned silver. Wood is sound & retains most of its orig factory varnish with minor nicks & scratches. Crisp mechanics, brilliant shiny bores. 5-60443 JR173 (5,000-10,000)
Anasazi Chaco Canyon Pottery Canteen: Native American, Southwestern United States, Four Corners region, Chaco Canyon, Pueblo I/Pueblo II (Anasazi) period, ca. 900 to 1030 CE. A mesmerizing, hand-built pottery canteen of globular form with two nubbin handles, a squat neck, a gently flared lip, and an amazing linear motif painted across its exterior in the iconic Anasazi black-on-white manner. The painted program is a series of three identical registers completed in an array of zig zags, triangles, vertical, horizontal, and diagonal lines. The Chaco Canyon lies in the high desert, among mountains and planes - scholars believe that many of these abstract designs were inspired by their landscape and weather phenomenon of the area. The abstract geographic motif can be seen in the triangles and other painted forms presenting like mountains in the distance, a moody sky, and perhaps a shining sun. A very well-preserved example! Size: 6. 25" W x 6" H (15. 9 cm x 15. 2 cm). . Pottery of this kind is some of the most important found in the ancient Southwest. The Chaco Project, the major excavations of Chaco Canyon (today a National Historical Park that is well worth a visit), recovered more of this pottery than any other style. Chaco was the center of the ancestral Puebloan (Anasazi) culture, a vast city of monumental architecture, including massive stone Great Houses of multiple stories and kivas of all sizes. Roads from Chaco Canyon radiated to outlying settlements for hundreds of miles, and it seems to have been a religious, social, and trade hub for a vast region. Today many Native peoples in the Southwest connect their own histories to Chaco, seeing it as a stop along their sacred migrations. . . Provenance: private Los Angeles collection, California, USA, acquired April 30, 2018; ex-Outwest Artifacts; ex-Carl and Robert Winters collection, before 2008. . 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. . #164421 Condition Fading to painted motif has turned black paint into a reddish-brown hue, though this presents extremely well considering the vessel's age. Otherwise, in excellent condition and beautifully made.
AMERICAN REDWARE GROTESQUE FACE JUG. Possibly North Carolina, early 20th century. African American face jug with red accented prominent eyes and lips with arched eyebrows and brown glaze. Bail handle. Restoration and chips. 13.5"h.
Similar jugs have surfaced and sold noting these were reputedly made by a man named Mr. Nelson, from a street corner, in the 1920s, in North Wilkesboro, North Carolina.
18th C. American Powderhorn w/ Brass Spout: **Originally Listed At $300**. . New World, American Revolutionary Period, ca. late 18th to early 19th century CE. A fine example of a powderhorn, made to be used by a rifleman during the end of the colonial period and the birth of the new American Republic. It is comprised of a rich brown-tanned cow horn body with a fine natural curve, a square-nail-fastened, flat, hardwood base-plug, and a simple brass spout. Size: 3. 45" W x 12" H (8. 8 cm x 30. 5 cm) . . Provenance: private Glorieta, New Mexico, USA collection. . 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. . #155282 Condition Rich patina on all surfaces. Nicely preserved with light wear commensurate with age, including some chips, nicks, and scratches.
REMINGTON ROLLING BLOCK NO. 1 MODEL 1 SHOTGUN. Cal. 16B brass shell or 20 ga. paper. SN 21. Fine shotgun with 32” Damascus bbl & sgl brass bead. Receiver has a grooved top & is mounted with very nicely figured, shell grain, uncheckered, American walnut with straight stock & smooth steel buttplate. Serial number is found on left side of top & bottom tangs, under wood. It is also stamped in butt, under buttplate, along with a large white chalk “21” and inside buttplate. Bottom of bbl & face of forearm tennon are also marked “21”. Several thousand of these shotguns were made in period 1870’s to 1890’s but few survive in good condition. CONDITION: Very fine to extremely fine. Bbl retains virtually all of its brown damascus pattern with slight muzzle edge wear. Receiver & trigger guard retain most of their faded case colors with strong colors on left side & in sheltered areas. Buttstock retains most of its faded case colors with scattered spots of light rust. Wood is sound with light handling & storage marks & retains most of its orig oil finish. Mechanics are crisp, strong bright bore with moderate pitting in front of chamber & scattered spots of pitting throughout the bore. 4-60168 JR367 (3,500-5,000)
20TH C. HAIDA / TLINGIT WALRUS TUSK PIPE NACRE INLAY**Originally Listed At $2000**
Native American, Pacific Northwest Coast, United States or Canada, Kwakiutl, Tlingit or Haida people, ca. mid-20th century CE. A large and intricate walrus ivory pipe made from 2 pieces, a flared receptacle bowl and a lengthy stem inlaid with nacre. The front of the stem depicts a mythical sea monster known as a sisiutl, with a tongue flicking out and curling over the snout- conveniently forming a suspension loop. Behind the sisiutl is another zoomorphic head, perhaps an otter or bear with a smaller tongue and a pair of horns or ears. The eyes and nostrils of the sisiutl and other animal are inlaid with large panels of shimmering nacre. Size: 9.5" L x 0.8" W x 3.25" H (24.1 cm x 2 cm x 8.3 cm)
This is an ESA antique exempt piece of ivory and cannot be sold internationally or to anyone residing in the states of California, Hawaii, Illinois, Nevada, New Hampshire, New Jersey, New York, Oregon, and Washington. We guarantee that the piece was made prior to 1972.
IMPORTANT NOTE: This item falls under the Safeguard Tribal Objects of Patrimony Act and is not eligible for international shipping. Native American, Alaska Native, & Native Hawaiian objects are only eligible to ship within the United States.
Provenance: private Brevard, North Carolina, USA collection
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.
#171003
Condition:
Red residue from label on side. Natural striations and dark brown patina. A few minor surface nicks, otherwise intact and excellent.
Curlew A. Elmer Crowell (1862-1952), East Harwich, MAc. 1930A life-size shorebird mantle carving with a slightly turned head. This decorative exhibits Crowell's mastery of the carved wooden bird and his finest blended painted surface representing the plumage. Mounted on a carved clam-shell base with the maker's rectangular stamp on the bottom. The underside also displays the inscription "A. H. Dempsey to J. Ashley Dempsey," and "CR" for Carolyn Rowland.Anthony Elmer Crowell was born in 1862 in the town of East Harwich, Massachusetts, the son of a Cape Cod mariner and cranberry grower. According to Crowell in his memoires, Anthony S. Crowell, Elmer’s father, though not a hunter, gave his son his first shotgun at the age of twelve. Of the relevance of receiving the new shotgun Crowell wrote, “Then, I was some boy!” The legend of A.E. Crowell and his famous carvings has many of the common threads of the typical artist’s tale. It is the story of a boy of modest means, born at the right time, and befriended by encouraging patrons. Crowell started out in his teens as a market hunter and a pioneering keeper of live waterfowl. These passions helped Crowell to develop an intrinsic knowledge of both waterfowl and other birds. His familiarity with bird anatomy enabled Crowell to create carved wood sculptures that bear exceptional likeness to their species.Young Elmer wasted no time immersing himself into the life of a market hunter. His father owned a small piece of property on nearby Pleasant Lake in East Harwich. By 1876, at the age of fourteen, Elmer had set up his own gunning stand along the lake’s southern shore. Crowell describes the site as having, “a fine sand beach which was ideal for my ducks. I had only six live decoys the first season. I made nine block decoys and put them off about thirty yards in the lake.” Crowell’s description reveals two important aspects regarding his career. The first being his preferred use of live birds as decoys, and the second is the documentation that he began to carve decoys by the age of fourteen.It is often the confidence and enthusiasm of youth that brings forth great experimental breakthroughs. Crowell’s immersion into waterfowl hunting was no different. At a time when market hunters could earn a respectable living if they were able to secure enough game, necessity became the mother of invention. Crowell’s flair for handling live decoys was most certainly born of this mindset. Crowell recounted in his memoir that by 1878, less than two years after starting to hunt, he had increased his flock to, “forty live decoys and tried a new way of handling my ducks. I sank a pole with a ring in the top and ran a line through it back to the blind, which made an endless line. I tied four live ducks to it and pulled them off the pond about thirty five yards. It was about two weeks before they were broken in so I could pull them out without their making a flutter. After that they were all right.”In the third quarter of the 19th century, Cape Cod was a major stop-over for migratory birds and sparsely populated by people. However, with increased access by train and the advent of the automobile, Cape Cod was quickly becoming a destination for sportsmen in pursuit of outdoor recreation. The concept of the American shooting sportsman was beginning to take root. The gunning stands and camps that had once been primarily operated by local market gunners were becoming increasingly sought after by sportsmen from Boston.These newer club owners would often invite their influential and wealthy friends down as guests and they needed managers to run the camps. It was Charles Ashley Hardy of Chatham and Wayland, Massachusetts, along with his partners, G. Herbert Windeler and Loring Underwood, who first approached the enthusiastic young bird handler. It is no small coincidence that they established their camp “The Three Bears Club” on Pleasant Lake, one half mile from Crowell’s gunning stand.The tremendous advantages that Crowell’s inventions and practices provided to the “Three Bears” cannot be overstated. Crowell’s trapdoor invention most closely resembled an automatic garage door. A domesticated flock of honking Canada geese would fly out, circle the pond, and draw the wild geese straight back to the beach like magnets. Crowell stated, “It was a success and we had good shooting for a number of years. At that time we began to bait the small ponds with corn, and two years later we baited in front of our blinds at the lake. It stopped the black ducks from going south, so the ponds were full of ducks; the shooting was great.” Crowell’s own words speak volumes and provide insight into the looming decimation of the migratory bird populations which began to occur at the turn of the century. The refined use of live decoys coupled with baiting waterfowl halted the wild birds from their natural migration patterns. Hunters were quickly becoming so adept at attracting their quarry that wild ducks and geese stood virtually no chance.Federal regulations shortly thereafter banned the use of live decoys and forced Crowell into the world famous carver so revered today. Unable to use live domesticated birds to lure in the flocks, Crowell did the next best thing, creating exceptional sculptures of likeness in wood.The quality of the carvings that Crowell created for his earliest patrons, including this whimbrel for the Hardy family, was often exceptional. Through experimentation he developed and mastered his “wet-on-wet” dry brush feathering technique. While the darker brown feather paint was still wet Crowell applied the lighter feather delineations. Once the two different colored paints became tacky, he took a clean dry brush and gently feathered the two colors together, producing a nicely blended affect. One has the sense that Crowell was either looking right at a real curlew as he painted this carving or he had handled so many that their shapes and feather patterns were etched in his memory.The special relationships forged through hunting, beginning with Charles Hardy, Dr. Phillips, Harry V. Long and others, opened the world to Crowell’s workshop, and the customers came knocking. Crowell specifically credits Mrs. Alexis Felix DuPont for introducing his work to many of the affluent summer residents of Chatham and other important patrons including Joseph B. Chace, Stuart Crocker, Dr. Mac Cunningham, Henry Ford, Arthur Gould, John D. Rockefeller Jr., and Abby Aldrich Rockefeller.Provenance: Alison Hardy Dempsey CollectionJane Ashley Dempsey CollectionCarolyn Rowland CollectionPrivate CollectionLiterature: Copley Fine Art Auctions, LLC, "The Harry V. Long Collection of A. Elmer Crowell Decoys", The Sporting Sale, Boston, MA, 2009.Brian Cullity, "The Songless Aviary," Sandwich, MA, 1992, p. 26, similar example illustrated.
Native American Shale Bannerstone - Howard COA: North American, probably southeastern United States, Mississippian, Archaic Period, ca. 5000 to 1000 BCE. A dark brown, smooth shale bannerstone, of elongated, pipe-like form, with a small, round projection from the top and a pair of drilled perforations, each conical in shape, wider on the base than on the top, surrounding the projection. Why was this elegant, ancient object made? We know that bannerstone use related to atlatls, but their exact purpose remains an archaeological mystery. For many years, inspired by research done by a former physicist, archaeologists believed that bannerstones were used as weights to give atlatls greater power and control. Later experimental archaeology proved that this was not true - but did open up the possibility that the bannerstone helped with fatigue when holding an atlatl still while stalking skittish prey like deer. However, the elaborate designs, and some examples that are too large to have ever been useful, suggest that they also had ritualistic or symbolic power. Size: 5. 75" W x 0. 75" H (14. 6 cm x 1. 9 cm). . An "Artifact Analysis Report" written by Calvin Howard (February 8, 2012) and confirming this bannerstone's authenticity accompanies this piece. . . Provenance: private Florida, USA collection; ex-old private New England, USA collection, acquired in the 1970s. . 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. . #144851 Condition Small losses from edges, especially on the narrower end.
SET OF THREE TRADITIONAL AMERICAN SALT GLAZED STONEWARE: ONE IS A LARGE "D. GOODALE, HARTFORD" OVOID JUG, C. 1822-1825, GREY GLAZE WITH MINOR BLUE HIGHLIGHTS, HAND-MADE, IMPRESSED LABEL, WITH JUG HANDLE AND CORK, INSI...Set of three traditional American salt glazed stoneware: one is a large "D. Goodale, Hartford" ovoid jug, c. 1822-1825, grey glaze with minor blue highlights, , hand-made, impressed label, with jug handle and cork, inside condition unknown, outside is stained in various spots, wear from use, 16" h. x 10 1/2" w. x 10 1/2" l., one is a small "Goodale Stedman, Hartford" ovoid crock, c. 1825-1830, grey glaze with blue highlights and brown interior lining, hand-made, impressed label, lug handles, staining and wear throughout typical of use and age, 9" h. x 9 1/4" w x 10 1/2" l., one early 19th C. ovoid crock, grey glaze with blue cobalt floral motifs, hand-made, unlabeled, lug handles, staining and wear throughout typical of use and age, chipping in several places, and various imperfections, 13" h. x 10 1/4" w. x 11" l.
19th C. Native American Cochiti Wood & Hide Drum: Native American, New Mexico, Cochiti Pueblo, ca. late 19th to early 20th century CE. A ceremonial drum made of a wooden core (likely from the native cottonwood tree) with stretched hide drumheads on both ends. The cylindrical drum features fiber cords woven through the pieced holes on the two pieces of hide to pull them taut, and a small strap creates a handle for suspension. The hide creates the perfect tympanum surface and shows signs of use. The hide is likely from a deer or another ungulate, and brown hairs are present. The drum still emits sound when tapped! Size: 7. 5" Diameter x 12" H (19 cm x 30. 5 cm). . Painted and unpainted drums of all sizes are used in Pueblo ceremonies. The drum suggests the sound of thunder that comes with rain, a vital event for crops. The drum has two heads and Pueblo songs are written to utilize both sides. The songs start slowly using one head, and at a certain point, the drum is flipped over to achieve a different tone/beat. This lifts the dancers and gives them the impetus to continue dancing. . . Provenance: private California, USA collection. . 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. . Replace: PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship Replace: most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage Replace: firm. . Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. . #160319 Condition Perforation to one hide. Water staining and discoloration to one end. Surface abrasions and old inactive insect holes. Fraying of straps. Still emits sound when tapped.
19th C. American Wood Lion Circus Sign: North America, United States, ca. 19th to early 20th century CE. A massive wooden carnival lion made from planks of wood with painted features. He stands on an integral green plinth with a ball playfully placed under his front paw. The lion is presented in profile, and painted on both sides, in naturalistic sandy brown hues with black and red outlining his lush mane and face. This enormous lion was discovered in Florida, a place where many circuses would wait out the winter months before continuing their travel circuit. This lion may have served as an enticing sign for these traveling circuses such as Ringling Brothers or Barnum and Bailey’s. Such a hefty wooden piece may have been cast aside once neon light signs became more widely available. A special piece! Size: 60" L x 3" W x 54" H (152. 4 cm x 7. 6 cm x 137. 2 cm) . . Provenance: private New Jersey, USA collection, acquired in 2015; ex Skinner Auctions; ex-Alvin and Annie Schlesinger collection. . 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. . #163548 Condition Chipping and active flaking of paint. Portion of tail without paint is a newer repair and replacement piece of wood. Surface abrasions as shown. Stable fissures and cracks. Chips and nicks to high pointed areas. Massive size!
Lot of 10 Mississippian Spiro Mound Stone Arrowheads: Native American, Southern United States, Oklahoma, Mississippian / Caddo Culture, ca. 770 to 1270 CE. A collection of 10 miniature hand knapped arrowheads made of stone. Four of the points feature large notches or serrations along the edge of the blade; these are known as Morris points. Six of the heads feature two notches with downward pointed fins, triangular blades, and a pointed tip. The petite size of each is quite impressive. It would have taken immense patience and a gentle hand to knap the fins and blades without shattering the stone. The stones used include matte creamy and pink chert and semi-translucent quartz stone. Size of largest arrowhead: 1. 375" L x . 675" W (3. 5 cm x 1. 7 cm); size of case: 6. 125" L x 5. 125" W x 1" H (15. 6 cm x 13 cm x 2. 5 cm) . . Provenance: private Fayetteville, Arkansas, USA collection; ex-Dr. David Harner collection, Springdale, Arkansas, USA, acquired between the 1950s and 1960s. . 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. . #162499 Condition Nicks to the peripheries not from knapping process. Loss to notch on largest brown arrowhead. Light mineral deposits and nice natural stone inclusions.
*CASED WINCHESTER MODEL 21 SKEET GRADE DBL BBL SHOTGUN 2-BBL SET. Cal. 20 ga. & 28 ga. SN 12314. Early '21' with 26" 20 ga. bbls choked FULL/MOD & 26" 28 ga. bbls choked WS-1/WS-2. Both sets of bbls have ventilated ribs with Bradley red ivory front beads, silver center beads, ejectors & blued sgl selective trigger. Receiver is without decoration & has "SKEET" on floorplate. Mounted with very nicely figured, burled, American walnut with two kidney pattern beavertail forearms & standard checkered pistol grip stock, 13-11/16" over a Winchester solid red pad. It appears that the 20 ga. bbls & forearm are later additions. Checkering on forearm is of different pattern & lines per inch than that found on stock & 28 ga. forearm. Accompanied by a brown leather, green felt-lined, trunk case compartmented for the shotgun with two bbls & a square oil bottle. It also has two small cleaning kits. Accompanied by a Cody Firearms Museum letter that does not mention bbls or gage, made for Marshall Field & Co. with regular finish & regular grade wood. It completed second inspection Nov. 5, 1941 & final inspection Nov. 7, 1941. Drop at heel: 2-1/4", drop at comb: 1-3/8". Bore restrictions: 20 ga. bbls: left - .028, right - .007; 28 ga. bbls: left - .011, right - .007. Wall thickness: 20 ga. bbls: left - .025, right - .025; unable to gage wall thickness of 28 ga. bbls. Bore diameter: 20 ga. bbls: left - .593, right - .606; 28 ga. bbls: left - .549, right - .560. Weight with 20 ga. bbls: 6 lbs. 13.76 oz. CONDITION: Very fine plus. Retains virtually all of an extremely fine professionally restored finish to both metal & wood with a few minor handling & storage nicks & scratches on buttstock. The 20 ga. forearm is a custom replacement & retains about all of this fine custom finish. Work is factory as it is of that quality. Mechanics are crisp, bright shiny bores. Case is very fine. 4-55547 JR165 (5,000-8,000)
Dave Drake Edgefield Civil War Era Stoneware Jar: (Edgefield, South Carolina, b. circa 1800's, d. after 1873) made by Dave Drake at Lewis Miles Stoneware Manufactory, Horse Creek Valley, Edgefield District, 1863, dark brown speckled alkaline glaze over unusual straight sided almost churn form jar, flared rim between two applied lug handles, three distinct ridge like transitions around the circumference of the belly of jar, signed and dated below rim " LM, April 21, 1863, Dave", 2 slash marks at shoulder behind one handle, 16 in. ÿLiterature: Hunter, Robert, Arthur F. Goldberg, and James Witkowski. ?Beneath His Magic Touch: The Dated Vessels of the African-American Slave Potter Dave. ? InÿCeramics in America ; 2006. Milwaukee, WI: Chipstone Foundation, 2006. pg. 70, table 1, item 165. According to this table there are only four known later dated works. ÿÿ - Provenance: Collection of Dr. Joseph T. and Gaile E. Wingard, Jacksonville, Florida Condition glaze voids and anomalies as made, scratches and scuffs to glaze, restoration to entire rim, three prong firing crack on base with associate hairline running 3 in. up side of jar then splitting off for 3-1/2 in. , ÿ another 4 in. hairline in glaze up from base edge, hairline to one handle, base edge wear, residue to exteriorÿ
*PARKER GH GRADE DAMASCUS DBL BBL SHOTGUN. Cal. 20 ga. SN 165295. Built on an "O" frame with 26" Damascus steel bbls choked MOD/CYL with matted rib, sgl bead, doll's head extension, extractor & dbl triggers. Receiver is engraved with typical "G" patterns of ducks on the left side, pheasants on the right side & pheasants on the floorplate, all surrounded by light border & foliate arabesque patterns. Maker's name is on each side of receiver. Wood is nicely figured American walnut with checkered splinter forearm & pistol grip stock, 14" over what appears to be an orig checkered butt. Accompanied by a Parker letter identifying this gun as having been shipped Oct. 29, 1913 to Dr. P.R. Barton of Clinton, CT. Letter states that it was a "FRAME UP STOCK & BBLS" order. It states they used 30" Damascus bbls from another Parker, serial number 148418, and made a new gun. The LOP is listed at 14" - 14-1/2" with a drop at the comb 1-3/4" and drop at the heel 2-3/4". It cost $30.00 and special requests were 3-1/2 lb. right trigger pull & 4 lb. left trigger pull with a dark stock. Current dimensions are: drop at the heel 2-1/2", drop at the comb 1-1/2". Weight: 5 lbs. 15.9 oz. CONDITION: Very fine plus. Bbls retain 96-97% strong blue/gray Damascus pattern with light muzzle edge wear. Receiver retains about 40% case colors, mostly on the left side & bottom with the balance a silver/brown patina. Stock has a replaced chip & tiny hairline back of the top tang & a chip from the forearm bbl channel, otherwise the wood is sound & retains about 95% strong orig factory varnish with minor light handling & use marks. Crisp mechanics, bright shiny bores with some minor orange peel effect in the right bbl. 5-60442 JR172 (2,500-4,000)
Important Early Dave Drake Attributed Inscription Jar: (Edgefield, South Carolina, b. circa 1800, d. after 1873) made at the Pottersville Stoneware Manufactory, Edgefield District, South Carolina, 1836, attributed to Dave Drake, runny tan and dark brown alkaline glaze, greyish brown mottled glaze runs at shoulder, five glass like runs in various spots around shoulder, fingerprints in glaze on base edge, various dark glaze runs to lower body, "12 April 1836" inscribed just below rim under glaze mottling, "Catination" (sic) inscription across shoulder under mottled runny glaze, two nicely shapedÿand placed lug handles, short neck with rounded rim, 14-3/4 in. ÿ - Note: This jar is an exceptional early surviving example of Dave Drake's work. According to the Arther F. Goldberg and James P. Witkowski article "Beneath His Magic Touch: The Dated Vessels of the African American Slave Potter Dave", published by Chipstone Foundation in Ceramics in American 2006, edited by Rob Hunter, this jar is the eighth earliest known dated work, and the fourth earliest known to hold an inscription. ÿ Believed to be a companion work of the earliest known scripted piece dated June 12, 1834, holding the phrase "Concatination" (sic) - Provenance: Collection of Dr. Joseph T. and Gaile E. Wingard, Jacksonville, Florida Condition glaze voids and anomalies as made, firing anomalies to interior as made, very fine star hairline to glaze at belly likely due to slight bump, old residue to interior and exterior, wear to base edge consistent with age and use, remnants of residue on base, great condition
19th C. American Hats + Helmet w/ Brass Insignias: North America, United States, pre-Civil War to late Indian Wars period, ca. second half of the 19th century CE. A fine gathering of three interesting hats from the periods of the Civil War and Indian Wars. First is a pre-Civil War era slouch hat with a malleable brim lined with tan thread, a brown sweat band and a decorative exterior cord, and a cast-molded brass infantry bugler insignia. Second is a top hat - made by the David Hat Co. of New York - with a wide brim, a leather exterior belt, a brass American eagle insignia, and a dark brown, nearly black ostrich feather on the verso. Third is a Model 1881 Indian Wars cavalry dress helmet made by M. C. Lilley & Co. of Columbus, Ohio with a woven cord, brass insignias of the American eagle and thirteen stars within thirteen cloud form protrusions, and a prominent brass top bar with a dyed horsehair plumb. A faint signature as well as "CO. A. , 2nd Reg't" are written on the interior surface. Size of largest (Model 1881): 10. 875" L x 6. 5" W x 11. 7" H (27. 6 cm x 16. 5 cm x 29. 7 cm) . . Provenance: private J. H. collection, Beaverton, Oregon, USA, acquired in September and December 2018; (1881 dress helmet) ex-private Shirley, New York, USA collection; (top hat w/ ostrich feather) ex-private Cartersville, Georgia, USA collection; (infantry bugler hat) ex-private Orlando, Florida, USA collection. . 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. . #153266 Condition Slouch hat has fraying to brim lining and hat cord, bending to insignia, and light staining to exterior cloth wrap. Top hat has fraying to brim lining, slight bending to insignia, and age-commensurate desiccation to leather belt; ostrich feather is likely a replacement of original. Model 1881 helmet has abrasions to brim, slight bending to brass insignias, and fading to interior text; cord and horsehair are likely replacements of originals. All hats are wearable as shown.
EXTREMELY RARE AND FINE ARCHIVE OF AMERICAN PATRIOT JOHN GLEN, Jr. WHICH INCLUDES HIS INSCRIBED REVOLUTIONARY WAR AMERICAN SI EXTREMELY RARE AND FINE ARCHIVE OF AMERICAN PATRIOT JOHN GLEN, Jr. WHICH INCLUDES HIS INSCRIBED REVOLUTIONARY WAR AMERICAN SILVER MOUNTED, FLINTLOCK OFFICER'S FUSIL.The treasure in this archive is, perhaps, the finest known example of an American made fusil of the American Revolutionary War period. The maple stocked fusil has its original commercial flintlock marked "JOVER" and the 38 _" 65 caliber smooth bore barrel has Birmingham proofs. All of the mountings are non-hallmarked silver with relief Rococo design and fine chiseled martial engraving. The ornate thumbplate has Glen's initials in the 18th century style where "I's" and "J's" are interchangeable, "JGJr". The sole of the buttplate is engraved in large block letters "JOHN GLEN Jr". There is fine relief carving at the barrel tang. The overall architecture of the gun is superb. This fusil presents beautifully and was made for a man of means. It represents the finest achievement in mid 18th century American gun making. Col. John Glen Jr (1735-1828) was Quarter Master of the Continental Army of the Northern Department and was a close associate of George Washington, who on occasion stayed at the Glen Plantation in New York. Glen had prior service in the French and Indian Wars in various New York units from 1755. Archive also includes two documents: one bureaucratic signed by John Glen Sr October 21, 1745 and the second is a fine archivally framed document dated 1758, appointing John Glen Jnr as 2nd Lieutenant of the 3rd Company of Militia of Schenectady, signed by James Delancy, the British Lieutenant-Governor and Commander-in-Chief of the Province of New York. The chair, which is a typical New England mid-18th century splat back chair, was in the Glen home when Commander-in-Chief George Washington visited and stayed there in 1775 during the Revolutionary War and at other times according to provided research.General Washington could very well have sat in this chair and could have handled this wonderful fusil that no doubt was a prized possession.After the Revolutionary War, the area around the Glen home was renamed "Glen's Falls, NY' a name by which it is known today. The area was originally named Wing's Falls, but Abraham Wing was not the ardent patriot as John Glen and John Glen was a patriot! There is a large file of research concerning the naming of "Glen's Falls" and also information concerning George Washington's visits to Col. Glen's house and provenance on this archive. PROVENANCE: Montreal auction (1970s) of Glen Family items, descended in John Glen's Jr's oldest son's family who were Torries and relocated to Canada prior to the War of 1812. Ex-collection Mark Berube, 2000; Alan Para collection, 2009. CONDITION: Fusil is very good to fine overall. Metal surfaces are dark grey/brown with light pitting. The wood has a rich, mellow, hand-worn patina. The silver mounts have a soft grey patina with minor losses from over 250 years. In the accompanying 2013 appraisal document by well known American Revolutionary War, Kentucky rifle expert and collector Stephen Hench of Lancaster, PA he states: "To the best of my knowledge, there is no finer, documented silver mounted American officer's fusil from the Revolutionary war than this surviving example of John Glen Jr's". Framed commission is very good, complete with seal and stamp. Contemporary 2009 carved powder horn made for display purposes is in fine condition made in the style of 1759 when Glen was in the militia during the French and Indian Wars. Chair- old multiple coats of paint removed. Proper left side of splat absent. Seat remains mostly intact with normal and expected wear. 51936-1
20th C. Mexican Stone Beads & Spratling Silver Pendant: (Silver Pendant) William Spratling (American, 1900-1967), Taxco, Mexico, 20th century. (Beads & Milagros) North America, Mexico, ca. mid 20th century CE. A gorgeous necklace comprised of dozens of shell and stone beads with a rectangular 92. 6% silver pendant at its center. Encased by a lovely high quality (98. 5%) silver border, the pendant features a decorative relief of a central bow flanked by two floral patterned circles with three brass heart milagros hanging from its bottom periphery. A petite maker's mark of a handprint with the letter K on the face of this pendant indicates that this piece is "Kerr Spratling" - one of only twelve in existence! The necklace strand displays white shell and black stone discoid beads, brown stone barrel beads, green and white stone beads with their natural shapes, and sienna stone spherical beads, all arranged into a beautiful pattern on a modern strand with a barrel clasp. Silver quality: relief: 92. 6%, border and loop: 98. 5%; Size of necklace: 16. 5" L (41. 9 cm); Size of pendant: 3" W x 2" H (7. 6 cm x 5. 1 cm); Size of largest brass milagro: 0. 75" W x 0. 875" H (1. 9 cm x 2. 2 cm); Weight of pendant with hearts: 23. 6 grams. . William Spratling made his initial visit to Mexico in 1926, and returned each summer for the next several years. Finally, in 1929, Spratling actually moved to Mexico to be an expatriate, becoming an active member of the vibrant artistic circles of Mexico. Spratling promoted the art of none other than Diego Rivera to New York galleries which led to Rivera's participation in the first exhibition of Mexican visual culture held in the United States, funded by the Carnegie Institute, that opened at the Metropolitan Museum of Art in New York. Not only did Spratling assist in curating the exhibition, but he also lent a number of his own pieces. During this same time period, Spratling was working on drawings for the expanding Morrow (US Ambassador to Mexico Dwight Morrow and his wife, the poet Elizabeth Cutter Morrow) home in Cuernavaca. Many of these drawings were included in the book written by Elizabeth Morrow entitled, "Casa Manana" (Knopf, 1930). It was Ambassador Morrow who suggested that Spratling explore developing the silver industry in Taxco. . . Penny Chittim Morrill, Ph. D. , who co-authored :Mexican Silver: 20th Century Hand-wrought Jewelry & Silver" with art dealer Carole Berk is the primary authority on Spratling's work. Morrill was the guest curator for the 2002 traveling exhibition entitled, "William Spratling and the Mexican Silver Renaissance: Maestros de Plata, " organized by the San Diego Museum of Art. In her catalogue essay, Morrill stated, "In establishing silver as an artistic medium, what Spratling achieved was a delicate balance, a synthesis of abstract tendencies in the existent folk art tradition and in contemporary fine art, resulting in a visualization of concepts and ideas. As importantly, the Taller de las Delicias, became the paradigm for other silver designers to follow. Las Delicias was a community in which imagination and innovation were fostered and encouraged as the men learned the art of silversmithing while producing for profit. In the hierarchy of the workshop, these silversmiths advanced according to their ability, enthusiasm, and technical expertise. " . . Provenance: private Glorieta, New Mexico, USA collection. . 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. . #161859 Condition Maker's marks/hallmarks on silver: Greek letters of capital omega and lowercase sigma with ". 47", "925", and a "K" inside a handprint. Otherwise, intact and excellent with nice patina on pendant.
WONDERFUL FOLK ART INLAID PATRIOTIC VIOLIN AND CASE. A mid-19th C. violin measuring 24-1/2" overall with the body measuring 8" across at its widest point, fashioned of fancy tiger striped maple and ebony. Of standard form having two opposing "S"-shaped piercings or sounders in the face. The body has a very narrow satin wood sgl line inlay around the entire border. The neck, facing, harp, and keys are fashioned of ebony. The sides and back of the violin are faced in maple with bright and strong tiger-striped grain. At the top in an oval cartouche is an inlaid conch shell of satin wood, mahogany, and tinted maple. At the bottom of the back within a large four-lobed cartouche measuring 5-1/2" x 3-1/2" is a marvelous flying eagle inlaid in satin wood on mahogany with light incised carving. In the eagle’s beak is a long ribbon bearing the motto "E. Pluribus Unum". In one talon, the eagle holds the staff of a flying American flag surmounted by a liberty cap. Inside the body of the violin is written in pencil "Made by C.S. Wormwood/Brookfield PA 1861". The case, which appears to be custom wood and to be orig. and consistent with the period of the violin, is of soft wood in coffin form with a raised central ridge on the top. It measures 30" x 9" at its widest point. The exterior is painted in black with an applied brass bale handle and two brass hooks. The interior is lined in wallpaper having a stick and leaf design in red and brown. There is a cloth retainer for the mahogany bow, which is included. The lower body of the case is lined in red velvet. CONDITION: Very good. Violin body shows much wear, but is still quite well preserved, in particular aside from a few nicks and scratches, the inlays on the reverse are superb. Front of the violin is missing its orig bridge. Most of the orig paint is retained on its case. Interior wallpaper and velvet is well worn. 4-57395 CW109 (800-1,200)
WONDERFUL AND RARE FAMILY COLLECTION OF CONFEDERATE MEMORABILIA, CONFEDERATE BATTLE FLAG, WEAPONS, PERSONAL AND VETERAN OBJECTS ALL WITH WONDERFUL UNBROKEN PROVENANCE TO AUGUSTUS PITT ADAMSON CORPORAL COMPANY E 30TH GEORGIA VOLUNTEER INFANTRY. An incredible collection of firearms, photographs, flags, letters, documents, and personal accouterments, veteran’s memorabilia, uniform items, all with the proverbial family trunk. Strong provenance exists through years of careful family retention to Corporal Adamson. Corporal Augustus Pitt Adamson was the author of the work Brief History of the Thirtieth Georgia Regiment published in 1912 by the Mills Printing Company of Griffin, GA. An inventory and evaluation of the collection is as follows: A spectacular photograph of Adamson in uniform accompanies this group. Photograph is a post-war cabinet card – most likely copied from an ambrotype - measuring 5" x 7" and stamped "Wilson’s Studio/41 Bull Street, Savannah, Georgia". The photograph shows Corp. Adamson in a 3/4 seated pose wearing a battle shirt with dark collar, epaulettes and cuff decoration and holding a large D-guard Bowie knife. This photograph clearly shows the youthful face of a young Confederate warrior, eager to serve the cause. The transcript of Corp. Adamson’s diary details that he was captured toward the rear of Gen. Johnston’s army on the morning of May 17, 1864 by the 5th KY Cav. Taken to the prison camp at Rock Island, Ill. and remained there until his exchange in March, 1865 in Richmond, VA. The Confederate Battle flag of Co. E 30th VA Vol. Inf. as well as the 2 inf. guidons and the United States flag taken from the Warren House in Jonesboro, GA, all a part of this amazing collection, were extensively examined by H. Michael Madaus, America’s foremost authority on American and Confederate flags and his description of these marvelous flag follows: CONFEDERATE BATTLE FLAG, ATTRIBUTED TO THE 30TH GEORGIA INFANTRY. Adamson Collection. According to the letter of provenance from Mr. Adamson, the flag as well as the other relics were inherited directly from his aunt Faye Adamson E.E. C.I.K., his father’s sister. Also in the trunk of relics was an old copy of a letter dated "December 2, 1865, Rex, Georgia. This flag belonged to The 30th Georgia Volunteer Infantry Company "E". It was made by the ladies of Clayton county and presented to the regiment by Miss Ella Callaway and accepted by Private J.H. Huie, April 18, 1862. this flag represented the 30th Georgia in the following battles: Jackson, Chickamauga, …A.P. Adamson, 1866." With letter of authenticity from Les Jensen. This flag was found (falling apart according to the family descendants) in the trunk of "relics" belonging to Corporal Augustus Pitt Adamson, Company E, 30th Georgia Infantry. Close examination of the reconstructed flag shows fragments of the original stitching which was believed to be silk and thus explains the deterioration of the stitching only. The Adamson descendants had the flag "reassembled" by a conservator in the late 20th century using deliberately large stitches and synthetic thread to distinguish any modern re-stitching from stitching that remained contemporaneous to the Civil War. This flag was produced by a "home" sewing group (as opposed to being spec-made at a government clothing depot), very possibly by first disassembling an older, large U.S. flag for its components. The flag itself conforms to the general design of the Army of Northern Virginia battle flag, but measures 54-1/2" on its staff by 57" on its fly overall. The red, wool, bunting field is pieced in each quadrant.. The outside sections measure between 4-1/2" and 6" in width and the inner triangles having a height between 8-1/4" and 9-1/2". A dark blue, wool, bunting St. Andrew’s cross is inset into the field, 8" to 8-1/2" wide, and pieced from rectangles of bunting 8-1/2" to 9" long (with each end piece about 16" so as to extend fully to the corners). The cross is bordered on each side with a strip of white, wool bunting, 2" to 2-1/8" wide. Each of the thirteen sections of the cross bears a white, cotton, 5-pointed star averaging 8" across their points on the obverse and 7" across their points on the reverse. These stars are sewn to the obverse side with a running stitch with white (yellowed with age) thread. The dark blue bunting behind each star was then cut away and under-hemmed and secured with a whipstitch of a different (black aged brown) thread (a technique for lightening the flags not uncommon during the Civil War and earlier). A 4" wide, white, wool, bunting border (formed by doubling over an 8-1/2" wide piece of bunting) was then added to all four sides. An additional pc of linen canvas, 2-1/2" wide, was then folded and dbld over the leading edge of the flag to serve as a 1-1/4" diameter sleeve for a cord that protrudes into loops at two cuts along the staff edge and at each end of the flag’s heading, which secured the flag to its staff. CONDITION: Flag is in overall good condition, although, as noted, all but the stars have been extensively re-stitched with a heavy synthetic dyed thread to replace what was the orig, (probably silk) and now missing, construction thread. Aside from these distractions, one of the quadrants shows minor separation of the bunting fabric and two of the stars are holed - one with a small hole - the other with a major deterioration due to a contact with some acidic liquid, possibly blood. (Note, the 30th Georgia Infantry reportedly lost a flag at Nashville, Tennessee on 16 December 1864,which was torn into pieces by the capturing unit ( the 5th Minnesota Infantry). However, that flag is not the same flag as described here). HMM PAIR OF CONFEDERATE VARIANT 1ST NATIONAL ("STARS & BARS") FLANK MARKER FLAGS OF THE 30TH GEORGIA INFANTRY. Ex-Adamson collection. Mating pair of small (12"-12-1/2" on the staff by 17-1/2" to 18-3/4" on the fly - to points) wool, bunting, swallowtail, flank markers. (The "general guide sergeants" at each end of a line of battle to mark the locations of the flanks of the regiment carried these small flags). Design of each is a variant of the Confederate 1st National flag (a.k.a. "Stars & Bars"), which consisted of three horizontal bars: red-white-red, and a blue canton with stars equal to the number of states in the Confederacy. In this case, the stars have been replaced by a single, white, cotton, 5-pointed star, 6-1/2" to 7" across its points & sewn to the reverse side of the dark blue wool bunting canton, which has been cut away on the obverse side to expose the white from the opposite side, in the same manner as the regimental battle flag. This suggests that all three flags (battle flag and pair of markers) were made at the same time and by the same sewing group. Five marker flags have been retained and preserved over the years by the Adamson family. The three remaining flags remain with the Adamson family. CONDITION: Individually framed and in excellent condition with little shows of wear or use. However, the markers have been re-sewn by the same conservator that reattached the pieces of the unit’s battle flag with the resultant, wide, synthetically dyed stitching in evidence. HMM CIVIL WAR U.S. ARMY CONTRACT RECRUITING FLAG, FLOWN OVER REX, GEORGIA (TORN DOWN BY PVT. A. P. ADAMSON IN 1865). U.S., Q.M. Dept., contract recruiting flag that served as headquarters and hospital flag for the 52nd Illinois Infantry during their occupation of Rex, Georgia in 1865. Typical regulation (4’4" by 9’10") 34 star (1861-1863+) "recruiting flag", which was flying over the Warren House in Rex, Georgia when Private A.P. Adamson of Company E, 30th Georgia Infantry returned to his home at the close of the Civil War. According to a note attached to this flag, written in March of 1866 and signed by Adamson, "I removed this Union Flag from the Warren House that was used as the headquarters and hospital for the 52nd Illinois Regiment." Flag has been torn off its canvas heading and, accordingly, now measures 47-1/2" on its hoist by 110-1/2" on its fly. The flag’s field is made from thirteen, alternating, red and white, wool, bunting stripes, all joined by sewing machine stitching. A dark blue, wool, bunting 2-pc canton, 25-1/2" wide and 40-1/4" long, is inset into the upper, hoist corner. It bears thirty four (34) white cotton, 5-pointed stars, set in five horizontal rows: 7-7-6-7-7, each 3-1/4" across its points and appliquéd to each side of the canton by hand stitch. The heading that once secured to its halyards or staff is now missing as a result of Adamson’s actions. CONDITION: In addition to the torn leading edge, the field of stripes shows considerable loss of material, both to typical wear in the field and to post-War insect damage. Canton shows almost no damage other than its separation from its heading and minor mothing, while all stars are intact and in good condition. HMM Many of the smaller items have, for years, been stored in an American made pine wood dome-topped trunk measuring 31" wide x 19" tall x 16" deep. CONDITION: Soft wood trunk, perhaps once covered in leather, shows extensive worm damage to exterior surfaces. Outside has been refinished a number of times and some reinforcement added to the interior. On either side of the trunk are 2 iron bale handles. Bottom portion of the locking mechanism is present, top is missing. Within the trunk, for many years, was stored letters, papers, personal items, and Adamson’s Colt Model 1851 Navy revolver, SN 114229 (all matched). His Colt revolver is a standard Colt Navy .36 Cal. with 7-1/2 oct bbl, iron frame, brass trigger guard and back strap. CONDITION: Very good. Pistol has dark uncleaned patina overall. Cylinder has numerous nicks and scrapes. Right grip is cracked and repaired. Mechanics are very good. Also with group is Corp. Adamson’s musket, being a US Model 1863 Contract rifled musket, manufactured by Bridesburg and dated 1864. The .58 Cal. musket has a 41" rnd bbl on a walnut stock with iron furniture. The lock plate is marked "U.S./Bridesburg" surmounted by an American eagle and dated 1864. Bbl is dated 1864 with appropriate proof marks and an American eagle stamped on the face of the bolster. The iron buttplate is stamped "U.S.". The musket is accompanied by a brass tipped cork tompion. Attached to the musket is a late 19th C. military leather sling, not orig to the gun. CONDITION: Very good. All metal has a light gray patina. Stock shows moderate to hard use. With the musket is its orig triangular socket bayonet and scabbard. Bayonet has an 18-1/2" blade marked "U.S." with the inspectors mark "J" near the socket. CONDITION: Very good. Gray uncleaned patina with light surface rust. Scabbard is of leather in US regulation style with 8 copper rivets on the belt frog. Belt loop is stamped "E.A. Crossman & Co./Newark/NJ" within an oval cartouche. CONDITION: Scabbard is excellent. Belt loop is flexed. Group also includes a Civil War period side knife having a 7-1/2", single-edged, thin blade measuring 1-1/2" at its widest point inset in a walnut hand-carved grip with a brass collar. CONDITION: Very good. Blade has a light gray patina which has been cleaned some time ago. Grip is cracked and the knife is accompanied by a late 19th or early 20th C. heavy leather scabbard, not orig to the knife. Adamson’s percussion cap box is manufactured of black russet leather being of somewhat crude manufacture following the Union regulation style. It is marked only with 2 tool rosettes on the front flap, one on the secondary flap, one on the front of the cap box body and two on the reverse. The Box has dbl sewn belt loops and a brass finial with a somewhat unusual collar at the base. This cap box could be of Confederate manufacture. CONDITION: Very good. Leather is stiff, unclean. Wool and pick are missing from the interior. Corp. Adamson’s Holy Bible and Psalter are included, published in London in 1858 with a tooled leather bound cover and brass clasp. CONDITION: Very good. Small group of Civil War period personal objects attributed to Adamson include: a 3-1/2" tall tin drinking cup, a small oil lamp measuring 3" in diameter with a single wick, a cased straight razor marked "Francis Albert & Co./Baltimore," a boxed set of Civil War period ivory and ebony wood dominos, a tinned case set of spectacles, an oval mirror in a soft wood case with a swivel lid, a tin of Goldmark’s percussion caps, a Japanned percussion cap tin marked "Eley, London", 6 American coins including a half dollar dated 1864, a quarter dollar dated 1861, a dime dated 1859, a half dime dated 1861, a 3 cent piece dated 1860, and a 1 cent coin dated 1848, and a wooden cased compass of probable English manufacture. CONDITION: All of the smaller items are in good to very good condition showing moderate to heavy use. An extensive archive of photographs, letters and documents accompany this group which chronicles the Adamson family and Corp. Augustus Pitt Adamson’s service in the American Civil War. Items include 1 orig printing of his history of the 30th GA Regiment. CONDITION: Very good, no wraps. A later printing c. 1925. CONDITION: Fair, front paper wrap present with losses, and of the work. A 1993 reprint. CONDITION: Very good. In addition, there is a copy of the book Sojourns of a Patriot; The Field and Prison Papers of an Unreconstructed Confederate by Abell and Gecik (Murfreesboro, TN, 1998) written around the prison diary and approx. 80 letters of Augustus Pitt Adamson (a number of these letters are included in the archive offered here). A genealogy of the Adamson family dated 1918, numerous identified photographs of Adamson and various family members, a series of war time letters to and from Corporal Adamson, including several written to him while a prisoner at Rock Island, numerous post war letters among family members, hand written recollections of the Civil War, census papers, newspaper articles, poetry, photographs of Adamson’s gravesite, and an original copy of the book, Georgia in the War; 1861-1865 by Chas. Edgeworth Jones of Augusta, Georgia dated 1909. CONDITION: Letters, papers, and remaining pcs of the archive are strong. Some letters are faded but readable. Other papers and letters have tattered edges and breaks at folds. A number of Confederate veteran related items are also included. A 1910 photograph of the reunion of 30th GA veterans at Forest Park, GA, and another taken on July 29, 1894 of veterans from his unit, a certificate from the Atlanta Battlefields Reunion to the Survivor’s Association of the 30th GA, and a couple of "Confederate Veteran" ribbons and a paper ticket to the Atlanta Cyclorama of the Battle of Gettysburg. What follows is an interesting grouping of items that date to the period 1890-1920 that were fabricated during Corp. Adamson’s lifetime in order to replicate his appearance in the c. 1861 photograph showing him as a young soldier ready for battle. Adamson recreated his gray battle shirt style jacket, which is made of lightweight gray flannel with a tabby weave with a 10-button front having a fallen collar trimmed in black wool, 2 shoulder straps and 2 black wool vertical strips running from shoulder seam to the bottom of the jacket. Each cuff has a Brandenburg batwing style appliqué with 3 buttons. The jacket has an exterior pocket below the right breast and is lined in a blue and cream-colored check wool material. Buttonholes are hand sewn. The entire jacket, except for shoulder straps, is adorned with 10 Civil War period general service eagle buttons down the front and 3 on each cuff. The epaulettes are secured with 2 brass coin buttons. The replicated battle shirt is clearly not exactly the same as the one Adamson is wearing in the historic photograph. It is, however, a plausible copy made during his lifetime. Along with the jacket is a low crowned kepi fashioned of the same material as the jacket, approx. 2-1/2" in front, 6" high in rear with a crown that is 4-1/2" in diameter. There is a black band on the base of the exterior, a tarred leather visor and chin strap secured by 2 Indian War period general service eagle buttons. The interior of the kepi has a 1-1/2" wide leather sweatband. The kepi is lined in black cotton. An extensive letter from noted Confederate uniform authority Les Jensen accompanies the jacket and kepi, which pronounces this as a rare post war period reproduction of a veteran’s orig uniform. Jensen states, "It is, so far as I am aware, the only known instance in which a Confederate veteran reproduced his first uniform for wear at reunions and other veterans occasions. As such, it is a unique and important survival". CONDITION: Jacket and kepi are in reasonably good condition, showing light use. No mothing is present, however some edges are worn and stitching loose. Also in this group is a handmade Confederate style D-guard knife with a 16" dbl-edged spear pointed elliptical blade. There is an oval brass counterguard, cast brass D-guard style knuckle bow with a flat black walnut grip. It is similar but not identical to the one in the photo (which obviously he lost when captured). The knife replicates the one Adamson holds in the historic photograph. CONDITION: Very good. Blade shows small areas of deep pitting. Finally, accompanying this group of post war materials is a copper and brass, cavalry sized bugle with a copper body, applied brass rim at the bell, and an excavated Civil War period mouthpiece. CONDITION: Excellent. No dents or dings. Mouthpiece is not orig. to the bugle but an excavated example. This incredible grouping of Confederate objects all related to the consignor’s family have been gathered carefully over a period of some 100 years by relatives, making this one of the most important groupings of personal and regimental objects related to a hard fought Confederate unit ever to be offered at public auction. 4-56160, 4-56106-1, 4-56160-2, 4-56160-3 CW1 (100,000-250,000)
Early 20th C. American Horse Hair Hunting Coat: North America, Colorado, ca. early 1900s CE. A rugged hunting coat made from a horse pelt lined densely-woven grass fibers covered with modern cotton fabric. The lengthy sleeves, broad sides, and folded lapels are all covered in coarse yet warm equine hair of a coffee-brown hue, and a hood hangs over the rear of the collar. A column of 4 lozenge-shaped buttons decorate the exterior lining of each side with a corresponding number of woven-thread loops on the seams. Horse hair coats like this example were invaluable to mountain-dwelling hunters as a more affordable alternative to buffalo pelt coats. Size: 22. 75" W [across chest] x 46" H (57. 8 cm x 116. 8 cm). . . Provenance: private Newport Beach, California, USA collection; ex-private Colorado, USA collection, acquired via descent from grandfather who purchased it around 1900. . 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. . #136387 Condition Modern fabric lining sewn to inside of coat. Multiple areas of wear and loss commensurate with age and use. Loss to one wooden button and some button loops, fraying to some areas of interior woven lining, and expected desiccation to exposed leather areas. Fits a typical men's size XL.
THE PRESENT STATE OF THE REVENUES AND FORCES BY SEA AND LAND OF FRANCE AND SPAIN COMPAR'D WITH THOSE OF GREAT BRITAIN 1740 Antique English Military History & Political Propaganda Concerning The War Of Jenkins' Ear Title: The Present State of the Revenues and Forces By Sea and Land of France and Spain Compar'd with Those of Great Britain. Being An Essay to demonstrate the Disadvantages under which France must enter into the present War, if the natural Force of Britain is vigorously exerted. To which is added, An Appendix: Containing a View of those Countries of the Spanish West Indies that will probably be the Seat of the present War.Author: uncredited authorPublisher: Printed for Tho. CooperCity: LondonYear: 1740Printing Information: First EditionBinding Style: SoftcoverPagination: 62 pagesWidth: 5.5" Height: 8.25"Book Details: The War of Jenkins' Ear (known as Guerra del Asiento in Spain) was a conflict between Britain and Spain that lasted from 1739 to 1748, with major operations largely ended by 1742. Its unusual name, coined by Thomas Carlyle in 1858, refers to an ear severed from Robert Jenkins, captain of a British merchant ship, and acknowledged smuggler. The severed ear was subsequently exhibited before the British Parliament.The seeds of conflict begin with the separation of an ear from Jenkins, following the boarding of his vessel by Spanish coast guards in 1731, eight years before war began. Popular response to the incident was tepid, until several years later when opposition politicians and the British South Sea Company hoped to spur outrage against Spain, believing that a victorious war would improve Britain’s trading opportunities in the Caribbean. Also providing the impetus to war against the Spanish Empire was ostensibly a desire to pressure the Spanish not to renege on the lucrative asiento contract (permission to sell slaves in Spanish America).The war resulted in heavy British casualties in North America. After 1742, the war was subsumed by the wider War of the Austrian Succession, which involved most of the powers of Europe. Peace arrived with the Treaty of Aix-la-Chapelle in 1748. From the British perspective, the war was notable because it was the first time that a regiment of colonial American troops was raised and placed "on the Establishment" – made a part of the Regular British Army – and sent to fight outside North America. [Information courtesy Wikipedia.]Condition / Notes: This antique volume is preserved inside a decorative five-panel portfolio with cloth covers and marbled interiors. The book itself is bound in well-preserved brown wrappers with light handling wear. The binding is sound. Two bookplates of previous owners are affixed to the inside of the front wrapper. The pages are clean with very mild age toning. An appendix describes Spanish holdings in North America "that will probably be the Seat of the present War."JCB III, 664. Sabin 65330.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
COLLECTION OF KNIVES, 6 Collection of six knives comprising one German Edge Mark Solingen bowie knife with stag antler handle and leather sheath, one WWII Hugo Koeller (or Koller) trench knife with leather sheath marked "MADE IN GERMANY," two switchblades, one INOX with horn handle, one folding knife, and Sud Marseille French Beuchat Pike knife with plastic handle and sheath. Bowie: 14.25" L x 3.5" W (sheathed). Provenance: From the collection of Le Lieu and Malcolm Browne (American, 1931-2012), the photojournalist who took the 1963 award-winning photograph of the self-immolation of Buddhist Monk Thic Quang Duc (Vietnamese, 1893-1963).
An Impressive Masterwork Andrew Clemens (American, 1857-1894) Labeled Sand Bottle
Made for Railroad Freight Agent Nicholas J. Goll (1840-1903), Dated 1889
visible through the top of the stopper of the bottle is a black and white printed paper label reading Pictured Rock Sand, Put Up By Andrew Clemens, Deaf-Mute, McGregor, Iowa.
Height with stopper 10 1/2 inches.
Height without stopper 8 3/4 inches.
Diameter 3 1/2 inches.
One side depicts a coal burning locomotive stopped at a railroad station, with freight cars stretching into the distance. A single figure is seen handling a large piece of freight, with others stacked on the siding in front of a train station. In the distance to the left, another locomotive can be seen pulling cars over a railroad bridge crossing a river. The decoration is polychrome, with shades of brown, black and gold predominate. The entire scene is set in a sharply delineated frame of sand set off against a white background. Below this scene, written in script, is the name N. J. Goll. The other side of the bottle is divided into two decorative panels. The top features a spread-winged eagle clutching arrows and green olive branches in its talons, and a patriotic shield and ribbon banner proclaiming E. Pluribus Unum. Below a sidewheel packet boat under a full head of steam is depicted with the name St. Paul in block lettering on the paddle box. The steamboat is set off from the rest of the bottle by a sharply delineated frame of sand grains. The decoration on this side of the bottle is en grissaile save for red details in the patriotic shield, an American flag at the stern of the packet boat, and a blue sky in the background of the river scene. The main panels are contrasted with varying swirling and uniform devices of colored sand, and near the bottom of the bottle, the date 1889. Nicholas J. Goll was born in St. Louis, Missouri and spent most of his life in that town. At an early age, he embarked on a life-long career working for the railroad. Beginning in November 1861, his first job was as a way-bill clerk with the Indianapolis and St. Louis Railroad. From this point forward, he held successive positions with various railroads, ending his career as Assistant General Freight Agent, Chicago Milwaukee & St. Paul Railway, a position he held for nine years until his death (1894-1903). Though most of his career seems to have been in St. Louis, at the time of his death he was living in Chicago, the home office of the Chicago, Milwaukee, and St. Paul (Busby, editor, 1893:143; Cook County, Illinois Death Records). Goll’s work history is reflected in the bottle, and the routes of the Chicago Milwaukee & St. Paul Railway are key to understanding its history. At the time the bottle was made, one of the major trunks of the railroad ran from Milwaukee, Wisconsin to Rapid City, South Dakota through McGregor, Iowa, crossing the Mississippi River just upstream at Prairie Du Chien, Wisconsin. McGregor was a major transshipment point for midwestern wheat and was also a regular stop for steamboat traffic. The Goll Bottle Within Clemen’s Existing Body of Work At a height of 10 1/2 inches and a diameter of 3 1/2 inches, the Goll bottle is unusually large for Clemens’ body of work. The faceted stopper and the location of his printed label inside the bottle is also atypical. Clemens routinely used an American eagle and flag in his bottles. In the more than 100 bottles known to exist, this is one of only two known to incorporate an eagle and patriotic shield. Dated 1889, five years before Clemens’ death, the Goll bottle amply demonstrates Clemens’ mastery of his life’s work. Like most of his bottles, it was undoubtedly commissioned for its new owner. In this case, whether Goll ordered the bottle is not important. The bottle incorporates motifs that would have been important to his career: the railroad and packet industries. Trains were occasionally utilized in Clemens’ bottles, and he is known to have made more than one for railroad owners or executives (Sucholeiki 2015: 26-30). One of these bottles (now lost) weighed 20 pounds and depicted a train crossing a pontoon bridge over the Mississippi at McGregor. His most common railroad bottle incorporates a simple profile depiction of a locomotive pulling a coal tender and belching smoke. The Goll bottle departs from this convention by depicting a locomotive at work. In this case, the locomotive and attendant box cars are pulled up to a train station and loading dock with a worker wrestling a hogshead towards an open boxcar door. Crates and other boxes are piled on the dock, and in the distance another train crosses the well-known James J. Hill Stone Arch Bridge spanning the Mississippi at St. Paul, Minnesota. While the inspiration for his locomotive is unknown, his steamboat decoration is clearly copied from advertisements of the Diamond Jo Steamboat Line. The owner of the line, Joseph “Diamond Joe’ Reynolds (1819-1891), moved to McGregor in 1860 to take advantage of the burgeoning grain production and established a steamboat line to transport grain to the railhead at Prairie du Chien, Wisconsin. Dubbed the Diamond Jo Line, Reynolds’ company eventually grew to incorporate several steamers plying the upper and lower Mississippi. Built in 1883, the St. Paul was part of the Diamond Jo Line running the St. Paul-St. Louis route and was undoubtedly a frequent visitor at the McGregor wharf (Way, 1883:414). Her depiction on the Goll bottle is a reminder of the position of McGregor’s place in regional commerce, and more than likely, Goll’s business. The same steamboat is found on several Clemens bottles, including the Grey Eagle, another Diamond Jo property. History of the Bottle Nicholas J. Goll (1840-1903) married Minerva Gordon (1841 -1904). They had one son, Walter J. Goll (1872-1943), who never married and at the time of his death was living in Fort Wayne, Indiana. According to family history, Minerva’s sister Elizabeth Gordon Voorhis died young, and Nicholas and Minerva helped raise her two daughters, one of whom, Maggie Dryden Voorhis was the consignor’s great-great-grandmother. Walter Goll never married and had no children but was close to Maggie and her daughter Margaret DePrez of Shelbyville, Indiana. At Walter’s death, his estate -- and presumably the bottle – was apparently left to Margaret DePrez. It is through this line that the bottle passed to the present owners. Probable Line of Descent Nicholas Goll (1840-1903)Minerva Goll(1841-1904)Walter Goll (1872-1943)Margaret DePrez (1870-1949)To the family of the current owner References Cited Busby, T. A., Editor. 1893, The Biographical Directory of the Railway Officials of America. Published by the Railway Age and Northwestern Railroad. The Lakeside Press. Chicago. Way Jr., Frederick. 1983, Way’s Packet Directory, 1848-1983. Passenger Steamboats of the Mississippi River System since the advent of photography in Mid-Continent America. Ohio University Press.
POTTERY LOT - Five piece lot of Southwest Native American pottery. #1 - Vase, 4" high with flared neck, white and brown bands, set on custom made stand. #2 - Dish with finger loop, 5 3/4" diam, black and brown bands. #3 - Pot, 3 3/4" high two handle foote
20th C. USA John Sage Gaboon Ebony Vase Signed: North America, USA, ca. 1992 CE, made by John A. Sage (American, active later 20th century). An elegant dark brown, almost black gaboon ebony vase, with a flattened spherical form, a flat base, and a tiny round opening at its center. Reach inside and feel how thin the hand-turned walls are, demonstrating the great skill of the artist. Take a closer look at the wood and note the coffee shades and undulating grain. Gaboon Ebony (Diospyros crassiflora) is one of the true ebony timbers of Africa. Size: 6. 75" W x 5. 75" H (17. 1 cm x 14. 6 cm) . . Provenance: Tambaran Gallery, New York, New York, 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. . #149106 Condition Very light scratching on surface, mainly on the underside; overall in excellent condition. Signature is very clear.
WONDERFUL FOLK ART INLAID PATRIOTIC VIOLIN AND CASE. A mid-19th C. violin measuring 24-1/2” overall with the body measuring 8” across at its widest point, fashioned of fancy tiger striped maple and ebony. Of standard form having two opposing “S”-shaped piercings or sounders in the face. The body has a very narrow satin wood sgl line inlay around the entire border. The neck, facing, harp, and keys are fashioned of ebony. The sides and back of the violin are faced in maple with bright and strong tiger-striped grain. At the top in an oval cartouche is an inlaid conch shell of satin wood, mahogany, and tinted maple. At the bottom of the back within a large four-lobed cartouche measuring 5-1/2” x 3-1/2” is a marvelous flying eagle inlaid in satin wood on mahogany with light incised carving. In the eagle’s beak is a long ribbon bearing the motto “E. Pluribus Unum”. In one talon, the eagle holds the staff of a flying American flag surmounted by a liberty cap. Inside the body of the violin is written in pencil “Made by C.S. Wormwood/Brookfield PA 1861”. The case, which appears to be custom wood and to be orig. and consistent with the period of the violin, is of soft wood in coffin form with a raised central ridge on the top. It measures 30” x 9” at its widest point. The exterior is painted in black with an applied brass bale handle and two brass hooks. The interior is lined in wallpaper having a stick and leaf design in red and brown. There is a cloth retainer for the mahogany bow, which is included. The lower body of the case is lined in red velvet. CONDITION: Very good. Violin body shows much wear, but is still quite well preserved, in particular aside from a few nicks and scratches, the inlays on the reverse are superb. Front of the violin is missing its orig bridge. Most of the orig paint is retained on its case. Interior wallpaper and velvet is well worn. 4-60376 (800-1,200)
*EXTREMELY RARE, PROBABLY ONE OF A KIND, EXPERIMENTAL/PROTOTYPE WINCHESTER MODEL 21 DBL BBL SHOTGUN 2-BBL SET. Cal. 20 ga. & 28 ga. SN ALEX1. Extremely rare prototype alloy frame Model 21 with 26" bbls, both with tapered concave matted ribs, red ivory Bradley beads, ejectors & blued sgl selective trigger. Both sets of bbls are choked MOD/IMP-CYL. Receiver has standard step-side made from anodized alloy material with steel floorplate & trigger guard. It is completely undecorated & has standard markings on water table. Serial number on top tang appears to be hand stamped & presumably stands for "ALUMINUM EXPERIMENTAL" with this being the first one. Same stamping is on bbl flats, inside the forend iron & near front of wood inside forearm & also appears in wood under trigger guard tang. Mounted with exhibition quality American walnut with "A" carved black insert beavertail forearms & pistol grip stock, 14-1/2" over a Winchester embossed hard rubber buttplate. Accompanied by a Winchester Manufacturer order dated "11-30-79". "SHIP TO" block states "L L LARSON / 2-A-3 / NEW HAVEN CT & the "SOLD TO" block "ARMS DEVELOPMENT C/A / OLIN / NEW HAVEN CT". Under the "DESCRIPTION" block it states "M/21 20-28 GA / 26" IC&MOD / A CARVED WOOD / ALUMINUM FRAME / FOR R & D PURPOSES ONLY". Also accompanied by a chocolate brown leather maroon felt lined trunk case containing a 2-pc ebony rod, snap caps, oil bottle & two sets of cleaning equipment. Drop at heel: 2-1/2", drop at comb: 1-3/8". Bore restrictions: 20 ga.: left - .031, right - .030; 28 ga.: left - .004, right - 002. Wall thickness: 20 ga.: left - .037, right - .039; Unable to measure 28 ga. wall thickness. Bore diameter: 20 ga.: left - .576, right - .578; 28 ga.: left - .545, right - .546. Weight w/20 ga. bbls: 6 lbs. 3.84 oz. CONDITION: Exceptionally fine. As new, may have been fired in testing, but if so very little. Retains virtually all of its fine orig factory finish to both metal & wood with a few minor storage & handling mars & a grain check in stock. There is a series of small gouges on right side of one of forearms. Buttplate has a crack at the heel screw. Mechanics are fine, brilliant shiny bores. Case as new. 4-55548 JR133 (15,000-25,000)
1950s Native American Hopi / Navajo Kachina Doll: Native American Indian, Southwest, Hopi or Navajo, ca. 1950s CE. A hand-carved and hand-painted wooden katsina/kachina with bird feathers atop the head and chocolate brown hairs, likely horse hair, attached below the neck that run over the torso. The visage is finely delineated with stylized eyes, tears, and symbolic motifs in hues of sky blue, cornflower blue, yellow, red, and white. To either side are appliques with red "X" motifs. Kachina figures are traditionally created as gifts for children representing kachina dancers and the supernatural katsinam beings they embody. Size: 5. 75" W x 9. 5" H (14. 6 cm x 24. 1 cm). . Plaza Dances may be either Mixed Katsina Dances (Soyohim) in which dancers representing all the different types of katsinas attend, or a dance that includes only katsinas of the same type. Regardless, in addition to bringing about rain and fertility, all of the katsinas have a distinct purpose. Dances may be performed to commemorate a special event such as recovery from an illness, the welcomed return of a son from the army, or a birthday. Nevertheless, these dances maintain a religion quality for the Hopis. . The Katsinam, supernatural beings who live in the high mountains of the San Francisco Peaks above traditional Hopi territory, speak to the Hopi through costumed dance and song. These dancers emerge from the round ceremonial kivas that are at the center of their communities, singly or in groups, and dance to the music of drums, rattles, and song. In imitation and representation of them are Katsina figures (katsina dolls, katsin-tihu), made of cottonwood root. Cottonwood is culturally symbolic because the cottonwood tree, once abundant in traditional Hopi lands, grows where water flows - thus, looking across a landscape, lines of cottonwood trees denote a water source in the desert. After carving, the figures are painted all over with whitewash, made from kaolin clay, and then painted in brilliant colors. Originally these were done using yucca brushes. Many of them are then decorated with other materials, like feathers, cloth, or fur. Katsina dolls are often given objects to hold which indicate their roles. . . Provenance: private Glorieta, New Mexico, USA collection. . 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. . #161948 Condition Losses to feathers with bending and shedding/loosening from the top. Chipping and fading of pigments. Nice preservation of hair. Cord on verso for suspension.
1930s Cochiti Painted Wood / Rawhide Drum + Beater: Native American, New Mexico, Cochiti Pueblo, ca. 1930 to 1940 CE. Authentic tribally used ceremonial drum made of wooden core (certainly from the native cottonwood tree) with stretched rawhide drum heads on two sides and attached drum beater. The heads are each painted black with applied Native symbols, one showing a headdress, the other more abstract with mask adorned with bull horn and other objects. Sides of the drum are painted in tall alternating triangles in green and brown. Size: 8" W x 9. 5" H (20. 3 cm x 24. 1 cm). . Painted and unpainted drums of all sizes are used in pueblo ceremonies. The drum suggests the thunder that comes with rain. The drum has two heads. Pueblo songs are written to start slowly and then go to a climax. At a certain point of the song, the drum is flipped over to achieve a higher beat. This lifts the dancers and gives them the impetus to continue dancing. . . Provenance: ex-House of Ancestors, Galisteo, New Mexico, 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. . #161249 Condition Intact and excellent with pigment wear along edges of drum heads, beater clearly showing use.
*RARE AMERICAN BOY SCOUT MODEL REMINGTON ROLLING BLOCK RIFLE. Cal. 22. SN 624. Fine boys military rifle with 28-1/8” rnd bbl, standard front sight & sheet metal, ladder rear sight with a screw/bayonet mount on bottom of exposed bbl. It has full length forestock with half length handguard with one sheet metal band, with stacking swivel near tip & sling swivel on band & on buttstock. Buttstock has straight grip with smooth steel buttplate. Left side of receiver is marked “AMERICAN BOY SCOUT”. Bbl, receiver & breechblock have British proofs. It is estimated that fewer than 1,400 of these were made in period 1913-1914 and few survive with good condition. CONDITION: Extremely fine. Overall retains virtually all of its orig factory finish with bbl & band turning plum. Receiver retains about all of its bright orig case colors, slightly muted. Trigger guard is a brown patina on outside. Stock has four deep gouges on right side of wrist & another deep bruise in comb with light handling & storage marks elsewhere and retains its smooth, orig oil finish. Mechanics are crisp, strong bright bore with some orange peel roughness in front of chamber. 4-60160 JR363 (2,000-3,000)
SCARCE AND IMPORTANT DAVE DRAKE SIGNED AND DATED STONEW...(Edgefield, South Carolina, b. circa 1800, d. after 1873) made by Dave Drake, Lewis Miles Stony Bluff Manufactory, Horse Creek Valley, Edgefield District, S.C., ovoid form, speckled greenish brown alkaline glaze, some glaze runs to upper shoulder, evidence of fingertip in glaze at base edge, applied strap handle with impressed finger mark at terminus, tooled collared spout with rounded rim, inscribed "Lm / May 29 - 1857 / Dave" on front of shoulder, three punctates and two slash marks visible on upper side shoulder, likely three gallon capacity, 14-3/4 in. height, 38-3/4 in. circumference
Provenance: A Private Southern Collection, descended in the family of the consignor, originally owned by the consignor's grandparents who lived in Woodville Georgia which is around 90 miles west of Edgefield South Carolina. The jug turned up in a barn on a farm the family purchased 80 years ago. Given to the consignor's mother approximately 40 years ago and recently given to the consignor.
Note: Believed to be a fresh to the market example, this jug is not documented in the Arthur F. Goldberg and James P. Witkowski article "Beneath His Magic Touch: The Dated Vessels of the African American Slave Potter Dave", published by the Chipstone Foundation in Ceramics in America 2006, edited by Rob Hunter. This jug also shares a date with a jar we are offering in this sale. Signed and dated forms by Dave with the same date are very uncommon, per the aforementioned article there are only two other pairs of wares that share the same date. The time it takes and difficulty in producing wares of this quality and size likely have something to do with that. New to the market examples like this one have been turning up since the article was published and an updated listing of Dave's signed and dated wares is currently in the works.
Condition:
glaze voids and anomalies as made, very thin old 4-1/2 in. hairline in exterior glaze from spout to "2" in date with small, possibly associated, less than 1/2 in. thin glaze chip, some very small glaze chips to body, small glaze chip to handle next to glaze frit, firing hairlines to terminus of handle as made, 3-1/2 in. hairline abrasion to glaze at belly, base edge wear with old chip, firing lines to base edge as made, very good condition overall, a rare surviving specimen of this form with very few apologies, a fine example of Dave's work
RARE AND IMPORTANT SHAKER BASKET
MOUNT LEBANON, NEW YORK, CIRCA 1870
One of the finest Shaker baskets in existence, this classic Mount Lebanon "fancy twilled tub" basket features a twilled bottom which is possibly attributed to the hand of Cornelia French (1840-1917), who was responsible for nearly all twilling, according to Shaker records.
Black or brown ash with hardwood handles.
Height 3 inches, diameter 9 inches
Provenance:
Sister Eleanor Philbrook;
Gus and Alice Schwerdtfeger, Poland Springs, Maine;
Viola Schwerdtfeger Macomber, their daughter;
Willis Henry Shaker Auction, July 2003
This basket made its way to the Sabbathday Lake, Maine Shaker community at some point in time, where it remained until it was gifted by Eleanor Philbrook to Gus and Alice Schwerdtfeger, Poland Springs, Maine. Gus and Alice Schwerdtfeger became well known for their miniature reproductions of Shaker furniture, and Gus also worked closely with Brother Delmer Wilson in the making of oval boxes and carriers at Sabbathday Lake.
Literature:
Shaker Design by June Sprigg, pp. 122-23.
Exhibited:
"Shaker Design," The Whitney Museum of American Art, New York, May 29 - August 31, 1986; and The Corcoran Gallery of Art, Washington, D. C. , October 4, 1986 - January 4, 1987.
George Elmer Browne, Massachusetts, (1871-1946) The Gloaming, oil on board Signed lower right. (very faint) Some paint loss as shown. Biography from the Archives of askART: George Elmer Browne was a popular American Impressionist of the late nineteenth and early twentieth centuries and was also a skilled teacher and administrator, active in many capacities in the international art world. He was known for his strong sense of composition and wide masses of color with only the suggestion of detail in the background. A likely influence on him, especially the way he handled skyscapes, was English painter John Constable. Browne was born in Gloucester, Massachusetts, in 1871. After attending public school in Salem and revealing artistic talent at an early age, he studied at the Museum of Fine Arts and the Cowles School of Art in Boston. Like so many of his time, he went to Paris where he attended the Academie Julian as a student of Jules Lefevbre and Tony Robert-Fleury. Returning to the United States, he set up a studio in New York City and his work became popular. He won his first award a bronze medal at the Mechanics Fair in Boston in 1895, and he founded the Browne Art Classes. Many summers were spent at Provincetown, Massachusetts. Browne also became highly regarded in France, where he was named Officer of Public Instruction and Fine Arts. In 1926, he was made Chevalier of the French Legion of Honor. Browne died in Provincetown in 1946. Source: "300 Years of American Art" by Michael David Zellman oil on board 17" x 22", 23" x 28" (frame) Provenance: Massachusetts-born George Elmer Browne studied in Boston at the Cowles Art School and the Museum of Fine Arts, and in Paris with Jules Lefebvre and Tony Robert-Fleury. Browne founded the Impressionist-influenced West End School of Art in Provincetown, Mass. He was a Chevalier of the Legion of Honor in France and a member of the National Academy of Design.
*RARE WINCHESTER MODEL 1895 NRA MUSKET. Cal. 30 US (30-40). SN 47815. This rare musket has a 30” rnd bbl, partridge blade front sight & a 2,000 yard Krag style rear sight. Top of chamber is marked with Winchester “WP” proof & “30” and left side of receiver is stamped “N.R.A.” Mounted with very nicely figured, uncheckered, straight grain American walnut with full length forestock & half length hand guard. It has its original split front band with bayonet lug & stacking swivel & middle has a sling loop with corresponding sling loop & swivel on buttstock. Left side of receiver has two extra plugged holes. NRA muskets in this caliber were made from 1904-1925. CONDITION: Very fine. Bbl retains about 98% bright orig blue with bands retaining virtually all of their orig bright factory blue. Lever & magazine retain about 85% strong, bright, orig factory blue with a flaked area on upper right rear side & is thin over top. Both sides have pinpoints of light surface spotting. Top tang is a blue/brown patina. Trigger plate retains most of its bright case colors. Wood is sound with light handling & storage marks with a scrape on forestock & a gouge on handguard & retains virtually all of its orig factory oil finish. Mechanics are crisp, bright shiny bore. 4-59500 (6,000-8,000)
19th C. Navajo Leather, Steel, Feather Bow & Quiver Set: Native American, Southwestern United States, New Mexico, Navajo, ca. late 19th to early 20th century CE. A bow and quiver hand-made from wood, feather, leather, and beads. The bow is carved and polished from a knobbed piece of wood. The quiver is constructed from leather, and sewn together with sinew cords. The edges feature tassels and nice areas of seed beading stitched into simple linear motifs. Included are two small pouches, one contains cord, perhaps the bow string, and the other has a brass button and contains additional metal items and tin tassel bells at the bottom. The quiver holds 5 arrows with wooden shafts and sinew cords holding thin iron blades in place. Long brown feathers are tied to the opposite end. This is a beautiful piece and finely executed! Size of bow: 49" L x 1. 125" W (124. 5 cm x 2. 9 cm); with quiver: 50" L x 9" W (127 cm x 22. 9 cm) . . Provenance: private Glorieta, New Mexico, USA collection. . 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. . #161270 Condition Leather is cracking and stiff. Cannot open lids on pouches. Losses to stitching. Fraying and losses to feathers. Losses to beading. Staining and discoloration of leather. Bow missing bowstring.
Lot of 16 Native American Paleo Stone Projectile Points: Native American, United States, Paleo Indian to Woodland period ca. 10, 000 BCE to 1200 CE (12000 to 800 BP). A lovely collection of 16 projectile points and flaked tools from across the United States. The points are made from stones, including matte chert, and glassy obsidian. The upper left and right brown and white points, each have a slightly curved blade and appear to be a flaked knife or tool. The rest are arrow or spear tips that could have been hafted onto a shaft. Some of the types of projectile points displayed here are Potts Corner Notched, Eastgate, Elko Eared, McKean, Meserve, Heavy Duty, Morrow Mountain Type I, Florida Greenbriar, Searcy, Rowan, Morrill, Thebes, Verkamp, and Jakie. A great collection that shows the diverse development of knapped points! Size of case: 8. 25" L x . 75" W x 10. 5" H (21 cm x 1. 9 cm x 26. 7 cm); largest arrowhead: 3" L x 1. 5" W (7. 6 cm x 3. 8 cm) . . Provenance: private Fayetteville, Arkansas, USA collection; ex-Charles (Charlie) Meyer collection, noted collector and famed illustrator for Greg Perino, famed authenticator and writer. . 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. . #163412 Condition Loss to Morrow point. Nicks and chips to others as expected with age and use. Mounted in a modern wood and glass frame. Small crack to glass case on lower left corner.
2 Vintage Santo Domingo Pueblo Heishi Bead Necklaces: Native American, Southwestern United States, Santo Domingo Pueblo, ca. mid-20th century CE. A pair of attractive necklaces made with heishi shell beads and turquoise stones. The first is entirely comprised of hundreds of heishi beads in hues creamy white and light brown all strung on four separate strands that coalesce into a braided terminal. The second necklace is a single strand with dozens of heishi shells in dark brown and black with 37 turquoise stones evenly dispersed along the length. A hook and loop clasp make this a wearable piece. Size of turquoise necklace: 26" L (66 cm); turquoise stones: 0. 5" W (1. 3 cm); Size of heishi necklace: 27. 5" Diameter x 0. 18" W (69. 8 cm x 0. 5 cm) . . Provenance: private Lake City, Colorado, USA collection. . 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. . #163838 Condition Minor discoloration to thread cord area on heishi necklace and minor nicks to beads. Otherwise, excellent and wearable. Turquoise necklace has a chipped turquoise stone that is also repaired from two pieces. Several other stones have smaller chips, but otherwise intact. Both are wearable!
19TH C. AMERICAN WOOD FIGURAL WALKING CANE HANDLE**Originally Listed At $900**
North America, USA, ca. 19th century CE. A folk art Americana carved wooden walking cane handle, in the form of a grotesque female figure, carrying a parasol, with an oversized head, beehive hairdo, and high, collared dress. Her eyes are made with tiny pieces of white and black glass. The wooden surface has been polished to a high sheen. Size: 3.25" W x 4.7" H (8.3 cm x 11.9 cm); 5.45" H (13.8 cm) on included custom stand.
Provenance: private Hawaii, USA collection; ex-private collection of Ami Brown. Mr. Brown was the owner of the Coca Cola franchise in Israel and amassed a huge and very fine collection of Indonesian kris as well as other ethnographic art. His collection numbered more than 3000 pieces with many on display during his life in the Ein Harod Museum of Art.
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.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#141187
Condition:
Rich patina on surface. Slight signs of wear, especially around the feet, commensurate with age.
Carl Kauba (Austrian/American, 1865-1922) Native American with a Rifle Signed "C. Kauba" in the bronze on the back edge of the blanket, stamped and numbered "GESCHÜTZT/5305" on the drapery on the back l.l., inscribed "694" on the underside. Bronze with gold/brown patina, height 9 in. (22.8 cm). Condition: Loss to the tip of the rifle, wear to the patina, dust and dirt to interstices. Estimate $1,500-2,500 The patina is worn and made shiny by handling over the years, as is noticeable on raised areas of the surface of the work. It appears that the end of the rifle has been broken off. 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.
IMPORTANT LARGE SIGNED AND DATED DAVE DRAKE STONEWARE J...(Edgefield, South Carolina, b. circa 1800, d. after 1873) made by Dave Drake, Lewis Miles Stony Bluff Manufactory, Horse Creek Valley, Edgefield District, SC, olive green and honey brown runny alkaline glaze to majority of form, some surface lacking glaze, tilted ovoid form with slightly incurved midsection, "Lm, May 29 1857, Dave" in bold script across front shoulder of jar, two vertical rows of four punctates, totaling eight, on either side of two slash marks to rear shoulder of jar, well defined fingermarks in glaze at front base of jar, likely 8 gallon capacity, 6-1/4 in. arched lug handles at opposing sides of jar, thick flared neck with semi rounded rim, 17 in. height, 49 in. circumference
Provenance: Private Collection
Note: purchased privately in years past, exhibited at The Bascom: Center For The Visual Arts, Highlands, N.C., in 2017, not listed in the Arther F. Goldberg and James P. Witkowski article "Beneath His Magic Touch: The Dated Vessels of the African American Slave Potter Dave", published by the Chipstone Foundation in Ceramics in America 2006, edited by Rob Hunter. This jar also shares a date with a jug we are offering in this sale. Signed and dated forms by Dave with the same date are very uncommon, per the aforementioned article there are only two other pairs of wares that share the same date. The time it takes and difficulty in producing wares of this quality and size likely have something to do with that. New to the market examples like this one have been turning up since the article was published and an updated listing of Dave's signed and dated wares is currently in the works. This lot is accompanied with a new appraisal.
Condition:
glaze voids and anomalies as made, tiny glaze frit to interior of rim, small pattern area lacking glaze in interior as made, similar area on front side of jar and large area lacking glaze to lower back of jar, all as made, some firing lines in interior as made, firing line on interior rim as made, thin old 6 in. hairline below inscription in glaze, 2 in. firing hairline in glaze under handle as made, several surface abrasions to glaze under the other handle, a few firing flaws with kiln debris on glaze, other minor glaze chips and abrasions around belly consistent with age and use, base edge wear with some minor old chips, residue to lower exterior of jar, otherwise good condition overall, no evidence of restorations, a fine intact surviving example of Dave's work
AMERICAN SILVER THREE-PIECE TEA SERVICE, JOHN CRAWFORD, NEW YORK, CIRCA 1815.
Comprising a teapot, sugar bowl and cover and cream jug; each of waisted partly-lobed form above a rectangular foot, surrounded by die-rolled scallop shell and grapevine borders, angular handles, each engraved "GEB" on one side, the teapot and sugr bowl marked "J. CRAWFORD" within rectangles. 55 oz. Height of teapot 9 inches.
Provenance:
This set was made for Major Gilbert Brown (d. December 27, 1820) and Elizabeth L'Estrange (Strang, May 27, 1767-June 8, 1838). They married December 10, 1799. Elizabeth's father, Daniel L'Estrange, was one of the founders of the city of New Rochelle, New York.
3 LAURIE SIMMONS "VENTRILOQUISM" SUITE PRINTS 1986Laurie Simmons (American, b. 1949). Group of three prints including two photogravures and one photolithograph from the "Ventriloquism" suite, each pencil signed and dated 1986 along the lower right; editioned 16/40 along the lower left. Published by Editions Ilene Kurts, New York, 1986. The photolithograph depicts a close-up of the puppet depicted in the two black-and-white photogravures.
Provenance: Distinguished Corporate Collection, Minnesota.
As a prominent member of the Pictures Generation, Simmons uses dolls, puppets, and other anthropomorphized subjects to explore objectification, domesticity, and American consumerism. In particular, she explores how these affect women. She's photographed miniature scenes, shot a series focusing on a custom-made Japanese "love doll," and made a feature starring Meryl Streep with a cast of puppets and Alvin Ailey dancers dressed as inanimate objects. Her works are in the collections of the International Center of Photography, the Los Angeles County Museum of Art (LACMA), the Metropolitan Museum of Art, Moderna Museet, the Guggenheim Museum, the Stedelijk Museum, and the Whitney Museum of American Art.
Image; height ranges from 18 in to 19 in; width ranges from 12 in to 12 1/2 in. Framed; height: 36 1/4 in x width: 29 1/2 in.
Condition:
All three items are in good condition with no visible tears, creases, or losses. No visible sign of restoration under UV light. All items are floating on the mat; four margins are visible; hinged along the upper margin with framer's tape. The color is bold and bright. To the item, captured lower left in the listing image, along the lower margin, there are three minute light brown marks; which does not affect the center image; light handling mark to the upper right margin. To the item, captured upper in the listing image, there is an area, measuring 1/4 in, that is florescent under UV light along the lower left margin; however, it does not affect the center image. All items are framed under plexiglass; inspected out of frame. Very light wear to the frame.
Edgefield Dave Drake Stoneware Jug: (Dave Drake, Edgefield, South Carolina, b. circa 1800's d. after 1873) this rare inscribed, dated, and signed jug form has a history of ownership in an African American family, purchased by consignor in Walterboro area in the 60's from an owner with other pieces of "Dave" stoneware for around $50. 00, made at Lewis Miles's Stony Bluff Manufactory, dark brown runny alkaline glaze on bulbous tapered body with circular spout and applied strap handle, "Lm Sept 6 1859 Dave" inscribed on shoulder, three inscribed slash marks adjacent to inscription below spout, written in black script on underside "Dady(sic) Gibs/ Maum(sic) Hannah Stephens/ By Tim" (probably Timothy Stephens, born around 1894 in S. C. ) 13-3/4 in. x 10 ¼ inches, lot accompanied by extensive documentation regarding the Stephens family and a 1984 receipt for repairs to the mouth and handle of a "lg brown jug" - Note: The names of the people inscribed on this jug, "Dady Gibs, Maum Hannah Stephens and Tim” are listed as Gibbs, Hannah and Timothy Stephens, residing in Warren Township, (later named Williams) Colleton County, South Carolina in the 1910 Federal Census. Both Gibbs and Hannah were born as enslaved people; Gibbs was born in 1854 and Hannah in 1861 in South Carolina. They are shown as owning their own farm, mortgage free. The census lists Tim as 16 years old, one of nine children and able to read and write. The inscription on the bottom of the jug indicates it is a gift from Tim to his parents Gibbs and Hannah in the early 1900s. There is no indication how Tim acquired the jug or if he knew anything about Dave. The pottery manufacturers in Edgefield including the Lewis Miles pottery where Dave worked, were able to load their wares onto the trains in nearby Hamburg for distribution to coastal towns. Tim likely found the jug in Warren and acquired it for utilitarian use. He may have also thought it was a novelty since it was signed and dated. Although he writes "by Tim", it is thought that he meant “from Tim”. The 1940 census indicates that he had completed the fifth grade but his education may have been rudimentary at best. In July 1918, Timothy was drafted to serve in WWI and by 1920 he was again living with his parents in Warren, South Carolina. The 1940 census indicates that Timothy still resides in Warren where he is married and works as a manager. According to Hancock family members, Aubrey Hancock purchased the jug in the 1960’s from a lady who resided in Walterboro, Colleton County, South Carolina approximately 25 miles from where the Stephens family resided. Few if any Dave wares have been documented as being owned by African Americans in the late 19th/early 20th centuries. Tim’s inscription to his parents provide us with a rare glimpse to how Dave Drake’s work may have been valued within the African American community. , Provenance: Estate of Aubrey Hancock, Charleston, South Carolina Dimension Condition glaze voids and anomalies as made, minor chips and abrasions to glaze at body, several chips to glaze around base edge, repairs to entire handle and spout, associated 4 in. stabilized hairline down through the L in inscription, large associated stabilized hairline from spout, down through body and back up to handle, small hairlines under handle
REMINGTON MODEL 1867 NAVY ROLLING BLOCK CARBINE. Cal. 50-45. SN 123 or perhaps 37304. One of about 5,000 such carbines ordered by Navy in 1867 & delivered in 1868 & 69. This carbine has 23-1/4” rnd bbl, pinched blade front sight, 2-position flip rear sight, made without sling bar & ring & mounted with uncheckered, slab sawed, American walnut with straight stock & carbine/musket style buttplate. It has sgl bbl band with sling loop & a corresponding loop in buttstock. Right side of receiver has the “P/F.C.W.” & anchor inspector marks and right side of forearm & right side of wrist have inspector initials “FCW” in a rectangle. Left side of bbl is stamped “123” in small numbers. Number “37304” is found on left side of top & bottom tangs, under wood. This may be an assembly number. CONDITION: Good to very good. No orig finish remains, with bbl a dark brown attic patina with moderate to heavy pitting. Receiver & other metal parts are a mottled silver/brown patina with moderate to heavy pitting. Stock has a hairline near buttplate & several small grain checks with a chip missing by receiver, otherwise wood is sound with heavy use & handling marks with good clear cartouches. Forearm retains a fine hand polished patina & buttstock is dark & oil stained. Mechanics are fine, strong bright bore with moderate to heavy pitting. 4-60142 JR374 (2,000-3,000)
Prehistoric Anasazi Jeddito Black-on-Yellow Bowl: **Originally Listed At $350**. . Native American, eastern Arizona, Ancestral Puebloan (Anasazi), Jeddito Black-on-Yellow (sometimes Black-on-White), ca. 900 to 1100 CE. A steep-walled ceramic bowl, with a fascinating decoration originally painted black, which has now weathered to a red-brown, against a creamy white color. Thick and thin bands of pigment wrap around the interior and exterior, forming dramatic triangular forms on the exterior. In tondo is a more complex design of arrows and rings. This bowl was probably made by a woman, as ceramics were in many other ancient Southwestern cultures. This style of vessel was made primarly on Antelope Mesa and Third Mesa, in Hopi land. Size: 8. 5" W x 4. 05" H (21. 6 cm x 10. 3 cm) . . Provenance: private Orange County, California, USA collection, 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. . #143910 Condition Repaired from approximately a dozen pieces. Some areas of overpaint, mainly around the repair lines. Light wear to original motifs with firing marks.