Live Auction: Tuesday, October 30, 10AM - Significant Historical Artifacts and Items from The Geiger Collection.  A collection of remarkable items ranging from original oils of George Washington to Civil War artifacts to modern Presidential memorabilia.  Mark your calendars now for one of the most significant historical auctions ever held in Kansas City!  Public exhibition Monday, October 29th from 10am to 5pm.  Invitation only showing Monday evening from 5:30 to 9pm.

Click each line below to view additional lot details, photos and provenance documents.

1.  President George H.W. Bush Autographed Book All the Best, 1999
 
Autographed bookplate. Book includes 50 photographs and white paper sleeve with Presidential Library and Museum seal.
 
Condition Report: Mint
 
Size: 9.5 x 6.5 in. (24.1 x 16.5 cm.)
 
Estimate: $100 - 200
 
2.  President Ronald Reagan Autographed Alzheimer’s Letter, 1994
 
A prolific letter writer, Reagan composed a dignified message to the American people on November 5, 1994, announcing his condition. Nancy confirms that he just sat down and wrote the letter with no drafts.  He closed with words that even a casual observer of the “Great Communicator” would have expected: “In closing let me thank you, the American people, for giving me the great honor of allowing me to serve as your president. When the Lord calls me home, whenever that may be, I will leave with the greatest love for this country of ours and eternal optimism for its future.” Signature in blue felt tip to upper right.
 
Condition Report: Excellent, bright signature
 
Size: 8.5 x 11 in. (21.6 x 27.9 cm.)
 
Provenance: Profiles in History
 
Estimate: $5,000 - 10,000
 
3.  Four Presidents: Reagan, Carter, Ford and Nixon Autographs and Photo, 1981
 
Remarkable full color photo featuring Presidents Reagan, Carter, Ford and Nixon sharing a toast. The four had gathered at the White House in October 1981 after being appointed Reagan’s representatives for the funeral of assassinated Egyptian leader, Anwar el-Sadat. Autographed on the matte, directly under each man’s image. Professionally framed.
 
Condition Report: Excellent, bright signatures
 
Size: 15.1 x 12.6 in. (38.4 x 32 cm.)
 
Provenance: Profiles in History
 
Estimate: $3,000 – 4,000
 
4.  President Jimmy Carter Oath of Office ANS, 1977
 
Typewritten oath of office, dated January 20, 1977, black autopen “J Carter”.
 
Condition Report: Excellent, bright signature
 
Size: 7.1 x 5.5 in. (18 x 14 cm.)
 
Provenance: William Linehan Autographs
 
Estimate: $100 – 200
 
 
5.  President Jimmy Carter Oath of Office with Gold Seal, TMS, 8VO
 
Souvenir oath of office, blue felt autopen signed “J. Carter”, embossed gold Presidential Seal above. Matted.
 
Condition Report: Excellent, bright signature
 
Size: 8 x 10 in. (20.3 x 25.4 cm.)
 
Provenance: Stephen Koschal Autographs
 
Estimate: $200 - 300
 
6.  President Gerald Ford Inscribed and Signed White House Vignette Card for Bicentennial of the Constitution
 
White House vignette card issued by Gerald Ford celebrating the bicentennial of the U.S. Constitution in 1987. Litho of the White House to center, black felt tip inscribed and signed beneath, “God Bless America, the 200th Anniversary of its Constitution. Gerald R. Ford”.  Recto shows ink stamp, “Aug 3 198” and pencil “AII 3.89.”
 
Condition Report: Excellent, bright inscription and signature
 
Size: 6 x 8 in. (15.2 x 20.3 cm.)
 
Provenance: Great Moments in History, American Heritage Autographs and Collectibles
 
Estimate: $300 – 500
 
7.  President Gerald Ford Autographed Broadside Oath of Office and Remarks, August 9th, 1974
 
Limited edition (162/175) autographed broadside with text of President Gerald R. Ford’s August 9th, 1974 Oath of Office, as well as his official remarks. Autographed by President Ford beneath photo. Professionally matted and framed. Superb Presidential collectible, attractively presented.
 
Condition Report: Excellent, bright signature
 
Size: 27.5 x 20.5 in. (69.9cm x 52.1 cm.)
 
Provenance: The Legacy
 
Estimate: $400 – 600
 
8.  President Lyndon Johnson Signed Book The Vantage Point
 
Autographed bookplate in black felt tip, affixed to title page. Hardcover, with dust jacket.
 
Condition Report: Good with some wear to dust jacket, bright signature
 
Size: 9.5 x 6.5 in. (24.1 x 16.5 cm.)
 
Provenance: LBJ Library & Museum Store
 
Estimate: $200 – 300
 
9.  President John F. Kennedy Dinner Plate From Presidential Yacht Honey Fitz
 
Presidential yacht Honey Fitz dinner service plate. Beautiful 24kt gold rim and Presidential eagle. Maker marked “Shenango China, New Castle, PA., U.S.A., NS” to reverse.
 
Condition Report: Excellent with light utensil marks
 
Size: 9.9 in. diameter (25.1 cm.)
 
Provenance: R.C. Duck, American Heritage Autographs and Collectibles
 
Estimate: $1,500 – 2,000
 
10.  President John F. Kennedy Bill Signing Pen
 
One of JFK’s “bill signer” pens, made by Esterbrook, 2668. Clear stem with “The President – The White House” etched in white to side.
 
Condition Report: Excellent, includes original box
 
Size: 6.3 in. length (16 cm.)
 
Provenance: Max Rambod
 
Estimate: $500 – 750
 
11.  President John F. Kennedy Green Inkwell with Initials
 
Irish green ink bottle owned and used by President John F. Kennedy. “JFK” initials engraved on the pewter lid. This bottle sat on Kennedy’s upstairs desk at the White House and was given to his secretary, Toinette Marya Bachelder (1915-1996), by aide Ted Sorensen. Ms. Bachelder served as White House secretary for 34 years under the administrations of five presidents.
 
Condition Report: Excellent
 
Size: 2.1 x 2.1 x 2.5 in. (5.3 x 5.3 x 6.4 cm.)
 
Provenance: Toinette Marya Bachelder, American Heritage Autographs and Collectibles
 
Estimate: $3,000 - $4,000
 
12.  Jacqueline Kennedy Onassis’s Louis XV Style Gilded and Silver-Plated Three Light Bouillotte Lamp
 
Here is a rare opportunity to own a piece of Camelot! This Louis XV style lamp was so well-loved by the Kennedys that it was taken from their Georgetown residence to the West Sitting Room of the White House, and later to Mrs. Onassis’s New York apartment. Features three voluted candle branches and hand painted Chinoiserie lampshade of tinned ferrous alloy, mounted on an ornate base. Includes three green candles. Converts to electricity and includes original cords. Well documented in The Estate of Jacqueline Kennedy Onassis, the 1996 Sotheby’s catalog.
 
Condition Report: Professionally cleaned in 1996 by an art conservation service, improved grade from distressed to average condition
 
Size: 22 in. high (55.9 cm.)
 
Provenance: Sotheby’s, Manuscript Society News
 
Estimate: $35,000 – 50,000
 
13.  Hepplewhite Style Antique Curio Cabinet, Attributed to Lee Radziwill, Sister of Jacqueline Kennedy Onassis
 
Beautiful dark wood finished cabinet with patterned inlay, three heavy glass shelves, sits atop a four-legged base. Single front door with key. Attributed to Lee Radziwill, sister of Jacqueline Kennedy Onassis.
 
Condition Report: Excellent, few minor scuffs
 
Size: 33.5 x 15 x 75 in. (85.1 x 38.1 x 190.5 cm.)
 
Provenance: James D. Julia
 
Estimate: $2,000 – 3,000
 
14.  President Dwight D. Eisenhower White House Porcelain Service Plate
 
Superb Castleton Studios porcelain service plate from the Eisenhower White House. Beautiful white china with edge finished in gold, Presidential eagle to center. “Castleton Studios, The White House, November 1955” marked reverse.
 
Condition Report: Excellent
 
Size: 11.5 in. diameter (29.2 cm.)
 
Provenance: Seton Hall College Auction, Sotheby’s
 
Estimate: $500 – 1,000
 
15.  President Harry S. Truman “The Buck Stops Here” Pewter Plate, 1975
 
First edition pewter plate, limited edition number 1371/9500. Full-color printed inset porcelain roundel featuring portrait of President Truman. Engraved edge with name, 1884, 1972, and “The Buck Stops Here.” “Canton, Ohio” and maker marked reverse, dated 1975.
 
Condition Report: Excellent
 
Size: 10.6 in. diameter (26.9 cm.)
 
Estimate: $50 - 100
 
16.  The Democratic Book 1936 with President Franklin D. Roosevelt Signature
 
Brown leatherette bound hardcover, debossed gilt title “The Democratic Book, 1936” and publisher, “Jos. Schlitz Brewing Company.” Signed by Franklin D. Roosevelt beneath a color image of the White House, limited edition numbered 1592/2500. Brown moiré silk doublures. 384pp, very well illustrated in color and black & white.
 
Condition Report: Some bumping to corners, cover shows minor scratches, pages clean
 
Size: 11 x 14 in. (27.9 x 35.6 cm.)
 
Provenance: Brian Kathenes Autographs & Collectibles
 
Estimate: $800 – 1,200
 
17.  Mammoth Tusk and Upper Tooth
 
Nicely preserved examples of a mammoth tooth and tusk. Tooth scales fully intact. Indelible ink “1330.” Tusk indelible ink “1352” to side.
 
Condition Report: Good, both appear polished
 
Size: Tooth 8 x 9 in. (20.3 x 22.9 cm.), Tusk 17 in. (43.2 cm.)
 
Provenance: Great Moments in History, Miller Museum
 
Estimate: $1,500 – 2,000
 
18.  18th Century French Style Double Harpsichord
 
Fantastic reproduction 18th century French Double Harpsichord with beautiful tone and resonance.  Ebony finish with gold accents.  Sits on an ebony stand.  Made by William F. Dowling, Southwest Harbor, Maine. Artist-signed with hand-painted flowers and birds on the soundboard marked, “Elizabeth A. M. Dowling, March 1981.”
 
Condition Report: Excellent, shows light wear on the gold, needs to be tuned
 
Size: 36 x 37.5 x 90 in. (91.4 x 95.3 x 228.6 cm.)
 
Provenance: James D. Julia
 
Estimate: $2,500 – 5,000
 
19.  Jeremy Scott Uncommon Valor Oil on Canvas, 75th Indiana and 58th Alabama at Chickamauga
 
Original oil on canvas by Jeremy Scott depicting the tragic battle between the 75th Indiana and the 58th Alabama at Chickamauga. Remarkable detail, professionally framed.  Signed JL Scott lower right.
 
Condition Report: Excellent
 
Size: 35.5 x 47.5 in. (90.2 x 120.7 cm.), frame 41 x 52.5 in. (104.1 x 133.4 cm.)
 
Provenance: Hallowed Ground Prints
 
Estimate: $1,000 – 1,500
 
20.  Confederate States of America 11 Star First National Flag
 
The “Stars and Bars” was the original flag of the Confederate States of America. It was first hoisted over the capitol building in Montgomery, Alabama by Letitia Christian Tyler, granddaughter of President John Tyler, on March 4th, 1861. This is a remarkably rare example of the Confederate States of America’s first official flag, beautifully and securely displayed in a custom frame.
 
Condition Report: Excellent with some small holes representing normal wear and tear for its age
 
Size: 20.5 x 35 in. (52.1 x  88.9 cm.), frame 44.5 x 29.5 in. (113 x 74.9 cm.)
 
Provenance: Gary Hendershott Museum Consultants
 
Estimate: $25,000 – 50,000
 
 
21.  Pair Confederate States Spurs Marked “CS”
 
Pair of remarkably well-preserved serif “CS” marked brass spurs, three stars between the leather adapter and rowel neck. One spur includes what appears to be its original rowel – itself a specially converted Mexican coin.
 
Condition Report: Excellent, missing one rowel
 
Size: 4.5 x 3.6 in. (11.4 x 9.1 cm.)
 
Provenance: Great Moments in History, The Horse Soldier
 
Estimate: $500 – 1,000
 
22.  Confederate States Canteen, Captured at Appomattox, April 9, 1865
 
Confederate canteen captured at Lee’s surrender at Appomattox, April 9, 1865 by N.Y. officer Robert S. Shipley. Hand carved initials “J.H.B.” on verso by Confederate soldier. Original museum consultant owner reported it was “the only Appomattox surrender carved Confederate canteen I have ever seen.”
 
Condition Report: Very well preserved
 
Size: 7.4 x 2.3 in. (18.8 x 5.8 cm.)
 
Provenance: Gary Hendershott Museum Consultants
 
Estimate: $7,500 – 10,000
 
23.  Fort Independence 13 Star Ensign, Circa U.S. Civil War
 
Remarkable Civil War-Era hand sewn wool muslin example of the so-called Fort Independence 1781 flag. Thirteen star flags were used by the U.S. Navy and Coast Guard throughout the nineteenth century simply because ensigns were too small for all the stars of the union to be clearly visible. Marked “6 ft. Boat Ensign” and “P.P. Stearns” on opposite sides of the bunting. Four stitched grommets along bunting.
 
Condition Report: Excellent, normal wear and tear
 
Size: 36 x 62 in. (91.4 x 157.5 cm.)
 
Provenance: Gary Hendershott Museum Consultants
 
Estimate: $5,000 – 10,000
 
24.  Civil War Union General John Ward’s Kepi, Worn During the Battle of Gettysburg
 
A superb and remarkably rare example of a Union Army General’s kepi, attributed to General John Henry Hobart Ward worn during the Battle of Gettysburg. French style kepi made of dark blue wool, tabby weave, about 80 x 96 threads per inch. Light pink crown lining with identical separate gather, “Tiffany & Co, 550 & 552 Broadway, New York” maker’s tag stitched to inside crown. Black patent leather visor with stitched trim, crosshatched green visor underside. Dark brown leatherette sweatband, detached from cap body near front and right side only. Six strands of 3/16” gold braid around top band, up each side, front and back. Braid borders exterior crown with braided quatrefoil to center crown. 3/8” gold braid chinstrap, gilt 9/16” side buttons, appear to be Scovill.
 
Condition Report: One of the finest known examples of a Union Army General’s kepi
 
Size: 10 x 6.4 x 3.3 in. (25.4 x 16.3 x 8.4 cm.)
 
Provenance: Les Jensen, Gary Hendershott Museum Consultants
 
Estimate: $35,000 – 50,000
 
25.  Civil War Union General John Ward’s Personal Spyglass
 
Four-section collapsible telescope, wooden outer barrel, engraved cursive “Col J.H.H. Ward”.
 
Condition Report: Excellent, remarkably clear optics, sliding eyepiece cover fully functional
 
Size: 6 in. collapsed (15.2 cm.), 16 in. fully extended (40.6 cm.), 1.2 in. diameter (3 cm.)
 
Provenance: Gary Hendershott Museum Consultants
 
Estimate: $5,000 – 10,000
 
26.  Civil War Union General John Ward’s Personal Smith & Wesson Revolver
 
Superb “Smith and Wesson Springfield, Mass” marked revolver belonging to Union General and Gettysburg hero John H. Ward. Gold plate with engraved initials “JHHW” behind trigger. Beautifully finished walnut grips feature Ward’s two gold stars with engraved “U” and “S”. Smith & Wesson serial number 27290 stamped to bottom of grip. Patented April 3, 1855, July 6, 1859 & Dec 18, 1863 stamped on the cylinder. Octagonal barrel.
 
Condition Report: Identified as one of the finest Civil War era Smith & Wesson revolvers in private hands, not to mention its pedigree as a Civil War artifact from an important Union General
 
Size: 10.8 in. overall (27.4 cm.)
 
Provenance: Gary Hendershott Museum Consultants
 
Estimate: $35,000 – 50,000
 
27.  Lt. Col. William A. Throop Union Army Michigan 5th Corps Commemorative Gold Honor Cross & CDV
 
Polished cast gold cannon cross, incised edges with inset black enamel-style detail. Applied precious stones in smaller cannon cross form. Obverse bears engraved battle honors: Occupation of Alexandra, Bull Run, Chancellorsville, Aldie Gap, Gettysburg, Wapping Heights, Brandy Station, Bristoe Station, Rappahanhock Station, New Hope Church, Wilderness, Laurel Hill, Spottsylvania, North Anna, Tolopotomoy, Bethesda Church, Siege of Petersburgh, Weldon RR. Reverse bears engraved “1st Brigade, 1st Division, 5th Army Corps, Lt. Col. Wm. A. Throop, 1st Mich. Infantry, 2nd Lieutenant, April 19th, 1861, Captain Aug. 17th, 1861, Major August 30th, 1862, Lieutenant Colonel May 18th, 1863, Colonel December 22, 1864, Brev. Col. U.S. Vol August 1st 1864, Brev. Brig. Gen. U.S. Vol. March 13/65”.  Red silk ribbon with post-war added red leather reinforcement. Etched ivy on gold pin brooch and bar. Includes Swiss-made red leatherette case with green silk lined lid with gold printed maker “Blondel & Co., Geneva,” purple velvet form fitted interior. Includes a fantastic original CDV of Lt. Col. Throop, wearing the badge on his chest.
 
Condition Report: Both excellent, the original ribbon is slightly discolored and mostly detached
 
Size: Cross 1.9 x 2 in. inclusive of suspension (4.8 x 5.1 cm.), CDV 4 x 2.5 in. (10.2 x 6.4 cm.)
 
Provenance: Profiles in History
 
Estimate: $35,000 – 50,000
 
28.  Confederate States Brigadier General Daniel Ruggles Dispatch, ALS, 8VO
 
Double-sided letter. Recto addressed to Brigadier General L.P. Walker, Tuscumbia. Reports that the enemy was repulsed and to notify Colonel Clauston’s Cavalry to be “in a state of readiness.” Verso is a message from Ruggles to Major General Polk, March 1st, 1862. Reports his men in Corinth attacked an enemy gunboat and repulsed them when they landed. “Please send me cannon powder.”
 
Condition Report: Very fine
 
Size: 7.3 x 7.9 in. (18.5 x 20.1 cm.)
 
Provenance: Great Moments in History
 
Estimate: $500 – 1,000
 
29.  Civil War Pvt. William H. Trombly Handwritten ALS, On the Memorial Service for Col. Elmer Ellsworth (11th New York Fire Zouaves), First Officer Killed in the Civil War, May 26, 1861
 
Three-page handwritten and signed letter by Private William H. Trombly, addressed from the Albany Barracks to his “friends at home.” Two handwritten sheets; first sheet verso and recto, second verso.
 
Condition Report: Excellent
 
Size: 9.8 x 7.3 in. (24.9 x 18.5 cm.)
 
Provenance: War Between the States Memorabilia
 
Estimate: $250 - 500
 
30.  Civil War Pvt. William H. Trombly Handwritten ALS, Moving Col. Elmer Ellsworth’s Remains, June 16, 1861
 
Three-page handwritten and signed letter by Private William H. Trombly, addressed to his family at home. Two handwritten sheets; first sheet verso and recto, second verso.
 
Condition Report: Excellent
 
Size: 9.3 x 7.3 in. (23.6 x 18.5 cm.)
 
Provenance: War Between the States Memorabilia
 
Estimate: $250 - 500
 
31.  President Abraham Lincoln, Autographed “Manly Man” Endorsement, ANS, 8VO, Sept. 30, 1864
 
I have seen this man, who seems to be an intelligent & manly man, and whose story I believe to be true. If it does not involve much inconvenience, let the transfer he asks, be made. ALS, two-page octavo overleaf, blue lined paper. Written by Pvt. David G. Lindsay, Co. “G” 90th Pennsylvania Infantry, to Lorenzo Thomas (1804-1875). Lindsay enlisted with the 17th Regiment, Pennsylvania Cavalry in order to serve with his brother, but was sent to serve with the 90th Pennsylvania Infantry. Thomas was organizing colored regiments with the Military Division of Mississippi, and after exhausting all his resources, Lindsay wrote to him asking to be transferred back to his brother’s regiment. President Lincoln was moved by Lindsay’s situation and issued his endorsement, after which Lindsay was transferred to the 17th Pa. Cavalry.
 
Condition Report: Excellent
 
Size: Lincoln ANS: 4.9 x 3.1 in. (12.4 x 7.9 cm.), Lindsay ALS: 8.1 x 5.3 in. (20.6 x 13.5 cm.)
 
Provenance: Profiles in History
 
Estimate: $5,000 – 10,000
 
32.  Flag Fragments Attributed to Ford’s Theater and Lincoln Assassination
 
Two fragments of red stripes from an American flag, reputed to be part of the flag that was used to carry the wounded President from Ford’s Theater. Presented to eyewitness Jeannie Gourlay, the actress playing the part of Mary Trenchard in “Our American Cousin” the night of Lincoln’s assassination, by her father, who was one of the men that carried Lincoln’s body across the street to Peterson House.  Includes a vintage commemorative “We Mourn Our Country’s Loss!” ribbon, so popular after Lincoln’s assassination.  Also includes letters and statements linking the flag to Ford’s Theater and Lincoln’s assassination. The period note reads, “The piece of torn red flag is a part of the flag which covered Lincoln’s body as it was carried from Ford’s Theatre the night he was shot – carried across the street.”
 
Condition Report: Nicely preserved
 
Size: Two fragments, one 1.5 x 1 in. (3.8 x 2.5 cm.), the other 1 x 4.5 in. (2.5 x 11.4 cm.)
 
Provenance: American Heritage Autographs and Collectibles, Milford Museum
 
Estimate: $5,000 – 10,000
 
33.  Packing Trunk Attributed to President Abraham Lincoln
 
To make it more secure than it would be in my hat, where I carry most all my packages, I put it in my trunk. - Abraham Lincoln, quoted in Carl Sandburg’s biography. An interesting piece of Americana. Multi-plank construction, hand tapped “A. Lincoln, New Salem, Ill.” to side. Faded black markings, “Chilicothe, No. 27” to top of lid. Iron hinges and fittings, remnant leather from old handles to side, marks of nails for the other. Evidence of removed front latch. Lined with 1850’s dated newsprint, stories and classifieds, appears to be from New York. The original owners have traced ownership of the trunk through their family lines back to 1870, when a Missouri Congressman, Ira B. Hyde, purchased the trunk from a Washington D.C. shop after being assured it was from Lincoln’s White House. A passage from Carl Sandburg’s biography of Lincoln quotes the President as mentioning his preparations for traveling. It appears this was a packing crate, perhaps from his days owning a store in New Salem with William Berry during the 1830s, and well used thereafter.
 
Condition Report: Good, normal wear and tear for a trunk
 
Size: 31 x 16 x 19.5 in. (78.7 x 40.6 x 49.5 cm.)
 
Estimate: $25,000 – 50,000
 
34.  Pio Fedi (Italian, 1816 – 1892) President Abraham Lincoln Life Size White Marble Bust 1865
 
Fedi studied in Rome and Florence under some of the most prominent sculptors of the post-Canova generation. He is well known for his terracotta model of The Rape of Polyxena (combines Virgil’s and Euripedes’s versions of the story), and many of his sculptures are still on display throughout Italy. A beautiful and remarkably rare white carrara marble bust of President Lincoln, sculpted by the famous Italian artist Pio Fedi (1816-1892). Sculpted in 1865 as Europe mourned the assassinated president, and concurrent with Fedi’s famous marble sculpture, Pirro che rapisce Polissena. Verso signed “Pio Fedi faceva in Firenza nel – 1865.” A rather unique three-dimensional representation of Lincoln, as Volk’s life mask is usually the piece we see reproduced today.  An extremely rare European Lincoln sculpture.
 
Condition Report: Excellent
 
Size: 29 in. high with base (73.7 cm.)
 
Provenance: Gary Hendershott Museum Consultants
 
Estimate: $20,000 – 30,000
 
35.  Civil War 100th New York Volunteers Regimental Flag
 
A real piece of American history! Traced by a researcher at C.W. Vexillogical Services to Longly & Brothers of Cincinnati, through the US QM Dept., circa 1863. One of 1095 standards produced during this period. Beautiful blue silk field with hand-painted American eagle and shield. Yellow silk fringe.
 
Condition Report: Professionally restored, mounted and framed, vibrant colors
 
Size: 35 x 37.5 in. (88.9 x 95.3 cm.), frame 40 x 38 in. (101.6 x 96.5 cm.)
 
Provenance: Gary Hendershott Museum Consultants, Civil War Vexillogical Services
 
Estimate: $35,000 – 75,000
 
36.  Paul Revere Made Teaspoon, Hallmarked “PR”
 
Original Paul Revere made teaspoon with a stylized “D” engraved in a dotted circle at the end. Underside shows “PR” embossed hallmark.
 
Condition Report: Nice age tone, very light wear only
 
Size: 1 x 5.8 in. (2.5 x 14.7 cm.)
 
Provenance: History-Makers
 
Estimate: $4,000 – 5,000
 
37.  King George III Signed Pay Authorization, DS, June 21, 1782
 
One page folio manuscript, St. James, June 21, 1782. Addressed at lower left.
 
Condition Report: Excellent
 
Size: 12.6 x 7.8 in. (32 x 19.8 cm.)
 
Provenance: Profiles in History
 
Estimate: $500 – 1,000
 
38.  President George Washington Miniature Painting on Ivory
 
Superb oval image of Washington in military uniform, facing three-quarters left. Image similar to a 1795 miniature painted by Walter Robertson. Framed in an ivory-covered case. Artist signed “Smith” near center right edge, traced to Hely Augustus Morton, British, (1862-1941). Reverse shows original covering of an undated French translation of scripture. Small ring hanger affixed to top. Beautifully detailed and presented.
 
Condition Report:  Museum quality
 
Size: Image: 3.3 x 2.5 in. (8.4 x 6.4 cm.), frame: 5.5 x 4.3 in. (14 x 10.9 cm.)
 
Provenance: Early American History Auctions
 
Estimate: $4,000 – 6,000
 
39.  Henry Bone (English, 1755 – 1834) George & Martha Washington at Mount Vernon Oil on Canvas
 
Beautiful original oil-on-canvas of George and Martha Washington at Mount Vernon, attributed to Henry Bone (1755 – 1834).  A pastoral scene of George and Martha presenting Mt. Vernon. Visitors wander the grounds while a ship and boat sail the distant Potomac. Original period gilt frame.
 
Condition Report: Shows normal age and crazing, colors still quite strong
 
Size: 19 x 23.5 in. (48.3 x 59.7 cm.)
 
Provenance: Bruce Gimelson TMS, Dr. J.E. Fields
 
Estimate: $15,000 – 20,000
 
40.  Leon Cogniet (French, 1794 – 1880) George Washington Portrait Oil on Canvas, Circa 1836
 
Celebrated artist Leon Cogniet (1794-1880) painted this romanticized and heroic portrait highlighting the authority, grace and stature of Washington at what appears to be Yorktown, the site of the decisive battle of the Revolutionary War. Also included are his white horse – almost certainly “Old Nelson,” plus a cavalry groom, cannon, river and what appears to be Yorktown. Washington stands in full uniform atop a redoubt (perhaps number ten on Gloucester Point), overlooking what would be Yorktown, left hand posed over his sword’s grip, spyglass in his right. The seaward sky (to Washington’s left) is shaded noticeably darker than landward, symbolizing the threat posed by England, and more broadly, the unknown. Washington’s adjutant holds “Old Nelson” at bay, positioned more towards the sea, while a lone cannon over his right shoulder points towards the mouth of the river. Beautifully detailed and preserved in its original handmade dome-top frame.
 
Condition Report: Mild crazing, frame shows minor wear
 
Size: 24 x 28.8 in. (61 x 73.2 cm.)
 
Provenance: Gary Hendershott Museum Consultants, Bolton, Macbeth, Strong
 
Estimate: $40,000 – 60,000
 
41.  Jeremiah Paul (American, ? – 1820) George Washington Leaving His Family Oil on Canvas, Circa 1800
 
Untraced for 200 years in private hands, Sunflower Auction is proud to present Philadelphia artist Jeremiah Paul’s historical oil-on-canvas Washington Leaving His Family, a romantic portrait of Washington leaving Martha and his grandchildren after President John Adams’ administration appointed him Lieutenant General and Commander in Chief of the United States Army in 1798. The appointment was a reaction to France’s threat of war against the United States, and resulted in France backing away from its threat, rather than face the father of the nation, hero of the revolution – and their one-time ally.
 
Beautifully executed and steeped in symbolism, the painting enshrines George Washington as the first (and most revered) figure in the pantheon of American heroes, and subsequently his family as a domestic symbol of the American Revolution. A backdrop of windswept red drapes recall the universal red flag of war, defiance and revolution as they entwine themselves between two polished granite columns representing (and nearest to) George and Martha. Two tassels hang down the Commander in Chief’s column, representing his pivotal role in the accomplishment of the American Revolution, and return to duty.
 
Washington’s sword is carried at his side - a symbol of strength, courage and authority, while bidding farewell to his wife with his ungloved right hand. It would seem that Martha did not wholly approve of her husband accepting the appointment, and this is reflected by her right hand being held firmly behind her back.
 
Further confirmation of Washington’s almost metaphysical presence is found in Paul’s depiction of the natural world around him. A mostly cloudy sky - darker nearer the zenith than horizon, symbolizes the brewing storm brought by France’s threat of war, while the brighter horizon symbolizes optimism about the future. In the distance (and beneath Washington’s outstretched right hand) a Cypress tree and Weeping Willow stand along the banks of the distant Potomac, symbolizing the death and mourning brought by war. Furthermore, his faithful white horse, Old Nelson, almost appears to be haloed by a cloud break above his head.
 
One finds additional significance in the rare depiction of three grandchildren - instead of the usual pair of George Washington Parke Custis (1781-1857) and Eleanor Parke Custis (1779-1852). All were the offspring of Martha’s son - and General Washington’s wartime aide, John “Jacky” Parke Custis (1754-1781), but seldom was Elizabeth Parke Custis (1776-1831) depicted with her brother and sister. Eleanor and G.W. had been sent to Mount Vernon almost immediately after their father’s untimely death from typhoid fever at Yorktown, while Elizabeth stayed with her mother, Eleanor Calvert.
 
The painting was finished in 1798 and disappeared after being sent to England in 1800 for engraver Edward Bell to copy. Copies of the engraved scene were produced during the nineteenth century, each exhibiting distinct differences in background, pose, coloration and shading. Life magazine profiled a copy of the engraving that surfaced in London in 1959, and once again highlighted the “lost” status of this, the original.
 
Jeremiah Paul Jr. was part of the early generation of great American artists that included the preeminent portraitist Charles Wilson Peale, as well as other renowned Washington portraitists Edward Savage and Gilbert Stuart. Paul received training by the venerable Charles Wilson Peale along side his son, Rembrandt Peale.  Paul is known to have engaged in small tasks for Gilbert Stuart including the painting of lettering in some of the latter’s portraits.
 
Paul is credited as one of the founders of Philadelphia’s Columbianum exhibition of 1795. In 1796 he joined a firm that would become known as Paul, Rutter & Clarke. By 1803 he was traveling around the country painting miniatures, portraits, signs, and conducting exhibitions. He died near St. Louis, Missouri on July 13, 1820.
 
Signed “J Paul Junr” in red to the lower left corner. Mounted in a Federal-era gilt frame, with nameplate.
 
Condition Report: Bright, crisp and well preserved for its age. The painting was professionally cleaned in the latter portion of the 20th century. UV examination reveals a small spot of restoration above GW’s head and retouching of abrasions in several areas. Infrared study reveals very few trace lines, indicating Paul executed the painting mostly freehand. Texture transfer to canvas from liner is evident. Close examination of the signature field reveals residual brown background retouch at a few points over the original signature strokes.
 
Size: 24.2 x 29.1 in. (61.5 x 73.9 cm.)
 
Provenance: Gary Hendershott Museum Consultants, Masco Corporation
 
Exhibition History: Portland Art Museum “The Art of Independence”, Brandywine River Museum
 
Estimate: $500,000 +

Click here to view additional research on the painting (.pdf)

42.  Vincent van Gogh’s Letter to G. Albert Aurier, 10 or 11 February 1890, ALS, in French
 
Nevertheless, in the case of Vincent van Gogh, in my opinion, despite the sometimes misleading strangeness of his works, it is difficult for an unprejudiced and knowledgeable viewer to deny or question the naïve truthfulness of his art, the ingeniousness of his vision. - G. Albert Aurier, Mercure de France, January 1890
 
Sunflower Auction is proud to present one of the most important letters written by Vincent van Gogh, responding to the author of the only review of his work to appear in his lifetime. He expresses his gratitude to G. Albert Aurier and discusses his approach to painting, contemporary artists and famed Sunflowers paintings. The text reads like a window on his soul, revealing clues about his battered mental condition, making him subject to storms of emotion and insecurity that would plague him until his suicide just five months later.
 
The Isolated One: Transcending Heritage?
 
Thank you very much for your article in the Mercure de France, which surprised me a good deal. I admire it very much as a work of art in itself, it seems to me that you paint with words; in fact, I encounter my canvases anew in your article, but better than they are in reality, richer, more meaningful… Anyway – what I am trying to say is that things seem to have mistakenly become attached to my name that you would do better to link to Monticelli, to whom I owe so much. I also owe a great deal to Paul Gauguin… Vincent Van Gogh to G. Albert Aurier, February 1890
 
G. Albert Aurier’s glowing review of van Gogh’s work in the January 1890 issue of the Mercure de France asserted that although he had not “transcended his heritage,” he was not an “unworthy descendant of the old Dutch masters. Van Gogh was rather uncomfortable with the praise lavished by Aurier, and his letter to the author was an exercise in artistic self-deprecation.
 
You may realize now that your article would have been fairer and – it seems to me – consequently more powerful, if, when dealing with the question of the future of ‘tropical painting’ and the question of colour, you had – before speaking of me – done justice to Gauguin and Monticelli. For the role attaching to me, or that will be attached to me, will remain, I assure you, of very secondary importance.
 
In February 1890 van Gogh wrote to his sister, “I thought the article by Mr. Aurier – leaving out consideration whether I deserve what he says of me – very artistic and very curious in itself. But it is rather like this that I ought to be, instead of the sad reality of how I do feel.”
 
Yet as is often the case with truly visionary and original artists, van Gogh’s contemporaries understood his work better than its creator did. A letter from his devoted brother, Theo, dated April 23, 1890, describes how Monet commented that Vincent’s pictures were “the best of all in the [Vingtistes] exhibition.” Serrat went to Theo’s house to view more paintings and was enthralled to the point of saying if had he no style of his own he would change course and ‘seek what you are seeking.’
 
Only one of van Gogh’s paintings would be sold during his lifetime. The Red Vineyard was purchased by Anna Boch (the sister of a friend), after the Vingtistes exhibition in Brussels in 1890. The sad irony is that barely a century later the work of Vincent van Gogh, a painter that in his own time struggled to pay for the paints he used – and even reused canvases for economy, would command tens of millions of dollars.
 
Aurier never changed his views on van Gogh’s work and corresponded with the artist’s devoted brother Theo van Gogh well after Vincent’s death in July 1890. Theo clearly favored Aurier for having been “the first to appreciate him, not only on account of his greater or smaller capacity to paint pictures, but you have read these pictures, and by doing so you very clearly saw the man,” and asked Aurier to help him with a biography of Vincent, and an “elaborate volume of illustrations and reproductions of certain letters.”
 
Symbolism and Sunflowers
 
And how could we explain that obsessive passion for the solar disk that he loves to make shine forth from his emblazoned skies, and, at the same time, for that other sun, that vegetable star, the sumptuous sunflower, which he repeats, tirelessly, monomaniacally, if we refuse to accept his persistent preoccupation with some vague and glorious heliomythic allegory? - G. Albert Aurier, Mercure de France, January 1890
 
Aurier’s review asserted that van Gogh was almost always “a Symbolist…who feels the continual need to clothe his ideas in precise, ponderable, tangible forms, in intensely sensual and material exteriors.”
 
A year later in 1891, Aurier outlined the role of symbolism in visual arts in a Mercure de France article called “Symbolism in Art.” In it he recognized and promoted what was to become known as the “Symbolist” school. He believed the purpose of visual arts was to be "ideational, symbolical, synthetic, subjective, [and] decorative.” Symbolism was to be used wherever and whenever possible, extending its reach even to depictions of the natural world where nature should be observed “by way of the dream.”
 
Sunflowers has become one of the world’s best-known works of art. Considering the challenges van Gogh faced in his life, it almost seems appropriate it has become his best-known work. Artists have used sunflowers as symbols to express ideas such as piety. For the one-time cleric van Gogh, they seem to have symbolized even more:
 
Let us suppose that the two canvasses of sunflowers which are present at the Vingtistes have certain qualities of colour, and that they also symbolize ‘gratitude’. Are they any different from so many other pictures of flowers, more skillfully painted, which are not yet appreciated enough – the Roses tremieres and the Iris jaunes by old Quost, the magnificent bunches of peonies which Jeannin produces in such abundance? You see, I find it very difficult to make a distinction between impressionism and other things. I do not see any use for much of the sectarian thinking we have seen these last few years, but the absurdity of it frightens me.
 
Interestingly, Aurier’s review singled out cypress trees in van Gogh’s work as images “that expose their nightmarish, flamelike, black silhouettes.” Bearing this in mind, perhaps the strangest twist in van Gogh’s letter comes in the form of him promising to send Aurier a study of cypresses “so characteristic of the Provence landscape” – and at the same time a tree that is often associated with death. Considering Aurier’s assertion of van Gogh as a Symbolist painter and van Gogh’s bouts with mental illness, it is tempting to view the curious choice of cypresses almost as a premonition of his own death.
 
Raison d'être
 
The historical significance of van Gogh’s letter can scarcely be overestimated. Not only does van Gogh use the opportunity to discuss his approach to art, he also praises his contemporaries, references his Sunflowers canvases, and lays bare his approach to his work with a brutal frankness. It illuminates van Gogh - the artist and the man; a man wracked by feelings of inadequacy and inferiority. 
 
This is a rare opportunity to make a remarkable addition to any van Gogh art or letters collection.
 
Condition Report: Good with small bits missing from the header and footer, minor edge tearing, negligible impact on the text
 
Size: 10.6 x 8.3 in. (26.9 x 21.1 cm.)
 
Provenance: Profiles in History, Sotheby’s , J. Williame Chateauroux
 
Estimate: $250,000 +
 
43.  Robert E. Lee Custom Folio
 
44.  Harper’s Weekly, 4 Issues, May 11 – July 20, 1861, Regarding Death of Col. Ellsworth
 
Four issues of the famous Harper’s Weekly from 1861. Includes May 11, June 15th & 29th, and July 20th 1861. By this time, the Civil War had only been on for a matter of weeks. Interestingly, the cartoons and articles do not show any comprehension of the violent paroxysm the nation was headed for. Chronicles the death of Ephraim Elmer Ellsworth.
 
45.  Carved Teak Wood Sea Turtle by Greg Pontius
 
Hand carved sea turtle on Naio base by renowned Hawaii-based artist Greg Pontius. Beautifully detailed. Excellent condition. 19” in. length (48 cm.), 16 in. flipper to flipper (40.6 cm.)
 
46.  J. Throley  Country Cottage Scene Oil on Canvas, Circa 1900
 
Very nice professionally framed oil on canvas, 15.5 x 11.5 in. (39.4 x 29.2 cm.). Pastoral country scene of a millhouse and adjacent buildings nestled among trees. Artist signed “J. Throley.”
 
47.  Pair Antique Brass Pitchers
 
12 in. tall (30.5 cm.) handmade pitcher with lid, and matching 8 in. tall (20.3 cm.) pitcher with handle. Nicely done.
 
48.  Celtic Weave China Bowl, Tommy Daly, Tiffany & Co. + Candlestick Holders
 
Special delicate “Tiffany Wave” style bowl, marked “Celtic Weave, crafted by Tommy Daly” to bottom. Remarkable detail. Includes two matching candlestick holders. Bowl 8.8 in. diameter (22.4 cm.), stands 3.6 in. high (9.1 cm.), Candlestick holders: 4.3 in. (10.9 cm.)
 
49.  L. Xaviar Save the Rainforest, London, St. Lucia
 
Fascinating piece designed to raise awareness of environmental issues by renowned environmentalist artist L. Xavier. Features a variety of embossed stamps surrounding a central image of Earth, and cards with birds and a St. Lucia “Endangered Trees” stamp. The artist is reputed to make his own papers and dyes. Professionally framed. 24.3 x 32.3 in. inclusive of frame  (61.7 x 82 cm.)
 
50.  L. Xaviar Twin Peaks of St. Lucia
 
Fascinating piece designed to raise awareness of environmental issues by renowned environmentalist artist L. Xavier. Features a variety of embossed stamps surrounding stylized ‘twin peaks,’ and a card depicting the Ouzel. Professionally framed. 24.3 x 32.3 in. inclusive of frame (61.7 x 82 cm.)
 
 
51.  Empress Hotel with Sailboats Framed Print
 
Beautiful full color litho of the Empress Hotel and harbor, professionally matted and framed. 27.5 x 35 in. inclusive of frame (69.9 x 88.9 cm.)
 
52.  Jasper Cherry Finished Curio Cabinet
 
Beautiful cherry finished Jasper curio cabinet with glass shelves, approximately 14 x 25.3 x 78 in. (35.6 x 64.1 x 198.1 cm.). Jasper maker marked and coded “0905099” to back.
 
53.  Low Curio Cabinet, Oak Finish
 
Beautiful oak finished curio cabinet. Glass shelves, interior lighting. Very nice. Approximately 14 x 29 x 48 in. (35.6 x 73.7 x 121.9 cm.)
 
54.  Patriotic Bald Eagle & Liberty Bell Bicentennial Rug Tapestry
 
Full color acrylic fiber pile rug, converted into a tapestry. Nicely detailed images of a bald eagle atop the Liberty Bell, dates 1776-1976, wooden mounting fixture to top. 36 x 56 in. (91.4 x 142.2 cm.)

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