Arthur Singer (1917 - 1990) "Hawaii Goose & Hibiscus" Signed lower left. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the 20c Hawaii: Hawaiian Goose and Hibiscus stamp issued on April 14, 1982. Hawaiian Goose - High on the mountain slopes of Hawaii, one may hear the thin uck-uck calls of the Hawaiian Goose, the world's rarest goose. Its rarity is due to its curiosity and gentle nature that make it all too easy to kill. Lacking plumes, they were not highly regarded by the Polynesians, for they could contribute nothing to the feather cloaks of the chieftains. Villagers and explorers hunted them unmercifully for food. This species, also called Nene, dwindled until by the 1940's probably fewer than a dozen wild Nene remained. But state authorities joined forces with a local rancher to breed a successful and substantial flock, thus preserving the species. The wild Nene or Hawaiian Goose dwells only on the islands of Hawaii and Maui. Hibiscus - The Hibiscus is Hawaii's most outstanding flower. More than thirty-three varieties have been brought from other countries, and by crossing these with one another and with three native species, more than five thousand horticultural varieties have now been produced. One such native variety, known as the Hawaiian flag, has red petals striped with white. In Hawaii, bouquets are sometimes made by mounting the flowers on midribs of coconut leaflets and on strips of bamboo, or by grouping them in flat decorations on tables. They do not need to be placed in water to last. Hibiscus buds are often picked in the early morning, put in an ice box, and brought out to open in the evening for a special celebration. Image Size: 11.75 x 13.75 in. Overall Size: 17.5 x 19.5 in. Unframed. (B05074)
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Charles J. Berger (American, 1922 - 2012) "Blacksmith" Signed lower left. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 13c Blacksmith stamp issued July 4, 1977. Like other American civilians with valuable skills, the Blacksmith made important contributions in support of troops in the field during the Revolution. America's War for Independence was fought with handmade tools and weapons. Chances are, if it was made from iron, the Blacksmith made it. In the artwork, the Blacksmith is working a tomahawk -- a small ax used for chopping wood for fires or building barricades; it was also a weapon. He also supplied troops with iron work for cannon, carriages, horseshoes, chains, pikes, and literally hundreds of other items. Before the Revolution, the Blacksmith forged wherever iron work was necessary to any settlement. He made everyday things such as nails and was called upon to repair iron tools of all sorts. If a Blacksmith was inclined to produce something decorative, he might try his hand at a scroll hinge, modeling it after some European design he admired. The Blacksmith was above all a versatile fellow. In a capital such as Williamsburg, Virginia, he might have to repair surgical instruments. With fire and anvil the Blacksmith forged the implements of peace and war and perhaps if he read his Bible, he looked forward to forging farm implements in abundance. As with the other civilian craftsmen, freedom was worth any sacrifice. Image Size: 12 x 13.5 in. Overall Size: 17.5 x 20 in. Unframed. (B05215)
Zhang Kerang (Chinese, B. 1937) "Sika Doe & Fawn" Signed lower left. Original Watercolor painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This watercolor appeared on the Fleetwood First Day Cover for the China 60fen Sika Doe and Fawn stamp issued July 18, 1980. Traveling for ten months of the year in hind groups consisting of only females and fawns, the lovely Sika Deer can be seen refreshing themselves in the clear, cool mountain streams of the Far East. These strikingly beautiful deer and their respective stag groups are found mostly in northeast China, north China, Inner Mongolia, east China, South China and the Sichuan province, as well as in Japan and the northern part of Korea. The Sika is a social species and, at any time of the year, females are much friendlier and easier to locate than the bucks. As they wander in their feeding groups, both adult females and young deer can be seen indulging in the joyful frolic of play, usually in the form of chasing. The invitation to play often comes with a stiff-legged bounce accompanied by a bobbing of weaving of the head and neck, all displayed in front of the desired playmate. The chase that follows is seldom over any great distance, but usually consists of twists and turns in which the role of chaser and the chased is exchanged at a moment's notice. During play, the young display amazing agility, twisting and turning, side stepping and bucking at great speed. It is thought that such play is a vital part of the learning experience. But, on occasion, even the adult females will play, apparently for the simple joy of the game. Play can occur at any time, day or night, and often includes chasing, butting, exploration and mock fighting. Image Size: 10.25 x 8.25 in. Overall Size: 14.5 x 11.75 in. Unframed. (B06399)
Zu Tianli (Chinese, 20th C.) "Year of the Dragon" Original Acrylic on Watercolor Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the China 8f Year of the Dragon stamp issued January 5, 1988. The Dragon is the only mythical creature among the twelve animals of the Chinese Zodiac. A person born under this sign is thought to be full of vitality and enthusiasm. The Dragon is a popular individual even with the reputation of being foolhardy at times. Dragons are intelligent, gifted and perfectionists, but these qualities make them unduly demanding on others. The years of the Dragon are: 1928, 1940, 1952, 1964, 1976, 1988, 2000 and 2012. Image Size: 12.25 x 11.25 in. Overall Size: 24 x 20 in. Unframed. (B11282)
Paul Calle (American, 1928 - 2010) and Chris Calle (American, B. 1961) "The Power of Nature Asserts Itself" Signed lower right. Original Mixed Media on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting appeared on the Republic of the Marshall Islands 60c The Power of Nature Asserts Itself stamp issued October 15, 1997. The largest and most luxurious ship ever built, the S.S. Titanic was considered unsinkable due to its double-bottomed hull divided into 16 compartments. On April 11, 1912, this state-of-the-art ship departed from Southhampton, England, on its maiden voyage to New York City. Four days later, shortly before midnight, the Titanic collided with an iceberg. The ship sank at 2:20 a.m. on April 15. Because of limited lifeboat space and the fact that a nearby ship failed to receive the Titanic's distress signals, over 1,500 people perished. The disaster led to the first International Convention for Safety of Life at Sea in 1913. Human accomplishments, however well-conceived, are often infinitesimal compared to the power of the natural world. This is the legacy of the Titanic. Image Size: 8.25 x 11.75 in. Overall Size: 14.5 x 22.25 in. Unframed. (B15775 / B15776)
Chris Calle (B. 1961) "Space Shuttle and Beyond" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. For centuries, mankind has gazed into the shimmering heavens and dreamed of traveling through the great expanses of outer space . . . to discover the secrets which exist far above his own planet Earth. To assist man in his quest to conquer space, the National Aeronautics and Space Administration (NASA) was formed in America. Since its beginning in 1958, NASA has been responsible for many remarkable accomplishments. For example, on May 5, 1961, NASA sent Alan Shepard, the first American astronaut, into space. Then, just eight years later, on July 16, 1969, NASA sent the Apollo II, carrying astronauts Armstrong, Aldrin and Collins, on a journey to the Moon. As a result, America became the first nation on Earth to put a man on the surface of the Moon. In addition, in 1973, NASA was responsible for launching Skylab . . . a space-borne laboratory which circled the earth for nearly seven years. However, NASA's current project -- the famed Space Shuttle -- is perhaps its greatest accomplishment. For, since the first flight of the Space Shuttle Columbia on May 21, 1981, this reusable spacecraft has been landing and taking off again and again with computer-like precision . . . bringing mankind closer to routine space travel. Image Size: 23.25 x 18.25 in. Overall Size: 25.25 x 21.25 in. Unframed. (B11742)
Chris Calle (B. 1961) "Early Space Exploration" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. For centuries, mankind has gazed into the shimmering heavens and dreamed of traveling through the great expanses of outer space . . . to discover the secrets which exist far above his own planet Earth. To assist man in his quest to conquer space, the National Aeronautics and Space Administration (NASA) was formed in America. Since its beginning in 1958, NASA has been responsible for many remarkable accomplishments. For example, on May 5, 1961, NASA sent Alan Shepard, the first American astronaut, into space. Then, just eight years later, on July 16, 1969, NASA sent the Apollo II, carrying astronauts Armstrong, Aldrin and Collins, on a journey to the Moon. As a result, America became the first nation on Earth to put a man on the surface of the Moon. In addition, in 1973, NASA was responsible for launching Skylab . . . a space-borne laboratory which circled the earth for nearly seven years. However, NASA's current project -- the famed Space Shuttle -- is perhaps its greatest accomplishment. For, since the first flight of the Space Shuttle Columbia on May 21, 1981, this reusable spacecraft has been landing and taking off again and again with computer-like precision . . . bringing mankind closer to routine space travel. Image Size: 22.75 x 18.5 in. Overall Size: 2.25 x 21.25 in. Unframed. (B11741)
Paul Calle (American, 1928 - 2010) and Chris Calle (American, B. 1961) "First Man on the Moon" Signed lower right. Lead Pencil on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was used on the $5 First Men on the Moon Coin issued by the Republic of the Marshall Islands January 1, 1994. "It's a great honor and privilege for us to be here representing not only the United States, but men of peace of all nations." This excerpt from Neil Armstrong's conversation with President Richard Nixon, during a phone call made from the Oval Office of the White House to the surface of the Moon, established the astronauts' desire to share their historic lunar landing with the rest of the world. To emphasize that the Apollo 11 mission was one of peace, they left behind a gold olive branch as well as a small silicon disk that was microscopically-etched with goodwill messages from leaders of 73 countries. As ambassadors from Earth, Neil Armstrong and Edwin Aldrin proudly became the first visitors to a strange and distant land that has long intrigued peoples from every nation and walk of life. Image Diameter: 10 in. Overall Size: 16 x 15.75 in. Unframed. (B14555)
Dean Ellis (American, 1920 - 2009) "Killer Whale" Signed lower right. Original Oil on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 25c Killer Whale stamp issued October 3, 1990. Carnivores -- on land and in the sea -- have felt the wrath of mankind throughout history. The beautiful black and white Killer Whale is no exception to this rule. The largest of the porpoise family, the Killer Whale has obtained a bad reputation as willing to eat anything in sight including, sometimes, man himself. Even the whale's name is a reflection of that claim. However, the last three decades have drawn a more accurate picture of the strikingly-marked whale. Today, Orcinus orca is found in aquariums throughout the world, where thousands are enthralled by the animal's intelligence and gentleness. Wild Killer Whales eat primarily fish, taking an occasional sea mammal such as a sea lion. Image Size: 18 x 15.5 in. Overall Size: 24 x 24 in. Unframed. (B12249)
Robert Seabeck (American, B. 1945) "1917 Model T Truck" Signed lower left. Original Mixed Media on Paper painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting appeared on the Federated States of Micronesia 55c 1917 Model T Truck stamp issued June 4, 1996. In 1896 Henry Ford built his first car -- the Quadricycle. This unique vehicle featured a buggy-type chassis that rolled on bicycle-type tires and weighed only 500 pounds. Reaching a speed of 20 mph, the Quadricycle was powered by a four-horsepower, two-cylinder, four-stroke, water-cooled engine. It had two forward speeds but no brakes or reverse gear. Henry Ford went on to produce a long line of Ford automobiles. Ford's 1917 Model T truck featured a larger high-set radiator than previous models, as well as crowned fenders and nickel-plated hubcaps. The Tudor sedan was the first Model A built, and was introduced in 1928. This instantly popular automobile could reach a speed of 65 mph. One of Ford's first sporty cars was the 1932 V-8 Sport Roadster, which featured fold-down windshields. These tough cars also had anti-theft locks on the steering columns. In 1941, the Lincoln Continental became a separate model instead of a Zephyr series, and in 1953 the F-100 half-ton pickup -- with a 110-inch wheel base -- debuted. This rugged truck sold for $1,330. A personal luxury cruiser, the Thunderbird convertible was re-introduced as a four-seater in 1958. Today, the 1996 Mercury Sable embodies the essence of aerodynamic engineering and modern automobile design. Image Size: 7.5 x 13.5 in. Overall Size: 14.75 x 22.25 in. Unframed. (B15431)
Paul Calle (American, 1928 - 2010) and Chris Calle (American, B. 1961) "1930s - Golden Gate Bridge" Signed lower right. Original Mixed Media on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on the Fleetwood First Day Cover for the U.S. 32c Golden Gate Bridge/1930's 20th Century stamps issued September 10, 1998.As the Statue of Liberty is synonymous with New York Harbor, so too is the Golden Gate Bridge to San Francisco Bay. Since its completion in 1937, the beautiful bridge has been the subject of countless photographs and paintings, usually depicting its glowing towers rising above a dense fog. It is, perhaps, one of the most recognizable bridges in the world. The first design for the bridge was submitted in the 1920s by civil engineer Joseph Strauss. Interestingly, it was one of Strauss' employees who submitted the final design, which called for a full-suspension structure rather than Strauss' suspension-cantilever design. Many challenges were met and obstacles overcome during the bridge's construction. Inclement weather, including electrical storms, strong tides and impenetrable fog, were a constant hazard. After complicated blasting operations, earthquake-proof foundations were securely placed in bedrock beneath deep water and treacherous currents. When the bridge was completed, some 200,000 people celebrated the triumph by walking across it. On its 50th anniversary, four times that number showed up and walked its length, causing the central span to lower more than two feet under their weight. Today, the Golden Gate Bridge remains a storied and revered symbol of San Francisco. Image Size: 14.5 x 11.75 in. Overall Size: 20 x 16 in. Unframed. (B16180 / B16181)
Paul Calle (1928 - 2010) and Chris Calle (B. 1961) "1900s-Dawn of Aviation Age" Signed lower right. Original Mixed Media on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Republic of the Marshall Islands 60c Dawn of the Aviation Age stamp issued April 15, 1997. The 20th century witnessed the myth of Icarus brought to life with the realization of one of man's oldest dreams -- the ability to fly. Building on the work of previous pioneers of flight, the Wright brothers labored to produce a practical flying machine. On December 17, 1903, at Kill Devil Hills near Kitty Hawk, North Carolina, the Wright brothers made history's first powered, sustained and controlled airplane flights. The work started by the Wright brothers would eventually lead to space flight, including man's ability to slip "the surly bonds of Earth" and travel to the moon. Today, aircraft have extensive recreational, commercial and military uses, and have helped move the world increasingly toward a global community. Image Size: 10.25 x 14.25 in. Overall Size: 14.5 x 20 in. Unframed. (B15653 / B15654)
Peter Barrett (B. 1935) "Irish Setter" Signed lower right. Watercolor on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day of Issue Proofcard of the Great Britain 13P Irish Setter stamp issued February 7, 1979. His drum-major stride and silky, mahogany coat make him a popular contender in the show ring. In fact, no dog in the British Isles or the United States is received with more admiration by the audience than a champion Irish Setter. The "show" audience applauds action and they get it when this red Irishman steps smartly before the judge. Traditionally, however, the Irish Setter was bred as a bird dog, and he is still very much an alert and industrious hunter. Indeed, with long legs, speed, and sensitivity, this dog makes a natural field hunter. The Irish Setter evolved in Ireland, where game was not as plentiful as in the United Kingdom, where the weather is more severe, and where the surrounding countryside is much rougher. Because of these factors, the breed is inclined to be more headstong than the other two members of this family, the English and Gordon Setters. The Irish Setter is more demonstrative, therefore he demands more patience in the matter of training. If scolding is necessary, it should be administered in small doses, lest the dog's spirit be broken and his desire to hunt squelched. Importantly, the Irish Setter's first love is his owner's companionship, not hunting birds. When treated as a prized friend, the Irish Setter becomes a true joy as both a hunting companion and a gentle pet. Image Size: 6.75 x 6 in. Overall Size: 11.75 x 12.75 in. Unframed. (B95310)
Zhan Jianjun (China, B. 1931) "Fog in the Stone Forest" Original oil on canvas painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is an original unsigned oil on canvas by Zhan Jianjun that was commissioned directly by Helzer for Unicover. Helmuth Stone Gallery and Wind River Studios both guarantee the authenticity of this piece. This painting appeared on the Fleetwood First Day Cover for the China 8fen Fog in the Stone Forest stamp issue of September 18, 1981. Pearl gray light softens the stark outlines of rough cliff walls in China's famous Stone Forest, nature's wonderland carved in rock. Fantasy and enchantment are etched in these unusual stone formations, creating fantastic views and illusions through their everchanging shapes. In a silent, primeval sleep, these strange forms stand like ancient Druids, dark and mysterious. Wisps of fog cling to their rocky faces like spindrift, while a velvet mantle of clouds shrouds them in opaque serenity. Feathery vines garland their craggy ridges with mauve and violet fringe, bringing a delicate, fragile brightness to the lifeless, unreal forms. As haunted air entwines these stone ghosts of antiquity with a heather mist, one has the impression of being in another world, a world of mysterious secrets waiting to be uncovered. The infinity of patterns and hues of the rock formations in the Stone Forest opens a new world of boundless vision to the visitor. Indeed, what can be seen here is limited only by the imagination, varied by the subtle and shifting moods of the days and seasons. Split and carved as if by some magic power into fantastic and even grotesque shapes, the cliffs of China's Stone Forest are pictured in this artwork in a veiled mist. Imbued with the mystery and fantasy of nature, the age-old secrets of these mysterious formations await the thoughtful discovery of contemplation and imagination. Image Size: 27.5 x 23.5 in. Overall Size: 28 x 24.25 in. (B07309)
Dennis Lyall (American, B. 1946) "Cape Hatteras Lighthouse" Signed lower center. Oil on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 25c Cape Hatteras stamp issued April 26, 1990. The Cape Hatteras Lighthouse lies at the crook of a bending arm of barrier islands off the coast of North Carolina known as the Outer Banks. The turbulent waters and shifting sandbars of nearby Diamond Shoals have vexed mariners for centuries, and many a voyage has ended here in tragedy as storm and shoal conspired to defeat even the most experienced navigator. In an attempt to assist these hardy sailors, a lighthouse has been signaling from Cape Hatteras since 1803, but the lighthouse itself may soon become a victim of the sea. In its early days, more than a mile of beach protected the brick tower of the lighthouse from the threat of the sea. By the time a taller lighthouse replaced the original in 1870, about fifteen hundred feet of beach remained. Today, at high tide in winter, the beach may only measure one hundred fifty feet. Over the years, attempts have been made to halt the encroachment of the sea. The base of the more than two hundred foot high structure -- it is the tallest brick lighthouse in the nation -- buffered against the sea's attack by large nylon sandbags. Further, the beach has been replenished several times, sand fences have been planted to help build dunes, and artificial seaweed has been positioned offshore to create a sandbar to reduce wave erosion. In the future, rescue efforts like these may be funded at least in part through the efforts of concerned groups like The Lighthouse Preservation Society. Image Size: 12.5 x 17.5 in. Overall Size: 14 x 19.5 in. Unframed. (B12267)
Brian Sanders (British, B. 1937) "Franklin Roosevelt and Winston Churchill" Original Oil on Canvas painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the Republic of the Marshall Islands 29c Atlantic Charter Announcement setenant stamp pair issued August 14, 1991. During his first term in office, U.S. President Franklin Roosevelt watched Adolf Hitler's rise to power in Germany with growing alarm. When Europe went to war in 1939, Roosevelt sought to show support for the Allied nations battling Axis aggression while conforming to America's policy of strict isolationism. In August of 1941, the President and British Prime Minister Winston S. Churchill met aboard the warships USS Augusta and HMS Prince of Wales in Newfoundland's Placentia Bay. On August 14, the two leaders issued a statement which was subsequently called the Atlantic Charter that renounced Nazi tyranny and affirmed the rights of each nation to political self-determination. In 1942 the Atlantic Charter was incorporated into the Declaration of the United Nations. Image Size: 15.75 x 12.25 in. Overall Size: 19.75 x 28.75 in. Unframed. (B13127 / B13128)
Chris Calle (American, B. 1961) "Michael Collins" Signed lower right. Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Republic of the Marshall Islands 25c First Men on the Moon Astronaut Michael Collins stamp issued August 1, 1989. As Neil Armstrong and Buzz Aldrin became the first men to walk on lunar ground, Michael Collins orbited the moon in the Columbia, coordinating the mission from overhead. He jubilantly shared in the triumph of his two comrades, exhibiting the team spirit for which he was well known. An Air Force Colonel and veteran of the Gemini 12 mission, astronaut Collins once said about voyaging to space, "I would have flown alone, or with a kangaroo -- I just wanted to fly." His enthusiasm and expertise played major roles in the success of Apollo 11. Image Size: 9.75 x 12 in. Overall Size: 16.5 x 23.25 in. Unframed. (B12125)
Brian Sanders (British, B. 1937) "USS Monitor & CSS Virginia" Signed lower right. Original Oil on Masonite painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. On March 9, 1862, the first battle in history between ironclad ships took place at the mouth of the James River, at Hampton Roads, Virginia. On March 8, 1862, the CSS Virginia (formerly the USS Merrimack) had wreaked havoc on a Union fleet of wooden warships off Newport News, Virginia, destroying the sloop Cumberland, the frigate Congress and forcing the frigate Minnesota to run aground. Early the next day, the USS Monitor arrived to protect the Minnesota. The two ironclad ships engaged in a spectacular battle that lasted for several hours. Although it ended with both ships simply leaving the scene in a state of exhaustion, the Monitor was credited with the victory since she had succeeded in preventing the Virginia from sinking the Minnesota. Image Size: 10.5 x 13 in. Overall Size: 14.5 x 17 in. Unframed. (B15904)
Howard Koslow (1924 - 2016) "Contemporary Hot Air Balloons" Signed lower right. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on the Fleetwood First Day Cover for the U.S. 20c Hot Air Ballooning stamp issued March 31, 1983. Just as there were, in the earliest of times, men who watched birds and tried to emulate their flight, there were other dreamers who sought some magic substance that would enable them to defy gravity and soar into the sky. These early dreamers were the first to harness the magic of hot-air ... capturing it in bags and using it to fly high, into the heavens. The art of Ballooning -- some two-hundred years old -- is truly the oldest kind of flying known to man. Except for some war-time applications ... such as the use of tethered balloons as observation posts, and of free flying balloons to get messages and important people out of besieged Paris in 1870 ... ballooning has always been essentially a sporting form of flight. Calm summer evenings are the most popular time for a balloon flight, which begins with the big balloon envelope being laid out, downward of the gondola. After a careful inspection of the whole airship, the narrow neck of the balloon is opened and fiery-hot air is forced into the gigantic envelope. The huge, lifeless balloon suddenly begins to take shape and soon the brightly colored envelope contains enough hot air to lift itself and its passenger high into the sky -- where noises of civilization are blotted out, and the soothing sounds of flowing breezes are company enough for anyone. Image Size: 14 x 12 in. Overall Size: 20.25 x 17.75 in. Unframed. (B07917)
Donald Moss (1920 - 2010) "The Biltmore House". Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on the Fleetwood First Day Cover for the U.S. 18c Biltmore House stamp issued August 28, 1981. More than any other American architect of his day, Richard Morris Hunt created buildings that suited the taste of the very rich. His lavish country home, Biltmore House, epitomizes this talent. Built for George Vanderbilt amid the lofty grandeur of the Blue Ridge Mountains, it is a strikingly beautiful monument to the wealth of a Gilded Age. To create a mansion of the splendor his client desired, Hunt took inspiration from the Renaissance chateaux of France. Flying buttresses, clusters of pinnacles, gables and gothic chimneys combine in this towering house to make the surrounding mountains, as architect Hunt declared, "in scale with the house." Inside, the home is just as grand. Chandeliers, bejeweled with Thomas Edison's newly devised light bulbs, hang pendant-like amid a swirling marble and bronze staircase that reaches -- from appearances -- all the way to heaven. The library is paneled in rich, Circassian walnut and reflects both the taste and the wealth of a man who could afford to travel the world learning eight languages and cultivating a taste for art and literature. Today, the lavish Biltmore House is a museum with a collection of paintings, sculpture, prints and furniture that is a marvel to the modern age. Stately and remote, the house towers over landscaped gardens and rolling lawns, a testimony to the skill and vision of architect Hunt, the pioneer of palace building in America. Image Size: 17.5 x 15 in. Overall Size: 20 x 19.75 in. Unframed. (B07092)
Bryan Kneale (British, B. 1930) "Dinosaurs - Protoceratops" Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the Great Britain Owen's Dinosauria 1841 33p Protoceratops stamp issued August 20, 1991. The Protoceratops was one of the most primitive species of dinosaur. A predecessor of later great horned dinosaurs, the Protoceratops was slightly larger than the modern alligator and probably evolved -- like so many other herbivores -- from a bipedal ancestor. The Protoceratops' large head was partially encircled by a bony frill which protected its vulnerable neck area from a predator's deadly attack, but this dinosaur lacked the sharp horns which gave its Triceratops descendents their fierce and combative appearance. A beak-like mouth suited its vegetarian diet, but the creature possessed only a few teeth in its upper jaw and probably eschewed fibrous palm fronds in favor of tender, easily masticated shoots. The animal's well-developed tail contained long vertical spines, indicating to some researchers a partially-aquatic lifestyle. Like other larger herbivores, the Protoceratops traveled in groups or herds. In recent decades, scientists have uncovered more than eighty individual specimens in all stages of development -- from whole, unbroken eggs complete with intact embryo to older animals at the end of their lifecycle. These valuable finds -- many of them unearthed in Mongolia -- will in time produce priceless additional data on this ancient creature. The Protoceratops was one of the Dinosaur Era's first species and one of science's most fertile sources for paleontologic research. Image Size: 9.25 x 21.75 in. Overall Size: 23.75 x 30.25 in. Unframed. (B13213)
Dennis Lyall (American, B. 1946) "Spectacle Reef - Lake Huron" Signed lower right. Original Oil on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 32c Spectacle Reef Lighthouse stamp issued June 17, 1995. About 11 miles east of the Straits of Mackinac lies a treacherous shoal that rises to only seven feet from the water's surface. Known as Spectacle Reef, this hidden danger had caused numerous naval mishaps, including the wreck of two ships in 1867. Proclaiming that the reef was "more dreaded by navigators than any other danger now unmarked throughout the entire chain of lakes," the Lighthouse Board urged Congress to authorize the construction of a beacon to warn of the shoal's presence. The construction of Spectacle Reef Lighthouse was considered to be one of the greatest engineering feats in American lighthouse history. In 1870, after choosing a spot on the shoal that had but 11 feet of water over it, engineers set about the task of building a crib dam. This part of the structure was made on shore in four sections and later transported to the reef site. To secure it to the shoal, three-foot-long bolts were driven into the base rock. In addition to the difficulty of working on the shoal, severe weather conditions also hampered the lighthouse's progress. In the spring of 1874, builders were forced to chop through 30 feet of massive ice sheets to gain access to the nearly-finished tower. By June of that year Spectacle Reef Lighthouse was finally operational. Today, after many improvements -- such as the addition of solar power -- the limestone tower continues to guide those who ply the waters of Lake Huron near Spectacle Reef. Image Size: 13.25 x 11.5 in. Overall Size: 16 x 14 in. Unframed. (B15030)
Dennis Lyall (American, B. 1946) "Sandy Hook Lighthouse, NJ" Signed lower left. Oil on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on the Fleetwood First Day Cover for the U.S. 25c Sandy Hook stamp issued April 26, 1990. The Sandy Hook Lighthouse is the oldest maritime light tower still in use in the United States. Built by the British, the beacon was lighted for the first time on June 11, 1764. Though it was originally called the "New York Lighthouse," the tower stands on the New Jersey side of Lower New York Bay. Upon its completion, Sandy Hook Lighthouse was described as a "house of an octagon figure, having eight equal sides; the diameter at the base, twenty-nine feet; and at the top of the wall, fifteen feet. The lantern is seven feet high; the circumference, fifteen feet. The whole construction of the lantern is iron; the top covered with copper. There are forty-eight oil blazes. The building from the surface is nine stories; the whole from bottom to top, one hundred and three feet." After the revolutionary war, Sandy Hook Lighthouse was ceded to the infant United States by the state of New Jersey, and the new government agreed to maintain the beacon thereafter. One of George Washington's first acts as President was to direct that a light be kept burning permanently at Sandy Hook. Over ten thousand dollars was raised for its maintenance between 1804 and 1817, and by 1832 there were two lighthouses lighting Sandy Hook, one to the north and one to the west. Today, one beacon remains, and will hopefully survive for many years through the efforts of the federal government and the lighthouse preservation movement. Image Size: 13.5 x 12 in. Overall Size: 15.5 x 14 in. Unframed. (B12314)
Dennis Lyall (American, B. 1946) "Admiralty Head Lighthouse" Signed lower right. Oil on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 25c Admiralty Head stamp issued April 26, 1990. From man's earliest seafaring days, beacons have guided ancient navigators through troubled waters. As early as 280 B.C., man-made lighthouses like the Egyptians' Pharos marked harbors and headwaters. Considered one of the seven wonders of the world, the Pharos reputedly rose four hundred and fifty feet into the air and had a wood fire burning at its top. From these beginnings, the lighthouse developed into a priceless navigational tool such as the beacon at Admiralty Head, Washington, positioned at the east entrance to Admiralty Inlet and the Puget Sound. The life of this lighthouse was relatively brief. The lighthouse was built in 1903 and was touted as the most comfortable dwelling on the coast, but the maritime traffic pattern had changed by the mid 1920's and the lantern was removed from this tower in 1927. Though no light has gleamed from Admiralty Head in more than six decades, the structure has become one of the most popular tourist attractions of the area. The lighthouse was restored and opened to the public by the Washington State Parks and Island County Historical Society and though there is still no lantern on the tower, a lantern used at the nearby Alki Lighthouse is on display in Admiralty Head's rotunda. Similar efforts by The Lighthouse Preservation Society and its friends will hopefully keep America's early lighthouses from disappearing quietly into the annals of history. Image Size: 12.5 x 17.5 in. Overall Size: 14 x 19.5 in. Unframed. (B12336)
Paul Calle (1928 - 2010) and Chris Calle (B. 1961) "Quest for Oil Focuses on Middle East". Signed lower right. Original Mixed Media on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting appeared on the Republic of the Marshall Islands 60c Quest for Oil Focuses on Middle East stamp issued April 15, 1997. The discovery of oil in the Middle East led to far-reaching geo-political, economic and social ramifications. As oil quickly became the world's primary energy source, it was soon apparent that abundant new resources of "black gold" would be needed to continue to feed the rapid development of industrialized nations. In 1902,the first oil wells were drilled in Iran and crude oil was piped 125 miles to a refinery at the city of Abadan, in Khuzestan. In 1908, what would prove to be the world's largest reservoir of oil was discovered near the town of Masjid-I-Salaman (Mosque of Solomon) in southwestern Iran. Other immense refineries were soon constructed in Iran. Today, oil reserves and the countries that possess them continue to play critical and influential roles in the economic and political structure of the world. Image Size: 10.5 x 13.75 in. Overall Size: 14.5 x 20 in. Unframed. (B15661 / B15662)
Paul Calle (1928 - 2010) and Chris Calle (B. 1961) "Age of the Automobile Dawns". Signed lower right. Original Mixed Media on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting appeared on the Republic of the Marshall Islands 60c Dawn of the Automobile Age stamp issued April 15, 1997. The beginning of the 20th century witnessed a revolutionary change in the nature of transportation. For the first time in history, animals that had been used for centuries to carry people and property were superseded by the growing popularity -- dramatically enhanced by dropping gasoline prices -- of the "horseless carriage." The year 1907 saw the first long-distance automobile race, from Paris to Beijing, further inciting a growing excitement for the romance of the open road. As the automobile became more affordable, and subsequently more prevalent, significant changes in the world economy and society itself occurred. Today, the automobile is more common than horses once were and is used all over the world for commercial, military and recreational purposes. Image Size: 10.25 x 13.5 in. Overall Size: 14.5 x 20 in. Unframed. (B15663 / B15664)
Chris Calle (American, B. 1961) "1900s - Model T Automobile, Henry Ford" Signed lower right. Original Mixed Media on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. Celebrate the Century Series 32c Model T Ford stamp issued February 3, 1998. In 1908 Henry Ford produced the first Model T, a sputtering, backfiring contraption that would soon put America on wheels. The first Model T originally sold for $850, but once Ford got his assembly line working to perfection, adapting techniques employed by the meat packing industry, the price dropped dramatically. By 1913 Ford's Detroit plant was assembling 1,000 Model T's daily and by 1924, Americans could buy a new Ford for an amazing $290! "I am going to democratize the automobile," Ford said, "and when I'm through, everybody will be able to afford one." Affectionately dubbed the "Tin Lizzie," the Model T was light, durable, simply constructed and easy for any backyard mechanic to work on. Best of all, it had an exceptionally high clearance that enabled it to maneuver on or off America's country roads, which at that time were little more than rugged, rutted trails that turned to rivers of mud during a hard rain. Still, Ford's stubborn refusal to improve the Model T would eventually result in its demise, as he insisted there would be "no new models, no new motors, no new bodies, and no new colors." By the late 1920s, as Americans came to prefer style and comfort in their automobiles, the Model T's popularity diminished. But because of the extraordinary "Tin Lizzie," America would never be the same again. Image Size: 14.75 x 11.75 in. Overall Size: 22.25 x 16 in. Unframed. (B15825)
John Swatsley (American, B. 1937) "Steamboat Phoenix (1809)" Signed lower right. Original Oil on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting appeared on the Fleetwood First Day Cover for the U.S. 25c Steamboat Phoenix stamp issued March 3, 1989. In the beginning of the steamboat era, two gentlemen by the names of Fulton and Livingston had a monopoly on steamboat operation in the New York area. Also interested in steamboats was Livingston's brother-in-law, an inventor by the name of John Stevens, Jr. In order to raise money to finish a steamboat, the Clermont, Fulton and Livingston offered to take Stevens as a partner, for a price. He refused to pay, and in turn told them he was building a boat, the Phoenix, that was much superior to the Clermont. If he wasn't given a partnership, he would put his boat into competition with the Clermont and ruin their business. Fulton and Livingston offered Stevens a one-fifth share, but he had decided he wanted to be recognized as the inventor of the steamboat. Thus, Stevens launched the Phoenix in defiance of the Fulton-Livingston monopoly. He worked his steamboat on the Hudson and in New Jersey waters for close to a year, and when Fulton-Livingston succeeded in having the Phoenix legally tied up, he decided to move her to the Delaware, far from their territory. It was a weighty decision, for it meant the craft would have to swim through more than 150 miles of open ocean. Nevertheless, even though she was a boat designed to run in protected waters, the Phoenix set out to sea, with Captain Moses Rogers as her master. Thirteen days later, the Phoenix reached Philadelphia. The successful completion of her journey earned the little side-wheeler her place in American history. Image Size: 14 x 12 in. Overall Size: 20.5 x 18 in. Unframed. (B11900)
John Swatsley (American, B. 1937) "Steamboat New Orleans (1812)" Signed lower right. Oil on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork originally appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 25c Steamboat New Orleans stamp issued March 3, 1989. In the beginning of the steamboat era, two gentlemen by the names of Fulton and Livingston had a monopoly on steamboat operation in the New York area. John Stevens, Jr., a wealthy New Jersey inventor who had also been involved in steamboat development for many years, launched his own steamboat, the Phoenix, in defiance of the Fulton-Livingston monopoly of the area. Stevens worked his steamboat on the Hudson and in New Jersey waters for close to a year, and then decided to move her to the Delaware, far from Fulton-Livingston territory. It was a weighty decision, for it meant that the craft would have to steam through over 150 miles of open water. Nevertheless, the Phoenix put to sea, with Captain Moses Rogers as her master. Thirteen days later, after several delays due to bad weather and engine trouble, the Phoenix reached Philadelphia. The successful completion of her treacherous journey earned the little sidewheeler her place in American history. She was the first ocean-going steamboat in the world! Image Size: 8.75 x 10.75 in. Overall Size: 15 x 18 in. Unframed. (B11870)
Peter Barrett (B. 1935) "Sporting Horses - Polo" Signed lower left. Original Watercolor on paper painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 29c Polo Horses issued May 1, 1993. During the 6th century B.C., the Persian cavalry played a training game which pitted as many as 200 men against each other. Thus was the challenging game of polo born. For many centuries nobility dominated the sport while its popularity spread from Persia to Arabia, and into Tibet where the name "polo" was derived from the Balti word for "ball." The game took a tragic turn in 10th-century China when Emperor Apao-chi lost a dear relative to polo and promptly ordered the beheading of all surviving players. By the 13th century, Muslim conquerors had introduced the sport to India, but it wasn't until the 1800s that British tea planters in Assam took up the mallet and formed the first European polo clubs. British cavalry units engaged in matches while stationed in India and brought the game back home to England. By 1875, English polo games attracted as many as 10,000 spectators. A year later, James Gordon Bennett, a sportsman and newspaper publisher, introduced the sport to the U.S. It long remained a pastime of the rich due to the cost of purchasing and maintaining a stable of polo ponies. Presently, the mount is a full-sized horse chosen for its temperament, stamina and intelligence. Specially bred for this purpose, these animals are broken early and worked as cow ponies until about age five when they undergo six months to two years of intensive polo training. Although these horses reach their peak at age nine or 10, polo ponies may continue to effectively compete up to the ages of 18 or 20. Image Size: 13.75 x 12 in. Overall Size: 16.5 x 13.75 in. Unframed. (B14211)
Peter Barrett (B. 1935) "Sporting Horses - Show Jumping" Signed lower left. Original Watercolor painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the U.S. 29c Sporting Horses Se-tenant Block of 4 issued May 1, 1993. The name Louisville, Kentucky, has been synonymous with the sport of horse racing ever since 1875 when the first Kentucky Derby was run at Churchill Downs. This horse racing mecca has brought together some of America's finest Thoroughbreds to compete in the nation's most popular equestrian event. Consequently, the state of Kentucky is also the home of many of the country's largest breeding and racing stables. The Bluegrass State's C.V. Whitney Farm has its own equestrian cemetery with white headstones marking the burial sites of numerous champion horses. One of the most famous horses of all time, Man o' War, also hailed from Kentucky. Winning 20 of its 21 starts, this incredible athlete was voted greatest racehorse of the first half of the 20th century and was visited by over 1.5 million fans at its Faraway Farms home. Image Size: 13.75 x 11.75 in. Overall Size: 16.75 x 14.25 in. Unframed. (B14212)
Howard Koslow (American, 1924 - 2016) "U.S. Liberates Marshall Islands" Signed lower left. Original Acrylic on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Republic of the Marshall Islands 29c U.S. Liberates Marshall Islands 1944 stamp issued February 4, 1994. Having learned from the carnage at Tarawa, U.S. forces were exceptionally well organized for the invasion of the Marshalls -- Operation FLINTLOCK -- which began on January 31, 1944. The undefended island of Majuro was captured first and used as a base to bomb Kwajalein Atoll prior to the next day's main assault. On February 1, the 4th Marine Division landed on Roi and Namur Islands, while the 7th Infantry Division and 25th Marines attacked the Japanese stronghold on Kwajalein Island, 50 miles to the south. Despite savage fighting and frenzied banzai charges, Japanese Rear Admiral Monzo Akiyama's entire garrison -- nearly 8,000 men -- was virtually wiped out. Fewer than 400 U.S. troops died. By February 4, all resistance on Kwajalein Atoll had ended. Pictured here is a Douglas SBD Dauntless in combat over Roi and Namur Islands. Image Size: 12 x 14.75 in. Overall Size: 17.75 x 20 in. Unframed. (B14599)
Brian Sanders (British, B. 1937) "USS Hornet" Signed lower right. Oil on Masonite painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Republic of the Marshall Islands History's Greatest Fighting Ships sheetlet issued December 1, 1998. On April 18, 1942, 16 B-25 bombers, led by Lieutenant Colonel James H. Doolittle, took off from the pitching deck of the USS Hornet for the first attack of the war on Japan. The Hornet also distinguished itself as part of Task Force 16 at the Battle of Midway, when its aircraft helped sink four of Japan's carriers in what would be the turning point of the Pacific War. Image Size: 10.5 x 13 in. Overall Size: 14.5 x 17 in. Unframed. (B15815)
Sun Chuanzhe (Chinese, B. 1915) "Kingfisher" Stamped middle right. Original Watercolor painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. The brilliantly colored Kingfisher's breeding season provides some interesting events. First of all, the gallant male offers the female a fish, holding it with the head toward her. This symbolizes the Kingfisher's matrimonial bond and the pair soon begin to build a nest together. Their tiny feet work tirelessly until the nest chamber is done to their satisfaction. Then, the female lays anywhere from six to eight round, white eggs. Nineteen to twenty-one days later, the eggs hatch and the mother and father Kingfisher are kept busy feeding their new brood. On the very first day of life, young kingfishers require tiny fish. When their parents bring back a catch, the youngster nearest the door opens his bill. When he is fed, he moves to the end of the line and one of his siblings gets the next treat. After just a few days of this constant care, the young Kingfishers leave the nest and soon learn to fish for themselves. Even as adults, Kingfishers catch only the smallest fish. Generally, they beat these small fish on bushes and then swallow them head first. By eating only the smallest fish, Kingfishers help to control overstocked feeding grounds. Image Size: 13.25 x 13.25 in. Overall Size: 15 x 15 in. Unframed. (B08648)
A collection of 3 stamp and postcard albums to include China with stamps, covers, postcards and ephemera. World Stamp Extravaganza that includes stamps, first day covers, seals, cinderellas, postcards etc. Also another ephemera collection album to inlcude WW1 Victoria Cross and George Cross, stamps, block sheets, cinderellas, 1st day covers, cigarette cards and many other items
An early 20th Century oil on board painting of the HMT Royal Edward passenger steamship at sea. The ship was sunk during the First World War with a large loss of life while transporting Commonwealth troops on the 13th August 1915. Signed by the artists to the bottom right C. Spence 1911. Set within a gilt frame. Measures 29 cm high x 52 cm wide.
A good early 20th Century bronze figure of Shiva Nataraja God of Dance shown standing on a dwarf like creature "apasmara purusha". Raised on a lotus like base, the figure holding in his upper right hand the damaru (hand drum that made the first sounds of creation). His upper left hand holds agni (the fire that will destroy the universe). With his lower right hand, he makes abhaya mudra (the gesture that allays fear). Shiva's front left hand, pointing to his raised left foot, signifies refuge for the troubled soul. Measures 25 cm tall.
GODFREY SYKES (1824-1866) FOR THOMAS BRADBURY & SONS, SHEFFIELD TOBACCO JAR AND COVER, CIRCA 1855 copper, electrotyped (Dimensions: 23cm high)(23cm high)Footnote: Literature: For a similar example lacking its finial see Victoria & Albert Museum Collection, London, museum no. 4031&B-1858 Note: Geoffrey Sykes was first apprenticed to an engraver, James Bell, in Sheffield and attended Sheffield School of Art in 1843. Sykes was strongly influenced by Alfred Stevens, who from 1850 was chief designer for iron founders Hoole & Co. of Sheffield, and Sykes worked for a period under Stevens at Hoole & Co. for no pay. This tobacco jar was designed by Sykes during this period and shown at the Dublin 1853 exhibition. In 1859, Sykes moved to London and worked on the decoration of the new South Kensington Museum, now the V&A, under the architect Captain Fowke. The work employed a variety of media: terracotta, mosaic, bronze, majolica, stained glass, paint and iron.
THOMAS J. CLAPPERTON (1879-1962) 'WONDERLAND', CIRCA 1926 bronze, with revolving socket on a dished marble base, signed in the bronze THOS. J. CLAPPERTON (Dimensions: bronze 31cm high, marble base 12.3cm high, 43cm diameter)(bronze 31cm high, marble base 12.3cm high, 43cm diameter)Footnote: Image re f: 1/4-055813-G. Alexander Turnbull Library, Wellington, New Zealand. Note : Regarded as ‘The Border Sculptor’, Thomas Clapperton initially trained at the Glasgow School of Art, before becoming apprentice to Sir William Goscombe John, one of the most eminent sculptors of the period. After much time studying in Paris and Rome, Clapperton eventually settled in London and setup a sculptor's studio in Chelsea. Although his sculpture of Robert the Bruce at Edinburgh Castle is renowned, the sculptor’s skilful execution of numerous war memorials are also highly regarded. In the immediate aftermath of the First World War, the nation was in mourning and anxious to reflect; Clapperton’s sympathetic and emotive treatment of the subject won him several commissions at this early stage in his career, including those from as far afield as New Zealand. During an official visit to the UK, mayor Robert Milligan was charmed by Sir George Frampton’s portrayal of Peter Pan in Kensington Gardens, now an iconic homage to J. M. Barrie’s novel of the same name. Following this, he reached out to Clapperton for two commissions: one for the North Otago War Memorial; and the other for ‘Wonderland’. Initially, the mayor’s request was to produce a direct replica of Frampton’s Pan, however Clapperton felt copying the work of his contemporary would not be appropriate so instead agreed to produce a similar bronze, drawing inspiration from the piece. The influence from Frampton’s Pan are clear in ‘Wonderland’: a conical base with mystical fairies, pixies and woodland creatures perching amongst the naturalistic rockery; the charming innocence of the figures in search of adventure. Clapperton however, opts for a more dynamic rendition of the piece, as the figures interact with the wonderland they have just discovered below them. The girl, perhaps a representation of J.M. Barrie’s Wendy , sits on the edge of the rock face and delights in the fantasy world below. The boy, eagerly peering over the edge, is about to be drawn in to the dreamlike world by one fairy, reaching out to touch the tip of his foot, as if inviting the children into Wonderland. Upon its completion in 1926, Robert Milligan gifted the piece to the children of Oamaru, New Zealand, where it still stands today in the Wonderland Garden. The finished bronze, of which this is a reduction, marks Clapperton’s diversity as a sculptor, stepping away from sombre memorial compositions to stir up fond memories of the joys of childhood.
SIR GEORGE JAMES FRAMPTON (1860-1928) 'PETER PAN', DATED 1911 patinated bronze, signed with initials in the bronze GF and dated 1911, also inscribed with an encircled PP and raised on a veined green marble base (Dimensions: figure 48cm high, total height 52.5cm)(figure 48cm high, total height 52.5cm)Footnote: Provenance: Sir Alexander Walker II (1869–1950) Literature: Skipwith, Peyton Sir George Frampton & Sir Alfred Gilbert, Peter Pan & Eros: Public & Private Sculpture in Britain 1880-1940 ', The Fine Art Society, London 2002 Note: Sir Alexander Walker II (1869–1950) was the younger grandson of John 'Johnnie' Walker, creator of the famous whisky brand. Sir Alexander donated this figure of Peter Pan to a local educational trust on his death. In 1911 an anonymous donor commissioned Sir George Frampton to create a sculpture of Peter Pan to be placed on the very spot in Kensington Gardens where the magical boy appears nightly in J M Barrie's Little White Bird of 1901, the first book in which the character appears. Sir George Frampton's 'Peter Pan' is one of the best-known monuments in London, based on the character from J.M. Barrie's novel of the same name, with the author commissioning the statue in Kensington Gardens himself. When it was completed, the original life-size bronze was first shown in 1911 at the Royal Academy, London. Subsequent to this exhibition the life-sized figure was erected overnight in secret in 1912, with no pre-publicity, simply a brief announcement which appeared in The Times that day: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning…a May-day gift by Mr J.M. Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree, with fairies and mice and squirrels all around. It is the work of Sir George Frampton, and the bronze figure of the boy who would never grow up is delightfully conceived.' Sir George James Frampton (1860-1928) studied at the Royal Academy, becoming president of the Royal Society of Sculptors in 1911, and is known as one of the leading figures in the New Sculpture movement. Peter Pan marks a technical milestone in the evolution of public sculpture in Britain, reflecting advances in casting by two of Britain's leading foundries at the time, Singer's and Burton's. A further six life-sized casts were erected, in Liverpool, Australia, Belgium, Canada, and the US, demonstrating the wide-spread popularity of Frampton's interpretation of the character. Taking advantage of its immediate popular appeal, Frampton produced a series of bronze reductions of the main figure as an independent statuette. Despite the familiar presentation of this figure, the early date and subtle details in the casting point to this example being an early, perhaps the first, trial casting.
GEORG JENSEN TWO SILVER RINGS, 1960S the first, designed by Vivianna Torun Bülow-Hübe for Georg Jensen, stamped GEORG JENSEN/ TORUN/ 925S/ DENMARK 148, ring size I/J; the second, designed by Nanna Ditzel for Georg Jensen, stamped 925S/ DENMARK/ GEORG JENSEN/ 93, ring size N; together with a HANS HANSEN SILVER RING, stamped Hans Hansen/ DENMARK, 925S, ring size F/G (Qty: 3)
§ ADALBERT-GEORGES SZABO (1877-1961) FRENCH ART DECO GILDED BRASS PLAQUE, CIRCA 1930 cast as a perched bird and mounted on an ebonised wood disc, the whole on a bronze plinth, stamped maker's mark SZABO (Dimensions: 16cm high)(16cm high)Footnote: Note : Originally from Hungary Adalbert-Georges Szabo became a member of the Société des Artistes Décorateurs in 1907. A stylistic shift in his work became apparent after 1918 when his traditional designs began to show the angular influence of Art Deco. One of his most noted designs was for twelve medallions for the pair of doors leading to the first-class private dining rooms of the ocean line Normandie .
Three woollen rugs, the first Moussol example approx 67 x 134 cms, terracotta and olive green colour way, geometric design with foliate border, the second a small olive green rug with a foliate border, selvedges and tassels complete, the third a blue woollen rug with jewel colours, geometric design and border surround selvedges and tassels complete. (3)
Two woollen rugs, the first approx 193 x 104 cms, with a central foliate design with border surround, peach, green and blue colourway together with a second rug approx 106 x 195 cms, with a foliate design with border surround, claret, green, blue and cream colourway, both with complete selvedges and tassels. (2)
United Kingdom Royal Mint Proof Collections, boxed with certificates including 1983,1984,1985,1986, 1989,1990,1991 together with United Kingdom Uncirculated Coin Collection 1982 x 2, 1983 x 2, 1984 x 2, 1985 x 2, 1986 x 2, 1989, 1990 and 1991, also contained in this lot is Proof Coinage of GB and Northern Ireland 1982, Jersey, 1981, Guernsey 1981, New Zealand, Cook Islands 1983, Central Bank of Cyprus 1983, Vanuatu 1983, Canada 1983, Seychelles 1982, Lucas Commonwealth Games Commemorative coin, Britain's First Decimal coins x 2, Isle of Man 1979 and 1980, single album containing shillings and two shillings with a box of miscellaneous GB copper, a tin of GB crowns, 50 pence, 5 pence and shillings together with miscellaneous GB banknotes including Scottish £1.00 and £10.00, Isle of Man, Guernsey, Jersey and UK with some British Armed Forces and three £1 British postal orders.
1814 entire letter from Lord Mayor of London regarding a tour of France. This lot comprises a three page letter written in 1814 by George Scholey (Lord Mayor of London in 1812) to reverend Brown in Sandal, Wakefield regarding Mr Scholey's observations about France, immediately post Napoleon's first reign, arising from his recent tour of the country. A contemporaneous and fascinating account of life in France from the perspective of an informed Englishman.
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