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Lot 189

Zhang Zujiän Chinesischer Künstler des 19. Jhd. "Gelehrter beim lesen" Zeichnung - Tuschmalerei, Sichtmaß 36,5 cm x 56,3 cm, seitlich rechts Gedicht und Signaturstempel, verso Künstlerangabe und Übersetzung des Gedichtes, Provenienz: Alte Berliner Privatsammlung. Zhang Zujiän Chinese artist of the 19th century "Scholar when reading" drawing - ink painting, visual size 36.5 cm x 56.3 cm, on the right side poem and signature stamp, on the backside with artist information and translation of the poem, provenance: old Berlin collection

Lot 210

Rollbild China Qing Dynastie Berglandschaft mit Bäumen, Signaturstempel und mehrere Sammlungsstempel, oberhalb links und rechts Chinesische Schriftzeichen, ca. 143,5 cm x 51,5 cm Scroll painting China Qing dynasty mountain landscape with trees, signature stamp and several collection stamps, above left and right Chinese characters, approx. 143.5 cm x 51.5 cm

Lot 581

Christa BÖHME (1940-1991) "Blumenstillleben mit Flasche" Aquarell - Mischtechnik, Passepartoutausschnitt, 60 cm x 41,5 cm, verso mit Nachlaßstempel, Provenienz: Privatsammlung Berlin Christa BÖHME (1940-1991) "Blumenstillleben mit Flasche" watercolor - mixing technique, passepartout cutout, 60 cm x 41.5 cm, verso with estate stamp, provenance: private collection Berlin

Lot 705

Manfred BÖTTCHER (1933-2001) "Orchesterprobe" Zeichnung - Aquarell / Tusche-Pinsel, 38 cm x 49 cm, links oben betitelt und datiert 55, verso Nachlaßstempel Manfred BÖTTCHER (1933-2001) "Orchesterprobe" drawing - watercolor / ink brush, 38 cm x 49 cm, titled and dated 55 at the upper left, estate stamp on the backside

Lot 735

Paul KUHFUSS (1883-1960) "Fränkischer Wald" (1936) Zeichnung- Sibirische Kreide auf Papier 47,5 cm x 64,5 cm, verso Nachlassstempel und WVZ Nr. 1898 Paul KUHFUSS (1883-1960) "Franconian Forest" (1936) drawing - Siberian chalk on paper 47.5 cm x 64.5 cm, verso with estate stamp and catalogue of works number 1898

Lot 876

Konvolut Geldscheine 1947/48 Bund, Westberlin und DDR, dabei Rosenberg Nr. 211-13, 233 mit Stempel und Perforation, Erhaltung: gebraucht bis stärker gebraucht A bundle of banknotes 1947/48 Bund, Westberlin and GDR, with Rosenberg number 211-13, 233 with stamp and perforation, condition: used to more used

Lot 144

A stamp collection comprising five worldwide albums to include Chinese stamps and a Penny Red and loose franked stamps and envelopes

Lot 176

An Empire stamp album including stamps from Ceylon, Britain to include Penny reds and Indian stamps

Lot 6

Two enamel boxes. One Continental silver royal blue guilloche enamel pill box with garland and foliate engine turned decoration and gilded interior, hallmarked: 925, S and makers stamp filled with a collection of antique seed pearls. Along with a gilt brass green and white guilloche enamel geometric design pill box with mirrored interior to the lid. Largest 4.4cm length

Lot 77

A large ceramic leaf shape white Paola C. serving patter by designer Aldo Cibic, Italy. Makers stamp to base 60x42cm

Lot 78

A Mid-Century Brown rough glaze IHQ Dansk coffee set with white glazed interior and abstract design. Makers stamp to base.

Lot 120

A collection of French Gien china plates with vine leaf decoration, makers stamp to the back along with a large foil backed gold and black glass platter with abstract design.

Lot 84

A Studio Pottern flat circular posy vase, signed RC in oval stamp possibly that of Ruth Charlton 

Lot 96

A John Smith & Sons Derby oak cased mantle clock, 1950, anniversary dome clock, oak desk tidy, ink well and date stamp

Lot 318

A MINIATURE ROYAL CROWN DERBY CUP & SAUCER, each piece Numbered 7112 with green stamp, Royal Crown Derby floral dish (tiny chip to rim) and a semi-glazed model of Gretna Green by H Mackie. NURSERY POTTERY - a Royal Doulton Bunnykins cup, saucer and plate trio, a Tams Old Mother Goose mug and a Ridgways Nursery cup and saucer (crack to cup). A CHINA PARCEL - a continental shaped oblong dressing table tray with pink rose border and three shaped lidded containers, a pair of floral china Poppy Ribbon plates and a trio of continental Pink Rose Ribbon plates and A SMALL ITALIAN POTTERY FIGURAL BOWL, a pair of yellow ground floral square Cloisonne dishes (damaged areas), an Alabaster Sphinx and small horse

Lot 338

POSTMAN'S ALARM with weights and pendulum, treen boxes, printer's stamp ETC

Lot 216

5th-7th century AD. A substantial cross-shaped ecclesiastical stamp for communion bread (Prosphora or Blessed bread, antidoron), a monogram in Greek letters reading '??????' (of Peter) followed by the letters ??, ring handle soldered to back. See Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, items 725-726, for type and discussion.70 grams, 50mm (2"). Property of an Austrian private collector since the 1970s. The bigger stamps of bronze are generally known in the relevant literature as bread stamps. This applied to the bread which is consecrated during the Holy Liturgy and then it is given to the believers as Body of Christ (Prosphora) during the Holy Communion, as well as to the bread which is given as a present at the end of the Liturgy, as 'Blessed bread' or Antidoron. Usually, in the Post-Byzantine Age the true bread for the Holy Liturgy (Amnos or Prosphora) is squared or round, but in the Roman times various and different shapes of stamps were used for both breads. The monogram represents the name of the owner, probably the Presbyter using it. Very fine condition.

Lot 231

3rd-2nd millennium BC. A fine collection of stone seals comprising: a Bactrian agate cylinder seal with standing bull and elephant; a Bactrian agate cylinder seal with bull and lion; a Bactrian lapis lazuli cylinder seal with birdman; a Bactrian lapis lazuli cylinder seal with ibex and lion; a Kassites Luristan lapis lazuli cylinder seal with standing and seated figures; one Ugarit period haematite cylinder seal with figures and animals; and a limestone cylinder seal with two birds and palm tree; four Bactrian massive haematite bifacial stamp seals with men and animals; accompanied by eleven museum-quality impressions. 14.9 grams total, 23-38mm (1 - 1 1/2"). Property of a central London gentleman; previously with Mahboubian Gallery of Ancient Art, New York; first part of the collection acquired in 1968 from Gallery Rosen Ancient Art, New York, USA, and the second part was acquired from Boisgirard and Associes, Arts d'Orient Archéologie, Paris, 5 April 2013, lot 6; accompanied by a copy of the purchase invoice for $8,200, dated 28 November 1968; and by the relevant Boisgirard and Associes, Arts d'Orient Archéologie catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10568-170876.[11] Fine condition. An impressive group.

Lot 232

8th-7th century BC. An agate stamp seal with swirling veins of brown and blue-grey, the underside engraved with a bearded hero grappling with a rearing stag on a ground line, the hero grasping the animal's antlers in one hand, holding a mace in the other, a two-character device in the field to the right; pierced for suspension; accompanied by a museum-quality impression. 12.5 grams, 23mm (1"). Private English collection; previously with Francesca Artuner, Brussels, Belgium, 1992; formerly with P.N. Barbier, Belgium, 1981. Very fine condition.

Lot 47

2nd century BC. A silver bell-shaped cup or bowl, raised from a single sheet of silver, parcel-gilt, with hatched gilt bands to the inner face, pointillé maker or owner stamp to the outer rim; the interior of the cup decorated with a gilded circular band under the rim, and a central gilded garland in which a series of leaves is alternating geometrical patterns ornamented with dots and lines. See Pfrommer, M., Metalwork from the Hellenized East: Catalogue of the Collections of the J. Paul Getty Museum, Malibu, 1993, pp.21ff and 140ff, for general discussion and parallels.305 grams, 15cm diameter (6"). Property of an American collector; previously from the private German collection of Mr F., formed 1950-1960; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate. During the Hellenistic period, wealthy Greeks, rich Hellenised Asian people and even Central Asian royalty used silver as a sign of wealth more commonly than before. The profits from the mines of Laurium Hills in Attica, discovered in 5th century BC, enriched several Athenian families and created a greater pool of silver with which artisans could produce fine goods like this cup. In Hellenistic times we often find a small ornamental medallion in the centre, framed by tendril friezes or other decorative zones at varying intervals, like in our cup, and, especially if the cup was purchased by a Barbarian leader, the punched mark of the Greek workshop which produced the vessel, with the possible indication of the weight, or the owner's name. The decoration of our cup finds a parallel among Near Eastern silver and suggests the work of an eastern Hellenised workshop. Archaeological findings suggest ritual functions for these cups too. Silver cups have been abundantly found at sanctuaries of Diana and Hercules - two figures in classical religion associated with birth, nursing, and rearing children. [No Reserve] [A video of this lot is available to view on TimeLine Auctions website.] Fine condition, repaired, hole to base.

Lot 187

A Collection of Various British Stamp Sets, Loose Stamps etc

Lot 112

A schoolboy stamp collection, including two first day covers for the International Boy Scout Jamboree of 1957; together with a silver Crown and a Scout's Handbook

Lot 422

A large textured pottery vase, with drip glaze, marked to base with an 'A' stamp, 34cm high (A/F)

Lot 1055

A superb collection of 4 LPs by Amon Duul II. Titles include Yeti (LSP 101, 1970 UK pressing on black Liberty labels, records are in stunning Ex condition, gatefold sleeve has some light edge shelf wear, strong VG+. Includes original UA inner sleeves), Lemmingmania (L-35591, 1975 Australian pressing on United Artists Records, record is in beautiful shape with only one or two very fine hairline surface marks, strong VG+. Diabetic Association stamp on both labels. Front laminated sleeve is strong VG+, light ring wear on rear), Carnival In Babylon (UAG 29327, 1972 UK pressing on United Artists Records. Record is in beautiful Ex condition, laminated gatefold sleeve is again lovely Ex) & Phallus Dei (SLS 50257, 1972 UK pressing on Sunset, record has one or two light paper surface marks, strong VG+, front laminated sleeve is again strong VG+).

Lot 294

A copy of the limited edition (this edition 901 of 2000) book 'Transformer' by Lou Reed and Mick Rock, Book signed by Mick Rock with Lou Reed estate stamp. In all original packaging.

Lot 405

THE ROLLING STONES GERED MANOKOWITZ SIGNED AND LIMITED EDITION PRINT. Entitled "Masons Yard 1965 to 1994" and printed on Arches Water Leaf paper with Gered Mankowitz Archive Gallery Stamp. Signed in pencil to lower right margin and No.116/1000. Measures approx 34" x 24".

Lot 412

An original US one-sheet poster (approx 27 x 41") for The Rolling Stones concert film 'Gimme Shelter'. NM condition, though with stamp to reverse showing faintly.

Lot 182

A pair of Regency rosewood 'curricle' or 'curule' bergeresCirca 1820, Each with a curved and dished toprail above lotus-leaf wrapped volute-scroll terminals, over rosette carved blocks, on reeded tapering front legs and square splayed rear legs, terminating in brass cappings and castors, some brass caps stamped: 'B. S. & P. PATENT' beneath a crown, each with the journeyman's stamp: 'I.M.', 65cm wide x 65cm deep x 73cm high, (25 1/2in wide x 25 1/2in deep x 28 1/2in high) (2)Footnotes:PurchasedChristie's, London, 17 May 2017, The English Collector, lot 5.The specific bergere which is the influential precursor to the present lot appears in a Thomas Sheraton design for what he calls a 'Curricle' chair. This Sheraton model is illustrated in his 1803 publication, The Cabinet Dictionary, but unlike the offered ones his example is also carved with lions' masks and paws. Another drawing showing a profile view of a comparable bergere features in Thomas Hope, Household Furniture and Interior Decoration, 1807, London, pl. XXVII, No. 5. While the actual mahogany chair itself, which probably formed part of Hope's renowned collection at Duchess Street, appears in Thomas Hope, Regency Designer ed. by D. Watkin & P. Hewat-Jaboor, 2008, New Haven and London, p. 406, Fig. 83. For further comparison a pair of Regency rosewood bergeres sold Christie's, London, 6 July 2000, Important English Furniture, lot 77. Whilst an additional related pair sold Sotheby's, New York, 21 January 1995, lot 411.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Lot 288

After Franz Bergman (Austrian, 1861-1936) A large cold painted bronze model of a lobsterbearing Bergman stamp on the base and Geschutzt and indistinguishable four figure number, realistically cast and painted, 30 cm wide, 20cm deep, 21cm high (11 1/2in wide, 7 1/2in deep, 8in high) For further information on this lot please visit Bonhams.com

Lot 261

Quantity of walking sticks/canes/shooting sticks, including modern HT metal anti shock adjustable walking stick, 2 canes with brass knobbed top, one of which unscrews to reveal a hidden glass tube interior; and a cane with hound head top, and silver collar marked E C Straker, Abergavenny, GH stamp (see images for wear etc)

Lot 276

Beaten pewter two handled tray, 47cm Long, a Victorian china meat platter with gravy reservoir 53cm Long, a matching plain platter (surfaces and gilding v worn), boxed Spode commemorative St Edward Plate, a quantity of figurines to include the following: Royal Doulton, Wade, Beswick Beatrix Potter Mrs Tiggy Winkle & Flopsy Mopsy & Cottontail, both Brown Stamp, cased Noahs ark plate, oriental plates, and Griselda Hill etc (all in fair condition, see all images for full details)

Lot 629

Oval, in sizes, decorated to the edge with pale yellow and pink flowers, the rim with tiny roses, gilt highlights, green Haviland factory stamp and red Whiteley retailers markthe larger: 42cm long

Lot 106

Office setincluding an inkwell, a stamp, two paper-cutters, a pencil case, all in their original box. A metal inkwell in a leather case and a king's one-foot ruler in its case are included.

Lot 24

Tom Dodson Print with Blind Stamp, Signed in Pencil

Lot 95

Stamp Album together with Early Leeds United Programmes and Others

Lot 22

Silver hallmarked stamp box on bun feet Birmingham 1901

Lot 1409

6 vintage world stamp and first day cover albums.

Lot 1557

A vintage portable Ekco radio two stamp albums a cased set of four King Edward VIII coronation badges (a lot)

Lot 266

Four silver stamp holders and a charm.

Lot 490A

10 stamp albums of World stamps, to include used 19th/20th century USA, GB, Commonwealth, etc.

Lot 307

WILLIAM RUSSELL FLINT (1880-1969), 'CECILIA RECLINING', unsigned limited edition print of a female figure, 390/750 with WRF blind stamp bottom left, approximate sizes: image 29cm x 38cm, frame 66cm x 74cm (condition: print loose in mount, frame chipped with dirty marks) (ARR)

Lot 45

A ROUND DIAMOND FLOWER CLUSTER RING SET WITH ROSE CUT DIAMONDS, estimated diamond weight 0.25ct, ring size T ½, approximate weight 6.3 grams (condition report:- stamp rubbed, central diamond is heavily fractured)

Lot 524

EPHEMERA, a collection of over 900 cigarette cards in sleeves and albums, some fairly high 'odds' (Pattreiquex Cricketers Series) and approximately 175 on a sporting theme, miscellaneous books, an album of eleven stunning photographs of Rio De Janeiro in the 1930's-1940's and two small World Stamp albums

Lot 651

Two stamp albums and various loose stamps

Lot 823

Two Royal Commemorative stamp albums, Royal Wedding 1973 and Queens Jubilee 1977

Lot 1198

Anniversary of Decimal Change Over coin and stamp set, limited edition of 499, cased. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

Lot 11

A Shelley advertising match striker for Cowan's Old Irish whiskey,bearing the Late Foley back stamp,around 1910 to 1916. Age related ware - crazing to internal (see photo)

Lot 124

A selection of stamps and stamp collecting reference books.

Lot 121

Shannon Stirnweis (B. 1931) "Battle of King's Mountain" Signed lower right. Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. 10c King's Mountain stamp issued October 7, 1980. Brimming with confidence after his overwhelming victory at Camden, S.C., British General Charles Cornwallis marched north, taking Charlotte on September 26, 1780. With him were 1,100 Loyalists under Major Patrick Ferguson. Ferguson had vowed to "hang the rebel leaders, and lay their country waste with fire and sword." To meet his threat, backcountry militia -- the toughest frontiersmen armed with long rifles -- rallied under William Campbell. Ferguson took position atop the rugged crest of Kings Mountain, "a post," he assured Cornwallis, "where I do not think I can be forced by a stronger enemy than that against us." He was utterly wrong. On October 7, Campbell's 900 men reached Kings Mountain and deployed for attack. Obeying their leader's exhortation to "shout like hell and fight like devils!" they crept up the rocky, wooded slopes, firing from under cover. Hit from all sides, the Loyalists fell back. Major Ferguson was shot trying to rally them. His men threw down their arms, but before Campbell could halt the firing, the vengeful Rebels killed many more Tories. In just an hour Ferguson's entire force was dead, wounded or captured. "A more total defeat was not practicable," a rebel remarked dryly. Kings Mountain shattered Cornwallis' invasion plans and forced him to pull back into South Carolina. The spectacular victory reinvigorated American morale. Where there had been only despair, now there was a gleam of hope. Image Size: 17.25 x 15 in. Overall Size: 24 x 20 in. Unframed. (B06613)

Lot 122

Gregory Rudd (American, B. 1952) "Pecos Bill" Signed lower right. Original Oil painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover of the 32c Pecos Bill stamp issued July 11, 1996. Folk hero of the Pecos River region of Texas, Pecos Bill embodied exaggerated tales of the American cowboy. His colorful adventures were a source of awe and entertainment around cowboy campfires. According to legend, he was born in East Texas. While traveling west with his family, he fell from the wagon into the Pecos River, thus acquiring his name. Unfortunately, there were so many other children in the family that Bill was not missed for several days. Too late to turn back, the family went on and Pecos Bill was raised by coyotes. He even thought he was one of them until he discovered that he had no tail. When he grew up, Pecos Bill became a cowboy and invented the skill of roping. He could throw a lasso up in the sky and bring down eagles and buzzards. He even roped bears, wolves, panthers and elk. Pecos Bill had the biggest ranch in the West. It was so big that he staked out the New Mexico territory and fenced off Arizona for a calf pasture. Pecos Bill's horse was legendary, too. Raised from a colt on a diet of barbed wire and nitroglycerin, this fierce creature was named Widow Maker because it threw everyone else who tried to ride it. Pecos Bill thrived on performing incredible feats of courage and perseverance. Once he bet a cowboy hat that he could actually ride a cyclone. He went to the Kansas line, roped a tornado and rode that twister across Oklahoma and the Texas Panhandle. When the cyclone realized that it couldn't throw Pecos Bill, it just "rained out" from under him in Arizona. Image Size: 14.5 x 12.25 in. Overall Size: 17 x 15 in. Unframed. (B15426)

Lot 123

Gregory Rudd (American, B. 1952) "Paul Bunyan" Signed lower left. Original Oil painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover of the 32c Paul Bunyan stamp issued July 11, 1996. Tales of this folk hero may have originated among the French-Canadian loggers of Quebec or northern Ontario who brought the stories of Paul Bunyan with them from their native lands. It is also possible that the legend began in the United States, in Michigan or Wisconsin, and traveled westward with the logging industry. Stories of Paul Bunyan were told by veteran lumberjacks to entertain each other and to keep young newcomers in their place. When a "green" lumberjack boasted of his exploits, the old hands told how Paul Bunyan overcame a greater, more difficult challenge. The legend of Paul Bunyan centers around a mythical hero, a giant lumberjack, who solves problems using extraordinary cleverness and skill. Paul is never at a loss to handle any situation and no job is ever too difficult for him and his Big Blue Ox, Babe. According to legend, Paul Bunyan was born in Maine. As an infant, he rolled around so much in his sleep that he destroyed four square miles of standing timber. He eventually moved west and roamed throughout the woodlands of Minnesota and Wisconsin. Along the way he acquired Babe, his Big Blue Ox. Babe was so big that every time they shod him, a new iron mine had to be opened on Lake Superior. Paul didn't need a gun to hunt timber wolves. He would grab them by the ears and holler down their throats. The wolves died of fright and Paul would tie their ears in a bow knot, stringing the carcasses over his fingers to carry them back to camp. Image Size: 13.75 x 11.75 in. Overall Size: 17 x 15 in. Unframed. (B15390)

Lot 124

Mark Schuler (American, B. 1951) "Statue of Liberty" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This is the original painting which appeared on the Fleetwood First Day Cover of the 29c Statue of Liberty Self-Adhesive stamp issued June 24, 1994. In 1865, ?douard Ren? Lefebvre de Laboulaye, bristling under the tyrannical rule of Napoleon III, proposed the idea of creating a monument to American independence. Suggesting to his dinner guests that this tribute would serve as a gift from France to the people of the United States on the centennial of their independence in 1876, de Laboulaye reasoned that this token would also reinforce the ideals of equality and liberty still held by many of his fellow countrymen. Sculptor Fr?d?ric-Auguste Bartholdi, attending the gathering, volunteered to plan the design. Six years later, the artist traveled to the United States in search of a location for his monument to freedom. When he spotted Bedloe's Island in New York Harbor, Bartholdi remarked: "Here ... my statue must rise; here where people get their first view of the New World." Drawing his inspiration from the Colossus of Rhodes and a 76-foot statue of St. Charles Borromoe standing in Arona, Italy, Bartholdi labored tirelessly to "glorify the Republic (America) and Liberty." Working on his 36-foot plaster model in sections, the artist painstakingly pored over thousands of precise measurements to ensure that the statue was accurately proportioned. Some said its features were based on those of Bartholdi's cherished mother, a speculation he neither denied nor affirmed. This painting boldly symbolizes the American freedom that Bartholdi successfully captured in his creation of the Statue of Liberty. Image Size: 16.75 x 15 in. Overall Size: 21.75 x 19.5 in. Unframed. (B09988)

Lot 126

Gregory Rudd (American, B. 1952) "John Henry" Signed lower right. Original Oil painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover of the 32c John Henry stamp issued July 11, 1996. "He gave a long and lonesome cry, 'Gonna be a steel-drivin' man." Established in American legend and song, The Ballad of John Henry came to symbolize Man against Machine. The legend of John Henry is based on fact, as well as myth. After the Civil War, railroad construction steadily increased throughout the United States as the railroad industry sought to span the continent with the "Iron Horse." Railroad gangs -- many of whom were former slaves -- were hired for the backbreaking and hazardous work of blasting tunnels, laying track and building bridges. Between 1870 and 1873, the Chesapeake and Ohio Railroad built the Big Bend Tunnel in the Allegheny Mountains in West Virginia. The steel driver's job was to hammer long steel spikes into the rock to create openings for explosive charges. As work on the Big Bend Tunnel progressed, the C & O Railroad introduced a new mechanical steam drill. According to legend, a black steel driver named John Henry matched his strength against the steam drill. "John Henry told his captain, 'A man ain't nothin' but a man, fo' I let your steam drill beat me down I'll die with this hammer in my hand.'" The foreman arranged a contest between John Henry and the best man with a steam drill. John Henry won the contest, but "he drove so hard 'til he broke his po' heart, then he laid down his hammer and he died." Image Size: 14.5 x 12.5 in. Overall Size: 16.75 x 15.25 in. Unframed. (B15492)

Lot 129

Dennis Lyall (American, B. 1946) "1893 Needlepoint Bookmark" Signed lower right. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. 37c Needlepoint Bookmark PSA stamp issued April 3, 2003. This art depicts the top portion of a brightly colored silk bookmark from 1893. Delicately woven as a unique souvenir of the World's Columbian Exposition held that year in Chicago, the bookmark features as its centerpiece a detailed rendering of a proudly waving American flag. Above the flag flies a slender blue banner inscribed with the familiar phrase "E Pluribus Unum," which in Latin means "Out of Many, One." Another banner, inscribed with the title "The Star-Spangled Banner," is wrapped around the flagstaff. Although not pictured on the stamp, the remainder of the bookmark contains the words and music to the beloved U.S. national anthem. During the War of 1812, Mary Young Pickersgill sewed a huge American flag to show her support for the war effort. Over 30 feet high and 42 feet long, it was soon flown over Fort McHenry in Baltimore, Maryland. On September 14, 1814, inspired by the majestic sight of this gigantic flag still flying over the fort at dawn after a brutal British bombardment, lawyer Francis Scott Key penned the words to "The Star-Spangled Banner," which became the national anthem in 1931. The anthem's melody, however, has somewhat less exalted roots: it was taken from "To Anacreon in Heaven," a drinking song of London's Anacreontic Society written by British composer John Stafford Smith. Image Size: 14 x 12 in. Overall Size: 18 x 15.5 in. Unframed. (B17105)

Lot 130

Jim Butcher (American, B. 1944) "British General Surrenders At Saratoga" Signed lower right. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover for the U.S. 18c Yorktown & Lexington/Concord stamp issues of October 16, 1981. Confident he would prevail where his superiors could not, British General John Burgoyne convinced King George to invade the colonies from Canada along the natural route formed by Lake Champlain and the Hudson River. The three-pronged attack -- including an auxiliary force operating through the Mohawk Valley and other troops following the Hudson from New York City -- held Albany as its focal point. Following an easy victory in the retaking of Fort Ticonderoga, Burgoyne would find little more to cheer about. He had underestimated his enemy and overestimated Loyalist support. A foraging party was smartly whipped in the Battle of Bennington, the Redcoats in the Mohawk Valley were routed at Fort Stanwix, and the reinforcements from New York City failed to materialize. Then Burgoyne's campaign stalled completely when it encountered the superior and firmly entrenched army under General Horatio Gates. Two pitched battles ensued, with Burgoyne suffering terrible losses. After stalling for time in hope that reinforcements would save the day and his chance for glory, the "Gentleman" General finally agreed to surrender terms. News of the Surrender of Saratoga gave great heart to the American cause, bringing France into the war as an open ally -- an event crucial to ultimate victory. Image Size: 16.25 x 16 in. Overall Size: 20 x 20 in. Unframed. (B07279)

Lot 131

Jim Butcher (American, B. 1944) "Battles of Lexington and Concord" Signed lower right. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which appeared on the Fleetwood First Day Cover for the U.S. 18c Yorktown & Lexington/Concord stamp issues of October 16, 1981. During the night of April 18-19, 1775, Paul Revere rode through the countryside around Lexington and Concord, alerting the patriots to the advance of British troops searching for the colonists' military supplies. Once alerted, the Minutemen, under the command of Captain Parker, gathered on Lexington's village green. Around dawn on the morning of the 19th, an advance unit of Redcoats, commanded by Major Pitcairn, approached Lexington. The British commander ordered the Minutemen to disperse, and Parker, seeing that his force was outnumbered, ordered his men to comply. Then as the Minutemen turned to leave, a shot rang out. When the skirmish had ended, eight Americans lay dead on the green, and the British then marched on Concord. There they encountered a much larger band of gravely determined Minutemen guarding the Old North Bridge. With little provocation, an advancing British column opened fire. The devastating return fire felled several Redcoats and panicked the remainder. The retreating British were reassembled and soon began a hasty retreat toward their sanctuary in Boston, but their return march to Boston was greatly frustrated by the guerrilla tactics of militiamen who fired from houses and from behind the rocks and trees that lined the way. Image Size: 16.25 x 16.25 in. Overall Size: 20.25 x 20 in. Unframed. (B07284)

Lot 133

Keith Reynolds (American, B. 1929) "Missionary Packet Morning Star" Signed lower right. Original Oil painting on Canvas Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This is the original painting which appeared on the Republic of the Marshall Islands 29c Missionary Packet Morning Star stamp issued June 24, 1993. "The long looked for missionary ship was a thing of life and beauty, adorned with nearly her full complement of snow-white sails, and sitting so daintily upon the water." This account comes from Rev. E. Bond's meeting with the Morning Star, en route to the Marshall Islands to fulfill the mission for which it was built. In August 1856, just eight months earlier, an appeal had been made to the American Board for a missionary packet. To finance this endeavor, the children of the United States were invited to take a ten-cent share of joint ownership in the new vessel. The project met with great enthusiasm and success. Within three months, the Morning Star was completed and on its way to spread Christianity to the islands of the Pacific. Overall Size: 16 x 20 in. Unframed. (B14318)

Lot 134

Keith Reynolds (American, B. 1929) "British Merchantman Britannia" Signed lower right. Original Oil painting on Canvas Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This is the original painting which appeared on the Republic of the Marshall Islands 15c British Merchantman Britannia stamp issued June 24, 1993. In September 1797, the handsome "merchantman" ship Britannia set sail for China. While en route, Ailinglapalap and Kili of the Marshall Islands were sighted. Captain Thomas Denet gave the order to dock, and according to the ship's records, the crew carried on trade with the friendly Marshallese. Breadfruit, mats and skirts were among the goods that changed hands during the Britannia's visit. Though this was an amiable encounter, merchantman ships, especially those which ventured to the Far East, were typically fitted with armament as a safeguard against attack. The Britannia was no exception, for this teakwood craft of over 500 tons is listed as having carried 12 guns. Image Size: 16 x 18.25 in. Overall Size: 16 x 20 in. Unframed. (B14263)

Lot 135

Charles J Lundgren (New York, Connecticut, 1911 - 1988) "Canadian Icebreaker - Arctic" Signed lower left. Original Oil Painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the Canadian 14c Robinson Ice Vessel stamp issued November 15, 1978. Thick pack ice chokes nearly half of the Northwest Passage throughout the year. Visibility is often obscured by whiteouts of blowing snow. Thick fog shrouds the open waters during the brief summer. Little is known about Arctic currents and tides, and the water can freeze a man to death in two minutes. Yet, Canada's ice vessels were among the first to chart and explore the vast, remote Passage, which was once hoped to be a commercial sea route from the Atlantic to the Pacific. One such early ice vessel was the Arctic. German built in 1901 of oak and pitch pine, she was immensely strong and fully square-rigged on the foremast. She could carry enough coal to hold out for two years or more, and could be driven forward at seven knots, by an economical steam engine. In 1904, Coast Guard Captain Joseph Bernier purchased the 165-foot German vessel. He challenged the frozen archipelago in the Arctic, and in 1906 Bernier proclaimed Canadian sovereignty over much of the far north. Reaching as far west as Arctic Point on Melville Sound, Bernier landed the Arctic several times to carry out a brief formality of Canadian dominion which included hoisting the Canadian flag. Joseph Bernier's achievements are great but seldom acclaimed. In exploring the vast regions which had been ceded to Canada, Captain Bernier and the Arctic proudly demonstrated the sovereignty of his country. Image Size: 19.5 x 20.5 in. Overall Size: 22 x 26 in. Unframed. (B06164)

Lot 138

Charles J Lundgren (New York, Connecticut, 1911 - 1988) "Ship Resolution & Discovery of Hawaii" Signed lower right. Oil on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. 13c Captain James Cook stamp issued in 1978. After being thwarted in his search for a Northwest Passage, Cook returned to Hawaii for the winter in December, 1778. He had never encountered the Hawaii natives who, when they saw Cook, took him for a god. Cook's ships were swamped by natives who came to greet Cook and his men. Within a few days, however, the Hawaiians began to doubt the divine nature of their visitors. The disillusionment really began when an old seaman died and was buried ashore. Wrote one of Cook's men, "Watman's death destroyed their previous belief in our immortality, and this being lost, their reverence for us was gone." The Hawaiians began to resent Cook's presence, for they had smothered these "gods" with numerous gifts and fine food. Tension mounted, and both sides were relieved when Cook's ships departed. Three days out to sea, a gale damaged the Resolution's foremast and Cook was forced to return to Kealakekua Bay. This time there was no welcome party. In fact, incidents between Cook's men and the natives became commonplace. Then the Discovery's cutter was stolen by a native. On February 14, 1779, Cook and some of his men went ashore to straighten the matter out. Cook's intentions toward the natives were not hostile, but lack of communication and the already established resentment ruled the meeting. Hostility gave way to violence and in the ensuing riot Cook and four marines lost their lives. It was a regretful and senseless death for the greatest sea explorer of all time. Image Size: 18.75 x 18.25 in. Overall Size: 25 x 27 in. Unframed. (B06323)

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