- AUDUBON, John James (1785-1852) et al,
AUDUBON, John James (1785-1852) et al, after
A group of 10 octavo-format prints, comprising:
1) Great Horned Owl (Plate 39)
2) Arctic Ground Finch (Plate 194)
3) Common Pine-finch (Plate 199)
4) Canadian Woodpecker (Plate 258)
5) Hairy Woodpecker (Plate 262)
6) Cock of the Plains (Plate 297)
7) Sharp-tailed Grouse (Plate 298)
8) Musk Rat Musquash (Plate XIII)
9) Jumping Mouse (Plate LXXXV)
10) Musk Ox (Plate CXL)
Together, 10 lithographs in color, some with hand-coloring, ca 19th-century or later, each visible area approximately 9 1/2 x 6-in. or smaller, condition generally very good, all similarly matted and framed (unexamined out of frame).
- GEMEINHARDT 2SH STERLING SILVER HEAD
GEMEINHARDT 2SH STERLING SILVER HEAD JOINT FLUTE. American, 20th century. Gemeinhardt "2SH" student flute. Sterling silver head joint and silverplate body. Closed hole. Missing topper for head joint. Includes carrying case. Flute 26.25"l.
- ANTIQUE SIGNED CELLO TOGETHER WITH A
ANTIQUE SIGNED CELLO TOGETHER WITH A CASED Flute marked Made By C. G. Conn Elkhart, Ind. (case 16" x 3.5"w x 2.5"h, flute 26.5" long). Cello with label "Francesco Viotoni Filius Faciebat Venetia Anno 19" From an East 86th St NYC estate. Dimensions: Cello: 42" L x 13.25" w x 4.25" d Condition: Sold as is. Cello as seen in images and flute with a hairline crack on mouthpiece.
- EDWARD S. CURTIS (NATIVE AMERICAN, 1868-1952).
EDWARD S. CURTIS (NATIVE AMERICAN, 1868-1952). Group of 9 Photogravures from The North American Indian- Volume Eight. 9 Photogravures on paper. Consisting of "Night Scout-Nez Perce, Pl.260", "Watching for the Signal-Nez Perce, Pl.261", "On the Beach-Chinook, Pl.292", "On Klickitat River-A, Pl.289", "On Klickitat River-B, Pl.290", "On Klickitat River-C, Pl.291", "The Fish Carrier-Wisham, Pl.277", "Evening on the Columbia, Pl.287", "The Middle Columbia, Pl.288". With Title page and black (unmarked) portfolio case. Each piece with printed title and plate number and each with printed credit in lower margin: "From Copyright Photograph 1910 by E.S. Curtis" (plate 277 lists1909); Photogravure John Andrew & Son". From a Bethel, CT collection. Dimensions: Image sizes: 11 3/4 x 15 1/4". Plate 277 & 289: 11 x 15 1/4". Plate 260:10 1/4 x 15 1/4". Sheet sizes: 17 1/2 x 22". Condition: Good. Unframed. Small scuff on Pl. 260 at lower left corner. Occasional minor handling crease in margin. Plate 292-repaired crease at lower right margin corner. The Title page toned.
- GLAZED STEPBACK CUPBOARD, PRINCE EDWARD
GLAZED STEPBACK CUPBOARD, PRINCE EDWARD COUNTYA two-piece Prince Edward County glazed stepback cupboard with neoclassic influence in the top section having swirling "Good Luck" symbols and fluted columns topped with oval rosettes; the lower section has two drawers over two flat panel doors with double arch moldings. In pine, with original dark painted surface, nice cutout base and porcelain knobs. Van Blaricom family, Sophiasburg Township. Illustrated in "Canadian Country Furniture" by Michael Bird, plate 261. H: 81"; W/L: 49"; D/P: 22". FRANCAIS: Vaissellier vitrée deux corps, comté de Prince Edward, Ont., influence néoclassique de la partie supérieure, avec rouelles, colonnes cannelées, et rosettes; section du bas à deux tiroirs et deux portes à panneaux creux à mouluration à arches double. En pin, surface d'origine noire, belle base chantournée. Famille Van Blaricom, canton de Sophiasburg. Illustré dans "Canadian Country Furniture" par Michael Bird, planche 261.
- QUÉBEC PINE BANC-LITA pine banc-lit
QUÉBEC PINE BANC-LITA pine banc-lit with an applied lozenge shaped diamond on the façade. Cut out back board with shaped balusters. Square nailed construction. Refinished condition. Montréal, Québec, circa 1840. Ex Watt collection, Toronto, Ontario. See plate 262 of Jean Palardy's book, "The Early Furniture of French Canada". Measuring, 72" long x 38" high x 20" deep.
- STEUBEN RARE "FREDERICK CARDER" BLACK
STEUBEN RARE "FREDERICK CARDER" BLACK INTARSIA VASEDESCRIPTION: Steuben Rare Frederick Carder black Intarsia vase with foliate design footed black.
Blow glass by Johnny Jansson, gaffer.
Cased lead glass.
Engraved facsimile signature on side Fredk Carder.
Reference:
No shape number (fig. 5.66 p. 134 of Dimitroff's Frederick Carder and Steuben Glass, the author says: A number of Intarsia pieces were never assigned shape numbers. At fig. 8.64 p. 200 Intarsia pieces frequently were not assigned shape numbers.
Almost identical vase, but for the top, in collection of Museum of Fine Arts, Boston.
Pictured at p. 101-102 of Objects of Desire, The Art of Frederick Carder by Alan Shovers.
Eric E. Ericson in the first volume to his treatise, A Guide to Colored Steuben Glass 1903 - 1933 p. 9 says, Frederick Carder=s favorite and most difficult glass to make was the only production to carry his personal FREDK CARDER in bold Spencerian script. Other special presentation pieces were often signed in the same manner, but these were not production Steuben in the sense we shall consider in this treatise.
A similar shape in black is part of the collection of The Chrysler Museum. See, plate 261 of A Concise History of Glass Represented in The Chrysler Museum Glass Collection by Nancy O. Merrill.
See a similar shaped example at Ill. 116, p. 74 of The Glass of Frederick Carder by Paul V. Gardner.
During the 1920s, Carder introduced his most prized innovation Intarsia glass, extremely, difficult to produce, incorporating a delicate trellis or floral pattern of colored glass between two clear crystal layers. Steuben Glass An American Tradition in Crystal by Mary Jean Madigan.
The Intarsia process was time-consuming and technically complex, factors that made it impractical for commercial purposes. Carder therefore returned to it intermittently, again in the early 1920s, and then in 1929-1930, for his own enjoyment. He is believed to have created roughly 100 pieces, many rendered in blue, black, and amethyst tones. Most were given a facsimile signature, Fredk Carder. Collector's Choice Review, Number 30, October-December, 1992.
The colored design is usually in shades of amethyst, blue, green, and occasionally black. Steuben Seventy Years of American Glassmaking by Perrot, Gardner, Plautt.
Provenance:
Estate of Mr. and Ms. Alan Shovers
Acquired 1/31/03 from Joan Miller Antiques of Chicago, IL at the Miami Beach Antique Show
CIRCA:1929
DIMENSIONS: H:9.25" The base is 3.5" in diameter.
CONDITION: Vintage condition. Normal signs of age. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- 10 MARCUS ELIESER BLOCH FISH ENGRAVINGSTen
10 MARCUS ELIESER BLOCH FISH ENGRAVINGSTen (10) Marcus Elieser Bloch (German, 1723-1799) copper plate engravings with hand coloring on laid paper from ALLGEMEINE NATURGESCHICHTE DER FISCHE (General Natural History of Fish), privately published, Berlin, circa 1782-95. Includes: Plate 149, "Balistes Aculeatus"; Plate 173, "Coryphaena Pentadactyla"; Plate 189, "Pleuronectes Punctatus"; Plate 267, "Sparus Pagrus"; Plate 273, "Sparus Raii"; Plate 282, "Labrus Viridis"; Plate 317, "Anthias Argus"; Plate 333, "Scomber Regalis"; Plate 334, "Scomber Sarda"; and Plate 341, "Scomber Fasciatus". Unframed. Plates approximately 8 1/4" H x 15" W. Sheets approximately 11 1/4" H x 18" W.
The Collection of Dr. Joe Newsom Rawlings, Davisboro, Georgia.
Condition:
All items in overall good condition with scattered tears, areas of loss, largest 1", to edges of sheets, some dampstaining, toning. All with old masking tape across top, visible en verso, paste residue across top of sheets from previous hinge mounting.
- JOHN JAMES AUDUBON(New York, 1785-1851)
Carolina
JOHN JAMES AUDUBON(New York, 1785-1851)
Carolina Pigeon or Turtle Dove, Plate 17 from The Birds of America , London, 1827-1838, Havell edition, hand colored engraving with etching and aquatint on paper, with watermark J. Whatman/Turkey Mill 1827", plate 26-3/4 x 20-5/8 in., sheet 38-1/8 x 25 in.; modern gilt wood frame, Tru Vue museum glass, 49 x 36-1/8 in., Provenance: Audubon Prints & Books, Vienna, Virginia, purchased in 2008, (accompanied by a certificate of authenticity); Private Virginia Collection
Condition:
hinges in, areas of restoration to paper with most in the unprinted sections of the ground and margins, printing crease, light toning and fading
- JAMES EDWARD FREEMAN 1808-1884 PHILIP
JAMES EDWARD FREEMAN 1808-1884 PHILIP C CURRAN O/C 1864...Painted in Italy by the expatriate American artist. The sitter's family and the artist were both from upstate New York and may have had a prior connection. Initialed and dated 1864 lower right. See attached note 26 x 22. Framed: 38 x 34
(QPECK8216)(WT)
- SETH THOMAS MAHOGANY EGLOMISE CLOCK
SETH THOMAS MAHOGANY EGLOMISE CLOCK 1840with interior label, from the living room of the Roth Estate 26" H x 16" W x 4" D
Property from the estate of Philip Roth. Philip Roth was born in Newark New Jersey on 19 March, 1933. The second child of second-generation Americans Bess and Herman Roth, Roth grew up in the largely Jewish community of Weequahic, a neighborhood that he was to return to time and again in his writing. After graduating from Weequahic High School in 1950, he attended Bucknell University, Pennsylvania and the University of Chicago where he received a scholarship to complete his M.A. in English Literature. In 1959, Roth published Goodbye Columbus - a collection of stories and a novella for which he received the National Book Award. Ten years later, the publication of his fourth novel Portnoy's Complaint brought Roth both critical and commercial success, firmly securing his reputation as one of America's finest young writers. Roth was the author of thirty-one books including those that were to follow the fortunes of Nathan Zuckerman and a fictional narrator narrator named Philip Roth through which he explored and gave voice to the complexities of the American experience in the twentieth and twenty-first centuries. Roth's lasting contribution to literature was widely recognized in his lifetime, both in the United States and abroad. Among other commendations he was the recipient of the Pulitzer Prize, the International Man Booker Prize, twice the winner of the National Book Critics Circle Award and the National Book Award and presented with the National Medal of Arts and the National Humanities Medal by Presidents Clinton and Obama respectively. Philip Roth died on 22 May 2018 at the age of eighty-five having retired from writing six years previous.
(PROTH8805)(TC)
- 21 BAROQUE ENGRAVINGS OF ARMOR (CUSTODIS-FONTANA)David
21 BAROQUE ENGRAVINGS OF ARMOR (CUSTODIS-FONTANA)David Custodis (German, active early 17th century) after Giovanni Battista Fontana (Italian, 1524-1587), ca. early 17th century CE. Twenty one early Baroque engravings, broadsheets recognized as "the finest ancient illustrations of armor in existence" by David Custodis (active in the early 1600s), the son of Dominicus Custos (1560-1612) who was an engraver from Augsburg, Germany. These depictions first appeared in Jacob Schrenck von Notzing (1539-1614) Der Aller Durchleuchtigsten und Grossmachtigen Kayser... Koningen und Ertzhertzogen. Furststen warhafftige Bildnussen. und kurtze Beschreibungen Translated from Latin by Johann Engelbert Noyse von Campenhouten. Innsbruck: Daniel Baur, [1603]. Size: each image measures approximately 16.75" L x 11.25" W (42.5 cm x 28.6 cm); sheets measure ~ 18.5" L x 12.5" W (47 x 31.8 cm)
Each engraving features a full-length portrait of an emperor, king, noble, or general depicted in full armor, standing within an arched alcove that is framed by ornamental columns with iconography that specifically applies to the nobleman represented. At the bottom center, each cartouche is inscribed with the subject's name written in ink. On the verso is a full-page narration of the subject represented in Latin. This text is framed within an elaborate design surrounded by a woodcut border showing trophies of war.
The subjects depicted in this collection include Carolus Borbonius (plate 22), Philippus Landtgravius Hafsia (plate 25), Gulielmus Julia, Clivia, & Montium Dux (plate 26), Annas Momorancius (plate 28), Robertus Sanfeverinus (plate 32), Maximilianus Archidux Austria (plate 47), Nicolaus Radzivil (plate 49), Camillus Urfinus (plate 58), Aliprandus Madrutius Baro Brentoni e Avi (plate 60), Johannes Ranzovius (plate 66), Augustus Barbadicus Venetus (plate 67), Jacobus Superantius Venetus (plate 69), Cornelius Bentivolius (plate 70), Alcanius Corneus (plate 71), Lazarus Schuendius Baro a HohenLandsperg (plate 74), Johannes Ferenberger ab Avv. (plate 76), Johannes Zamoiski Magnus Cancellarius Polonia (plate 77), Henricus Ranzovius (plate 78), Fernandus Comes Nogarolius (plate 81), Udalricus Tertius Wirtenberga Dux, and Fridericus III Feltrius Urbini Dux.
David Custodis (active in early 1600s) was the son of Dominicus Custos (1560-1612). His father was the son of Pieter Balten as well as an engraver and draftsman from Antwerp who settled in Augsburg and became the second husband of Bartholomeus Killian's widow (1548-1588). Among Custos' claims to fame, he worked for the Emperor Rudolphe II in Prague. Hence, Custodis' familial roots go back to the Antwerp School where Mannerism blossomed.
Giovanni Battista Fontana was an Italian artist, a painter as well as an engraver, who studied masters such as Veronese and Titian. Born near Verona, he settled in Innsbruck in 1573. Court painter to Ferdinand II, Archduke of Austria, he created many frescoes for Hofkirche the Spheristerion (1573) and the Slberne Kapelle (1576), and a castle chamber (1578). In addition, he created the ceiling fresco with a theme of allegories for the zodiac, elements, and planets for the dining hall of Schloss Ambras.
A complete 1st edition of this manuscript sold at Christie's, New York for $10,000 (June 19, 2013, lot 693). According to the Christie's cataloguer, these impressive engraved plates depict "a remarkable collection of armor, belonging to military leaders, collected by the Archduke Ferdinand of Tyrol at Castle Ambrass near Innsbruck. The collection was transferred to Vienna in 1796 and placed in the Belvedere in 1806. Today the collection is part of the Museum of Art History in Vienna, which exhibits parts of the collection again at Castle Ambrass."
Provenance: Ex-private Dr. Joseph & Edith Chess collection, Larchmont, NY
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#113826
Condition:
Expected age wear with normal toning, stains, tears, a few inactive worm holes, losses to peripheries etc. Some pages have faded more than others. Still imagery and text are vivid. Overall very good.