TWO CHINESE SNUFF BOTTLES 20th century, includes an inside painted snuff bottle with baby chicks amidst a flowering garden (3 5/8 in.)(stopper has been disconnected from hardstone cover; CHINA incised to underside of bottle) and a smaller white hardstone bottle with a carved raised rat to one side, the edges have dark brown gray squirrels carved in high relief (2 3/4 in.)(good estate condition).
GROUP OF JAY STRONGWATER ENAMEL PICTURE FRAMESGroup of Jay Strongwater Enamel Picture Frames, each piece signed; comprising a rocking horse, a dragonfly, two round ballet slipper, a heart, a baby chicks, a butterfly, two moon and star, a frog and insect, an oval gecko, a bow, an insect, and a stork [14 pieces] Dimensions: Ranging from 2 5/8 x 2 5/8 in. (6.7 x 6.7 cm.), to 6 5/8 x 5 3/8 in. (16.8 x 13.7 cm.) Condition:
ARTHUR FITZWILLIAM TAIT (1819-1905)Quail and Chicks, 1867
signed and dated "AF Tait N A 1867" lower right
oil on board, 10 by 14 in.
signed and dated on back
Kennedy & Co., New York and Winsor & Newton labels on back
This painting is number 67.5 in Henry Marsh's Tait checklist. This little gem recalls Tait's famous "The Cares of a Family," with a pair of attentive quail and six baby chicks framed by delicate grasses and flowers.
Known as one of America’s earliest sporting artists, Arthur Fitzwilliam Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While working for the art firm, Tait was exposed to the works of Edwin Landseer (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others.
In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the lives of Native Americans through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin's stories would have captivated the young and talented Tait.
In 1850 Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivaled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England.
With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became a full member. Editions of Tait’s works for Currier and Ives were reproduced by the thousands and formed some of America’s most iconic images of the Victorian era. The exceptionally popular "American Field Sports" series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs "A Chance for Both Barrels," "Flushed," "On a Point," and "Retrieving." These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as "An Anxious Moment," "A Tight Fix," and "Trappers at Fault: Looking for the Trail," have become embedded as part of our heritage and serve as signposts along our path as a nation.
Today, Tait's wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, DC; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others.
Provenance: Charles Porter Schutt Collection, acquired from The Old Print Shop, New York
Sarah S. Harrison Collection, by descent
Renee du Pont Harrison Collection, by descent
Literature: Henry M. Reed, "The A. B. Frost Book," Charleston, SC, 1993, p. 87, illustrated.
Henry M. Reed, "The A. B. Frost Book," Rutland, VT, 1967, illustrated.
Henry W. Lanier, "A. B. Frost The American Sportsman's Artist," New York, 1933, illustrated.
M.M. ROGERS OIL ON CANVAS, BABY CHICKS. 19th C. American oil on canvas, baby chicks in a flowering landscape with bumblebee, signed lower right, MM Rogers 1885. Canvas 10” x 11”, Overall in a period gilt frame 19.5”. x 20.5”.
MOORCROFT POTTERY VASE, FOWLERS FARMYARD CHICKENSRounded vase with chickens with baby chicks on blue background.
Moorcroft backstamp. #chicken #rooster #moorcroft
Artist: Kerry Goodwin
Country of Origin: England
ANTIQUE ROYAL DOULTON PAIR OF BABY CHICKS HN236A rare pair of Royal Doulton baby birds in yellow naturalistic color with HN236 handwritten to base.
With Royal Doulton backstamp.
Issued: c. 1910
Manufacturer: Royal Doulton
Country of Origin: England
HALCYON DAYS DISNEY ENAMELS TRINKET BOX, FOR YOUR CHRIS...Hand painted enamel box with gilded edge opening displaying figure seated with baby chicks. Halcyon Days backstamp. This item has its original box: 3"L x 4"W x 2"H.
Issued: 20th century
Dimensions: 1.25"H x 1.75"dia.
Manufacturer: Halcyon Days
Country of Origin: England
Age related wear.
IMPORTANT ARCHIVE OF DAI VERNON - FAUCETT ROSS LETTERS....Vernon, Dai (David Frederick Wingfield Verner). Important archive of Dai Vernon - Faucett Ross Letters. Beginning in 1938 and concluding in 1966, the letters, handwritten by Vernon, chronicle some of the most fruitful and storied years in Vernon's life. Many effects - and complete routines - are described in the archive in Vernon's hand. Most letters span multiple pages, front-and-back, and packed with tricks, private confessions, and personal anecdotes, much of it unpublished. Of particular interest is an early manuscript in Vernon's hand, including four illustrations titled "Solution to ÔBottle Neck' in Ring Routine." A lengthy description of Vernon's entire Linking Ring Routine, handwritten and illustrated by Ross, is also included. A four-page holographic questionnaire, written by Ross and completed in Vernon's hand, includes his candid responses to questions such as "What did you think of Charley Miller's stuff - Cups & Balls, etc.?" and "What do you do in your U.S.O. act besides balls and net and rings - if it's any of my business." Vernon's letters provide a candid view of his famous Harlequin Act, from the development of the costume (accompanied by tiny sketches in his hand) to firsthand accounts of his development of the routine and the various tricks he performed, among them the Gloves to Dove and salt pour. About an early version of the act he writes, "I usually take four to six bows but I certainly don't deserve them yet." He also describes many unpublished tips and "touches" on effects in his repertoire, as well as sleight-of-hand moves of his own invention. These include the Cups and Balls with the production of live baby chicks as a finale, Follow the Leader, "The V Packet Switch," Penetrating Thought, and more. Other letters describe the passing scene and a host of characters who come in and out of Vernon's life. These include Paul Rosini, Judson Cole, Roy Benson, George Jason ("Élooks like a caricatureÉand is the finest entertainer I have seen."), Eddie McGuire, and Charlie Miller ("he really talks in riddles."), to name but a few. A handful of postcards from Vernon to Ross, sent after The Professor's relocation to California, are included, mentioning the early days of the Magic Castle and Vernon's involvement in passing. Over 80 pages, including three short trick manuscripts, and three or four letters regarding Vernon or his activities, which complement the correspondence. Neatly organized. An important, irreplaceable archive.
CHINESE SCROLL PAINTINGFlowers, baby chicks, calligraphy and seal stamp
Image 33.5 x 15. Overall 89 x 20
Property from a private collection - East 66th at Madison Ave, Manhattan
Wrinkles, stains, foxing, fading
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