- BRONZE FIGURE OF PENELOPE, AFTER PIERRE-JULES
BRONZE FIGURE OF PENELOPE, AFTER PIERRE-JULES CAVELIER (FRENCH 1814-1894)
LATE 19TH CENTURY by Barbedienne, light brown patina, modelled seated in an Klismos chair with a spindle, signed to the cast 'F. BARBEDIENNE, Fondeur, Paris', and with inset plaques '881, J. CAVELIER' and 'Reduction Mecanique A. Collas Brevete' stamp14cm wide, 15.5cm high, 9cm deepNote: The present bronze is a reduction of a marble shown by Pierre-Jules Cavelier at Salon of 1849, where it was greeted with great acclaim and equated with the masterpieces of Antiquity.
- REGINA DOUBLE-COMB 15-1/2 IN. MUSIC
REGINA DOUBLE-COMB 15-1/2 IN. MUSIC BOX WITH (62) DISCS Circa 1900, the brass bedplate marked REGINA with serial number 53492, case of mahogany and mahogany veneers, on bun feet, the lid's underside a muse amid performing putti. Includes crank and key.
Discs include: Verlassen, Verlassen; (2) Cavelieria Rusticana; The Bridge; Only a Pansy Blossom; Thee Mockingbird; Artist's Life; The Wacht am Rhein; While the Dance Goes On; Stephania-Govotte; White Christmas; Sweet By and By; Old Oaken Bucket; On A Saturday Night; Only One Girl; Poet and Peasant; Policy Sam Cakewalk; Put Me Off At Buffalo; Rag-Knots; Roses From the South; Rosita Song; Say Au Revoir, But Not Goodbye; Scorcher March; Send In The Clowns; Starlight March Song; Straun Robertson; Susie Anna Song; Swannie River; Jolly Coppersmith; Just Tell Them That You Saw Me; Kathleen Mavourenne; La Poloma; A LIttle Boy in Blue; Loin Du Ball; The Lost Chord; Loves Old Sweet Song; From Heart To Heart; Mister Dooley; Mister Johnson; Monastery Bells; Mosquitos Parade; Mockingbird Song; Honolulu Lady; Nanon Mazurka; New Bully; Norduca Waltz; Nearer My God To Thee; Ain't You Coming Back to Old New Hampshire Molly; At A Georgia Camp Meeting; Austrian National Hymn; Beau Ideal; The Blue Danube; Car Barlick Acid- Ragtime; Champagne Gallop; Dixie's Land; Dolly Varden- The Lay of the Jay; Don't You Have No Friends; The Enquirer Club March; Gilmore's Band; Hail, Columbia; Honeymoon March; I Didn't Raise My Boy To Be A Soldier; Invincible Eagle March; Creole Belles; Das Mailufter.
- FLORENCE CERAMICS MERRYMAID BRUNETTEThis
FLORENCE CERAMICS MERRYMAID BRUNETTEThis stunning figure, made by Florence Ceramics, is hand painted and decorated with a dazzling iridescent blue glaze perfect for mermaid skin. This small potter was well-known around Pasadena, California and got her start in making these lovelies as a way to comfort herself as her son and husband were fighting in WWII. She quickly gained a reputation as a fine crafter and her work was compared to the quality of Royal Doulton. Backstamped Florence Ceramics Copyright.
Dimensions: 4"L x 2.5"W x 7"H
Issued: c. 1940-1960's
Manufacturer: Florence Ceramics
Country of Origin: Pasadena, California, USA
Condition:
Age related wear.
- DON BALKE (B. 1933) "VARIED THRUSH"Don
DON BALKE (B. 1933) "VARIED THRUSH"Don Balke (North Carolina, B. 1933) "Varied Thrush and Pacific Dogwood" Signed lower right. Original Watercolor on Illustration Board.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This painting was originally published on the Fleetwood commemorative cover for the Birds and Flowers of Canada - British Columbia, cancelled July 20, 1978.
VARIED THRUSH Ixoreus naeuius Often called the Banded or Oregon Robin, the Varied Thrush closely resembles his namesake. Like the Robin in shape and basic color, the Varied Thrush does display some differences. The solid band across the Varied Thrush's russet breast and the orange lines of his wings and head. Though many birds have a restricted habitat, the Varied Thrush is comfortable throughout the Northwest, at sea level or in the mountains. The female sometimes raises two broods in one season. After they hatch, the hungry chicks are fed on a variety of bugs from the forest floor. As winter approaches, the Varied Thrush moves south to California where acorns and berries replace his insect diet. PACIFIC DOGWOOD Cornus nuttallii The native Pacific Dogwood is one of the loveliest West Coast flowering trees. This attractive ornamental tree, standing fifteen to twenty feet tall, flowers once in spring and again in early autumn. The flowers are large snowy-white blossoms with four to six petal-like bracts. Surprisingly, flowers with varying bracts are often found on the same tree. Unlike the Eastern Dogwood, the Pacific Dogwood has flower bracts that overlap, giving a rich, full appearance to the flowers. In addition to its beauty, the Pacific Dogwood has heavy, close-grained wood used in making tool handles, cabinets, and other items. Confederate troops used the Pacific Dogwood's bark as a substitute when a Civil War blockade prevented transport of the painkiller.
Image Size: 13.5 x 14.5 in.
Overall Size: 14 x 17 in.
Unframed.
(B05203)
Condition:
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- A RARE HIGH BACK SADDLE STAMPED VELIE
A RARE HIGH BACK SADDLE STAMPED VELIE KANSAS CITYThe classic, undecorated working saddle with laced swell, high pommel and high cantle is stamped by the maker on the skirts under the jockey corner. This is a nice example with good, warm patina to the leather overall, circa first quarter of the 1900s.Willard Velie, maternal grandson of John Deere, left the family business around 1892 to establish his own company, Velie Saddlery Co. Under the Velie name, he specialized in the production of finely crafted leather saddles, carriages and later automobiles and airplanes.Measures 15 inches from the base of the horn to the inside edge of the cantle.Very good condition, noting possible replacement of some leather strings and moderate evidence of use. No major damage, repair or abuse.Provenance: John Royle Trust and Living Estate, Independence, Missouri.
- Pierre-Jules Cavelier (French, 1814-1894)
Cast
Pierre-Jules Cavelier (French, 1814-1894)
Cast by F. Barbedienne Foundry
Sleeping Penelope
bronze
stamped 935/ J. CAVELIER, inscribed F. Barbedienne Fondeur and with an A. Collas Réduction Mécanique seal
Height 14 1/2 inches.
- BERNARD PICART (FRENCH, 1673-1733) MANIERE
BERNARD PICART (FRENCH, 1673-1733) MANIERE D'ENSEVELIER LES ROIS ET PRETRES DE LA FLORIDE ENGRAVING: 15 X 9 3/4 IN.BERNARD PICART, (FRENCH, 1673-1733) MANIERE D'ENSEVELIER LES ROIS ET PRETRES DE LA FLORIDE, Engraving: 15 x 9 3/4 in. Unframed
- TWO VIENNA AUGARTEN PORCELAIN COURT
TWO VIENNA AUGARTEN PORCELAIN COURT FIGURES AND A GERMAN PORCELAIN COURT CRINOLINE FIGURETWO VIENNA AUGARTEN PORCELAIN COURT FIGURES AND A GERMAN PORCELAIN COURT CRINOLINE FIGURE, German, 20th Century, two with blue crowned shield marks, model nos. 1815 and 1500, both modeled standing, one of Mozart, designed by Prof. Robert Ullmann circa 1955, holding a musical score and quill, identified on the base; the other of 'The Rose Bearer' from Richard Strauss's comic opera 'Rosenkavelier', designed by Prof. Albin Doebrich in 1924, modeled as a gallant holding a flower and a sword; the third, a female court figure, marked with an indistinct blue crowned shield and an impressed shield, model no. 21, wearing a green pannier dress and holding a feather fan, the quatrefoil base painted with flower sprays and enriched in gilt, h: 9.75 in. (the tallest) (3)
- (6) AMERICAN, ITALIAN MID-CENTURY MODERN
(6) AMERICAN, ITALIAN MID-CENTURY MODERN LIGHTS(lot of 6) Mid-century modern and other lights, assorted, including: (2) two-light wall sconces, each with dual cream glass shades, metal arms with a bronze finish, ending on circular back plate, approx 14"h, 13"w, 5"d; (1) Italian brass clam shell form nightstand lamp, hammered and patinated brass, marked "casa craanoe(?) Italia" underfoot, lacking base, approx 11"h, 10"w, 4"d; (2) ceiling lights, Swivelier Company Incorporated, with chrome finish, (one) with small paint splashes to body, approx 17.75"h, 5.5" diam; (1) adjustable wall light, in gold and silver finish, with accordion fold extension, cord marked "Und. Lab. Inc. List" (Industrial Parts R Us), slight tarnishing to finish, approx 9"h, 3.25"w, 13"d (minimum extension), 22"d (maximum extension); in need of wiring, 10lbs total **Provenance: from an Abilene, Texas home designed by Jimmy Tittle in 1955**
- HORSE DRAWN WAGON AND OTHER ID PLATES,
HORSE DRAWN WAGON AND OTHER ID PLATES, SOME FROM AUTO MANUFACTURERS, STUDEBAKER, VELIE, HENNEY, INTER-STATE, ETC, VG CONDITION.Horse drawn wagon and other ID plates, some from auto manufacturers, Studebaker, Velie, Henney, Inter-state, etc, VG condition.
- BOISSONNADE ART NOUVEAU MARBLE NUDE
BOISSONNADE ART NOUVEAU MARBLE NUDE WOMAN SCULPT Henri Paul Marc Boissonnade (French, XIX-XX) Belle Epoque Art Nouveau carved marble sculpture depicting a sensuous nude woman lying on a bear skin, marked on the side 'h boissonnade 1905'. 10.5" H x 33" W x 13" D. Note: Boissonnade was a student of Barrias, Cavelier and Vernet and exhibited his work regularly at the Paris Salon where he was awarded an honorable mention in 1909.
- ? AN UNRECORDED ITALIAN [URBINO] ISTORIATO
? AN UNRECORDED ITALIAN [URBINO] ISTORIATO MAIOLICA DISH, ATTRIBUTED TO NICOLA DA URBINO, CIRCA 1520-23
SAMSON AND DELILAH Depicting the treacherous Delilah, with scissors and holding to one side the locks of hair she has cut from the kneeling Samson, inscribed on the bench and the wall behind ‘DALIDA’ and ‘SANSON’, the single large shoe in the foreground referring to Samson’s now lost physical strength and size, or it could be the jaw of an ass, a symbol of his previous victories.27.2cm diameter, 5.3cm highProvenance: From the collection of James Ewing (1775-1853) Strathleven House, Dunbartonshire, by descent and by inheritance to the present owners. An inventory of 1926 lists the dish along with another [also offered for sale here] as being framed in “Quaint Gilt Circular Frames” and valued at £300.Ewing, a Glasgow merchant with antiquarian interests and contributions to the historical and literary Maitland Club, was closely involved with civic affairs as director of Glasgow’s Chamber of Commerce. In 1832 he served as Lord Provost of Glasgow and as a Glasgow MP. Marrying late and in his 60s, he accompanied his young wife on a tour of Europe and Italy in 1844-5. Correspondence in connection to this trip was later privately published as a memoir by the Reverend MacIntosh Mackay in 1866. Within these letters there are few references to Ewing acquiring or buying art, although it was at this time that he bought several significant pieces, one being the Portrait of Jacopo Dolfin by Titian, now in the Los Angeles County Museum of Art.[1] He does however mention, in a letter from Florence on the 27th November 1844, purchasing “China pieces of the fourteenth century” when he was in Genoa a few weeks previously.[2] This gives us some evidence that he acquired maiolica at this time and it seems likely that this is how he came to acquire this dish and the other in this sale.[1]Humfrey et al., p122 Cat34 and p416[2]Rev Macintosh Mackay, LL.D. p152 Note: Nicola di Gabriele Sbraghe, potter and workshop owner (active 1520-1537-8), is acknowledged as the master of the ‘istoriato’ style of maiolica decoration in early 16th century Italy. Consensus describes him as the “Raphael of maiolica painting”.[1] His graceful fluid draftsmanship, lyrical figure drawing, understanding of recessional space, and use of contemporary classically inspired Renaissance architectural views are all characteristic of his style and are well illustrated here. Overall, his knowledge of the work of his contemporary Raphael, who died in 1520, and his circle in Rome, is evidenced by a print by Giovanni Antonio da Brescia, who also worked in Rome at this time [see figure 1]. The print, from 1510-20, is a circular engraved composition in reverse of this subject.[2] Both potter and printmaker appear to have knowledge of an unknown original narrative image of this subject matter, now lost. As is sometimes the case with Nicola, some of the figures in this piece hint of an even more direct knowledge of Raphael’s early work.[3]This dish and other early work by Nicola are related very closely to a monogrammed and dated dish of 1521 with the figure of a seated sovereign, now in the Hermitage Museum, St Petersburg,[4] to a dish illustrating the Calumny of Apelles in the Ashmolean Museum Oxford (dated by Wilson to 1522-3),[5] and to a plate of Venus, Mars, Apollo, and Vulcan now in the Kunstgewerbemuseum Berlin.[6] Above all, however, it relates to an acclaimed service or credenza encapsulating Nicola’s early poetical style made for an unknown client consisting of seventeen surviving pieces donated to the city of Venice by the patrician Teodoro Correr after his death in 1830.[7] This is the largest surviving set of 16th Century ‘istoriato’ maiolica in the world in a single collection. The service, even quite recently, has been described as “one the loveliest achievements of all maiolica-painting”.[8] There may be reasons on grounds of subject matter and style to speculate that this plate may originally have been part of this service.In the 19th century the Correr maiolica service was thought by scholars to have been painted by the Urbino painter Timoteo Viti (1469-1523) and was seen as the jewel in the crown of the Correr collection. The painting style of Nicola’s early work that we have here seems to stylistically reference his work in the broadest sense. Viti, trained in the dynamic humanist artistic background of Bologna under Francesco Francia, is known to have worked with Raphael in the Chigi Chapel in Santa Maria della Pace in Rome circa 1511. As a friend of Raphael, Viti is reputed to have obtained or inherited the most important group of Raphael’s studio drawings and to have brought them back to Urbino after Raphael’s death. He himself died in 1523. Nicola’s knowledge of Raphael’s style of work may in part be due to links with Viti whose workshop in Urbino he may have frequented or where he may have even trained.[9] Giovanni Antonio da Brescia copied and produced his own versions of the work of the Bolognese printmaker Marcantonio Raimondi (1480-before 1538). Raimondi had also trained under Francesco Francia and did more than anything to disseminate Raphael’s ideas in Italy and abroad from about 1510.It is unprecedented for maiolica from this early period of Nicola’s maiolica production to come on the market.[1] A description first coined by Wilson, 1987, p44. For a full catalogue raisonné of Nicola’s output see Mallet 2007, p199-250[2] Bartsch, vol XIII, p70,n.2 (BM reg. 1925,1215.104). We are grateful to the late Michael Bury for suggestions that led to the identification of this source.[3] For example the central figure of the armed philistine echoes in gesture and expression similar to figures round the tomb in Raphael’s early painting of The Resurrection of 1501-2, now in the Museo de Arte de Sao Paulo, Chapman, Henry and Plazzotta, 2004,Cat 21, p110[4] Wilson in Écouen, 2011, p158-9[5] Wilson, 2017, Cat 54, p158-9[6] See Hausmann, 1972, Cat 170, p230[7] All pieces from the Correr service are illustrated in Écouen, 2011 p 164-167[8] Wilson, 2017, p133.[9] Wilson in Écouen 2011, p160Literature:Bartsch, Adam. Le peintre graveur, Degen, Vienna, 1808-21Chapman, Hugo, Henry, Tom and Plazzotta, Carol. Raphael from Urbino to Rome, exh. cat., National Gallery, London, 2004Écouen 2011. Majolique. La faïence italienne au temps des humanistes, 1480-1530. Exb cat., Musée national de la Renaissance, Écouen, 2011Hausmann, Tjark. Majolika spanische und italienische Keramik vom 14. is zum 18.Jahrhundert (Katalogue des Kunstgewerbemuseum Berlin V1) Berlin, 1972Humfrey, Peter, Clifford, Timothy, Weston-Lewis, Aiden, and Bury, Michael. The Age of Titian – Venetian Renaissance Art from Scottish Collections, National Galleries of Scotland, 2004Mallet, J.V.G. ‘Nicola da Urbino and Francesco Xanto Avelli’, Faenza, 93, no 4-6 2007, p199-250Rev Macintosh Mackay, LL.D. Memoir of James Ewing Esq. of Strathleven, formerly Lord Provost of Glasgow and M.P for that city, LL.D of the University of Glasgow with a series of letters written while on a tour in Italy, Switzerland, &C., &C. Glasgow, 1866.Wilson, Timothy (with the collaboration of Patricia Collins and an essay by Hugo Blake). Ceramic Art of the Italian Renaissance, exh. cat., British Museum, 1987, p44Wilson, Timothy. Italian Maiolica and Europe, Oxford, 2017With thanks to Celia Curnow for the extensive research and footnote on this lot.