CHARLES WILLIAM DAHLGREEN, ILLINOIS, INDIANA (1864 - 1955), THE CALL OF WINTER, OIL ON BOARD, 23"H X 29 1/8"W, 29"H X 35"W (FRAME)Charles William Dahlgreen, Illinois, Indiana, (1864 - 1955) The Call of Winter, oil on board Signed lower right. Biography from the Archives of askART: Chicago native Charles W. Dahlgreen was born on September 8, 1864. After working in commercial art as a painter of banners and emblems and trying his hand at prospecting in the Klondike, Dahlgreen decided at age forty to study art seriously and to become a painter. Dahlgreen enrolled at the Art Institute of Chicago where he worked under John H. Vanderpoel, Frederick Freer, and Wellington J. Reynolds. Already in 1906 he was exhibiting his paintings at the Art Institute (he continued to show over one hundred works there until 1943). Around 1908 he moved on to study with Charles F. Browne and the portrait painter John C. Johansen. A year later he sought more training in Düsseldorf, choosing Germany rather than France, as did many midwestern art students. Dahlgreen was a student at a time when American impressionism was at its peak and he must have absorbed that movement's theories at home and on the Continent. Dahlgreen worked en plein air, as did most of his generation of landscapists. He visited Brown County, Indiana as early as 1914; during the 1930s he was photographed in front of his curious truck-studio. Dahlgreen also went to the Southwest but his activity there remains uninvestigated. An interesting still-life entitled Breakfast Table (ca. 1934) shows Dahlgreen's experimental side and proves that he was no opponent of modernism (illustrated in Logan, 1937, p. 111). There is a tension between naturalistic spatial construction and cubist-inspired abstraction. Dahlgreen's success as a landscape painter and etcher can be measured by the number of awards he earned beginning in 1915 with an Honorable Mention at the Panama-Pacific International Exposition. There, thirty-one of his prints were on display. His work can be seen in the collections of the Smithsonian Institution, the Art Institute of Chicago, the Decatur (Illinois) Art Center, the Vanderpoel Art Association Collection in Chicago, and the Museum of Science and Art in Los Angeles. By the time Dahlgreen died in 1955, he had spent fifty years in his second career as a painter, working in Chicago and its Oak Park suburb. So fond was Dahlgreen of Brown County that he instructed his ashes to be spread at the foot of his favorite giant oak tree there (Letsinger-Miller, 1994, p. 183). He had taught at the Art Institute of Chicago and became a member of various local art societies: the Art Service League of Chicago, Art Students League of Chicago, Chicago Painters and Sculptors, the Chicago Society of Etchers, and the Chicago Gallery of Art. Dahlgreen passed away in 1955. Sources: "At 40 Charles Dahlgreen Took Up Art," Art Digest 2 (1 April 1928): 6; Thompson, A. History of Art in Illinois. Exh. cat. Chicago: Union League, 1962; Sparks, Esther, "Biographical Dictionary of Painters and Sculptors in Illinois 1808-1945." Diss., Northwestern University, 1971, vol. 2, p. 348; Love, Richard H., Louis Ritman: From Chicago to Giverny. Chicago: Haase-Mumm, 1989, pp. 123, 218; Letsinger-Miller, Lyn, The Artists of Brown County. Bloomington, IN: Indiana University Press, 1994, pp. 179-180, 183; Love, Richard H. and William H. Marshall, The Marshall Collection. Chicago: Haase-Mumm, 1999, pp. 28-29; Love, Richard H. and Michael Preston Worley, Reflections of Reality: American Paintings from the Collection of John and Susan Hainsworth. Chicago: Haase-Mumm, 2005. Submitted by Richard H. Love and Michael Preston Worley, Ph.D. oil on board Dimensions: 23"H x 29 1/8"W, 29"H x 35"W (frame)
Chein Krazy Kat Chasing Ignatz Mouse in Orig Box. Description Tin. Copyright dated 1932 King Features Syndicate Inc. Copyright F. H. Herriman, which is an error as the artists first name was George. Toy is identical to Felix platform toy with the only change the addition of a lithographed white bow to Krazy Kat's head. Same running cats on side panels. Clicking noisemaker underneath. Includes original box with some creases and repairs but is extremely rare. See ATW Spotlight article June 2009 p. 70-71. Provenance: Collection of Carl Lobel.Condition (Excellent). Size 7 - 1/2” x 6”.
EN GRISAILLE EUROPEAN SUBJECT ZEUS TEAPOT STAND, Qianlong Era, circa 1750
Chinese Export shaped pot stand with central image of the "King of the Gods" with stylized border.
5 in. Diam.
Chinese Export Porcelain in the Reeves Center Collection at Washington and Lee University, (Th. V. Litzenburg, London 2003), p.190, cat. 187.
La porcelaine des Compagnies des Indes a décor Occidental, (F. & N. Hervouët & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.292, no. 13.1 & 13.2.
Frank Henry Shapleigh: (American, 1842-1906)Mt. Washington from Ellis River Meadows, Jackson, New Hampshire, 1882, signed and dated lower right "F. H. Shapleigh 1882", inscribed verso "Mr. Washington from Ellis river meadows, Jackson N. H. /by/F. H. Shapleigh", oil on canvas, 26 x 45 in. ;ÿreproductionÿcarved gilt wood and composition frame, ÿ32-1/4 x 52-1/2 in. Exhibited: "Full of Facts and Sentiment: The Art of Frank H. Shapleigh", a Loan Exhibition, New Hampshire Historical Society, Concord, New Hampshire, October 15 - November 28, 1982, cat. no. 22, referred to in the catalog as ". one of Shapleigh's most ambitious renderings of a scene he repeated many times. " p. 36. [white mountains]; Provenance: The Estate of William N. Banks, Jr. , Newnan, Georgia Condition wax and linen lined, crackle, surface scratch sky upper right, areas of re-touch; frame with wear, abrasions, small areas of loss to gilt
14" SIMON & HALBIG K * R 39 with trunk and two generations of wardrobes. Brown sleep eyes with fluffy lashes, open mouth, pierced ears (earrings), original curly blonde mohair wig (uncombed). Papier mache ball jointed body. Condition: (1) tooth missing. Repaint on arms and legs only. The doll comes with a trunk (that has the initials P.M.F.) from owner's estate. Doll is wearing: 2 pc. pink check dress, petticoat, teddy, ivory oilcloth shoes and socks and is carrying a brass mesh pocketbook with similar change purse inside. Original wardrobe also consists of: fur stole/muff, (2) prs.socks, (6) 2 pc.outfits, (3) dresses, (8) blouses, (2) skirts, (4) prs. shoes, (2) nightgowns, (8) petticoats, (2) teddies, (2) pantaloons, velvet jacket, misc. knitted clothing, misc. underwear. Condition: is very good with the exception of the last two misc. groups. Accessories include: ink bottle, fan, mohair cat, celluloid grooming set in case. 1930's Wardrobe consists of: (8) dresses, (2) 2 pc.outfits, (2) coats, robe, hat, apron. Provenance: Phoebe Meade Francine Wetzel was born in 1913. She inherited this doll from her Aunt Maria Drayton Lewis with the first set of clothing. Phoebe's mother Edith Meade Francine, was a seamstress and most likely made, with her daughter, the second set of clothing. Phoebe was the eighth generation to live on the land at Lewis Lane, Ambler, PA. This land belonged to the family since 1728 and the manor house was known as "Dawesfield" where George Washington had his headquarters. This house and land are no longer in the family.
EN GRISAILLE EUROPEAN SUBJECT ZEUS MILK JUG Qianlong Era, circa 1750 Chinese Export subject of the "King of the Gods" on small ribbed sparrow's beak jug. 3 1/2 in. H. Chinese Export Porcelain in the Reeves Center Collection at Washington and Lee University, (Th. V. Litzenburg, London 2003), p.190, cat. 187. La porcelaine des Compagnies des Indes a d?cor Occidental, (F. & N. Hervou?t & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.292, no. 13.1 & 13.2.
ROYAL COPENHAGEN STALKING CAT & MOUSE Large white porcelain stalking cat by C.F. Liisberg, 3 in. H., 17 in. L., and Gray Mouse by Dahl Jensen, 2 in. H. For further reading see "Royal Copenhagen Porcelain," p.71 and p.84 by Caroline & Nick Pope.
Charles Ernest Pont (American 1898-1971) two works on paper, the first a watercolor entitled "Boots and Saddles" depicting Pont's dog and cat napping together, framed and matted under plastic, some mildew, ss: 20" h. x 23 1/2" w. , the second small graphite study Pont's dog and cap sleeping, two images in same frame under glass some damage to frame, ss: 12 1/2" w. x 6" h. , along with pencil sketch of Pont and his dog napping by F.P. Piliers entitled "Charlie and his favorite pastime", ss: 12" h. x 17 3/4" w. [Removed from the estate of Charles E. Pont's daughter; brief artist's biography available]
PAYNE, Roger (binder) -- Giovanni SABADINO.Porretani dove si narra novelle settanta… [Venice: Merchio Sesso, 1531]. 8vo (145 x 90 mm). Woodcut title with 'cat and mouse' motif, ruled in red throughout. Binding of late 18th century full olive morocco by Roger Payne, covers tooled with a wide border in gilt featuring a floral, sprig and star motif, a central panel with floral cornerpieces, spine tooled and lettered in gilt with 5 raised bands, elaborately tooled doublures similar to covers but with wider border, green headbands (characteristic of Payne), a.e.g., housed in a custom morocco pull-off case. Condition: front free endpaper detached but present, some minor foxing; binding lightly spotted with some rubbing and gilt loss.Provenance: Mr. J. Hunter Sale (Leigh & Sotheby, London, 2 February 1813, lot 307, note to front flyleaf); Richard Heber Sale(1836, part IX, lot 2566, note to preliminary blank); Lilly (note to front flyleaf); Sir Thomas Brooke, F. S. A., of Armitage Bridge (small armorial bookplate); V.G. H. (round monogram booklabel); Lucius Wilmerding (booklabel); Abel E. Berland (booklabel). a fine roger payne binding on a work by sabadino with a veritable provenance; namely the Hunter-Heber-LillyWilderming-Berland copy. Brunet V:4; BM/STC Italian p. 595.
3 Remington Prints, 1903 - Oo-Yah!, Last Shot, At Last: Frederic Remington (American, 1861-1909). "Oo-Yah!" [aka "Howdy Pard"], "The Last Shot", and "At Last. " Three chromolithographs from "Done in the Open" (New York: P. F. Collier & Son, 1903) - a collaboration between American author Own Wister and Frederic Remington - each one signed by Remington in the plate, with verses written to complement his drawings. "The Last Shot" depicts two hunters presenting the moose that they recently shot to another hunger. It also features a poem about their conquest at the bottom that reads, "Oh yes, his feat is a triumph, We all have done the same, We all have blasted the spark of life To ashes with powder flame. But as for the antlered carcass, I should feel, if I were he, The Kodak after the Winchester adds Insult to injury. " Size: each measures ~ 24. 875" W x 18. 5" H (63. 2 cm x 47 cm) including mat. . "At Last" depicts four cowboys on horseback and their hunting dogs zeroing in on a grizzly bear who has proven to be a difficult target. The text below reads, "Three years he fooled us, smooth and slick, From Spittin' Cat to Dewlap Creek; Both sides the river he would spree, From Dutchy's to Bar-Circle-Zee. We chased him most to break our backs, And found just nothin' save his tracks. Up, down, acrost, he ate his fill O' steers and heifers, too, until Down by Dinwiddie's canon rim We handled our respects to him. ". . "OO-YAH!" presents a wintery scene of cowboys greeting one another in a celebratory mood with the following text on the right bottom of page reads, "There's wolves around in Wintertime, But we keep them from the door: For wolves run a mile when they hear us smile, And hittin' of our heels on the floor. Oo-yah! And our heels a-hittin' sweetly on the floor. " . . Provenance: private Lucille Lucas collection, Crested Butte, Colorado, 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. . #134178 Condition Prints are attached to mats which show some age wear and have handwritten collector's notes on them. Images are a tad faded but still strong. Centerfolds visible. Minor tear/loss with tape on lower end of "The Last Shot" but this is beneath the image and the text is still complete. Small tear to lower right interior corner of that mat.
MAXIMILIEN LUCE, FRENCH (1858-1941), LA CAMARET, GRAPHITE ON PAPER, 8 1/2"H X 11 1/2"W (SIGHT), 12 3/4"H X 15 3/4"W (FRAME)Maximilien Luce, French, (1858-1941) La Camaret, graphite on paper signed lower right. Provenance: Ford Foundation #0194. Purchased from Hector Brame, Paris. Biography from Christie's New York, Rockefeller Center: Born into a working-class family that encouraged him to pursue a practical profession, Luce became associated with the Post-Impressionist movement by way of his close friendships with Paul Signac, Camille Pissarro and later, Georges Seurat. Having apprenticed as a wood engraver, Luce only became a painter in 1882, when the technological development of zincography eliminated wood engraving as a profession. His first entry into the Salon des Artistes Indépendants in 1887 was well received by Seurat, Pissarro and the influential art critic Félix Fénéon, who a year later gave Luce his first solo exhibition, solidifying his prestige and recognition as an artist. While Luce participated in every Post-Impressionist exhibition organized during his lifetime, his fierce sense of individualism made it difficult for him to adhere completely to any set doctrine. His paintings often did not meet the scientific standards of Seurat's technique of divisionism—an approach that sought to mimic the optics of the human eye through precise dots of complementary colors. La Fossette Saint-Clair, près du Lavandou articulates the idiosyncrasies that often set Luce apart from other Post-Impressionists. While reminiscent of Signac's prismatic palette, Luce lacks the precise dot, the distinct autonomous mark of divisionism. "Maximilien Luce never bothered much with theory," art critic Charles Saunier remarked. "The principles of the contrast of colors were subordinated to his strong personality and his impressions" (quoted in Maximilien Luce: Neo-Impressionist, exh. cat., Musée des Impressionnismes Giverny, p. 14). It is true that while Luce's color choice is not outlandish, the kaleidoscopic quality does not reflect nature as it is perceived. In fact, the varied tones of mauve, plum and violet in La Fossette Saint-Clair, près du Lavandou seem to reflect Luce's personal chromatic preference. "Not too much violet my dear Luce," wrote fellow Neo-Impressionist, Charles Angrand, in a letter to Luce. "This would make all those who already think highly of your work very happy" (quoted in ibid., p. 16). Despite this feedback, Luce continued to incorporate hues of blue and violet into his compositions, imbuing his own personality and elevating the image with an ethereal touch. The serene sunset of La Fossette Saint-Clair, près du Lavandou is a fitting apparatus for Luce's preferred palette. graphite on paper Dimensions: 8 1/2"H x 11 1/2"W (sight), 12 3/4"H x 15 3/4"W (frame)
Various Elastolin and similar figures comprising farmer, two sheep, two carts, a cat with a cooking pot, and a mouse in a boot (7) P-F
GRAFF, ANTON (Winterthur 1736 - 1813 Dresden) Portrait of Johann Caspar Füssli. 1765. Oil on canvas. 75.5 x 61.5 cm. Provenance: - until 1850 Keller collection, Zurich. - Swiss private collection. Literature: - Conversations-Lexikon für Bildende Kunst, hrsg. v. Friedrich Faber, Leipzig 1850, Vol. 5, p. 461. - Muther, Richard: Anton Graff. Sein Leben und seine Werke, Leipzig 1881, 239. - Waser, Otto: Anton Graff of Winterthur Bildnisse des Meisters, Zürich-Leipzig 1903, p. 48. - Berckenhagen, Ekhart: Anton Graff. Leben und Werk, Berlin 1967, cat. 415, p. 136.
Greek Bronze Grotesque Figure of an Actor, Possibly Magna Graecia: Greek Bronze Grotesque Figure of an Actor, Possibly Magna Graecia Now mounted on a base. Figure: 6 3/4 x 2 1/4 x 2 1/4 in. Literature: Master Bronzes from the Classical World, catalogued by David Gordon Mitten and Suzannah F. Docringer, The Fogg Art Museum, Cambridge, MA; City Art Museum of St. Louis, and LACMA, Los Angeles, Ca. , Dec. 4, 1967-June 30, 1968, cat. no. 121. p>Sold Stair, Hudson, NY, June 26, 2015, Lot 645. Condition With an uneven patina. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
SOLINUS, Caius Julius, -- CAMERS, Joannes, comm. (1447-1546), ed.In C. Julii Solini Polyistora enarrationes Vienna: Johannes Singriener for Lucas Alantse, 1520. Folio (300 x 202 mm). 387pp., [16], 336, [34] pp.,+ 1 original final blank, p137 misnumbered 139. Double-page woodcut map of the world on a truncated cordiform projection 'Tipvs Orbis Vniversalis ivxta Ptolomei Cosmographi traditionem et Ame ¦ rici Vespvcii aliorqve lvstrationes a Petro Apiano Leysnico Elvcvbratvs ¦ An. Do. M.DXX.' (430 x 302 mm). Map title set in upper margin, margins decorated with 12 windheads, two wreaths to lower corners, one lettered "L.A." for Luca Atantses, a financier of the map's production, and "L.F." for Lorenz Fries, a draughtsman, and "J.K." for Johannes Camertius. Title-page with large ornamental woodcut border, bookseller’s device is found on the page with the colophon, and that of Singrenius, the printer, on the last printed page, before the final blank leaf, numerous woodcut printer initials. Eighteenth century panelled English calf, rebacked, red morocco lettering label with gilt title to spine, edges speckled red. Condition: outer margins of map trimmed and extended to size, with lettering "Occidens" and "Oriens" in facsimile woodblock, marginal tear in index leaf cci, light dampstaining affecting upper margins and some heads and corners, worm hole starting at p.117 terminating at rear endpapers; calf lightly rubbed, corners bumped. Acquisition: purchased from H. P. Kraus, cat. 185, 1990 (but 1998), item 27 $21,120first edition, containing a cartographic landmark, the petrus apianus map which established 'america' as the name of the new world . Although the 'Polyhistora' was first printed in Venice in 1473, this 1520 edition edited by Camers is the first to have an Americana interest. The present condiform map is the earliest in a printed book bearing the name 'America.' Peter Bienewitz (Apianus) was a Professor of Mathematics in Vienna, and a Geographer and mapmaker. He modelled this map on Waldseemuellers 1507 wallmap; previous to this discovery of the Waldseemueller, the present map was long considered the first example of any engraved map to bear the legend "America." As was the trait at this time, as well as being sold separately, the Apianus map was bound into the 1520 edition of Solinus's Polyhistor and is also found bound in Mela's De Situ Orbis (Basel, 1522). The map shows the influence of Lorenz Fries, of Strasbourg , a great follower of Waldseemueller.Though also based upon the Ptolemaic tradition, the Apianus is enhanced with information from the voyages of Columbus and Vespucci. North and South America are represented as narrow strips of land separated by a wide channel, without an isthmus of Panama. Columbus's voyages in the 1490's are revealed in the printed note "Anno d 1497 haec terra cum adiacetibus insulis inuenta est per Columbum Ianuensem ex mandato Regis Castellae America prouincia." This "America provincia" is the southern continent and separated from the northern which is labeled merely 'Terra incognita'. European Americana 520/25; Church 45; Sabin 86390; Harrisse 108; Church 45; JCB I, 77; Adams S-1391; Shirley World Maps 45.
Large Greek Bronze Hydria w/ Siren Applique, Ex Merrin: Greece, Classical period, ca. mid 5th century BCE. Wow! A breathtaking hammered bronze hydria of immense form with cast handles and rim, sitting upon a petite foot. The gently-curving, apple-shaped body expands upward to a rounded shoulder and a tapered cylindrical neck with an outsplayed mouth, and the rim is encircled with a ring of ovolo draped over the edge. A pair of curving, upturned handles is horizontally mounted along the shoulder; both are beautifully adorned with horizontal ridges and floral motif bases. An applied vertical handle rests behind the squat neck, featuring raised ribs running parallel to its body and connecting via a floral motif to the neck and a stunning siren bust applique to the body. Framed by a swirling abstract embellishment, the mythological creature presents a pair of sweeping wings that encompass her lovely visage featuring heavy-lidded, almond-shaped eyes, a flat nose, and a flat mouth beneath luscious locks of hair. Size: 15. 75" W x 19" H (40 cm x 48. 3 cm). . Rich patina of viridian green and teal envelops the ancient vessel, nicely complimenting its bronze form. A gorgeous example from ancient Greece! . . Hydria frequently appear in scenes of women carrying water from fountains, which was one of the duties of women during this time period. The two handles at the sides were used for lifting, while the handle at the back was used to dip and pour. However, scholars posit that bronze examples were not intended to be utilitarian, but rather were used solely in a funerary setting. Please note that while the term "kalpis" is used rather frequently as an interchangeable term for "hydria, " a hydria can only be a kalpis if it lacks the vertical handle on the verso. . Cf. another hydria with plain attachment disks and foot in the City Art Museum, St. Louis, inv. no. 169:24, published in David Gordon Mitten & Suzannah F. Doeringer, "Master Bronzes From the Classical World" (Mainz 1967), cat. No, 109, pp. 110-111; a smaller vessel published in Lila I. Marangou, "Ancient Greek Art: The N. P. Goulandris Collection" (Athens, 1985), cat. no. 260, pp. 163-164. . . Provenance: ex-Merrin Gallery; ex-Elie Borowski collection, 1980s to 1990s. . 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. . #162208 Dimension Condition X-rays show restoration (approximately 20%) in some areas (mostly affecting lower half) with resurfacing and repatination. Upper hydria handle is missing lower half of the applique, one wing reattached.
A huge group of window cards, 1920s-1970s
Approximately 115; various studios, various years, all window cards, conditions ranging from A to F, titles include (complete listing in alphabetical order): After the Fox, 1966, Alice in Wonderland, R-1974, The Battle of the Bulge, 1966, Ben Hur, 1960, The Best Years of Our Lives, R-1954, Born Free (trimmed), 1966, Born Yesterday (trimmed), 1950, The Bridge on the River Kwai (trimmed), 1957, Bye Bye Birdie, 1963, The Caddy, R-1964, A Child is Waiting, 1963, Children of the Damned, 1964, The Cincinnati Kid, 1965, Circus World, 1965, Cleopatra (trimmed), 1963, Cleopatra, R-1952, The Count of Monte Cristo, 1948, Cyrano, 1951, Dead Ringer, 1964, Diamonds Are Forever (trimmed), 1971, The Dirty Dozen, 1967, The Disorderly Orderly, 1965, Donovan's Reef, 1963, Dr. Phibes, 1971, Duel at Diablo, 1966, The Errand Boy, 1962, The Fall of the Roman Empire, 1964, The Famous Mrs. Fair, 1923, Father Goose, 1965, The Fortune Cookie, 1966, Freaks, R-1960s, Funeral in Berlin, 1967, Gaily Gaily, 1969, Genghis Khan (trimmed), 1965, The Ghost and Mr. Chicken, 1966, Gigi (trimmed), R-1960s, The Girl from Calgary, 1932, A Global Affair, 1964, Good Neighbor Sam, 1964, Gypsy, 1962, Harper, 1966, The Haunting, 1963, Heartbreak, 1931, The Heroes of Telemark, 1966, How the West Was Won, 1964, I Could Go on Singing, 1963, If I Were King, 1920, The Incredible Mr. Limpet, 1964, The Ipcress File, 1965, It's a Mad Mad Mad Mad Mad Mad World, 1964, It's a Pleasure, 1945, Jumbo, 1962, The Jungle Book, 1967, Khartoum, 1966, The King and I (trimmed), 1956, Lady in a Cage, 1964, Le Mans, 1971, Let's Kill Uncle, 1966, Lilies of the Field (trimmed), 1963, The Longest Day, 1962, Love Happy (trimmed), 1949, Love with the Proper Stranger, 1964, Madame (trimmed), 1963, A Majority of One, 1962, The Manchurian Candidate, 1962, McLintock, 1963, Mirage, 1965, The Misadventures of Merlin Jones, 1964, Munster Go Home, 1966, My Boy 1921, My Sister Eileen, 1955, The Nanny, 1965, The Nutty Professor, 1963, Oh Men Oh Women, 1957, The Oscar, 1965, Pal Joey, 1957, Papa's Delicate Condition, 1962, The Pink Panther, 1964, Pinocchio in Outer Space, 1965, Pocketful of Miracles, 1962, Quo Vadis, R-1964, Reported Missing, 1922, Return of the Seven, 1966, The Robe, R-1963, Robin and the 7 Hoods, 1964, The Roman Spring of Mrs. Stone, 1962, The Sandpiper, 1965, Seven Days in May, 1964, Shane (trimmed), R-1960s, Son of Flubber, 1963, Song of Norway, 1970, Spring Reunion, 1957, The Spy Who Came in From the Cold, 1965, Stagecoach, 1966, State Fair, 1963, Straight-Jacket, 1964, Sunday in New York, 1964, Sweet Bird of Youth (trimmed), 1962, That Darn Cat, 1965, That Touch of Mink, 1962, Those Magnificent Men and Their Flying Machines, 1965, The Thrill of It All, 1963, Tom Jones (trimmed), 1963, Tora! Tora! Tora! (trimmed), 1970, Two on a Guillotine, 1965, The Ugly Dachshund, 1966, The Unsinkable Molly Brown, 1964, The V.I.P.s, 1963, What Ever Happened to Baby Jane?, 1962, What's New Pussycat?, 1965, Who's Minding the Store?, 1963, Winnie the Pooh, 1969, You're Never Too Young, R-1964, and Zulu, 1964.
22 x 14in
JAMES ABBOTT McNEILL WHISTLER, (American, 1834-1903), The Large Pool (Venice), 1879/80: JAMES ABBOTT McNEILL WHISTLER. (American, 1834-1903). The Large Pool (Venice). 1879/80, pen, brown ink, and wash on paper. 3 3/8 x 3 7/8 in. , frame: 11 1/4 x 19 3/4 in. . Provenance: By descent to a Beacon Hill, Boston, Massachusetts Resident. . Exhibitions: Santa Barbara Museum of Art, English and American Drawings, September 23 - October 21, 1973 (loan label verso). . Literature: MacDonald, Margaret F. , James McNeill Whistler Drawing, Pastels, and Watercolours: A Catalogue Raisonne, New Haven and London, 1995, cat. no. 736, p. 269 (illus). . . MacDonald, Margaret F. , Palaces in the Night: Whistler in Venice, Aldershot and California, 2001, p. 153. . Other Notes: The Gallery of Mortimer Brandt, New York, label verso. . The dome of Santa Maria della Salute, at the entrance of the Grand Canal, can be seen to the left of the three masted ship.
The Pelham Water Buffalo
An Exceptional Chinese Imperial Spinach-Green Jade Water Buffalo with a Fine Gilt Bronze Stand.
Qing Dynasty, Qianlong Period 1736-95, 20.8cm long.
Description
The recumbent beast with a serene mildly inquisitive expression, carved from a massive spinach-green boulder; is depicted with his head turned and raised to the right, his facial features with flaring nostrils and alert eyes, framed by horns curling back to his spine, the trumpet-shaped ears and horns finely incised with lines depicting the fur, his dewlap beneath the neck naturalistically carved flowing down to the base, the form of the body accentuated by the superbly defined spine extending to the tail that curls above his hind leg, all four hooves boldly carved on the underside. The gilt bronze base incised with flowers and foliage to the surface above a key fret band bearing a four character Qianlong mark. A narrow band of scrolling flowers and foliage dividing elaborated stylized lappets and with a second key fret band at the foot.
Paper label for John Sparks Ltd. 128 Mount Street London. And another inscribed 'The property of Sackville, 5th. Earl of Yarborough'.
Provenance
Purchased from John Sparks Ltd. 24th June 1938 for £300. Listed in the Sparks archive as "No. 2988 - 1 v.fine green jade Buffalo, gilt stand, Ming".
The property of the late Sackville George Pelham, the 5th Earl of Yarborough, d.1948, and thence by descent.
Sackville George Pelham, 5th Earl of Yarborough, MC (17 December 1888 -7 February 1948) was a British peer and soldier, known as Lord Worsley from 1914-1926 and Lord Conyers from 1926 until his accession to the earldom in 1936. Pelham was the second son of Charles Pelham, 4th Earl of Yarborough and his wife, Marcia. In 1910, he became a Second Lieutenant in the 11th Hussars and initially fought as a lieutenant in France during World War I before being promoted to the rank of captain in 1916. During the war his elder brother, Charles, was killed in action and Sackville assumed the former's courtesy title of Lord Worsley. After the war, he was awarded the Military Cross and retired from the Army in 1919 when he married Nancy Brocklehurst (a niece of Lord Ranksborough).
On the death of his father in 1936, Sackville inherited the earldom; in the same year he commanded the Nottinghamshire Yeomanry as a Lieutenant Colonel, being posted to Palestine at the outbreak of World War II. On returning to Britain in October 1940, the ship carrying the Earl and Countess of Yarborough came under enemy fire and was sunk. Although most of the passengers and crew survived, the Earl contracted respiratory problems from the smoke, which contributed to his early death in 1948 at the age of 59. His jade buffalo then became the property of his eldest daughter, Lady Diana Miller, who in the same year emigrated to Southern Africa. Whilst the existence of this piece of jade was not in doubt, its whereabouts were subject to some speculation. Many of the Earl’s possessions would appear to have been packed and placed in storage at the outbreak of the Second World War and over the subsequent years some inventory records were mislaid. In 2005 Lady Diana Miller returned to the United Kingdom. A large wooden chest, thought to contain porcelain, was opened in July of that year. Inside, amongst the various items, was found an old wooden box, sealed with rusty nails, string and sealing wax. The box was opened for the first time in 65 years, and inside, carefully wrapped in newspapers dated 1940, were the magnificent jade buffalo and its gilt bronze pedestal.
Catalogue Note
A small number of large jade carvings, mainly of water buffaloes and horses, were included in the Oriental Ceramic Society exhibition Chinese Jade Throughout the Ages, Victoria and Albert Museum, London 1975, cat. Nos.391-7. They are discussed in the accompanying Transactions of the Oriental Ceramics Society, vol.40, 1973-75, p.118, as being:
‘among the most ambitious and monumental examples of jade ever worked in China and perhaps all of them once had their place in the pavilions of the various palaces of Peking.’
Another animal from this series, looted from the Summer Palace Beijing in 1860, and reputedly rescued on the troop ship from a soldier who was trying to destroy it, now in the collection of Sir Joseph Hotung, was included in the exhibition Chinese Jade from the Neolithic to the Qing, The British Museum, London 1995, cat.no..26:19. The Jacob Goldschmidt buffalo was exhibited at the influential Ausstellung Chinesischer Kunst, Gesellschaft für Ostasiatische Kunst and Preußische Akademie der Künste, Berlin, 1929, cat.no.1085. The Oscar Raphael buffalo, now in the Fitzwilliam Museum, Cambridge, formed part of the Oriental Ceramic Society exhibition Chinese Jade Throughout the Ages, Victoria and Albert Museum, London, 1975, together with two other jade buffaloes, cat.nos.395-7.
Compare the superb gilt bronze stand with those of a pair of spinach-green jade lion dog censers from the Palace Museum, Beijing, GU103379 and GU103380, illustrated: China The Three Emperors, 1662-1795, no.21.
The Water Buffalo
The water buffalo is the traditional symbol of spring, strength and tranquillity. Its bucolic aspect evokes the simple and true life in the countryside, and as the reputed mount of the philosopher Laozi, the buffalo has strong Daoist connotations. An important animal in all rice cultivation societies, we find buffaloes depicted in art dating back thousands of years. The Chinese practice of lining the shores of lakes and rivers with bronze buffaloes dates from the Tang dynasty. It is based on the belief that Da Yu, the legendary emperor who is credited with founding the Xia dynasty, (circa 2100 – 1600 BC) and controlled China’s floodwaters, used to place iron buffaloes beside each of his projects. The most famous is the bronze example overlooking Lake Kunming in Beijing’s Summer Palace, which was cast and then personally dedicated by The Emperor Qianlong in 1755.
With thanks to Miss Ching-Yi Huang of SOAS for her help in researching the Sparks’ archive.
A PAIR OF EXCEPTIONAL AMERICAN BRONZE AND MARBLE LAMP BASES, E. F. CALDWELL & CO. , NEW YORK, CIRCA 1915: A PAIR OF EXCEPTIONAL AMERICAN BRONZE AND MARBLE LAMP BASES, E. F. CALDWELL & CO. , NEW YORK, CIRCA 1915. . formed as Poseidon and Amphitrite in dark brown and gilt bronze, seated atop marble sea turtles, he with trident, she with lyre, holding a large dish and shell cornucopia, respectively, the finials formed as shells, each mounted with four pull-chain lights stamped HARVEY HUBBELL / AUG 1. 96 / PAT'D MAY 8. 00 / JULY 30. 01 / FEBY. 18. 02 / 250 V. 50. C. P. ; overall height of each: 80 cm (31 1/2 in. ), height to top of cornucopia: 49 cm (19 1/4 in. ). . LITERATURE. For the "Poseidon" model, see Catalogue of the Eighteenth Annual Exhibition of the Architectural League of New York (New York: Architectural Press, 1903), ex. cat. , p. 35, no. 366. . LOT NOTES. The "Poseidon" model (titled "Marble Turtle With Triton – Bronze") was exhibited by Edward F. Caldwell & Co. in 1903 at the annual exhibit of the Architectural League of New York (in the galleries of the Fine Art Society on 215 West 57th Street). . . CONDITION. N. B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC. , including its consultants and agents, shall have no responsibility for any error or omission. Dimension
A PAIR OF EXCEPTIONAL AMERICAN BRONZE AND MARBLE LAMP B...A PAIR OF EXCEPTIONAL AMERICAN BRONZE AND MARBLE LAMP BASES, E.F. CALDWELL & CO., NEW YORK, CIRCA 1915
formed as Poseidon and Amphitrite in dark brown and gilt bronze, seated atop marble sea turtles, he with trident, she with lyre, holding a large dish and shell cornucopia, respectively, the finials formed as shells, each mounted with four pull-chain lights stamped HARVEY HUBBELL / AUG 1. 96 / PAT'D MAY 8.00 / JULY 30.01 / FEBY.18.02 / 250 V.50.C.P. ; overall height of each: 80 cm (31 1/2 in.), height to top of cornucopia: 49 cm (19 1/4 in.)
LITERATURE
For the "Poseidon" model, see Catalogue of the Eighteenth Annual Exhibition of the Architectural League of New York (New York: Architectural Press, 1903), ex. cat., p. 35, no. 366.
LOT NOTES
The "Poseidon" model (titled "Marble Turtle With Triton – Bronze") was exhibited by Edward F. Caldwell & Co. in 1903 at the annual exhibit of the Architectural League of New York (in the galleries of the Fine Art Society on 215 West 57th Street).
CONDITION
N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
[Pop-Up] Lot of Christmas Pop-Up, Movable, Noise-Making, and Interactive Books. American, 1940s—50s. An impressive collection, together approximately 40 volumes of twentieth century titles, all but five Christmas themed, with many first editions, many in original pictorial boxes, and generally in fine condition, being in near or full states of completeness including inserts, fold-outs, instruction slips, and other pieces.
Includes:
Pranky’s Christmas (in box) COMPLETE
(No Publisher, No Date)
Charlot Byj
Three pop-ups
Round plastic skill puzzle (silver balls in a clock face) shows through die-cut hole in cover
Peppermint candy (title page)
Die-cut lower half of page with candy cane pipe cleaner (p.9)
Two sheets of gummed stickers in pocket (p.12)
Die-cut hole (p.16)
Christmas in Fairyland (in box) COMPLETE
(No Publisher, No Date, ca. 1950)
No Author, No Illustrator
Cover has die-cut white foam moon and glitter stars
Envelope inside front cover contains:
Sheet of gummed Stickers
Sheet with numbers which key the gummed stickers to the spots on the book
Sheet of punch-out game pieces
Santa crown
Whistle (p.2)
Die-cut Fairy Queen figure (p.4)
Die-cut reindeer (p.7)
Gold star on red pipe cleaner: magic wand (p.11)
Tatoo bubble gum (p.13)
Game on back cover
Santa’s Fun Book (in box) NEAR COMPLETE
(White Plains Greeting Card Corp., 1954)
No Author, No Illustrator
Four pop-ups and moveables
Die-cut hole in cover (p.1)
Yellow metal clicker (p.2)
Silver metal bell (p.4)
Die-cut hole in page in shape of star (p.5)
Embossed silver foil badge (p.6).
Brown honeycomb accordian (pp.8-9)
The Wonderful Window (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Whistle, plastic
Die-cut angel standee (p.12)
Loose in the box:
Four punch-out sheets
Window with tiny celebrant, rabbit, and lamb
Mobile with angels
Red feather (p.11)
LOLLIPOP (P.15)
3D glasses (p.16)
Box of four crayons (p.20)
Coloring book (p.20)
Santa’s Busy Day (in box) COMPLETE
(Polygraphic Company of America, 1953) $1.25
No Author, No Illustrator
Two pop-ups
Gold bell on reindeer’s neck (pp.2-3)
Balloon and metal clicker (p.7)
Seven die-cut reindeer (pp.8-9)
Tinsel strip (pp.16-17)
Die-cut reindeer: Blitzen (p.19)
Brown crayon (p.21)
Santa’s Circus (in box) COMPLETE
(White Plains Greeting Card Corp., 1952)
Pictorial Box
No Author, No Illustrator
Four pop-ups and moveables
Squeaker on clown’s nose (p.7)
Horse flocked (p.9)
Balloon for Elephant’s nose (p.11)
Red Pencil (p.16)
White Life Saver (p.18)
Die-cut hole for hat (p.23)
Paper blowout with feather (i.e., party blower or blow tickler) (p.25)
Santa Claus in Toyland (in box) NEAR COMPLETE
(Doehla Greeting Cards, 1951)
Softcover with red plastic spiral binding
No Author, No Illustrator
Five pop-ups and movables
Cover has styrofoam “snow” on house roof
Die-cut elves (p.7)
Lollipop (p.18)
VARSITY GUM (p.20)
The Shiniest Star (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups and moveables
Gold foil star mounted on cover
Wee-book (p.1)
Metal “shark” whistle (p.8)
Wise man cardboard standup (p.18)
Loose in box:
Instruction sheet for assembling manger
Punch-out manger
Two punch-out sheets of people and animals for Nativity
Christmas Time (in box) COMPLETE
(No Publisher, No Date)
Written and Adapted by Hilda M. Finch
Illustrated by Charlot Byj, Stina Nagel, Cristina F. Christensen, Rene Racette
Four pop-ups and moveables
Envelope inside rear cover has cookie recipe printed on it, and loose inside:
Folded punch-out sheet for “Mrs. Honey Bun’s Helpers”
Folded punch-out sheet, one side for “Billy’s Christmas Visitor,” the other for
“The Night Before Christmas” (Figures fit into slots you cut on the page)
Kerry Kitten’s Christmas Adventures (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Jason Lee
Three pop-ups and moveables
Package squeaker (p.8)
Metal badge (p.13)
Wee coloring book “Brave Cats” (p.21)
Water pistol (p.21) This item is glued to the front of the wee coloring book.
Santa’s Christmas Party (lacking box)
(Polygraphic Company of America, 1951)
Pictures by Mary Stevens, Story by Helen Sterling
Five pop-ups
Die-cut hole in cover
Button (“Santa’s Christmas Party”) (p.3)
Santa’s Christmas Punch-Out Book
(Lowe, No Date)
The Night Before Christmas (animated by Meg Wohlberg)
Crown, 1944
Santa’s Playbook
Whitman, 1964
Christmas Cards (26 of Them)
Saalfield, 1946
Christmas 1955 (Carl Henry Rathjen)
3-D Glasses
Pop-up display rear inside cover
Stevie’s Christmas Concert (in box) COMPLETE
(No Publisher, No Date)
Written by Beth Vardon, Pictures by Charlot Byj
Two pop-ups
Plastic flute (p.18)
Loose in box:
Instruction sheet for assembling Pet Shop Interior
Pet Shot Interior pop-up scene
Punch-out sheet of pieces for pet shop (Christmas tree and three animals)
Santa’s Merry Carnival (in box) COMPLETE
(Polygraphic Company of America, 1955)
By Dorothy N. King, No Illustrator
Green alligator clicker (p.4)
Balloon in clown’s hand (pp.8-9)
Paint tablets (p.14)
Paint brush (p.15)
Monkey on wooden trapeeze stick (pp.18-19)
Davey and the First Christmas (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Inside Front Cover: Paper blowout with feather (i.e., party blower or blow tickler)
Game on back cover
Loose in box:
Die-cut Donkey (Tim)
Die-cut saddle bags (three pieces)
Instruction sheet for assembling donkey and saddle bags
Punch-out sheet with stars and top for game
Instruction sheet for game
Santa’s Cuckoo Clock (in box) COMPLETE
(Polygraphic Company of America, 1954) $1.25
By Dorothy N. King, No Ilustrator
Six pop-ups
Die-cut hole in cover
Paper blowout with feather (i.e., party blower or i.e., party blower or blow tickler) (p.6)
Paper straw (p.12)
Wee-book, Carols for your Christmas (p.14)
Paint tablets and paint brush (p.16)
Balloon (p.19)
The Christmas Story in box
Gospel Trumpet, 1952
Nativity scene pieces loose in box
Santa Visits Mother Goose (in box) COMPLETE
(White Plains Greeting Card Corp., 1953)
No Author, No Illustrator
Five pop-ups and moveables
Die-cut hole (p.5)
Red plastic spoon (p.7)
Band-Aid (pp.8-9)
Cellophane bag of red candy hearts (p.13)
Die-cut window in Mother Hubbard’s dress (p.17)
Paper parachute with fish (p.18)
Die-cut hole for piggy’s head (p.19)
Piggy squeaker (p.21)
Red paper horn (p.23)
Wee-book of Mother Goose rhymes (p.25)
Santa Claus in Storyland (in box) NEAR COMPLETE
(Doehla Greeting Cards, 1950)
Hardcover: casebound
No Author, No Illustrator
Six pop-ups and moveables
Cover has styrofoam “snow” on house roof
Die-cut spider (p.16)
Varsity gum (p.17) (Another copy with Fleer’s Double Bubble gum—a replacement?)
LOLLIPOP (p.20)
Santa’s Tuney Toy (in box) COMPLETE
(Polygraphic Company of America, 1956)
By Dorothy N. King, No Illustrator
Die-cut Carousel on stick (pp.2-3)
Wooden and metal multi-color xylophone and wooden mallet
Inside rear cover is small Tuney Toy Song Book
Christmas on Stage (in window box) COMPLETE
(Polygraphic Company of America, 1950)
By Charlot Byj
Five pop-ups
Visions of St. Nick in Action in Box
Phillips, 1950
My Flower Garden Book
No publisher, No date
Seed packets and pop-outs intact
Blinky Bill “Magic Action”
Whitman, 1935
Bobby Bear “Magic Action”
Whitman, 1935
Christmas Time (in box) COMPLETE
(No Publisher, No Date)
Written and Adapted by Hilda M. Finch
Illustrated by Charlot Byj, Stina Nagel, Cristina F. Christensen, Rene Racette
Four pop-ups and moveables
Envelope inside rear cover has cookie recipe printed on it, and loose inside:
Folded punch-out sheet for “Mrs. Honey Bun’s Helpers”
Folded punch-out sheet, one side for “Billy’s Christmas Visitor,” the other for
“The Night Before Christmas” (Figures fit into slots you cut on the page)
Floppy in Santa Land (in box) Signe COMPLETE
(Polygraphic Company of America, 1957)
Story by J. O’Hara, No Illustrator
Five pop-ups and moveables
Metal button on the cover: “Santa’s Guest * North Pole, N.Y.” (Not in pristine copy)
Cotton-tail (p.5)
Paint tablets and paint brush (p.6)
Dog’s die-cut back foot on a spring (p.13)
Pop-up soft foam bunny ears (p.19)
Santa’s Little Helpers (in box) NEAR COMPLETE
(Polygraphic Company of America, 1952)
Illustrations by William P. Hoest, Story by Ahlene Fitch
Six pop-ups and moveables
Die-cut cover (Santa’s beard)
Round cotton for Snowman (p.2)
FOIL-WRAPPED CANDY (P.7)
Balloon (p.11)
Die-cut Santa’s sleigh (p.18)
Paper blowout with feather (i.e., party blower or blow tickler) (p.22)
Metal clicker (p.25)
Larry’s Little Lamb (in box) COMPLETE
(No Publisher, No Date)
(Regal Stationary Company, Canada?)
Illustrations by Charlot Byj
One pop-up
Cover has small plastic ribbon attached by pin
Silver bell (p.2).
Small Chiclets box (yellow, red, or blue) with two Chiclets inside (p.13)
Loose in box:
Instruction sheet for assembling punch-out “Creche Theater”
Quarter-folded sheet of punch-out pieces: Creche and 8 figures
Poochy the Christmas Pup (in box) COMPLETE
(No Publisher, No Date)
Written by Beth Vardon, Pictures by Charlot Byj
Two pop-ups
Inside Front Cover: Paper blowout with feather (i.e., party blower or blow tickler)
Small compass (p.4)
Plastic toy rifle (p.9)
Magnetic Fishing set (p.18)
Plastic bone (p.20)
Loose in the box: Christmas Carols booklet
André et le Premier Noël
French Canadian Edition of Davey and the First Christmas
(Regal Stationary Company, Ltd., No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Inside Front Cover: No reference to “chicken feather” printed on page. The envelope holds the game pieces for the Voyage en Egypte game on the rear cover.
Punch-out sheet with stars and top for game
Instruction sheet for game
Game on back cover
Santa’s Circus (in variant box) COMPLETE
(White Plains Greeting Card Corp., 1952)
Red and White Box
No Author, No Illustrator
Four pop-ups and moveables
Squeaker on clown’s nose (p.7)
Horse flocked (p.9)
Balloon for Elephant’s nose (p.11)
Red Pencil (p.16)
White Life Saver (p.18)
Die-cut hole for hat (p.23)
Paper blowout with feather (i.e., party blower or blow tickler) (p.25)
Take the Children (in window box) COMPLETE
(Dorothy K. Werblow, 1951)
Written by Dorothy N. King, No Illustrator
Six die-cut dolls in envelope (p.11)
Next six odd-numbered pages (pp.13, 15, 17, 19, 21, 23) each have a slot for a doll
The Jolly Snow Man Christmas Play Book (in box) COMPLETE
(White Plains Greeting Card Corp., 1955)
No Author, No Illustrator
Balloon in Snowman’s nose on cover (p.1)
Bell on reindeer’s nose (p.8-9)
Stand-Up Christmas tree with punch-out ornaments (p.12).
Christmas stocking with three items (p.16)
Magnet in envelope
Santa Picture Puzzle (punchout)
Game Book
Jet Glider in glassine envelope (p.17-18)
Paint brush (p.19)
Santa Claus Magic Paint Book (pp.20-23)
Christmas at the Little Zoo (in box) COMPLETE
(No Publisher, No Date)
(Reader's Digest Children's Publishing, Incorporated, 1955?)
Story by Beth Vardon, Illustrations by Charlot Byj
Inside front cover, envelope contains:
Printed and folded paper ruler
Little Zoo paper penant on candy cane pipe cleaner
Printed Zoo ticket
Press-out Christmas ornaments (five)
Bell (p.7)
Green balloon (p.15)
Gold-covered chocolate coin (p.16)
Four tiny Christmas cards and four matching white envelopes in red band (p.19)
Leon Jason’s Jingle Dingle Christmas Stocking Book (in box)
COMPLETE
(Art Craft Publishers, 1953) $1.25
Story by Lucille Lee Kramer, Pictures by Ruth Ruhman
Five pop-ups and moveables
Jingle Dingle figure die cut with bell on cover (p.1)
Balloon in suitcase (p.5)
Jingle Dingle figure die cut (p.14)
Whistle in Santa’s hand (p.19)
Checkerboard and domino punch-out sheets in Christmas stocking (p.21)
Velvet Eyes: Santa’s Little Helper (in box) COMPLETE
(No Publisher, No Date)
Illustrated by Charlot Byj, Edited by Emil W. Klimack
Front cover has gold-embossed foil star
Inside front cover, envelope contains:
Sheet of gummed stickers (to be placed at numbered spots in book)
Punch-out sheet of game pieces (six children and five stars)
Instruction sheet for game on rear cover
Bell (p.4)
Whistle (p.6)
Small mirror (p.9)
Die-cut Velvet Eyes figure (p.13)
Talking Mama doll figure (pp.16-17)
Gold-printed star (p.21)
Game on back cover
F. P. Fairer
Two terriers on a cushion; also a reproduction by another hand (2)
first signed 'F. P. Fairer' (lower left); second inscribed 'Mes Modeles J. LeRoy' and illustrated with a drawing of a cat (lower left)
first oil on canvas; second reproduction print
first 20 1/8 x 24 1/8in; second 15 3/4 x 27 3/4in
Paul Mignon for Longwy BILLARD (BILLIARDS) CHAMPIONSHIP CHARGER France, 1971glazed ceramic1¼ h × 18½ dia in (3 × 47 cm) Signed and numbered to underside ‘Billard Pièce a Tirage No 23 creation P. Mignon’ with championship inscription 'Offert par la Ville de Longwy Championnat de France de Billard 1 Bande 2e Catégorie Fédérale 26 27 28 Novembre 1971'. Stamped manufacturer's mark to underside ‘Décoré à la Main Emaux de Longwy France Atelier d'art Made in France Rehaussé AK’. Provenance:
Léonard Defrance (1735-1805): La Visite à la Forge Oil on panel, c. 1789, signed 'L. Defrance' and inscribed 'Liege' lower right.16 x 22 3/4 in., 20 x 26 1/2 in. (frame).Literature: F. Dehousse, M. Pacco and M. Pauchen, Léonard Defrance, l'oeuvre peint, 1985, cat. no. 282, illust. p. 159.Provenance:Possibly sold Sotheby's, London, October 26, 1960, Lot 120; Galerie Cailleux, Paris; Sold Drouot, Beaussant & Levèvre, April 19, 2016, Lot 6; Didier-Aaron, NY. Condition:Some rubbing around the edges under the frame. Inpainting. Otherwise in good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
EN GRISAILLE EUROPEAN SUBJECT ZEUS MILK JUG Qianlong Era, circa 1750
Chinese Export subject of the "King of the Gods" on small ribbed sparrow's beak jug, 3 1/2 in. H.
Chinese Export Porcelain in the Reeves Center Collection at Washington and Lee University, (Th. V. Litzenburg, London 2003), p.190, cat. 187.
La porcelaine des Compagnies des Indes a décor Occidental, (F. & N. Hervouët & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.292, no. 13.1 & 13.2.
ROBERT FIELD British (1769-1829) The Meredith-Moreau-Pratt Miniature of President George Washington, 1801 watercolor, signed R.F. lower left and dated "1801". 3 3/8 inches x 2 9/16 inches Provenance: Thomas Meredith, son of General Samuel Meredith (1740-1817), first Treasurer of the United States, 1801; To his son Samuel R. Meredith, 1853; Charles C. Moreau, New York, 1858; To his son, C.L. Moreau; Herbert L. Pratt; Private Collection. Literature: Piers, Harry. 'Robert Field: Portrait Painter in Oils, Miniature and Water-Colours and Engraver.' New York: F.F. Sherman, 1927, cat. no. 88, p. 165.; Hart, Charles H. 'Historical Descriptive and Critical Catalogue of the Works of American Artists in Collection of Herbert L. Pratt.' New York, 1917, cat. no. 75, p. 134.; Wehle, Harry B, and Theodore Bolton. 'American Miniatures, 1730-1850: One Hundred and Seventy-Three Portraits.' Garden City, N.Y: Garden City Publishing Co., Inc, 1937, pp. xvii, 33, illus. pl. XVIII.; Bolton, Theodore. 'Early American Portrait Painters in Miniature.' New York: F.F. Sherman, 1921, p. 52.; Johnston, Elizabeth B. 'Original Portraits of Washington,' Boston: Osgood and Company, 1882, pp. 110, 115-116, pl. XVI illus.; Johnson, Dale T. 'American Portrait Miniatures in the Manney Collection.' New York: Metropolitan Museum, 1990, p. 117 (discussed). Other Notes: In a copper frame, with blue foil decoration on the reverse. Click to read the accompanying essay for this lot. Tags: Americana
Jasper Francis Cropsey: (American, 1823-1900)The Campagna of Rome, 1874, signed and dated lower right "JF Cropsey 1874", 18 x 30 in. ; fine period gilt wood liner in fine possibly reproduction gilt wood and composition frame, 32-1/4 x 44-1/4 in. - Note: Jasper Francis Cropsey was raised on his family’s hundred-acre farm in Staten Island. The artist began his career as an apprentice to architect Joseph Trench, where he painted structural images in watercolor. William T. Ranney and William Sidney Mount recognized young Cropsey’s emerging talent, and they encouraged him to embrace painting in oil. As a result, he began to create beautiful landscapes, a subject he would favor, and for which he would become famous. Cropsey’s paintings were well received following his first exhibitions at the Apollo Association (later known as the American Art Union) and the National Academy of Design (1843). As a testament to his success, he was elected an Associate of the National Academy in 1844, beginning a fifty-year career as one of America’s premier landscape artists. In 1847, he traveled abroad for the first time - visiting England, France, Switzerland, and Italy with his new bride, Maria Cooley. In 1851, he was elected a full member of the National Academy. With this new title, the ambitious artist sought inspiration from foreign land. The thrifty Cropsey held a studio sale in 1856 to finance a second trip to Europe. The artist and his family then settled in England and remained there for seven years. During this substantial period abroad, he established himself in the local community and socialized with leading artists and art-theorists of the day, including John Ruskin and Sir Charles Eastlake. Despite the distance, Cropsey maintained his American connections, patronage, and exhibition schedule to promote his work at home. In 1866, three years after the artist’s return to the United States, Cropsey purchased forty-five acres of land in Warwick, New York. By 1869, construction was completed on “Aladdin, ” a house that he designed for his family. The twenty-nine-room mansion with a painter’s studio became the artist’s retreat for fifteen years, where he spent each summer painting scenes of the surrounding landscape. However, the home proved to be too costly, and by 1884, the property passed completely out of his hands. In 1885, the artist and his family settled in Hastings-on-Hudson, New York. Their home is still owned by Cropsey descendants, who have maintained his studio and established a study center for his life and work. The artist made his only trip to Italy during his first European sojourn. He kept a studio in Rome for part of 1848, and then moved on to Naples. While there, Cropsey ventured on several sketching trips along the coast to towns such as Amalfi, Salerno, and the island of Capri. He exhibited these works at the National Academy of Design and the Pennsylvania Academy of the Fine Arts. His Italian landscapes were popular amongst his American audience. As a result, he continued to paint scenes based on his sketches of Italy long after his return home, as is the case with the present image. Here, Cropsey depicts the vacillating landscape of the Roman Campagna, a rural area in central Italy. During the Eighteenth, Nineteenth, and Twentieth Centuries, the alluring scenery invited tourists from Europe and America to enjoy the regional enchantments. During the ancient Roman Empire (25 BCE – 285 CE), this province supported diverse agricultural growth and residential life. However, the climate ultimately evolved during the Tenth Century and left several structures in ruins. In the right foreground of the image, ruins of a medieval watch tower stand strong as a testament to the land’s extensive history. The advanced age of the structure is further indicated by the long green plants that wrap around its surface. In this scene, the artist presents the overwhelming landscape with compositional balance and harmony. He contrasts the tall structure on the right with voluminous rocks in the left foreground. In addition, the luminism throughout the image indicates that it is likely the afternoon. His focus on the grass, rocks, and sky is drastically juxtaposed with the petite figures and urbanscape in the background, relating man’s past and present presence within nature. This painting is referenced with positive commentary in several prominent journals such as theThe Artists’ Fund Society, The New York Times, and The Aldine. One critic exclaimed in one of many favorable comments on the piece: “A view of the Roman Campagna, with distant view of Rome, and in the foreground the crumbling castellated fragments of some Ostrogothic thief’s stronghold. It is gorgeous in color and good in distance. ” 1 A preparatory drawing of this image titled Outskirts of Rome (1849) is in the collection of the Museum of Fine Arts, Boston. Many of Cropsey’s paintings of the Italian landscape can be seen in museum collections worldwide, including View of Nemi (1879, Newark Museum of Art), Italian Landscape (1860, Museum of Fine Arts, Boston), and Italian Landscape (1847-49, National Academy Museum). Accompanied by a facsimile of a letter discussing the recent purchase of the painting from Florence Levins of The Newington-Cropsey Foundation, Hastings-on-Hudson, dated March 5, 1993. Exhibited: Artist's Fund 14th Annual Sale, New York, NY, 1874, as Ruins on the Roman Campagna with Rome in the Distance, no. 53; "The Arcadian Landscape, Nineteenth Century American Painters in Italy", University of Kansas Museum of Art, Lawrence, Kansas, Npvember 4-December 3, 1972, cat. no. 17, illustrated. Literature: “Artists’ Fund Exhibition - The Private View, ” New York Times, January 18, 1874, p. 3; “Artists’ Fund Society, ” New York Evening Post, January 20, 1874 (as Ruins on the Campagna, with Rome in the Distance); “City Intelligence: The Artist’s Fund Sale. ” New York Evening Post, January 28, 1874, p. 2 (as Ruins on the Roman Campagna); “Art: Artists’ Fund Exhibition, ” The Aldine 7, April 1874, no. 88 (as Ruins on the Roman Campagna, with Rome in the Distance); William S. Talbot, Jasper F. Cropsey 1823-1900, PhD dissertation, New York University, 1972. (New York: Garland Publishing, 1977), pp. 207; 451-452, no. 184, illus. ; Kenneth W. Maddox, An Unprecedented Eye: The Drawings of Jasper E. Cropsey (Yonkers, NY: The Hudson River Museum, ) 1979, p. 34; A. M. Speiser, Jasper Francis Cropsey, Catalogue Raisonné. Works in Oil, vol. 2 (New York: Newington Cropsey Foundation, 2016), p. 163, no. 1210; Anthony M. Speiser, ed. , Jasper Francis Cropsey Catalogue Raisonne, Works in Oil, Volume II: 1864 -1884, (New York: Newington-Cropsey Foundation, 2013), p. 163, no. 1210. - Provenance: Robert Ingham; Kende Galleries at Gimbel Brothers, Robert Ingham sale, February 16, 1946, catalog no. 19; Dr. Frederick Mont (A. F. Mondshein); gifted to Los Angeles County Museum of Art, Los Angeles, California, 1947 (LACMA label verso); Berry-Hill Galleries, New York, NY sold 1993: Private North Carolina Collection Condition linen lined, approximately three small areas of retouch, additional retouch at edges mostly under frame; frame with minimal wear and small areas of regilt and abrasions
EN GRISAILLE EUROPEAN SUBJECT ZEUS MILK JUG, Qianlong Era, circa 1750
Chinese Export subject of the "King of the Gods" on small ribbed sparrow's beak jug, 3 1/2 in. H.
Chinese Export Porcelain in the Reeves Center Collection at Washington and Lee University, (Th. V. Litzenburg, London 2003), p.190, cat. 187.
La porcelaine des Compagnies des Indes a décor Occidental, (F. & N. Hervouët & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.292, no. 13.1 & 13.2.
MASSIVE MILITARY PHOTOGRAPHIC ARCHIVE, MOSTLY WWI-WWII, AMERICAN, ALLIED, GERMAN, JAPANESE.This archive is a lifelong collection of the consignor who has a publishing company and had hoped to publish photo history books utilizing images from this incredible archive. This dream never came to fruition and a change in life has instead led to the consignment of this treasured photoarchive. Archive consists of about 33,000 vintage and first generation photographic prints and 18,900 negatives, over 500 slides. Also included are five 8mm newsreel films, one 16mm newsreel film (original German newsreel footage of Fallshirmjager troops parachuting into Holland), 25 stereo-cards and miscellaneous ephemera belonging to photographers whose work is now preserved in this photoarchive including letters, correspondence and military service records. A large percentage of this archive is dedicated to WWI and WWII Air Corps and aviation. Many of the groupings are from professional American military photographers, German military photographers and soldiers in the field. A small percentage of this archive is made up of other content including trains, ships, cars (including 1919 Indy Race winners Ralph DePalma & Howdy Wilcox at a race on the Sheepshead Bay, NY track in their winning Indy car), Gar Wood & his co-pilot in executing an Oct. 1930 speed record run in the Harlem River as they ran the incredible speed boat, Miss America VIII, powered by twin Miller V16 supercharged engines, the 1939 World's Fair showing the Lifesaver parachute tower ride later used for paratrooper training at Ft. Benning and many portraits and landscapes of 19teens-1940s that would be perfect for publishers as well as movie costume and movie set designers. The images are concentrated in WWI-WWII era, but there are earlier photos and more military photos from Korean War and even Vietnam War. Many negatives included in this archive are large format and glass plates. Virtually all of the archive has been researched for the historical content, placed in acid free archival sleeves and boxes and labeled. All the 8x10 custom-made, wet-process prints were made by the consignor who has had fifty years of experience working in photo darkrooms. A partial summary of contents includes: WWI Aces Eddie Rickenbacker, Raoul Lufberry and photo positive of his death certificate; Douglas Campbell, Albert Ball-Victoria Cross (V.C.) (in his aircraft and with his squadron), William 'Billy' Bishop-V.C., Georges Guynemer, Irish Ace Edward 'Mick' Mannock-V.C., James McCudden-V.C., Frank Luke (known as the "Balloon Buster") ,WW1 German aces including Hermann Goering, Baron Manfred vonRichtofen (the Red Baron and photo of his death certificate), photos of the Lafayette Escadrille and other historically important WWI squadrons, photo of Quentin Roosevelt's terrible end and his death certificate , 9th AERO, dead WWI tankers, 7 WWI airplane postcards and 5 boxes of Vietnam War color slides. Vintage photos and negatives all taken by Marine tanker John Quas on Iwo Jima, vintage battleships, Bombardier Squadron 97, vintage prints of Spanish-American War era Illinois National Guardsmen also a Spanish-American War era Cavite coastal gun vintage photo. P-39 Airacobra 8x10 1st generation photos, 3175th Signal Service (pre-war or early WWII with shots of General Claire Lee Chenault, Flying Tiger's leader), B-29s, 1936 Olympics, war-time and post-war Europe, Generals, Franklin Delano Roosevelt, 82nd Airborne, 507th Parachute Infantry Regiment (Raff's Ruffians) negatives (no proofs or prints) showing Generals Jim Gavin, Matthew Ridgeway, Dwight D. Eisenhower and others just before D-Day, truly amazing photo negatives of an 82nd A.B., 507th P.I.R squad in full combat gear training prior to D-Day, very young and very old German soldiers surrendering, Guam Photos, 8x10 1st generation enlargements of 8th AAF, 303rd Bomb Group "Hell's Angels" photographed by Milton "Chic" Cantor. Included in this lot of original 4x5 negatives are several shots of 82nd A.B. parachutists watching over German civilians that they made to disinter civilian victims of a Nazi slaughter. The incident is described in "Jumpin" Jim Gavin's autobiography "On To Berlin" but the photo negatives of this incident have never been published. Custom made 8x10 prints from copy negatives of Eastern Front (Operation Barbarossa), WWI glass plate negatives, photo positives and prints of 94th Aero Squadron including Ace Reed Chambers, German & Italian leaders including Hitler looking at bomb damage and Mussolini with the Italian king photos. Pre-WWI & WWII aircraft, aviators, Polish soldiers, European theater and Italy vintage photos of Mussolini death and WWI aircraft. Quad 50 AA crew, guns, battle shots, B-26, 9th AAF 387th BG, 558th BS B26s, scenes, bases, soldiers, Paris (one showing Notre Dame cathedral sandbagged against bomb damage), 3rd Army in Europe, 9th AAF, Generals Hap Arnold, George C. Marshall, P-38s in the Pacific and North Africa and B29s, GIs in Europe, rail guns, Liege Belgium turrets in forts ruined in WWI and WWI monument, P-47 Thunderbolt Tallahassee Lassie 510th FS, 5th AAF crewman burial Okinawa 1945 and DC3s "The Scout" and others. Scenes from India, Burma, Suez Canal taken by WWII Signal corps photographer Robert W. Lavelle with two books of his negatives, truly excellent photographs and 200 1st generation 8x10 custom prints. Very rare Finland combat negatives with custom made, 1st generation B&W prints of the Finnish War of Continuation. The negatives in this amazing and rare lot with original Finnish language-descriptions of each film negative's contents, also English translation of same and over 200 custom 8x10 black and white prints (no negative count, but many rolls of 35mm). The works of WWI photographer L.R. Dold, Co. B, 314 Engineers 89th Div. from Trinidad, Colorado which contains negatives and photos of the Western Front, aerials of trenches, views of Verdun and the cavelike tunnel system, the Meuse River, camouflage roads, barbed wire entanglements on the Western front and much, much more. There are G. Warden Clark's AAF negatives of B-24 noseart and bombing missions over Europe. Some of the most incredible shots in the archive were taken by a Signal Corps photographer attached to the 82nd A.B. 507th P.I.R. and shows scenes such as Generals James (Jumpin' Jim) Gavin, Matthew Ridgeway and Gen. Eisenhower right before D-Day. Over 1,000 photos (most 4x5 and 8x10) The works of WWII photographer of Charles P. Carter 168th Signal Photo Co; the works of A.M. Berkson, Far Eastern Air Force photographer in WWII with the 5th AAF, 38th B.G. original negatives and a three-ring binder of vintage aerial photos showing Japanese bases on New Guinea and New Britain being pounded by U.S. Army Force B25 medium bombers. There are vintage photos in this 38th B.G. archive showing Japanese Navy vessels being destroyed, Japanese air bases demolished, the Japanese stronghold at Rabaul, New Britain being pulverized and Cape Gloucester being gloucesterized. Also great vintage photos of legendary aircraft in this bombing group and their aircrews as well as amazing photos of the natives and their villages. The works of WWII U.S. Navy Photographer, Daniel G. Reiber are in the photoarchive, WWII multiple photo groups: Marine aerial recon, old news photos, Yokosuka Naval Air Base, Army base (possibly Camps Shanks), Japanese surrender on Missouri. Pelileu Andrew Felbinger bombardier 133rd anti-aircraft, Bushmaster "Jake" Jacobsen photos and negatives, vintage photos of a Navy S.W. Pacific P.T. Boat Base; Guadalcanal, 870 Chemical Co., P-40, P-47, B-25s aircrews, B-26s, B-17s and 5th Service Command. WWII Navy and WWI Schuerz negatives and prints, 21 WWII photo albums, two WWI photo albums, Burma China album has negatives (several show Eddie Rickenbacker addressing pilots in the 14th AAF) and 500 South Pacific Coast, 16 negatives. Five WWII Castle newsreel films (news and parades), WWII China B-24 bombers, 14th AAF 308th BG and Chinese evacuating. Negatives and proofs of Luke, William & Ajo AAFB, plus Okinawa and Japan Army Base photos by George Kiener. European theater Battle of the Bulge, unknown photographer, European photos (France Maginot Line), 158th Regimental Combat Team Jake Jacobsen, 8th AAF 389th GB, 566th BS and Tobi and Fana Islands, Japanese surrender, 660 photos. Sino-Japanese War 1930s, air crashes at U.S. Naval Air Station, Japanese Gun in the Admiralty Islands, 5th and 13th AAF, PB4Y1 Tidewater Tiller and 660 vintage photos. Spanish-American War, WWI aircraft 1920s, Coast Guard station in Florida in the late 1930s, German spy ship Schwabenland in an American harbor and album labeled "1939-1940 World's Fair". Gar Wood in Miss America VIII in the Harlem River, Oct., 1930 and Florida Military school. Incredible photographic record of an WWII German Luftwaffe flak unit, photographer unkown, (about 300 negatives, 55mm and 3-1/2"x 2-1/2") in Germany and at the Pas de Calais. The works of a very talented U.S. Navy photographer Billie Greer Smoak from Georgia, WWWII U.S. Navy South Pacific photos, negatives and ephemera (564 photos, 316 negatives). Five 8mm WWII news films by Castle Films News Parade. 795 4x5 vintage negatives from the 1920s-1940s by New Yorker Mr. Elam (his works encompass the time period from the 19teens until the mid 1940s and include the Gar Wood negatives and the Indy winner negatives), WWI, Spanish-American War, WWI ANZAC 112 glass plates, 278 negatives WWII U.S. Army, 1940-1950's, Pvt. Herman Doll, 109th Inf., 46 negatives, WWII 8a8th MP 46 negatives, WWI Rainbow Div., E.H. Brown, 9th AAF C.J. Ginther negatives (some of the best in the archive), Marine Aircraft Group MAG 32, Marine Aircraft Group 13 (both in the South Pacific, some photo negatives of PBY Ctalina known as a "Black Cat") 276 negatives, Pacific WWII, WWII German B&W negatives, Luftwaffe, AA searchlight and 370 negatives MG unit, Europe and war generals and Victory Expo in Paris. Alsolso vintage prints of the liberation of a concentration camp. 351st BG (Heavy) 8th U.S.A.A.F., WWII, 197-4"x5" B&W acetate negatives. All prints and negatives in archival storage sleeves. All negatives are proofed, 49 half proof sheets. Shots include missions, personnel, aircraft, barracks and vehicles. U.S. Navy Photographer S. A. Szabo WWII _ 52 custom made 8"x10" B&W prints (some are vintage), 1 vintage 5"x7" print _ 72-4"x5" acetate negatives 12 of which are accompanied by 4"x5" contact proofs. Most photos are of Navy personnel, especially photo branch, some shots are of Navy aircraft and personnel. S/Sgt. Bob Lavelle, China/Burma/India WWII _ 161 custom made 8"x10" B&W prints with two 4"x5" vintage prints and five 8"x10" vintage prints. 166 2-1/2 x 3-1/2" negatives in two folios, each negative in a numbered glassine sleeve and identified in inventory at front of folio. Shots of people, personnel, RAF PBY, wrecked Japanese aircraft, captured Japanese aircraft spare parts, Gurkhas, temples, scenery, Suez Canal, British AC carrier, newspaper headlines about the war and more. Warren Boyen, European Theater _ 16 custom made 8"x10" 1st generation B&W prints, 78 small vintage prints. 558-35mm B&W negatives, 12 2-1/4" x 3-1/2" B&W negatives. Also an analog, German made photo exposure calculator. Photos include subjects such as convoy to Europe leaving from New York, scenes from England, France, Germany, armored vehicles, men, women, men with women, the Paris Expo under the Eiffel tower after the war with shots of an A 20 Havoc and Hub Zemke's P47, camp life and clubs. 1935 Military Exercises, Pine Camp, N.Y. _ 33 -4"x5" B&W negatives all with proofs (contact prints), men in formation, war game, men in camp, officer's and horses. 35 _ 2-1/4" x 2-1/2" B&W negatives with proofs. German Army, WW1, scenery, soldiers, trenches, trains, Krupp manufactured Big Bertha howitzer in place with crew and with burst barrell and destroyed villages. 7 _ 2-1/4" x 3-1/4" B&W negatives with proofs. U.S. Navy submarine Division 9 rafted up at North river, New York City in May 1920. R & S boats along with Navy ships. Includes 7, 8"x10" custom made 1st generation B&W prints. 89 -35mm B&W negatives with proofs. Family photos of houses, vintage autos, Navy personnel on leave. One custom made 8"x 10" 1st generation B&W print of a new, 1954 2-door Pontiac Chieftan. 16 B&W negatives with proofs, Korean War, U.S. Army, men, camp and helicopters. 6 _ 3"x2" B&W copy negatives with proofs of high ranking Nazi officers like Field Marshall Rommel, General Major Ringel and more. 6 _ vintage WWII prints B-29 Superfortress "Better 'N' Nuttin'" 2 - 4"x5" prints, 3 _ 3 1/8" x 2 1/8" prints. Crew members, aircraft on ground and in flight. Vintage 8"x10" B&W AP Wire photo from U.S. Army Signal Corps Radio Photo of B-25 Mitchell medium bomber "Jeanette" shot up in a raid on Sicily. Unknown Pennsylvania photographer who served in the Army in 1950s and in the Merchant Marine. 52 rolls of 35mm B&W film containing a total of 839 negatives. There are also 93-2-1/2" x 1-5/8" B&W negatives. Images on negatives range from early 1950s to 1961. Subject matter includes airshow at Philadelphia airport in 1955, tanks and half-tracks in Germany 1955, Merchant Marine ships at sea and in port, G.I.'s in Europe on maneuvers, European cities in France, Belgium, Germany, Greece, old cars, gas station in the 1950s, family and babies. 27 - 8"x10" custom made 1st generation prints of Philadelphia air show in 1955. Includes shots a B36 and a B56. 39 B&W 4"x5" negatives. 14th AAF, 308th BG (H) in B24 Liberators. Images are of bombing missions, aircraft in flight, bomb damage to Japanese held targets in China (8-4"x5" negatives with data written on them). 31-4"x5" negatives, also with information, of evacuation of Chinese from Japanese held parts of China. Some damage to a few of the negatives, but very poignant images, excellent focus and exposures show good contrast. Truly a magnificent record of a difficult time in Chinese history. 2 custom made, 1st generation 8"x10", B&W prints. All 31 of the evac negs have been proofed and 2 of the 8 combat mission negs have been proofed. Photos/photo negatives taken by Major Barnett, USAAF who served in the 12th AAF, 321st BG flying in a North American B25D Mitchell Medium bomber. Flew missions and photo recon. Grouping consists of 47-4"x5" B&W negatives with excellent subject matter such as large numbers of captured German troops, some no older than high school age, and gear in Italy. All 47 come with a proof sheet. There are a total of 516 35mm x 25mm B&W negatives, 374 have been proofed and many of these have multiple proofs, 145 have no proof sheets at all. Subject matter includes aircraft in the 12th AAF, wrecked and abandoned German and Italian aircraft and machinery at Bizerte, Tunisia, air recon missions, some personnel, the bombed ruins of Monte Casino, lots of aerials showing the Italian countryside. 36 first generation, custom made B&W 8"x10" prints from some of the 519-35mm x 25mm negatives. 7 vintage B&W aerials of Randolf Field in Texas (1930s), 14 vintage B&W aerial recon photos of target sites in Italy like Milan and Naples. Also some paper ephemera like magazines, military issue pamphlets, post cards and booklets. 1st Marine Division, 7th Marine Regiment, 81mm mortar platoon. Includes 53 8"x10" custom made, 1st generation, B&W prints. 257-35mm B&W negatives showing scenes from Marine basic training, Marines in full gear, Marines graduating from boot camp, small aircraft carrier, aircraft on carrier, jungle camp in Pacific, Okinawa scenes and combat, US Fletcher class destroyer. There are 15 proof sheets showing 221 images so not all the negs are proofed. Pfc. John Quas Jr., photographer was in the 4th Marine Division, 25th Regiment Tank Battalion. He served on Roi-Namur, Saipan, Tinian and Iwo Jima. Includes a photo album with 86 vintage B&W prints of various sizes. Subject matter includes Oahu, Hawaii, troops along with tanks, self propelled guns and artillery on revue; Marines on landing craft heading into the beach at Iwo, Iwo scenes, destroyed Japanese positions, captured Japanese weaponry, Marine tanks ashore, disabled Marine Sherman, Marine Sherman ashore with the landing fleet in the background. Very dramatic
after battle scenes, lots of casualties. There are also 58-30mm x 40mm B&W negatives and 52 custom made, 1st generation 8"x10" B&W prints made from the negatives. 4 vintage B&W 8"x10" prints, one marked on back "Official U.S. Navy Photograph" all in rough shape, fold lines and foxing evident. 1.)photo labeled "Giving first aid to wounded 10th Army man at Okinawa May 30, 1945. 2.) photo labeled "Carrier based planes of third fleet strike Kushiro on Hokkaido _ buildings set on fire plus locomotive _ July 14, 1945 _ The attack occurred during the Third Fleet's daring sweep of the Jap's home islands." 3.) The "Duke of York" pulling into Apra Habor, Guam Admiral Fraser on board to see Nimitz." 4.) Combat Marines on a break gathered around an older man in Marine uniform who appears to be signing autographs. 86 vintage B&W prints, photographer unknown, maybe a Sea Bee, most of the prints are 4"x5" , some are 2"x3 1/8". Most are of Guam, wreckage of battle, destroyed Japanese defenses, destroyed Japanese tanks, U.S. invasion fleet, B-29 bombers, cemetery, bivouacs, Guam scenery, Japanese staff at Guam hospital, also shots of Okinawa invasion wreckage and after battle scenes and sailing back into San Francisco harbor Golden Gate bridge ahead. 15 vintage 4"x 2-3/8" B&W prints of B17s in the 306th Bomb Group "The Reich Wreckers" on Gibralter and in flight. Photos taken by Joseph W. Long of Milford, Michigan. (116 negatives). 5 vintage 3 1/4" x 2" B&W prints of "Joey at Camp Bowie, Texas, 1943." Also 15 2-1/4" x 3-1/4" B&W negatives, all proofed. 77 B&W negatives, all proofed, unknown Army photographer, scenes show camp training, bivouacs, some scenes in Germany, troops on ship heading home. 49 B&W negatives 3 1/8" x 2-1/4" in size with 1 B&W negative 4-1/4" x 2-1/4" in size, all proofed on 16 custom made proof sheets. Photographer unknown, U.S. Army, most show G.I.s in Europe, post war. Scenes in Holland, Germany and France. A number of photos of troops on revue. Several shots of an airfield with numerous aircraft, one is a B-29, plus shots taken from cockpit of B-29 in flight showing inside of cockpit also aerials of Paris. 3 B&W glass negatives 3-1/2" x 2-3/8" in size all proofed on 2 custom proof sheets. Photographer unknown. U.S. Army, WWII era. Locations unknown. G.I. with fuel truck, G.I. in class A uniform, view of equipment storage yard on Marston Mat and bivouac in background. 22 B&W negatives all proofed on 3 custom made proof sheets, photographer unknown, ANZAC troops, scenes of ANZACs in what appears to be North Africa. 37-B&W 4"x5" professional negatives, all custom proofed on 9-8"x10" sheets and two on 4"x5" sheets. 69-4"x5" B&W vintage prints. All by Navy photographer Ensign G.W. Hollenbeck, photographic officer, Utility Squadron VJ 19. Subject matter includes aerial shots of atolls in the South Pacific, the U.S. Fleet at Ulithi atoll, The Battleship North Carolina underway seen from the air, Navy personnel, USO party, P-51D-20 Mustang tail number 44-72558 in the 458th Fighter Squadron/506th Fighter Group "A Neat Package", Beechcraft SN B-2 in flight over the Pacific, Grumman F6F-3 Hellcat on an aircraft carrier, Navy aircraft, Navy aircraft on aircraft carrier, Navy base, life on the base etc. 20-8"x10" vintage prints of aircraft (mostly in flight over the pacific) included in these are several excellent prints of Navy North American PBJ medium bombers in flight with some Chance-Vought F4U Corsairs, great shot of F4-U in flight, great shot of a Navy SBD Douglas Dauntless in flight, Douglas A-26 (Navy target tug designation JD-1) on Marston mat runway. One 5"x7" print of superstructure on an Australian aircraft carrier. 12-3"x2" vintage B&W prints showing Navy life on base in Pacific. 17-3"x 2-1/2" vintage B&W prints of VJ 19 personnel, 3-3 _" _ 2 _" vintage B&W prints showing VJ 19 personnel. Vintage B&W prints of VJ 19 personnel on deck of an aircraft carrier. 10-4"x5" B&W negatives, all proofed on 3-8"x10" sheets. Unknown photographer, U.S. Army basic training. Great shots, all sharp focus, good contrast. One favorite is of soldiers lined up in front of tent with girls smiling and looking out from tent. 139-2-1/4" x 2- 1/4" B&W negatives, all proofed, unknown photographer in either the 45th or the 96th EVAC Hospital. Scenes in Germany and Yugoslavia including U.S. personnel, hospital, wrecked German aircraft, death camp photos, buildings, ovens, etc. 20-4-1/2" x 2-1/2" B&W negatives all proofed, 20-3-1/4" x 2-1/4" B&W negatives all proofed. Photos taken by Lt. S.W. Sloane in the 925 Engineer Aviation Battalion showing scenes in England and North Africa. This unit landed on Omaha Beach in July 1944 and paved the way across Europe for the 9th AAF by building landing fields. Army Air Force personnel, bivouacs, English buildings, a wrecked searchlight on a beach, Army medics and a hospital. From Eastern Europe after the fall of the Iron Curtain, 598-3-1/4" x 2-1/4" B&W negatives, about 100 additional negatives of larger size, custom made 495 8"x10" B&W wet process, continuous tone B&W prints from these negatives. Most likely the combined works of multiple photographers. Subject matter includes ships in Norway port and in ocean, scenes from Holland with Fallshirmjager, Fallshirmjager in jump uniform with weapons, Operation Barbarossa (Eastern Front) scenes of battles, destroyed Russian tanks and after battle scenes, occupied Paris, portraits of Wehrmacht and Luftwaffe ground combat troops on eastern front, some members of a Cossack unit, POWs in a camp, outer perimeter and guard tower of a POW camp, Wehrmacht troops with newly awarded combat badges, scenes from Lithuania, Estonia, Latvia, Feldgendarmerie unit, Luftwaffe radio-teletype communication mobile unit on the eastern front, Wehrmacht troops in captured Bren gun carriers at Dunkirk, German graves in Russia, Russian POWs, Wehrmacht driving school in Germany, destroyed German city, blown bridges, wrecked BF109 on a beach, scenes from a French beach (Le Pilat Plage, De La Cote d'Argent, Wehrmacht troops at a seafood restaurant on the beach), Wehrmacht troops at Nice, France, Wehrmacht troops in Denmark, Luftwaffe funeral ceremony, wreckage of Bf109 and grave of pilot on eastern front (probably the son of General Julius 'Papa' Ringel who commanded the 3rd Mountain Division, 5th Mountain Division, LXIX Corps, Wehrkreis XI and the Army Corps Ringel), Werhmacht life in trenches on the Eastern Front, Wehrmacht target practice, Dornier Do 17Z unit, wrecked and destroyed Russian aircraft, trainloads of Soviet Polikarpov I-16s captured and disassembled, Wehrmacht troops being welcomed in Eastern European towns, JU52M 3M Medical Transport in flight, on ground and unloading "commissbrot" commissary bread, FLAK tower being built, trucks delivering food to troops, troops preparing chickens and cooking chickens, horse drawn covered wagons moving through forest on dirt road, German field artillery with blown barrels, German field artillery in emplacements, German medium field gun _ K.39 149mm being serviced, smoke from combat with soldiers marching toward the battle, Wehrmacht soldiers on the barrel of a Soviet heavy tank that is out of commission and more, More Operation Barbarossa. 275-35mm B&W negatives still in old film containers. 13-35mm color slides making for a total of 288 images. None are proofed. No prints made, unknown photographer. Subject matter includes Eastern Front scenes; Wehrmacht troops in bivouac, blown bridges, family scenes, Wehrmacht officers at a party, stunning portraits of a Soviet P.O.W., Wehrmacht officers in a trench on the Eastern Front, soldiers with horse drawn sled in snow, Wehrmacht in Niewport, Belgium, port scenes, portraits of soldiers, buildings on East Front, after combat scenes, lots of destroyed Soviet tanks, German town, target practice, bridge building, mail delivery to troops, horses, hay delivery and more. The 13 color slides are of a Wehrmacht soldier at home in the country with horses and his lady friend/wife. 281-35mm B&W negatives still in old film containers. None are proofed, no custom made B&W prints. Unknown photographer(s). Subject matter includes: Eastern Front scenes, after battles, blown bridges, wrecked Soviet tanks, oceans of mud and vehicles stuck in same, partisan danger sign, bodies, German graves, Oct. 1941-June 1942, Wehrmacht soldiers in Paris (Eiffel Tower _ Arc de Triomph _ marching on the Champs Elysee), Wehrmacht at Joan of Arc monument, blown artillery pieces, artillery pieces, truck soldiers, soldiers marching, vehicles traveling, villages, horse mounted Wehrmacht soldiers, horse care, scenery. Interestingly there are two rolls of German Agfa 35mm film in this lot which show what appears to be U.S. G.I.s in Germany with St. Bernard dog and puppy, Sherman tank, playing baseball, wrecked industrial plant, wrecked German city and several photos of a flow chart showing Brig. Gen. William R. Woodward. 304 total B&W negatives of German FLAK unit, 168-3-1/2" x 2- 1/4" negatives and 136 55mm x 43mm negatives all in archival sleeves. Accompanied by 285 custom made, wet process, 1st generation 8" x 10" B&W prints. The photo negatives are of a Luftwaffe FLAK unit assigned to a 2 cm FLAK 30. The crew's deployments are shown. They were deployed by a city on a river (Rhine?), then an industrial area, then Pas des Calais. There are shots of English soldier's graves (Dunkirk?), sea mines that washed ashore, life in their quarters, soldiers goofing around (alcohol was almost certainly involved), General inspecting the facilities, bunkers and gun emplacements on the Atlantic wall at the Pas de Calais. A number of negatives are shots of bombs exploding during an Allied bomb raid on the Pas de Calais and then shots of the aftermath, blown trains and buildings. Also shots of a mass burial of German soldiers, date on one of the crosses shows July 1, 1940 as the date of demise. Amazing photos, some of the best in the archive. 26-5"x7" B&W copy negatives of the WWII battles on Saipan. Good, sharp copy negatives depicting the horrors of combat, battlefield deaths and destruction. 500 total WWII East Front/Operation Barbarossa/Norway B&W negatives. Includes 197-3 3/8" x 2-1/4" B&W negatives, 48-2-1/4" x 2-1/4" B&W negative, 302-35mm B&W negatives. 39-8" x 10" custom made, wet process, continuous tone 1st generation B&W prints made from the negatives. Negatives document Wehrmacht-Combat Unit IR 489 with their commander H.H. Behrend. Subject matter is of Wehrmacht and SS troops moving to encircle Leningrad. Army group north sector. 4th Politzei Panzergrendier Division which was fighting with the 269th Infantry Division at the Battle of Luga, 1941. Photos of SS graveyard includes several showing the grave of SS Gruppenfuhrer und Generalleutnant der Schutzpolizei & Commander of the 4th SS Politzei Division Artur Ferdinand Mulverstadt. Also shown are wrecked German aircraft, German STUKA bombing Russian positions, Wehrmacht soldiers advancing into Russia, Wehrmacht assaults on Russian positions, lots of destroyed Russian tanks, German armored columns, German truck convoys, bivouacks, Wehrmacht soldiers with MG 32s in position, blown trains, 70Km from Petersburg, dead Russian soldiers, destroyed Russian equipment, lots and lots of German graves. Also shots of occupied Bergen, Norway (Ole Bulls Plass) ships in Norwegian harbor and underway with German troops on board. Pastoral scenery, German soccer match, troops unloading weapons and more. Incredible lot of photos. 303rd BG (Heavy) 8th U.S.A.A.F. "Hell's Angels" WWII. All shots taken by squadron's official photographer, Milton "Chic" Cantor. 36 custom made 8"x10" B&W prints. 152 WWII German negatives all proofed. Scenes include guest houses, restaurants in Austria, Wehrmacht soldiers with horses, caring for horses, captured African soldiers in French uniform, artillery unit in Russia, Wehrmacht in earthworks, captured French soldiers, wrecked buildings in Russia, soldier's portraits, battle scenes, Catherine the Great's Palace at St. Petersburg/ Leningrad, wrecked Russian tanks, wounded soldiers on train, Russian buildings, camouflaged artillery, Germans sitting on the barrel of a huge Russian artillery piece 1 negative & 1 print WWII 10/24/44 U.S.S. Darter, SS 227 aground on Bombay shoal, S.W. of Palawan, her crew was taken off and she was shelled extensively by the sub Nautilus to prevent the Japanese from salvaging the boat, in this photo she is being used for target practice by U.S.N. aircraft. WWII German, soldier on guard duty, soldier riding horses, soldiers physical training, Bivouac, crossing river on ferry, hospital, Christmas, scenes in Germany, Hermann (otherwise known as Arminius) Monument, Teutoberg Forest, Germany, 95 negatives no proofs WWII German Operation Barbarossa, 82-35mm copy negatives of German advance across Russia destroyed tanks, German armored columns, tank battles, lots of combat photos, 77 B&W 8"x10" prints. WWII U.S. Army, 14" x11", brown embossed leatherette. Album contains 434 vintage photos, 5 photo post cards of Australia, 3 maps, pages from AAF magazine article on Biak Island near New Guinea: start at March 1943 training at Camp Barkley, TX for Medical Reserve Training Corps, then to Australia Camp Perry Park-Brisbane, then to Biak Island, then Philippines; included in this album is a vintage prints of Joe Rosenthal's iconic photo of Marines on Iwo raising U.S. Flag; native women; combat shots on Saipan & New Guinea, combat shots in the Philippines, Iwo Jima; casualty shots; General Yamashita surrender to General Wainright & General Wainright is refusing to shake Yamashita's hand. WWII German Photo Album 8.8 cm flak unit+ (66 photos); German "Eighty-Eight" unit, camouflaged artillery, battery of 8.8s towed by half tracks, high ranking officer, ski troop, LW plane postcard photos, aerials, portraits, 2 death notices, 2 pics of N. Africa or Greece. WWII German, 1427 35mm negatives, 34 custom made 8"x10" B&W prints, covering time period Oct. 1940 to June 1942. Contains shots of Dresden, Germany before it was bombed on some strips; Dresden 1941; family photos; German Judge; tank columns; lots of graves; unit photos; East Front; artillery position; artillery spotters; German officers in field; Paris Eiffel Tower great shots; Germans take France; wrecked French tanks; towns & defenses; big cannons in train yard; shots of Croatia (Zagreb), Austria. Hitler's Operation Barbarossa is well covered in this archive, from the Black Sea to the Baltic. Especially of interest are the Finnish negatives and custom-made, 1st generation wet-process B&W prints made from them showing the part that Finland played in the operation and its War of Continuation against the Soviet military. Over 1,000 sample images and a brief description of the contents are shown in our on-line catalog. Prospective bidders should examine this archive in person. CONDITION: Very good to fine overall. There are images that have damage, though vast majority are fine. Interested parties should examine lot in person. 52429-1
SCHOENER, Johann (1477-1547).Luculentissima quaeda[m] terrae totius descriptio: cu[m] multis utilissimis Cosmographiae iniciis. [A very clear description of the whole earth, with many useful cosmographic elements]. Nuremberg: Johann Stuchs, 1515. Small 4to (210 x 150 mm). 86 ff., [15], 65 ff., with printed errata slip inserted between ff. b5 and b6; 6 pp. of Latin ms. added at end. Full-page woodcut coat of arms of the Bishop of Bamberg on title verso, near-full-page text woodcuts of Schoener's famous globe of 1515 (f.A1r), of the armillary sphere (fol.19v), and of a circular world map (fol.31r); numerous large woodcut initials, some with historiation, portion of 15th c. rubricated manuscript on vellum used as binder's waste at end. Contemporary limp vellum, manuscript title to spine, contained in a cloth box. Condition: creased at head with margins shaved affecting small area of the banner of Schoener's globe, small wormholes starting at f.43r and ending at rear endpapers, few minimal stains, front endpapers slightly tattered at fore-edge; vellum lightly soiled, spine somewhat cracked. Provenance: marginal annotations and a six- page manuscript text (at end) in contemporary hand; 17th century manuscript note at upper margin of title and annotation in dedication. Acquisition: purchasedfrom H. P. Kraus, cat. 185, 1990 (but 1998) item 20, $33,750. the earliest major treatise on the globe and its manufacture, by the pioneer of globe-making in Europe; taking forward Waldseemullers concepts in 1507 of the world in spherical (globe) form; this, the only edition is complete with the original errata slip. An essential source book for the early production of globes, the work was issued to publicise and create interest in Schoener's first globe of 1515, the title of the globe being identical to this work. Schoener's first woodcut globe was printed in 1515, and is illustrated on A1r and f.16r in this present copy. It is of primary importance to the text. The supplemental treatise is divided into two parts: the first, in twelve chapters, on the theory and geometry of globes, and the second, in eleven chapters, giving a new and illuminating geographical description of the world. Schoener refers to the continent of America by its newly instituted name, thus drawing reference from the Waldseemüller’s map of 1507; Schoener based in Bamberg, was a close follower of Waldessmuller and may have studied with him at St Die. A poem by Johannes Stabius is printed on leaf aiii, a notable mathematician and astronomer. He authored, along with Conrad Heinfogel, the star charts issued by Dürer in this same year of 1515. Another poem by Joannes Hiltner on the last leaf gives a description of a Schoener celestial globe. It's association with this volume and of the date 1515 make it feasible that the 1517 celestial globe of Schoener was a spherical rendering of the aforementioned star charts.There are six pages of contemporary manuscript, on the final endapers, under the title “Easy and comprehensive method introducing into the description of geography a technique of measuring the earth”. The colophon calls the work De***fabrica globi and ascribes it to one “Hermannus”, a contemporary of the scribe. The scribe then adds that Hermannus has written about a globe he is going to give to the scribe, “which will be worth more than good Florentine gold”. The text cites Ptolemy, Macrobius, and Theodosius, and devotes much space to the inconsistent values of miles and stadia in Europe.The last paragraph reads (in translation): “There are also other unknown places. Moreover there are new lands recently discovered, many of which are islands recently reported, which were before unknown, about which see Amerigo Vespucci”. These notes are particularly interesting since at this period Schoener was experimenting with his manufacture of globes. In 1515 he made a woodcut terrestrial globe, diameter 28cm (one example, heavily painted, survives), a celestial (now lost), followed in 1517, a manuscript globe (diameter 87cm) was made in 1520, followed by an woodcut terrestrial globe in 1523 (with Magellans new discoveries) and a pair of globes, celestial and terrestrial, in 1534/35. Apart from Behaim's manuscript globe of 1492 and the 4 surviving copies of the woodcut gore sheets of Waldseemuller's pocket globe, 1507, the 4 Schoener woodcut globes that survive are the oldest 'manufactured' western globes. Schoener owned the the only surviving examples of the 1507 Waldseemuller wallmap and the Carta Marina of 1516, both now in the Library of Congress. Originally these two maps and sample sheets of his globe gores were bound in a codex found in the library of Castle Wolfegg in Wurttemberg, Germany. Waldseemuller's geography was the source for Schoener's terrestrial globes. The importance of this work by its dissemination of geographical information through the concept of the spherical world, in the Renaissance period, cannot be underestimated; this manual is one of the primary sources of the development of that knowledge.An absolute rarity, only one copy (Sotheby's London, June 1988) has appeared at auction in the last 30 years.Stevens-Coote, Schoener, no. 1; Alden & Landis 515/16; Sabin 77804; Harrisse 80; JCB I, 63; Church 37; Borba de Moraes II, 781; Adams S-682; Nordenskiöld, Facsimile Atlas, p. 77; Stevenson I, 82--88; World Encompassed 73; Van der Krogt Globi Neerlandici, pp30-33.
Ernest Gimson (British 1864-1919)A steel floor-standing twin-light candle stand probably executed by Alfred Bucknell with hexagonal lower shaft and octagonal knop 50 1/4" high.Provenance:F. W. Troop and H. R. Steele and thence by descent.Illustrated:See Cheltenham Art Gallery archive of Barnsley and Gimson drawings cat. no.1941.223.006.and Mary Greensted Gimson and the Barnsleys London 1980 for a room setting with a comparable stand at Daneway House p.171 fig.131.
SIX PIECE GRISAILLE MYTHOLOGICAL TEA SET Qianlong era, circa 1750
Chinese export continental market. A six-piece part tea-set comprising one coffee cup, one tea bowl, two saucers, and one sucrier (sugar bowl) together with its cover. Each with central image of Jupiter (Zeus), the "King of the Gods," with stylized Du Paquier border, saucer, 5 in. Diam.; cup, 2 1/4 in.; tea bowl, 2 3/4 in. Diam. sugar bowl, 4 3/4 in. Diam. Chinese Export Porcelain in the Reeves Center Collection at Washington and Lee University, (Th. V. Litzenburg, London 2003), p.190, cat. 187. La Porcelaine de Compagnies des Indes a Décor Occidental, (F. & N. Hervouet & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.292, nos. 13.1 & 13.2.
JOZEF ISRAELS, WATERCOLOR, VIEW OF TANGIERJozef Israels (Dutch, 1824-1911) Souvenir de Tanger watercolor on paper signed Jozef Israels lower right signed again J Israels and inscribed with title on the reverse Souvenir de Tanger H.T.M. 16809 (Hollandse Teeken Maatschappij) 19 7/8 x 28 1/2in (50.5 x 72.5cm)Provenance: Kunsthandel Francois Buffa et Fils, Amsterdam. Collection F. Tessaro, Amsterdam. sold Frederik Muller & Co, Amsterdam, 11 April 1916. sold De Zon, Amsterdam, 19 September 1978, lot 4031. sold Christies, Amsterdam, 29 October 1997, lot 2349. Property from the Collection of Kate Edelman Johnson sold to benefit The Johnson Charitable Remainder Unitrust and the Deane F. Johnson Alzheimers Research Foundation.Exhibitions: Kampen, Gemeentelijke Expositie ruimte, Jozef Israels, 20 June 6 September 1987, cat. no. 38.Literature: Jozef Israels, Spanje-een reisverhaal , 1899. W. Steenhoff, Onze kunst 3 (1904) Jozef Israels, p. 29-51 (illus. op p. 36.). Footnote: Jozef Israels (27 January 1824 - 12 August 1911) was a leading member of the group of landscape painters referred to as the Hague School and, during his lifetime compared to Jean-Francois Millet., considered the most respected Dutch artist of the second half of the nineteenth century and even hailed as a second Rembrandt by some. In 1855, after spending time in various art academies including the ecole des Beaux Arts in Paris and working as an academic history and landscape painter, after an illness he spent time convalescing in the fishing village of Zandvoort near Haarlem. It was there he witnessed the poverty of the fishermen and their families and his style changed dramatically. Israels work took on a poignant sense of empathy with the subjects and moments of life he captured. In May 1894 Jozef Israels traveled to Spain and North Africa with his son Isaac, also a painter, and the writer Frans Erens. Working often with his son, Israels paintings became more luminous, resembling Isaacs style. The piece offered here captures the artists late oeuvre with glowing light, subtle brushwork and a very sensitive approach to his subject matter.
Condition:
There is frame abrasion along the edges and corners. The corners are slightly bumped. There is a pinhole in each of the corners. There is some buckling to the paper.
KRÜGER, FRANZ (Grossbadegast 1797 - 1857 Berlin) Ludwig Adolf Friedrich Fürst zu Sayn-Wittgenstein. 1836. Oil on canvas. Signed lower right and dated: F. Krüger f. 36. 39.4 x 30 cm. Provenance: - Family Sayn-Wittgenstein-Berleburg. - Sotheby's, Amsterdam, 17.10.2001, Lot 891. - Private collection, Germany. Exhibited: Berlin, Staatliche Museen zu Berlin, "preussisch korrekt, berlinisch gewitzt, Der Maler Franz Krüger", 4. April - 1. July 2007, cat. No. 139, p. 171- 172, with ill.
EN GRISAILLE EUROPEAN SUBJECT ZEUS THREE-PIECE SET, Qianlong Era, circa 1750
three pieces Chinese Export teaware with image of "King of the Gods," with elaborate stylized border, includes, saucer, tea bowl and teacup.
4 1/4 in. Diam. of saucer, 3 in. Diam. of tea bowl and 31/4 in. Diam. of cup with handle.
Chinese Export Porcelain in the Reeves Center Collection at Washington and Lee University, (Th. V. Litzenburg, London 2003), p.190, cat. 187.
La porcelaine des Compagnies des Indes a décor Occidental, (F. & N. Hervouët & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.292, no. 13.1 & 13.2.
VLADIMIR MAKOVSKY (RUSSIAN 1846-1920): VLADIMIR MAKOVSKY (RUSSIAN 1846-1920) . Portrait of a Revolutionary Alexander Soloviev , 1879 . oil on canvas laid on board . 37. 5 x 30 cm (14 3/4 x 11 3/4 in) . signed and dated center right . . PROVENANCE. Collection of E. V. Smirnov, Leningrad (label on verso). Alfa Art, Moscow, January 25, 1992, lot 5. Private collection, Japan. Acquired from above by the present owner . . EXHIBITED. Scientific-Research Museum of the Russian Academy of Arts, Leningrad, Exhibition of paintings by Russian masters of the second half of 19th century. From private collections of Leningrad, March-May 1951 (listed on p. 10 of the ex. cat. by L. F. Galich and T. A. Petrova). . LITERATURE. Leningradskaya Pravda (Leningrad, March 24, 1951), p. 3, No. 70. Vecherny Leningrad (Leningrad, March 26, 1951), p. 3, No. 70.
Ransome (Arthur journalist and writer 1884-1967) Autograph Postcard third person to "Captain John" [John Rubinstein] 1p. 8vo with printed pictorial border and green watercolour wash n.p. n.d. [c. 1935] "Mr Arthur Ransome presents his compliments to Captain John and brothers and regrets that circumstances make it impossible for him to accept their kind invitation. He hopes that if ever they are charging round this part of the country on a weekend they will look in on him" and a note on Way & Waller Estate Agents notepaper inscribed "To Captain John fromArthur Ransome" and a small pen and ink drawing of a sailing boat tipped-in to an Autograph Album including: Aldous Huxley W.B. Yeats H.G. Wells Queen Victoria Lloyd George (pencil) Noel Coward A.E.F. Horniman Richard Church Rose Macaulay Victor Gollancz Radclyffe Hall Clifford Bax George Bernard Shaw Margot Asquith Edmund Dulac (with small watercolour of a cat) G.B. Stern Louis Golding General Birdwood R.C. Sherriff Sybil Thorndike Leslie Hore-Belisha John Masefield Laurence Housman Malcolm Muggeridge Vera Brittain A.J. Cronin Marie Stopes and others together c. 75 pieces some ff. loose or working loose original leather slightly rubbed in an album some slight rubbing oblong 8vo.
Manner of Sir Thomas Lawrence (British, 1769-1830) Portrait of a Young Lord, thought to be Anthony, 7th Earl of Shaftesbury, K.G. (1801-1885) Unsigned, bears a presentation plaque. Oil on canvas, 21 1/8 x 17 1/8 in. (53.5 x 43.5 cm), framed. Condition: Lined, scattered retouch, craquelure. Provenance: Possibly A. De Gany, Paris, prior to 1929, to Collection of Arthur Ruck, London; acquired from the John Levy Gallery, New York, by Mrs. B. F. Jones, Sewickley Heights, PA; Parke-Bernet Galleries, Dec. 4 and 5, 1941, The Eminent Collection of Paintings formed by the late Mrs. B.F. Jones, Jr., Cat. 73; through to the Estate of Anne P. Owsley. Literature: W. Roberts, Anthony, 7th Earl of Shaftesbury, K.G. by Sir Thomas Lawrence, P.R.A., privately printed pamphlet, c. 1929, with essay dated "London, Oct. 10th, 1929." N.B. A copy of the above referenced pamphlet accompanies the lot.
OSVALDO PERUZZI, Italian (1907-2004) "PINETA N.3", oil on canvas, signed and dated "Peruzzi 56" lower right; signed, titled and dated "Peruzzi Livorno /1956" on the reverse 23 5/8 x 31 1/2 inches Provenance: Property of a nonprofit collection. Exhibitions: Fondazionne Premio di Pittura, F.P. Michetti, August - September 1957, cat. no. 33; Premio Di Pittura Amedeo Modigliani December 1957- January 1958, Livorno, Italy. Other Notes: Tags: European, Italian modernism, 20th century, modern / contemporary, abstract Provenance: Condition: Canvas: Unlined Condition: Good Restoration: None Frame: Cap Comments: A few minor abrasions. Crazing in the red areas. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon's is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE
Diego Rivera (Mexican, 1886-1957) Niño Recostado con Bulto, S.F. Signed "Diego Rivera" u.l. Ink and watercolor on Japan paper, sheet size 7 1/4 x 10 3/4 in. (18.3 x 27.5 cm), framed. Condition: Rippling, tack holes in each corner, hinged to burlap-covered backing along top edge. Literature: Rivera, Diego, and Laura Cortés Gutiérrez, Instituto Nacional de Bellas Artes, Diego Rivera: catálogo general de obra de caballete. Mexico City, Mexico: Consejo Nacional para la Cultura y las Artes, Dirección General de Publicaciones, 1989, p. 329, figure 2503.
ARNOLDO POMODORO(California/Italy, born 1926)
Omaggio al cosmonauta, 1962, edition of 2 and 1 artist proof, unsigned, bronze, 31-3/4 x 32-1/4 x 7-1/8 in.(82 x 82 x 17.78 cm.) with mounting framework
Brunk Auctions would like to thank the Archivio Fondazione Arnaldo Pomodoro for confirming the authenticity of this sculpture.
Related Literature: Arnaldo Pomodoro. Catalogo ragionato della scultura , curated by F. Gualdoni, Skira editore, Milan, 2007, ill. p. 478 (cat. 290); Prina R., Arnaldo Pomodoro. Opere e parole , in catalogue of the solo exhibition, Rettorato dell'Università,Castello di Masnago, piazza della Repubblica, Varese, Electa, Milan, 1998, p. 52 (ill. p. 36); Selz P., Semblance of Power: Arnaldo Pomodoro's Recent Sculpture , in "Arts Magazine", New York, NY, n.1, vol. 60, September 1985, p. 124.; Mussa I., Introduzione, in catalogue of the solo exhibition, Forte di Belvedere, Florence, Fratelli Fabbri Editori, Milan, 1984, p. 14; Lebel R., anthologie des formes inventées – un demi-siécle de sculpture , Edition de La Galerie du Cercle, Paris, 1962, ill. cover.
Condition:
later applied varnish layer with crazing, flaking, abrasions primarily at sides
VALKENBORCH, FREDERIK VAN (Antwerp 1565 - 1622 Nuremberg) Building the tower of Babel. 1608. Oil on canvas. Monogrammed and dated lower right on the rock: .F.VV. 1608. 160 x 294 cm. Provenance: - Zadick auction, Munich 16. July 1980. - Zadick Munich, September / October 1981. - Ruef art dealer, Munich, circa 1980/1. - private collection, Germany . Literature: - Wied, Alexander: Lucas und Marten van Valkenborch. Das Gesamtwerk mit kritischem Oeuvrekatalog, Freren 1990, S.239/40, Cat. No.20. - Minkowski, Helmut: Vermutungen über den Turm zu Babel, Freren 1991, p. 204, No.322, Colour plate, p. 75.
John Frederick Peto (American, 1854-1907) Pipe, Newspaper, Mug, and Biscuits Signed "J.F. Peto" l.r., identified on a label from the California Palace of the Legion of Honor, San Francisco, affixed to the back of the frame. Oil on panel, 4 1/8 x 6 7/16 in. (10.5 x 16.4 cm), framed. Condition: Possible scattered small dots of old retouch, fine craquelure. Provenance: A private New Mexico collection. Exhibitions: John F. Peto, Smith College Museum of Art, March 1-24, 1950, The Brooklyn Museum, April 11-May 21, 1950, and California Palace of the Legion of Honor, June 10-July 9, 1950. Literature: Brooklyn Museum and Alfred Victor Frankenstein, John F. Peto, Catalogue of the Exhibition with a Critical Biography by Alfred Frankenstein (Brooklyn, New York: Brooklyn Museum, 1950), cat. no. 13, p. 46. N.B. The label from the California Palace of the Legion of Honor lists the lender of the painting as Mrs. George Smiley. Mrs. Smiley was the former Helen Peto, daughter of the artist. The catalog for the exhibition dates the painting to 1887 or later. Estimate $15,000-25,000 There are some minor dots of retouch to the mug. The craquelure is minor and stable. 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.
JOHN SINGER SARGENT (American, 1856-1926) "DONKEYS IN A DESERT, MOROCCO 1880". Oil on wood panel . Housed in a fine carved & gilt wood frame. Unsigned. Verso depicting a study of three Venetian gondolas. Reference: Sargent Catalog Raisonne, 'Figures and Landscapes, 1874-1882', page 298. Please Note: JOHN SINGER SARGENT COMPLETE PAINTINGS; ORMOND/KILMURRAY VOLUME IV:, Page 412. #788 Donkeys In A Moroccan landscape (recto) and Three Boats (verso). Violet Sargent (Mrs. Frances Ormond), 1925; Her son F. Guillaume Ormond, 1955; His heirs, 1971; Coe Kerr Gallery, New York, 1989; Mr. and Mrs. Harry Spiro; Private collection. Exhibitions: New York, Coe Kerr Gallery, American Impressionism, 1989 19 May-23 June 1989, No.37, Ill. Cat. N.P. (color) as "Donkeys In The Desert With Squatting Figure". Literature: Mount 1955 p444 (K8034) dated 1880; 1957 Ed., p354 (K8034); 1969 Ed., p461 (K8034); As "Three Donkeys In A Desert With Squatting Figure" SIZE: 10" x 13-1/4". Overall: 18" x 22" PROVENANCE: Thomaston Auction Galleries, Aug. 2009; From a Maine/Texas Collection CONDITION: Very good 51398-47
EN GRISAILLE EUROPEAN SUBJECT ZEUS CUP & SAUCER Qianlong Era, circa 1750 Chinese Export saucer with central image of the "King of the Gods" with stylized border. and matching teacup. saucer, 5 in. Diam., cup, 2 1/4 Chinese Export Porcelain in the Reeves Center Collection at Washington and Lee University, (Th. V. Litzenburg, London 2003), p.190, cat. 187. La porcelaine des Compagnies des Indes a d?cor Occidental, (F. & N. Hervou?t & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.292, no. 13.1 & 13.
THE COSTUME OF THE RUSSIAN EMPIRE 1803 Antique Traditional Dress European History Hand Title: The Costume of the Russian Empire, Illustrated by a Series of Seventy-Three Engravings. With Descriptions in English and French / Costumes de l'empire de Russie, representes dans une serie de soixante et treize planches. Accompagnees de descriptions en francais et en anglaisAuthor: uncredited authorPublisher: Printed for W. Miller / Imprime pour W. Miller, LibraireCity: LondonYear: 1803Binding Style: HardcoverPagination: UnpaginatedWidth: 11.25" Height: 14.75"Book Details: This is a valuable record of the peoples of the Russian Empire as it stood at the end of the reign of Empress Catherine the Great."The Russian empire is to an extent [unlike] other modern nations, and hardly equalled by that of the Romans in the summit of their power. It embraces within its limits, nations the most various, with countries and climates the most opposite ... It touches the Frozen Ocean of the north; and borders the warm climate of Persia, Japan, and China, on the south.... The authenticity of the present work is undoubted [The subjects of the engravings having been taken from a work published by Carl Wilhem Müller: Johann Gottlieb Georgi's Déscription de toutes les nations de l'empire de Russie, published in St. Petersburg, 1776-77]... The descriptions have been derived from the most authentic sources, more particularly from Professor Müller's "Description ... - Voyage en Sibérie, par D'Auteroche - Description de Kamtshatka, par M. Kracheninnikow - Plescheëf's Survey of the Russian Empire - Pallas's Travels through the Southern Parts of Russia - Saür's Account of Commodore Billings's Expedition to the Northern Parts of Russia," ... as well as from information procured from several gentlemen, who have been resident for some time in different parts of that empire' (Preface).Condition / Notes: This antique volume is bound in contemporary red straight-grained morocco, with the covers elaborately panelled in gilt and blind, the spine in five compartments with stamped gilt lettering repeat decoration in gold. The front board is detached and the spine displays some loss at its bottom edge. The covers show rubbing and scuffing, with minor loss at the corners and the edges. The volume has gilt edges and brown endpapers. The front flyleaf and the frontispiece are detached. The pages exhibit light foxing, with offsetting on pages opposite plates. This work has a letterpress title in English, letterpress title in French, together with parallel text in English and French. There are 71 (of 73) hand-coloured stipple-engraved plates by J. Dadley, including a frontispiece, offering images of the traditional dress of Finland, Kazan, Siberia , Kamchatka, Kurilia, Yakutiya, and other areas of the Russian empire of the 18th century. Plate 51 has a closed tear measuring approximately 4 inches in the lower right corner. This volume lacks plates 57 and 73.Cf. Abbey Travel I, 244; Bobins I, 179; Cat Russica C1187; Colas I, 702; Hardie p.151; Prideaux p.317.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: $10.50
EN GRISAILLE EUROPEAN SUBJECT ZEUS BOWL & SAUCER Qianlong Era, circa 1750 Chinese Export saucer with central image of the "King of the Gods" with stylized border. and matching bowl and saucer, 5 in. Diam., cup, 2 1/4 Chinese Export Porcelain in the Reeves Center Collection at Washington and Lee University, (Th. V. Litzenburg, London 2003), p.190, cat. 187. La porcelaine des Compagnies des Indes a d?cor Occidental, (F. & N. Hervou?t & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.292, no. 13.1 & 1
FREDERICK HART (1943-1999), "DIVINE MILIEU," 2001, CAST ACRYLIC, 20.25" H X 7.325" W X 8.75" DFrederick Hart, (1943-1999) "Divine Milieu," 2001, Cast acrylic Etched signature and markings: Hart / © 2001 F. Hart / A. P. XLII/LXXV CAT Cast acrylic Dimensions: 20.25" H x 7.325" W x 8.75" D Provenance: Purchased at Lahaina Galleries in Fashion Island on June 5, 2001
EN GRISAILLE EUROPEAN SUBJECT ZEUS TEAPOT STAND Qianlong Era, circa 1750
Chinese Export shaped pot stand with central image of the "King of the Gods" with stylized border.
5 in. Diam.
Chinese Export Porcelain in the Reeves Center Collection at Washington and Lee University, (Th. V. Litzenburg, London 2003), p.190, cat. 187.
La porcelaine des Compagnies des Indes a décor Occidental, (F. & N. Hervouët & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.292, no. 13.1 & 13.2.