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Lot 1206
Aviation Captain Gerard William Reginald Fane D.S.C. etui case, with drawing instruments enclosed, Captain Fane`s 212 Squadroon Great Yarmouth 6/17 - 5/18 RNAS & RAF, from wartime aircraft manufacturers Comper Fane Aircraft Limited, The company`s only aircraft was based on the Comper Scamp, Fane took the Scamp design and reworked it as the Fane F.1/40 which first flew in 1941; with no orders from the Air Ministry only one was built, named to the interior of the case
Lot 1396
Tin plate model of the land speed car Golden arrow, with driver at the wheel and rubber Dunlop tires, 50 cm long, Golden Arrow was a land speed record racer. Built for Major Henry Segrave to take the LSR from Ray Keech, Golden Arrow was one of the first streamlined land speed racers, with a pointed nose and tight cowling. Power was provided by a 23.9 litre (1462 ci) W12 Napier Lion VIIA aeroengine
Lot 577
An Omani silver & 19thC Venetian bead bracelet together with an Egyptian first kingdom period carnelian & Omani silver necklace; 19thC Persian necklace with Turkomen silver bead & lapis lazuli fish; three Japanese fossilised mammoth beads; Turkoman silver hair oil bottle and two Islamic 8th - 11thC wound glass truncated bicone beads
Lot 573
A carved bone neck ornament tiki, in Maori style possibly by James Frank Robieson, with abalone inset eyes, 10cm high. James Frank Robieson was born in New Zealand in 1880 and enjoyed a boyhood with Maori playmates. As a young man he worked for the New Zealand Tourist and Publicity Department with his first oposting to the Rotorua Branch. His worked was the supervision of construction of a stockaded village for tourists. Here he met the Maori elders and the Arawa carvers. This is when he learnt to carve in the distinct Maori manner, reading about ancient lore and gathering Maori artefacts. He was transferred to Dunedin where he set up a cased exhibiting his collection, and continued to `forage` at ancient sites. Moving to England after World War I and about this time items collected by Robieson were purchased by various museums, often through his brother of Oriental Bay, Wellington. He bought a considerable amount of raw material with him to England and returned to New Zealand shortly before World War II and died in 1966. The Pitt Rivers Museum, Oxford purchased twenty one `old Maori` items from Robieson in 1930. It was not until 1956 where a number of pieces where identified as not being carved by a Maori hand.
Lot 112
A large quantity of Various Makes. Including a Corgi Ford H series Car Transporter, First Gear Ford C-600 Straight Truck, Hess Gasoline Tanker (The First Hess Truck), Matchbox 20-car Collectors Case in the shape of a steering wheel, Minic Standard Vanguard, 2 Atlas Editions sports cars: BMW 507 and Aston Martin DB5, 8 x Matchbox ’50 Collection’ vehicles: London Taxi, 1962 VW, Fire Saver and Ford Model A. Hachette Renault Dauphine 1000 Miglia. Guiloy Kawasaki 500GP metal & plastic kit, Solido Alpine A442 sports-racing car, East European tinplate garage ‘Garaz’, for two cars, K-H-D Deutz Mini engine F4L 912 metal kit. Many items boxed, minor/some wear. QGC-As New. Circa 80 items.
Lot 119
A quantity of various makes. 8 Corgi Land rovers: including Maidstone & District, City of Bath Fire Brigade, HM Coastguard, AA Road Service, RAC Mobile Service Unit and military. 3 Corgi tanks: Churchill, Sherman and M48-A3. Also 3 Oxford Commercials Land Rover items: First Overland Set; 2x LR88" Hard Top, RAC and Somerset Fire Brigade. Together with 5 Solido-Victoria including Dodge WC63, Dodge Pick-Up, Packard Sedan (Staff Car). Also in the lot are 5 Hornby Railways Pullman Cars- Agatha, Lucille, Ursula, Car No.77 and Car No.79. All boxed. Minor wear to some. Contents VGC-Mint. (24).
Lot 542
12 sheets each of 50 5 cent USA postage stamps “Flags of Oppressed Nations”, issued in 1943, Albania, Austria, Belgium, Czechoslovakia, Denmark, France, Greece, Luxembourg, Netherlands, Norway, Poland and Yugoslavia, mint condition (the complete issue also included Korea); an autographed post card of the Rotarua “First Passenger Ship to go through the Panama Canal.1916” note on back; and a page of snapshots of the canal; a WWII Women’s Land Army arm band; sundry other items. Generally GC
Lot 565
A folder containing 10 photographic postcards of LZ 127 Graf Zeppelin, showing it under construction, the airship sheds, plan of accomodation etc; another folder of 6 photographs of LZ 127 mostly under construction, published by Luftschiffbau Zeppelin 1928 and 6 (from a set of 12) photographs of Graf Zeppelin. The first 2 GC, the last item worn
Lot 603
A Third Reich Luftwaffe First Aid box, of steel reinforced plywood construction with carrying handle, painted olive green, the lid marked “Luftschutz Verbandkasten,” with contents, the inside of the lid with printed list of contents, and rubber stamp of the civilian supplier and date “18 Aug 1939”, GC; also a field grey felt waterbottle cover, in used condition.
Lot 635
An officer’s silver HP of the King’s Own First Stafford Militia, castle and scroll “Windsor 1798 to 1812” in centre, HM B&P B’ham 1878. 3 studs and wing nut fastenings. Near VGC. See front cover. Note: At the personal command of George III the regiment performed guard duties at Windsor Castle from 1798-1812
Lot 237
Follower of Severo da Ravenna (Italian, c. 1465/75-before 1538), "A Pair of Nude Male Figures Supporting Inkwells", probably mid-16th c., bronze statuettes with russet alloys, chestnut patinas, and black lacquers, heights 6 1/2 in., on variegated black marble plinths. Provenance: Collection of a Gentleman, purchased 1968 from Manheim Antique Galleries (in B.H. Latrobe`s Louisiana State Bank Building), corner of Royal and Conti Streets, New Orleans. Note: Severo di Domenico Calzetta, known from the city of his birth and death as Severo da Ravenna, where he was enrolled as a Master in 1496 (though his principal works were executed in Padua, from 1500 to 1511), is an exceptional artist who was particularly celebrated in the writings of the Paduan humanist Pomponio Gaurico—especially in his treatise De Sculptura (1504)—but was subsequently forgotten, and only "rediscovered" in the 20th century. Over the last fifty years Severo has been acknowledged as one of the most inventive and prolific of all Renaissance bronzecasters: something approaching 200 casts, of at least 35 or 40 different small bronze designs, have been recognized as issuing from his shop. Even within such an enormous oeuvre, the present figures may well represent a yet-unidentified model: their closest counterparts are apparently the three similarly sized and posed Male Nudes on the topmost of the six figural registers of a colossal Bronze Candlestick in the Fine Art Museums of San Francisco (61.35), in which trios of similar and larger figures (with upraised arms) support the successive platforms and of which the Female Nudes on the bottom tier are also idiosyncratic variants of Severo`s Cleopatra. The possibility that these remarkably handsome figures may in fact derive from such a source, is reinforced (first) by their highly unusual preservation in the form of an exact pair, probably confirming their derivation from just such a multi-figured utensil; and (second) by the fact that their absolutely standard Severan inkwells—life casts from a real seashell, such as that of the galeodea echinophora of Linnaeus—are here present in the form of aftercasts (implying their replication from other, identical specimens closer to the natural models). These shell-inkwells are each attached to their figures` backs by two early screws: one above their shoulders, and with a second, running diagonally (and most unusually) into the backs of their heads. References: Anthony F. Radcliffe, "Replicas, Copies and Counterfeits of Early Italian Bronzes," Apollo 1986, pp. 184-185, fig. 4 (for the San Francisco Candlestick); Richard E. Stone, "Severo Calzetta da Ravenna and the indirectly cast bronze," Burlington Magazine, vol. 48 (Dec. 2006), pp. 810-819; Dylan Smith, "I bronzi di Severo da Ravenna: un approccio tecnologico per la cronologia," in L`Industria Artistica del Bronzo del Rinascimento, M. Ceriano e V. Avery, eds., Verona, 2008, pp.49-80 (esp. p. 77, note 75, on the Candlestick again). We are particularly grateful to Dr. Charles Avery for calling that artifact to our attention (private communication).
Lot 320
A Rare American Classical Gilt Stenciled Mahogany Secretary Desk, c. 1825, New York, upper case with flared cornice, arched frieze, glazed doors flanked by Corinthian columns; lower case with fall front compartment enclosing pigeon holes, foldover baize-lined writing surface, paneled doors flanked by columns below, acanthine and lobed feet, height 101 in., width 55 in., depth 28 in. Note: The deep flat cornice, arched frieze, distinctive carved capitals, and framing mullions on the upper case of the secretary are nearly identical to those on two well-known examples: the first bearing the label of Robert Fisher (New York, active 1824-1837) in the Terian collection, the second conserved at the Metropolitan Museum of Art (acc. 60.29.Iab). This desk is also related to one illustrated in the 1833 Joseph Meeks and Sons broadside as item no. 41. Reference: Voorsanger, Catherine Hoover & John K. Howat, Art and the Empire City: New York, 1825-1861, 2000-2001, fig. 239, pp. 293-295; cat. no. 223, p. 515; fig. 225, p. 517.
Lot 427
A Good American Sterling Silver Punchbowl, Meriden Britannia Co., Meriden, CT, founded 1895, absorbed into International Silver Co. 1898; with presentation inscription commemorating E.F. Swinney`s election as president of the American Bankers Association in 1905, the footed lobed form with floral and scroll rims, height 10 in., diameter 16 in., weight 70.70 troy ozs. Note: Edward F. Swinney (1857-1946) was president of the First National Bank of Kansas City from 1900-1927.
Lot 454
Marie Adrien Persac (French/Louisiana, 1823-1873), "View of a French Harbor", c. 1850, gouache and watercolor on paper mounted on board, signed "A. Persac" lower right, sheet 5 3/8 in. x 8 1/2 in., framed. Note: This view of an as-yet-unknown river harbor is the first unknown Persac painting to be discovered since a cache of fourteen small watercolors, also done in France, appeared in England in 2000. The picture gives evidence of being an early work painted in France before the artist made his first trip to the United States around 1842. This early French harbor scene affords collectors a rare opportunity to acquire a Persac. Of the seventy-six known Persacs, fifty-four are in public collections. The watercolor being offered here, invites comparison with Persac`s later view of the "Port of New Orleans" owned by The Historic New Orleans Collection. Like it, this view obviously represents a river port near the sea lanes, as is attested by a vast number of ocean-going sailing ships docked on both banks and one sailing midstream. Another similarity is that both images feature a broad bend—a crescent—in their respective rivers. Not surprisingly, the two-to-four story buildings of the town sport iron balconies reminiscent of the Vieux Carre, New Orleans. While St. Louis Cathedral appears at center right in Persac`s "Port of New Orleans", what appear to be the twin Gothic towers of a cathedral or large church can be seen through the cross trees of the second ship. This architectural feature could be a major clue to the location of this scene. Persac`s surviving works give no indication that he painted capriccios; rather, he rendered each feature as it was. He was unrealistic only in his tendency to depict all of his subjects in immaculate condition. As with most of Persac`s paintings, there are unusual elements which challenge identification; in this image the curious conically draped objects in the left foreground are examples. Nearby is a delightful blue and white tent with a scalloped border and gilt tassels on a raised stone foundation. Or is it an open market draped with canvas sides? Or is it even a building painted to look like a tent? The three openings facing the river are made by pushing cloth to either side. What was the purpose of this attractive confection? Persac was trained in France. He enjoyed success as an architect, civil engineer and cartographer, and added photography to his skills after his arrival in the United States. He always had the soul of an artist and the charm that pervades his Louisiana work, including his slightly skewed perspective, is attractively present in this harbor scene. Neal Auction Company would like to thank H. Parrott Bacot for his assistance with this catalogue entry. H. Parrott Bacot is Professor Emeritus of the History of Art and former Director of the LSU Museum of Art. He was the organizer of the exhibition "Marie Adrien Persac, Louisiana Artist" and principal co-author of the book (LSU Press; 2000)
Lot 1110
John Gay, Fables, two volumes, first editions of each, the first 1727, by Tonson and Watts, London, 1/4 leather, 9 1/2 in. x 7 1/2 in., with 51 vignettes by Wooten and Kent; the second 1738, Knapton and Cox, London, full calf, 7 7/8 in. x 4 3/4 in., with frontispiece and 16 plates; together with John Gay, The Beggar`s Opera. As it is Acted at the Theatre-Royal in Lincoln-in-Fields, 1735, fourth edition, [bound with], The Man of Taste, published anonymously by James Miller, 1735, second edition, with some later Beggar`s Opera editions and critiques.
Lot 1159
Attributed to Henrietta Johnston (American/Charleston, c. 1670/75- c. 1729), "Pair of Female Portraits, Said to Represent the Williams Sisters", early 18th c., two pastels on laid paper, unsigned, each 8 3/8 in. x 6 1/4 in., matching molded giltwood frames. Provenance: Earle Williams Newton II (1917-2012): his autograph inscription en verso of one back board states, "Miss Williams/ from a Williams family estate /which also included a silver can[n] / of Colonial origin / attributed to Henrietta Johnston [signed] Earle Williams Newton"; [in his hand, on newer adhesive labels] "Purchased for/ Norton Asner/ Baltimore", as well as "Accepted as by/ H. Johnston/ by Director of/ Charleston Museum/ biographer of Johnston." Note: Unfortunately the previous owner failed to note the name or exact institution of the `Charleston museum director` who accepted these portraits as possible works by Henrietta Johnston, America`s first woman artist, as well as its first artist in pastels. The historical Henrietta Johnston almost always employed sheets of paper of 12 inches by 9 inches, from which standard the present sheets are only about two-thirds as large in each direction; the historical artist specialized in rather stiff figures shown to the full half-figure length, and apparently always with exaggeratedly long necks. The present smaller, shorter, and more compact figures do, however, share certain of the idiosyncrasies of Henrietta Johnston`s characteristic costumes and coiffures. On balance, there may exist a preponderance of evidence in favor, at least, of a tentative ascription of these portraits to the shop, circle, or following of Henrietta Johnston. Reference: Darryl Patrick, "Johnston, Henrietta," Grove Dictionary of Art, Jane Turner, ed., 34 vols., London, 1996, vol. 17, p. 626.
Lot 1233
William Woodward (American/New Orleans, 1859-1939) and Olive Leonhardt (American/New Orleans, 1895-1963), Woodward, French Quarter Etchings of Old New Orleans, 1938, Magnolia Press, New Orleans, first edition, with dust jacket; together with Leonhardt, New Orleans Drawn and Quartered, 1938, Dale Press, Richmond, with a signed forward by Lyle Saxon, with 39 reproductions after her work.
Lot 1271
Two Chinese Export Polychrome Porcelain Bowls, 19th c., the first decorated with landscape panels enclosing pairs of deer and water buffalo between floral cartouches, base with "Fred B. Nadler Antiques" label, height 3 7/8 in., diameter 9 in.; the second with floral and fruit panels on a blue and white ground, height 3 7/8 in., diameter 9 in.
Lot 127
Two 1930s dressing table sets, the first a Maling Rosine pattern part dressing table set comprising rectangular tray, a pair of candlesticks and a powder bowl and cover, printed marks and a Wedgewood & Co (sic) part dressing table set comprising oval tray, hair pin dish, powder bowl and cover and a candlestick all decorated in low relief with yellow flowers against a green ground, printed marks (qty)
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596780 item(s)/page