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Click here to subscribeSeven 1980`s Pedigree Sindy Outfits: 2 x 43084 Reflections `High Energy`; 2 x 43123 Reflections `Capital Miss`; 2 x 43021 Designer `Nightcap`; 43023 Designer `Rainy Days` (all M and carded). Together with 3 x Hasbro 8070 Paul; 4 x Paul outfits (2 x 8360/8372 Dashing in Denim; 8360/8371 Jump Into Action; 8360/8373 Special Night Out), all boxed and appear unopened. (14)
A Rare Pair of Second World War Japanese 15 X 80 `Big Eye` Naval Binoculars, circa 1941, finished in green and grey paint, the right optic casing marked 15 X 80, No.617 and Japanese script, with padded eye cups, in original fitted wood box containing five filters, together with associated metal tripod **This type of binocular was deck mounted on Japanese Capital ships to observe the effect of gunfire at long range
A collection of Rock and Roll memorabilia - a signature of Eddie Cochrane (1938-1960), framed and with later colour printed photograph, a signed black and white photograph of Gene Vincent and The Blue Caps, taken at Capital Tower Hollywood December 1957, the reverse with signatures of Matt Lipscomb, Gene Vincent, Bobby Jones, Johnny Meeks & Dickie Harrel and an autographed and inscribed copy of the Gene Vincent LP, A Radio Station Service, from the Buddha group (3)
A large cut glass and gilt metal mounted column table light, late 19th/ early 20th century, surmounted with Corinthean type gilt metal capital, leading to octagonal glass knop and hexagonal glass column, twin graduated glass ring base, square foot and stepped square base, height 52 cm; a milk glass and gilt metal mounted table lamp, late 19th/ early 20th century, the pierced gilt metal surmount leading to flaring octagonal glass column, squashed knop and flaring multi faceted base, height 74 cm, (2), (it is the buyer`s responsibility to ensure electrical items are professionally rewired for use).
God Speed The Field 1790 Prize Medal God Speed The House 1790, copper (2) and three similar plated, Bridge of Dunkeld Built 1808, James Murray Athol (2), plated medallions, two glass matrix God Speed the House 1790, two wax medallions, a profile portrait medallion of a lady and a Greek style medallion, four wax seals of the community of the Capital of the church Dunkeld (18) Provenance: Viscount Strathallan, Stobhall, Perthshire
Sevres style plate after Mereaud, having a finely painted central decoration depicting a young man and two ladies in a garden within a gilded and jewelled bleu de roi border, base with interlaced L`s, date letter for 1779 and blue capital S probably referring to Mereaud the Elder, 24cm diameter
TWO RARE MINTON MAJOLICA PEDESTALSshape 2227, of square form, each side with a cobalt panel moulded with a ribbon tied festoon of fruit and flowers, ochre or claret spiral pilasters to the angles and with turquoise ground, with leaf moulded capital and foot between ochre bands, 96 and 98cm h; 41 x 41cm, c1875Provenance: Acquired in Stoke on Trent by the present Vendor`s family, c1900.Other examples are illustrated Bergesen (V), Majolica British Continental and "American Wares 1851-1915, 1990, col plt XIV and Atterbury (P) and M Batkin, The Dictionary of Minton, revised edition Woodbridge 1998, p158. The moulded festoons were also issued as 8 inch wall tile panels.++1. Chip on one corner of base, cracks in top and tiny nicks; no restoration2. Old small flat chip and descending cracks on one side, turning and running into one side panel, one side of base with two old flat chips; no restoration
A PAIR OF VICTORIAN DWARF COLUMNAR CANDLESTICKSwith beaded nozzle, Corinthian capital and spirally reeded and fluted shaft, on stepped square foot, 16cm h, by James Deakin & Sons, Sheffield 1893, loaded++Slight wear and holed on the right angles of the steps of the foot, some polish residue, marks slightly rubbed
A FINE SECOND WORLD WAR PATHFINDER`S DFM GROUP OF FIVEawarded to FLT LIEUT ARTHUR EDWARD KEELING, Royal Air Force Volunteer Reserve, Nos 49 and 53 squadrons, comprising Distinguished Flying Medal 1575572 SGT A E KEELING RAF, 1939-1945 Star, Air Crew Europe Star with France and Germany clasp and War Medal, mounted, Flt Lieut Keeling`s Pilot`s Flying Log Books with entries from January 1942-March 1943 and April 1943-August 1944, his illustrated diary when a prisoner of war in Stalg Luft III, RAF Pay and Service and Release BookS, German identity card, photographs of Stalg Luft III and the liberation (taken with a camera found in a desk drawer in the German Officer`s mess the day following Hitler`s suicide), the RAF cloth wings insignia from Flt Lieut Keeling`s battle dress, official letters, telegram and ephemera, together with the medals (and two photographs) of his father Arthur Henry Keeling comprising British War Medal and Victory Medal, 18400 PTE A H KEELING A CYC CORPSDFM: London Gazette, 4 February 1944. The citation for the DFM reads: This airman has completed numerous sorties, including eight attacks on Berlin. In this phase of operationS against targets in the capital of the Reich, Sergeant Keeling has displayed great keen-ness and determination and has set an example worthy of the highest praise. He is a most efficient captain and pilot.Provenance: The recipient, thence by descent to the present vendor.+++
F.E. McWilliam RA (1909-1992) Woman of Belfast (No. 16 1972) Bronze, 60cm high (24") Signed with initials and numbered 1/5 Provenance: The Dawson Gallery, where purchased and thence by descent to the current owner (receipt dated 27/12/73) Born in Banbridge, Co. Down, McWilliam studied at Belfast College of Art for two years and then at the Slade School of Fine Art in London where he studied under Henry Tonks and Randolph Schwabe. His intentions of becoming a painter had been altered when he met Henry Moore at Slade and decided to focus instead on sculpture. McWilliam held a studio at Port d'Orléans in Paris for a year before returning to England. On a return trip to the French capital with his wife, Beth, he visited the studio of long established modernist sculptor Constantin Brancusi. In 1936 McWilliam attended the International Surrealist Exhibition at the new Burlington Galleries in London, and in 1938 he exhibited with the British Surrealist Group. His first solo exhibition was at the London Gallery in the following year, where he noted that his Surrealist sculptures were 'rather bare-toothed in conception but very beautiful in execution.' McWilliam's work spans sculptural mediums such as wood, bronze, lignum vitae and aluminium. His sculptures and drawings have been exhibited widely in Ireland and the UK, including the Ulster Museum (Belfast), Hannover Gallery (London), the Douglas Hyde Gallery (Dublin) and the Crawford Municipal Art Gallery (Cork). His first American exhibition was held at the Felix Landau Gallery (Los Angeles) in 1963. His works have been purchased by institutions such as the Tate Gallery, the National Portrait Gallery, London and the Royal Opera House (Covent Garden). McWilliam was awarded an Honorary Doctorate of Literature by Queens University in 1964, and in the same year he was described by Roland Penrose as 'an inventor of styles.' In 1971 he won the Oireachtas gold medal for sculpture and was appointed a Fellow of University College London. In 1989 McWilliam was appointed a Senior Royal Academician, and the Irish Times said that his work was 'unmistakably his own, craftsman-like, humorous, imaginative, with a playful, poetic, slightly capricious element that sets it apart.' The F.E. McWilliam Museum in Banbridge opened in 2008, a fitting tribute to Northern Ireland's most famous sculoptor.
ROCKLINE, VERA (1896-1934) Vue de Tiflis , signed "V. Rockline", also signed "Schlesinger" in Cyrillic. Oil on canvas, 97.5 by 75.5 cm. Provenance: Anonymous sale; Important Russian Pictures, Christie’s London, 28 November 2007, Lot 425.Private collection, UK.Exhibited: Rétrospective Vera Rockline, Galerie Drouart, Paris, 1984 (label and stamp on the stretcher).Femmes et Muses des Impressionnistes aux Modernes, Tokyo, Osaka and elsewhere, 1996-1997, No. 47.Elles de Montparnasse, Musée de Montparnasse, Paris, 12 April-4 August 2002.Literature: Exhibition catalogue, Femmes et Muses des Impressionnistes aux Modernes, 1996, p. 77, No. 47, illustrated, titled Paysage de Tiflis.Vue de Tiflis is one of the very few known works of Vera Rockline’s Russian period. The artist developed a passion for painting Cubist townscapes in the late 1910s under the influence of Alexandra Exter, her tutor in Kiev, whose studio the young artist, still bearing her maiden name Schlesinger, joined in 1918 after her parents moved there from Moscow. Before this, the young woman had been studying in Moscow at Ilya Mashkov’s studio of drawing and painting where, according to her contemporaries, she painted Neo-impressionist work of which little is now known.In the years 1918-1919, still under the name of Schlesinger, the artist took part in the Moscow Fellowship of Artists’ 24th exhibition; the 2nd exhibition of pictures by the Artists’ Union, the exhibition of Jewish artists’ painting and sculpture; and the 5th National Exhibition of painting From Impressionism to Non-objectivity. In the same year, however, the artist married and left with her new husband for Georgia. In 1919-1920 Rockline lived in Tiflis, where she created a small series of paintings and drawings of the city.In these works, the images of Tiflis are created using precise, sculpturally shaped volumes, and it seems as if all it would take is just one detail, one component, to be removed for gaps to open up and the whole thing to collapse. However, Rockline’s Cubism never crosses the line into complete freedom of form. Her paintings of this time are restrainedly Cubist and somewhat unreal: although possibly less free in their structure than the compositions of Exter, they are finer and more delicate in palette and closer in manner to Cézanne. In the landscapes that she painted in Georgia, the contraposition of masses is not quite so forceful as in her work as a student following in Exter’s footsteps. The connection between the masses is through Cézanne-like transitions that even out the light and dismember volumes into a mosaic of planes turned towards the viewer. In this period Rockline was striving to depict the space between objects rather than accentuating their convexity in the empty space of traditional perspective. She was interested primarily in the materialisation of that new urban architectural space which she felt in the Georgian capital. For this reason Rockline invariably brings mountains or the Kura River into her urban compositions of Tiflis, acting as a spatial caesura and providing a rhythmic prop for the viewer.In the present lot, painted in wonderfully harmonious dark blue-greens, browns and blacks, the caesura is the broad watery expanse of the Kura. But in her portrayal of water Rockline’s vision remains Cubist - she breaks down the river’s mass into elements and planes and portrays the restless motion of the water by colliding small flat areas of colour and geometrically compact shapes, rearranged and squeezed together by the strict sculptural and decorative rhythms of the spans of Mikhailovsky Bridge stretching out to Madatovsky Island.Like the majority of landscapes from this cycle, Vue de Tiflis is deserted, but in no way dead. Although there are no human figures, the boats in the foreground and the chimneys in the distance are evidence of life going on around. The main emphasis is on the sculptural expressiveness of the shapes. Buildings are vigorously cut up into shining facets, allowing them to be seen from various viewpoints at the same time. Rockline makes maximum use of opportunities to flatten out space, as ever restricting the depth in perspective of her Cubist structures by a succession of walls or the crested ridge of a mountain. All this makes Vue de Tiflis one of the most expressive and significant works of Rockline’s early period.
AIVAZOVSKY, IVAN (1817-1900) Gibraltar by Night , signed and dated 1844. Oil on canvas, 58.5 by 87 cm. Provenance: Collection of Charles E. Sorensen, Principal of the Ford Motor Company 1925-1944, Detroit.Acquired from the above by a private American collector in the early 1950s.Thence by descent to the previous owner.Private collection, UK.Authenticity of the work has been confirmed by the expert V. Petrov.Exhibited: The Hague, 1844.Literature: N. Sobko, Slovar’ russkikh khudozhnikov, 1895, p. 316, No. 110.The work will be included in the forthcoming monograph Light, Water and Sky by G. Caffiero and I. Samarine, to be published in November 2012.Ivan Aivazovsky’s painting Gibraltar by Night in a way sums up his tour of Europe which he undertook after his graduation from the Imperial Academy of Arts. It is thought to have been painted in 1844 in The Hague from the artist’s fresh impressions of a visit to Gibraltar, and was then exhibited in the same city.By this time the young artist had managed to cover a good half of Europe in four years, and everywhere he went his journey was extraordinarily successful. Aivazovsky’s travels were accompanied by personal exhibitions in capital cities, the attention of the Pope and other highly important people, ubiquitous praise for his talent as a marine artist and the accolade of academician at three European Academies of Arts.The artist met with no less honour on return to his homeland. His colleagues immediately submitted a petition to the Board of the Petersburg Academy eloquently listing the artist’s achievements abroad: “Having made his name in Italy and in Paris, he acquired a reputation as the prime artist in Holland and England, travelled around the Mediterranean as far as Malta, busied himself in Gibraltar, Cadiz and Granada, earned praise and awards as no other prizewinner ever had the fortune to gain for himself, I regard it as my duty to propose, out of respect for his aforementioned merits, that the rank of academician be conferred on him”. Nine days later, on 13th September 1844, the Board of the Academy of Arts unanimously awarded Aivazovsky the title of academician.In fact, despite Aivazovsky’s rather tender age, in his work of the mid-1840s he comes across as a fully established master who has found his trademark theme and compositional metier in art, to which he remains true throughout his life. The ship foundering in the waves of a stormy sea, and the silhouette of a sailing vessel in the moonlight are depictions that have entered the treasury of motifs of Russia’s greatest marine artist. He created the majority of his compositions of this kind guided by the dictates of his heart. His visual memory, made many times more powerful by his lively creative imagination, allowed him, without precisely copying reality, to reproduce in his paintings a variety of emotional states in nature, by recalling a landscape motif committed to memory in its most general features, but charging it with imaginary effects of light and feeling, often disregarding whether this was true to life in the literal sense. Gibraltar by Night, however, evidently had a basis in reality. The artist, who visited London and the British crown possession of Gibraltar in 1843, had certainly heard a lot about the tragedy that took place that year in the Strait. In 1843 the British Navy’s new paddle steamer Lizard was lost off Gibraltar through collision with a French steamship. This was probably the event, agitatedly discussed in the British press, that inspired Aivazovsky to create his canvas.Through the historic collision, the artist’s favourite theme of the shipwreck was enriched by conceptual overtones that led him to enhance the drama of what happened. The modern ship driven by a steam engine comes to grief, her sailors - desperate to be saved - stretching out their arms towards a sailing vessel in the background proceeding peacefully at the will of the waves. At the same time, Aivazovsky intentionally shifts the dramatic scene away from the centre to the right-hand side of the canvas to give the viewer the chance to appreciate the dazzling seascape with its solitary rock on the horizon and his famous, masterfully painted path of moonlight sparkling in a multitude of gradations and splashes of colour on the foaming waves.The relationship in Aivazovsky’s paintings between main and secondary elements was prompted by artistic instinct. The main elements are the spectacular luminous effect, unique rhythmic structure and unity of light and air. Outward verisimilitude - perspective, the distribution of light, the working of compositional detail - are secondary. Aivazovsky was always faithful to this principle. The artist himself acknowledged: “I believe that my paintings are distinguished not only one from another, but also from the work of many others, by their luminous strength; and those pictures whose main strength is the light of the sun, moon etc., but also sea waves and surf, should be considered my best”.This painting is a variation in romantic tones on the theme of the insignificance of human progress when confronted by the elements. The artist takes the opportunity to build his composition on the contrast of the illuminated night sky and sea with the dark silhouette of the sinking steamship, strangely lit by the glow of red sparks flying out of her funnel. Aivazovsky seems to have explored to the limit the spectacular but simultaneously tragic phenomenon of the shipwreck. His aim was to heighten the emotional tension in his compositions. As he later wrote: “I frequently painted shipwrecks, but they were seen only in the distance, by viewers who had to imagine in their heart the horrors unleashed within the ship as her fracturing wooden walls were destroyed by the waves...” The artist felt a special excitement in suggesting that the viewers should work out for themselves the ending to a situation that was invariably presented to them together with much eloquent, symbolic detail. In the case of Gibraltar by Night this is a buoy being tossed by the waves that precisely centres the composition and a sailing vessel that has appeared not far away, inspiring hope. This device, often used by the artist, when combined with virtuoso effects of colour and light could be relied on to impart an emotional charge to the scene.
* LEVITAN, ISAAK (1860-1900) The Illumination of the Moscow Kremlin Dedicated to the Coronation of Nicholas II, 18 May 1896 , inscribed with an authentication by the artist’s brother, A. Levitan. Oil on canvas, 50 by 81.5 cm. Provenance: Antique Salon J. Dazario, St Petersburg-Moscow (label on the stretcher).Acquired by the father of the present owner.Private collection, Israel.Authenticity certificate from the expert V. Petrov.Exhibited: Collector’s Choice, Bezalel National Museum, Jerusalem, March-April 1964, No. 85.Isaak Levitan 1860-1900. Sketches & Paintings, Tel Aviv Museum of Art, Tel Aviv, 24 July-28 September 1991.Literature: Exhibition catalogue, Collector’s Choice, Jerusalem, 1964, p. 16, No. 85, listed.Exhibition catalogue, Isaak Levitan 1860-1900. Sketches & Paintings, Tel Aviv, 1991, p. 25, illustrated.A. Lurie, Treasured in the Heart: Haim Gliksberg’s Portraits, Tel Aviv, 2005, p. 19, illustrated.A landscape artist by vocation, Levitan revealed the subtle beauty and serene grandeur of nature in Russia with a deep sensitivity and lyrical perceptiveness. He rarely painted urban landscapes. With the exception of the now lost View of Simonov Monastery, which was referred to by Nesterov, the only occasion on which he is known to have depicted Moscow was that of the coronation in 1896. Adorned with festive decorations and illuminated by thousands of lights, the ancient capital produced such a dramatic effect that Levitan was inspired to create several compositions entitled The Illumination of the Moscow Kremlin within a very short space of time. Three works bearing this title are known to exist. The first is offered here for auction, the second is held in the collection of the Dnepropetrovsk Museum of Art, and the third was sold by Christie’s on 28 November 2007. The present work combines a virtuously painted panoramic landscape depicting the artificial lighting and is a lovely example of the free and dynamic style which is characteristic of Levitan’s mature period.The ascension of a new Emperor to the throne briefly reinstated Moscow in its role as the historic centre of the Russian state. In the build-up to the coronation the ancient capital was transformed. The city was decorated with thousands of lights, and not only Moscow’s residents but also its artists enthusiastically surrendered to the charms of this “electric miracle”. A. Bogoliubov painted The Illumination of the Kremlin in honour of the coronation of Alexander III in 1883 (Omsk Provincial Museum of Arts), and another view entitled The Illumination of the Kremlin, painted by N. Gritsenko, is in the collection of the State Tretyakov Gallery.The festive decorations which adorned Moscow in May 1896 for the coronation of Nicholas II and Alexandra Fedorovna were the most magnificent of the century. Those who witnessed the coronation festivities saw decorative pavilions which had been constructed on the streets, triumphal gates, flags, grand cortèges, crowds of people dressed in their finest clothes, and 40,000 lamps. “Moscow is one of a kind. A fantastic city”, recalled M.V. Sabashnikova as she described the coronation of Nicholas II, “but on that particular evening it looked like in a fairytale. All the towers and churches, the crenellated walls of the Kremlin and the contours of the buildings were lit up as if on fire”.
Monkey Marquis Harpist Automaton by Gustave Vichy, c. 1880 With paper-mâché head, articulated mouth and eyelids, metal "paws", 14-string harp with pressed brass decoration and lion`s head capital, seated on high-backed velvet-covered chair containing 2-air going-barrel mechanism that causes harpist to nod his head, blink, chatter and move his paws over the strings in lifting and plucking motion, dressed in original silk brocade tailcoat breeches, periwig, spectacles and bicorn hat, height 19 in. (48 cm) including hat, with "acorn" stop/start and crank key (missing upper lip leather and back foot of chair, costume worn in places, movements need some adjustment). An early Vichy automaton in rare original condition.Please Watch & Listen on: Youtube.com/AuctionTeamBreker Französischer Musikautomat "Affen-Marquis mit Harfe" von Gustave Vichy, um 1880 Kopf aus Papiermaché, mit beweglichem Mund und Augenlidern, Metallhände, 14-saitige Harfe aus Holz mit Messingverzierungen, auf mit Samt bezogenem Sessel, mit Walzenspielwerk für 2 Melodien, Federwerk und Mechanismus für Bewegungen (der Affe nickt mit dem Kopf, öffnet und schließt den Mund, zwinkert mit den Augen und bewegt seine Hände zupfend über die Saiten, während die Musik spielt). In Original-Seidenbrokat-Kleidung mit goldfarbenen Borten und Messing-Knöpfen, goldfarbene Kniehosen, Mozart-Perücke, Brille und Zweispitz, Gesamthöhe 48 cm. Mit eichelförmigem Starthebel und Aufzugskurbel (Oberlippe und Kleidung mit Altersspuren, Spielwerk benötigt Einstellung). Ein früher Vichy-Automat in seltenem Originalzustand.Please Watch & Listen on: Youtube.com/AuctionTeamBreker Condition: (3-/3+) Starting Price: €2500
Eastern United States, Civil War (Distance Maps. Map of the Atlantic States, Showing 50 Mile Distances from Washington. Map of the Battle Ground [at Manassas], Showing 5 Mile Distances from Washington. Map of Fortress Monroe, Showing 1 Mile Distances from the Fortress.), Prang, 1861. 12.5 x 21.8”. (PC) This rare Civil War broadside includes 5 maps and statistical information from the 1860 census. This sheet was designed to illustrate the theater of the war that was engulfing the nation and to highlight the recent major battlefields. The largest map, Map of the Atlantic States, Showing 50 Mile Distances from Washington, is centered on Washington DC and shows 50 mile distances in concentric circles from the capital. Existing and proposed railroads are noted, along with forts. The smaller maps at top and bottom include Map of the Battle Ground [at Manassas], Showing 5 Mile Distances from Washington, Map of Fortress Monroe, Showing 1 Mile Distances from the Fortress, Position of Forces at Bull Run and Fortress Monroe. This is one of Prang’s earliest war maps, issued just months after the start of the war. It was distributed by J. Haven, Prang’s agent in New England. Louis Prang, a lithographer in Boston, became well-known for his Civil War maps. Prang used a clever marketing program to promote his maps. They were distributed at newsstands or as a premium for newspaper subscribers and accompanied by red and blue colored pencils with which the user could plot the progress of the armies. Due to their ephemeral nature, these maps are quite rare today especially in good condition. There are no listings of this map being for sale in the last 30 years. Ref: Stephenson no.15; Rumsey no.5440.000. There are two tiny holes in the map image and a number of edge tears, mostly at top that have been closed on verso with archival tape. The map is lightly toned, has an extraneous crease that does not distract, and a few small stains. (B)
Western United States (A New Map of the State of California, the Territories of Oregon & Utah), Meyer, Auswanderungs-Atlas fur Nord Amerika, 1852. 12 x 15.3”. (HC) An interesting map of the new state of California and the large western territories based on the important Mitchell series. The map is filled with interesting information, notably, the exploration routes of Lewis and Clark, Fremont, Kearney, and Cooke, and the Spanish and Oregon Trails. Oregon Territory, with Oregon City as its capital, has its eastern boundary in the Rocky Mountains adjoining Missouri Territory. Utah Territory extends to Old Park and Long`s Peak in present-day Colorado. New Mexico Territory encompasses parts of Colorado, Nevada and Arizona and displays a pre-Gadsden Purchase border along the Gila River. Only a few counties are delineated in California and the capital is at San Jose. A large inset shows San Francisco and Environs, which includes much of the Gold Region. It is this unique inset that differentiates this from the Mitchell map. From Meyer’s Auswanderungs-Atlas (Emigration Atlas), this map was targeted to the large number of German immigrants that flooded into the United States in the aftermath of the March Revolution of 1848. A few minor spots, else fine. (A)
Southwestern United States (Territories of New Mexico and Utah), Colton, General Atlas, New York, [1857]. 14.6 x 11.7”. (HC) A very interesting map that depicts the region with the largest extents of Utah and New Mexico territories. Utah Territory encompasses all of today`s Nevada and extends east to the Continental Divide into present-day northern Colorado with Fillmore City as its capital. Kanzas is to the east of Utah Territory. New Mexico Territory stretches between California and Texas and includes part of present-day southern Colorado and the southern tip of Nevada. Fremont`s routes, proposed routes for the Pacific Railroad, and the Spanish Trail are located. This is the fourth state of the map, with the plate number 53 in the lower right corner, with the plain border of the General Atlas indicating it was published in 1857. Text related to California on the verso. Ref: Wheat [TMW] no.832; Brown, Portolan - Spring 2005 pp. 48-51. (A)
Southwestern United States ([Lot of 2] Asher & Adams` Arizona [and] Asher & Adams` Utah), Asher & Adams, New York, 1873. 22.8 x 16.3”. (HC) A. Asher & Adams` Arizona. Double-page map shows an early Arizona with five very large counties that composed the territory of the time. The map displays major rivers, numerous mines, military and Indian reservations, and the progress of public surveys. It also depicts a few key roads and two proposed east-west rail lines that were to cross the territory. A small Navajo Reservation is noted in the northeast corner and Tucson is shown as the territorial capital. B. Asher & Adams` Utah. Another double-page map focused on Utah but including parts of Wyoming, Colorado and Nevada. 18 counties are noted and Salt Lake City is shown as the capital. Development is confined from the Salt Lake area down to the southwest corner along the Salt Lake, Sevier Valley and Pioche Railroad. The completed Central/ Union Pacific Railroad is shown going from Wyoming through Utah into Nevada with some spur lines going into central and northern Utah. Original hand color with just a hint of offsetting on the Arizona sheet and light toning along the centerfold and edges of both sheets. (+B)
Cuba ([Lot of 2] A New Chart of the Seas, Surrounding the Island of Cuba… [and] A Plan of the City and Harbour of Havanna, Capital of the Island of Cuba), London Magazine, London, [1762]. x ”. A. A New Chart of the Seas, Surrounding the Island of Cuba..., by Thomas Kitchin, hand color (14.5 x 10.5"). This attractive chart displays the tracks of galleons from Carthagena to Havana and the track of the "Galleons home" off the Florida coast. The depiction of southern Florida with many inland waterways was typical of the time. Includes the inset a "Plan of the Harbour and Town of Havana, Taken on the Spot by an Officer of the Navy." Decorated with a rococo-style title cartouche and large compass rose with rhumb lines. Published in the October 1762 issue. Condition: Issued folding on watermarked paper with a few tiny fold separations that have been partially closed on verso. There is a binding trim at left that has been repaired with old paper and a resulting tear that enters 1" into image that has been archivally repaired, as well as an archivally repaired tear that enters 0.5" at bottom. B. A Plan of the City and Harbour of Havanna, Capital of the Island of Cuba, black & white (4.5" x 7"). Map shows the harbor and town with the surrounding area. Legend keyed to map gives location of 19 important places and a castle. From the May 1762 issue. Condition: There is a miniscule hole in the lower right neatline, only visible when held to light and some faint toning. Ref: Jolly LOND-217 & LOND-213. See descriptions. (+B)
Salvador, Brazil (Aenwysinge van de Stadt Salvador, ende de Baya de Todos Los Santtos), Hondius, Amsterdam, ca. 1624. 16.5 x 11.5”. (HC) This rare map of Salvador and Baia de Todos os Santos (Bay of Saints) ) is a very early depiction of the Dutch attack and capture of the city of Salvador in May 1624. Salvador, then the capital of Brazil, was a strategic port under Portuguese control. The Dutch, determined to seize control of Brazil, formed the West India Company in 1621 and sent a large expedition to Brazil. On May 8, 1624, the Dutch fleet under the command of Admiral Jacob Willekens and Vice Admiral Pieter Heyn arrived in Salvador and attacked the city. The Dutch succeeded in capturing the city, although the Portuguese regained control less than a year later. This map depicts the city of Salvador and its fortifications, with the 26 Dutch ships advancing on the city. The remainder of the coastline is sparsely engraved with a few small towns, trees, and hills. The map is oriented with north to the left and includes an inset bird`s-eye plan of Salvador, with 16 locations identified in a key in the title cartouche. A later edition of the map shows fewer ships attacking the city, perhaps illustrating a later Dutch attack. The imprint at lower right credits Henricus Hondius in The Hague. It is unclear if this is the well-known Amsterdam publisher or the lesser-known engraver and printer from Delft who worked during the same period. Light soiling with a few tiny tears along centerfold that have been repaired with archival materials. There is a small hole in right blank margin that has been closed on verso with old paper, and a tiny worm hole near I. Pycco. (+B)
East Indies - Indonesia (Insulae Iavae cum Parte Insularum Borneo Sumatrae, et Circumjacentium Insularum Novissima Delineatio), Jansson/Valck & Schenk, Amsterdam, ca. 1700. 20 x 16.5”. (HC) This elegant chart focuses on the island of Java with parts of Sumatra, Borneo and Bali. The lack of interior detail correctly reflects the state of knowledge of the period. The Dutch capital in the East Indies is located at Batavia (Jakarta) where a small fort is shown. The beautiful chart is richly embellished with two fine cartouches featuring natives and Chinese merchants flanking the title and Neptune and mermaids surrounding the scale of miles. Originally issued by Jan Jansson, this is the later re-issue by Gerard Valk and Peter Schenk. A couple of unobtrusive spots and light offsetting. (+B)
[Titanic]. Lloyd`s Register of British and Foreign Shipping. United with the Underwriters` Registry for Iron Vessels in 1885, from 1st July 1912, to the 30th June 1913, vol. 1 - Steamers, Sailing Vessels, and Owners, published 1912, half-title and preliminary leaves sl. creased, three parts with supplement to the first part, some printing in red, abbreviations and table of equivalents pasted to front and rear pastedowns, some spotting and occ. soiling and age creasing, lacks conjugate leaf before half-title (blank?), orig. morocco gilt, wear to spine and extremities, joints cracked, thick 4to. This is the only edition of Lloyd`s Register to list RMS Titanic, giving tabular details of number in book, official number, code letters, steamer`s name, material, rig, &c., master (E.J. Smith), number of decks (`5 dks amidships, 7 dks in No. 1 hold, Elec. light Ref. Mchy. 6 dks in other holds, Sub. Sig. Wireless`), registered tonnage, particulars of classification, built date, by whom and where, owners, registered dimensions, deck erections &c., port of registry, flag, and engines. This copy also notes in black print capital letters adjacent to the name Titanic `(Struck iceberg and foundered 4, 12)`. The volume also lists RMS Carpathia with its Captain A.H. Rostron, rescuers of survivors from RMS Titanic. Rare. (1)
ZANZIBAR 1895-96 12a purple/red, left marginal block of eight (4 x 2) from Hall`s (late) setting `A`, R5-6/1-4, R5/1 with normal second "z", others with small second "z" but R5/3 showing the rare variety Daun`s capital "Z" (SG 16/D/var) fresh part o.g. some separation (folded perfs) and backing adherence but a desirable positional piece Container: Card
Pair of Nimschke-Style Engraved Smith & Wesson Model No.2 Revolvers Inscribed to D.B. Dyer.32 caliber RF, 6" octagonal barrels, S/N 19189, S/N 17780. Nimschke-style engraving with nickel finish and pearl grips; both with custom pearl grips and contemporary hand-tooled Slim-Jim-style leather holsters. One gun originally cased in fancy rosewood box with brass corners and lined in maroon velvet lining.A near matching pair of the acclaimed rimfire No. 2 Army Smith & Wesson revolvers that first saw widespread service during the Civil War as a reliable personal weapon and later carried on the Western frontier by the likes of George Armstrong Custer and “Wild Bill” Hickok.These guns were exquisitely engraved by the shop of superlative firearms engraver Louis D. Nimschke (1832-1904) and illustrate the perfect symmetry of his distinctive scrollwork design, harmonious and masterfully executed albeit on the Smith and Wessons. Both pistols were originally cased in rosewood boxes and are identically inscribed “D.B. Dyer” on the back strap. One gun bears the serial number 17780 and is confirmed by Jinks as having been made in 1864 and retailed by Smith & Wesson’s exclusive agent, J.S. Storrs of New York City. The other pistol numbered 19189 was made slightly later and shows a variant pattern of Nimschke’s work on the frame, barrel, cylinder, and butt strap. That both handsome pistols were once carried by Daniel B. Dyer (1849-1912) as a pair is evidenced by the matching black leather "Slim Jim" holsters, custom-made with an identical flower-over-star pattern tooled into the leather with aesthetic reverse hook trigger guard. The right holster shows more wear than the left.Family recollection says that the Smith & Wessons were purchased by patriarch Captain George Randolph Dyer, then serving as Quartermaster at Pilot Knob, Missouri, as a gift — possibly a birthday present — for his second son Daniel B. Dyer sometime after 1864. Parenthetically, the family retains a gold cased pocket watch inscribed and presented to the older brother, Captain George Dallas Dyer, on the occasion of his 18th birthday in 1862, lending substance to gift story. Even though Daniel Dyer was a fifteen-year-old civilian, he had been present at Fort Davidson — staying with his father — during the battle of Pilot Knob on September 27, 1864 where Sterling Price sought to overwhelm the thin Federal defenses en route to St. Louis. Family history relates that young Daniel was captured at Pilot Knob and managed to escape after a few weeks. A plausible supposition is that Captain Dyer purchased the guns for his young son in recognition of that harrowing occasion.The pistols must certainly have accompanied Daniel Dyer to Baxter Springs, Kansas in 1870 where he built a successful hardware and dry goods business in the sprawling cattle town. In 1880 Dyer took up a Federal appointment as Indian Agent at the newly created Quapaw Agency in the nearby Indian Territory. He had earlier accompanied General Sherman with William Cody as their scout to the Klamath Reservation in the Oregon Territory to relocate the remnants of the defeated Modoc tribe--about 165 men, women, and children held as prisoners of war--to the distant Oklahoma reservation. It is thought that during this time D. B. Dyer and the flamboyant plainsman who would be regaled as "Buffalo Bill" became lifelong friends and business associates. The Dyers moved to the Darlington Agency in 1884 near the newly constructed Fort Reno and walked into the middle of a simmering dispute between the restive Cheyenne and Arapaho bands and local cattlemen. The ranchers had purchased limited and cheap grazing rights on the reservation that provided income for the tribes but now began to encroach directly on Indian camps. Rejecting Dyer’s officious demands that they take up farming, the hungry Indians began to steal cattle, causing the angry ranchers to clamor for army intervention. Brow-beaten by the whites arrayed against them, the Cheyenne led by the Dog Soldier faction grew surely and aggressive and “threatened to go on the warpath.” The whites at the Darlington Agency immediately fled to safety of nearby Fort Reno while the Indians watched the darkened Dyer homestead for signs of the despised Indian Agent. Dyer only survived the incident thanks to a friendly half-breed who had convinced the cautious warriors that Dyer had “already gone to the fort.” Unquestionably the pair of Smith and Wesson’s were cocked and ready as the Dyer family remained secreted until the cavalry came to the rescue. By the summer of 1885 Dyer’s days as an government Indian Agent were over.Dyer moved to Kansas City, Missouri where he and a partner engaged in the real estate business reaping significant wealth and social status in relatively short order. The Dyers had brought with them a massive collection of Indian artifacts from the Darlington Agency — then regarded as little more than curiosities — which was displayed at the National Agricultural Exhibition in Kansas City in 1887. Today, the Dyer collection is held — but not displayed — by the Kansas City Museum and is said to be the largest collection of period Cheyenne-Arapaho artifacts in the world.Lured to the newly opened Oklahoma Territory in 1887 by the prospect of fresh business opportunities, Dyer dabbled briefly in territorial politics and was elected the first mayor of Guthrie, Oklahoma before abruptly returning to Kansas City. Dyer had caught wind of a more promising venture in Augusta, Georgia. Having lined up investors and secured capital, he moved to Augusta in 1890 and quickly chartered the Augusta Street Railway Company. Financial reward was immediate and Dyer would go on to successfully parlay his railroad company into a multitude of holdings that included utilities, real estate, and the venerable Augusta Chronicle newspaper. Dyer soon commissioned an opulent twenty-seven room mansion in Augusta he named “Château Le Vert” and thereafter alternated between his Georgia estate and the 41 acre river front manor in Kansas City called “Clarendon.”In 1911 Dyer sold all of his Augusta interests and returned to Kansas City, Missouri. On December 23, 1912 at age sixty-two Daniel Dyer died of pneumonia. Woven into the rich tapestry draping the Gilded Age of Industrialists is the illustrious Daniel B. Dyer — a Captain of Industry. In describing his life’s success Dyer preferred a baseball metaphor stating matter-of-factly: “Business is like playing baseball. I’ve been lucky in hitting the ball.” He was brought back to the home of his father in Joliet, Illinois where he was buried in Oakwood Cemetery, the pair of Smith and Wesson’s a lasting legacy of his frontier roots and successful ascendancy in the West.Along with the pistols is a large cross section of intriguing ephemera —newspaper clippings, letters, pamphlets, genealogy, and photography—relating to D.B. Dyer’s eminent life as a business mogul and respected philanthropist during the Gilded Age. The paper reflects Dyer’s privileged status during the last decade of his life and touches upon some of personal relationships he cemented with similarly high profile individuals including the American icon “Buffalo Bill” Cody. Born on his father`s rustic farm near Plainfield, Illinois on March 21, 1849, Dyer as a successful man expended considerable energy in documenting the extensive genealogy of his long and illustrious family tree, an impulse not lost on his survivors who likewise compiled several files of
Historic Guthrie, Oklahoma/Chickamauga Presentation Gavel to First Major D.B. DyerWith associated newspaper clipping and printed pamphlet relating to the opening of the Oklahoma Territory in 1889. The symbolic gavel measures 10” long made from a piece of souvenir wood embedded with a lead minie ball from the Chickamauga battlefield. The front of the simple mallet head bears a jeweler inscribed gold plate (not tested) that reads: “PRESENTED TO/Hon D.B. Dyer/ FIRST MAYOR OF/Guthrie, I.T./BY HIS FRIEND C.C.S./June 4, 1889.” The presentation is flanked by CHICKAMAUGA and TENNESSEE on either side. The identity of “C.C.S,” presumably a local Indian Territory inhabitant and former soldier-friend of Dyer, is unknown. Additionally, the lot includes a small archive of nine files containing Dyer manuscript correspondence to/from the Quapaw Indian Agency in the O.T. 1880-1884. Also, three sundry files, the first being a printed inventory booklet with annotations of “Colonel Dyers Collection of Indian Curiosities” exhibited at the 1893 Columbia Exposition, with a later article discussing the same collection then on loan to the Kansas City Public Library. The other files contain a typed letter dated February 1911 acknowledging Dyer’s, the newspaper man, cancellation of his Associated Press Membership. Last is a damaged manuscript letter to Dyer dated March 1911 on the letterhead of “Pawnee’s Bill’s Buffalo Ranch.”D. B. Dyer’s time as Indian Agent — documented by Mrs. Dyer in the “Frontier Classic Series” Fort Reno — came to a sudden end in July 1885 when the visiting government inspector concluded that “his conflict with the Cheyenne prevented him from effectively carrying out his duties.” Mr. and Mrs. Dyer then moved to Kansas City, Missouri where he engaged in the real estate business for the next few years with a partner from the Indian Agency days. In 1887 the Dyers also organized an exhibition of their “large collection of Indian artifacts and relics” from the Quapaw Agency and this served as a catalyst for their lifelong friendship with “Buffalo Bill” Cody.Dyer then found himself at the forefront of one of the most noteworthy events of the later 19th century. Leaders of Kansas City requested that D.B. Dyer go to Washington to lobby Congress to obtain support for what would become the two million acre "Land Run" of 1889. With the help of friendly Congressmen, after a lengthy and sometimes factious debate, President Harrison was pressured to open the Oklahoma District to a wave of homesteaders--Boomers--on April 22, 1889. On that one frenzied day thousands of would-be settlers from across the country poured into the District staking claims and erecting tent cities. Overnight, the small way station previously known as Deer Creek on the Atchison, Topeka and Santa Fe line mushroomed into a boomtown of 10,000 people soon to be renamed Guthrie, Oklahoma. When the Oklahoma Territory was formally organized on May 2, 1889, Guthrie became the first capital quickly transforming itself into the “Queen of the Prairie” complete with modern brick and stone structures in the Victorian style, a municipal water and electrical works underwritten with bonds, a horse drawn mass transit system, and underground carriage parking in the central business district.At the forefront of this unprecedented development were “hundreds of men who contributed time and money to bring about this result,” including D. B. Dyer who was elected first Mayor of Guthrie. Recalling those bygone days in 1904, Dyer wrote, “Everything was confusion and bedlam, but on the morning of the 23rd a mass meeting was called where thousands assembled on the highest point of land in the town and proceeded to organize a regular old fashioned town meeting.”Of immediate concern was the multitude of conflicting and haphazard claims in and around Guthrie coupled with the fact that there was “no law or precedent” for organizing the city, policing the newcomers, or arbitrating their claims. Dyer added that “having been stationed in the territory for many years previous to this time and having represented Kansas City before Congress to secure the opening of this Territory I was probably at that time better known than any other individual on the ground.” An executive committee was formed and from this exercise “of starting a government by the people,” D.B. Dyer was nominated to be Mayor. At first Dyer wrote that he “steadfastly refused…as I did not expect to remain in the territory permanently.”Dyer soon availed himself, persuaded by his close friends and associates, “to accept the responsibility” as “I could no longer decline…given what seemed an impending crisis.” The committee made its report to the “assembled mass” and “when my name was presented to the people I was unanimously elected.” A city council was then elected and the two United States Marshals on the scene together with deputies and a small military detachment temporarily provided public safety. The burden of the early administrative work dealt with arbitrating overlapping claims and establishing property boundaries. The public right of way took precedence over individual claims and mayor himself was forced to cede at least one potentially valuable property to make way for a city street.The symbolic gavel offered here was presented to D.B. Dyer on June 4, 1889 — the occasion is not recorded — and it clearly reflects a sense of steady fair-mindedness that he demonstrated to the citizens of Guthrie. Faced with the overwhelming task of constructing a city from the prairie Dyer wrote humbly, “Thousands of arbitrary decisions for the want of any law were forced upon those in authority…” The mayor recalled that his “own personal work was unremitting,” but after just three months on the job during which time Guthrie’s “streets had been laid out,” he suddenly returned to his wife in Kansas City in July 1889 to pursue a more grandiose business scheme back east in Augusta, Georgia.Dyer’s 1904 pamphlet recounting Early Oklahoma Days — published by his Augusta Chronicle newspaper — is fondly imbued with the lofty principle of Manifest Destiny. Oklahoma, he waxes, was the “promised land and it is the same spirit that has reclaimed the vast solitude to civilization.” The popular American ethos of inevitability — our national self image on late 19th century stage — had already crystallized into a retrospective: “They were genuine pioneers full of push and enterprise, not satisfied with any half-hearted efforts to achieve their ambition and realize their dreams.” In 1910 Dyer reminisced about “the cruel days of the opening of Oklahoma and rejoiced that the city of Guthrie itself was established without bloodshed, through the cooperation of its brand new but stalwart citizens.”The small archive of letters that accompany the presentation gavel contain nothing of extraordinary significance but offer some interesting insight into the day-to-day workings of the Quapaw Indian Agency. In March 1880 D.B. Dyer wrote his parents (three lengthy letters) suggesting that they come to teach the Indian children at the agency school. Dyer matter-of-factly describes the arrangement as an ideal business opportunity as the teacher tends the agency farm rent free and is compensated “$3.75 per month on each pupil”
Composite Colt Model 1848 "Baby Dragoon" Belonging to Gold Mine Owner Henry Wickenburg with Docs.31 cal., 4" octagonal barrel, S/N 5102. Cylinder with stagecoach scene and rectangular cylinder slots. Square back brass triggerguard with brass backstrap; walnut grips. Firearm is inscribed H. Wickenburg/Ariz on the grip butt. Henry Wickenburg (1817-1905) was a German immigrant who moved to Yuma, Arizona. His legacy today is formation of the town of Wickenburg, Arizona was a result of the prosperity of a gold mine he discovered. On two occassions it was nearly chosen to be the capital of the state of Arizona. In 1863 Wickenburg discovered the `Vulture Gold Mine`. The mine produced gold at an astounding rate of $3,000 a day. A flood in 1890 put a financial strain on the mine`s future. Unfortunately for Wickenburg, three years after his death in 1905 a new vein was discovered in the `Vulture` mine that produced $2,000,000 over the next seven years. In 1905 it was reported that Wickenburg commited suicide with this very firearm. The gun was lost in history for 62 years until a Baltimore attorney, Neil J. Lewis, found it in 1967 and sold it to William E. Dalrymple. The inscription is believed to have been done by Wickenburg himself. In the Spring 2004 there is a feature article in The Rampant Colt detailing the information above in the description for this lot. The lot further contains a large folder with articles and personal correspondance relating to research on this firearm. Condition: Barrel backstrap and triggerguard have matching serial numbers; frame is from a `49 pocket Colt with no numbers. Hammer has a roller. Grips have been replaced. All metal is grey and pitted. Backstrap and triggerguard with some traces of original silver-plated finish.Starting Price: $500
A GOOD PAIR OF HAND-CARVED EBONIZED CHERUBS ON PEDESTALSLate 19th CenturyThe exuberantly carved winged cherubim, one with head up and one with head downcast are squeezing grapes into a tall coppa and each perched on an orb and supported by a square section plinth with stepped square capital and base. The column features raised panels.Condition: Age cracks to statues. Minor repairs. Later columns.60½ x 18 x 14 inches (128.3 x 45.7 x 35.6 cm).Two pieces total. Starting Price: $1,800.00
2 ANTIQUE AUSTRIAN STERLING SILVER COVERED BOXES - 2 antique Austrian silver covered bowls. One is a covered sugar bowl and has two handles with figural rose handle to cover. The next is a waste bowl with hinged cover and four beaded feet. Each marked with Austrian Diana marks to bottom. Sugar bowl holds a 8S mark in heart. The waste bowl has an indiscernible mark with a capital P. Each measures approximately 5 1/4" height (13.3cm). Total weight of 23.880 ozt / 742.9 grams.
Cubist - A large Clarice Cliff Archaic range vase circa 1929 handpainted in a repeat abstract block and line design in blue, black, yellow and orange with confirming banding, large Fantasque mark to the base together with gold Lawleys back stamp and `Replica. Temple of Luxor. Thebes. Capital of the large columns. 1250 BC` , height 18 cm. Condition - No chips, cracks or restoration, interior blue band refreshed.
1996 (19 February) John Major letter to Gusty Spence written ten days after Canary Wharf bombing "...I shall stand firm for the Union 12 by 8.25 in.Signed letter sent to Spence by John Major on Downing Street headed paper and marked "In confidence". Sent just ten days after the 1996 Docklands bombing carried out by the Provisional Irish Republican Army. Its contents thanks Spence and the Progressive Unionist Party for their maturity and restraint and that "...despite the provocation of the bombings in the capital, I shall stand firm for the Union and shall not succumb to pressure from whatever source, of that, you can be assured...
George II silver tankard , Samuel Blachford, Exeter 1735* , stepped domed lid, fully marked on the skirt, the tapering body with a moulded reed and engraved with a cartouche and monogram, on turned collet, height overall 18cm, 21oz 12dwt. *Jackson p293 records a capital date letter L for 1735 against Blachford`s mark .
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