Private Sam Wilson’s Walker Colt and flask

The all-time auction record for a Colt Revolver was made his week at James D. Julia, Inc. in Fairfield, Maine, when a Colt Whitneyville Walker, marked “Company A #201,” issued at Vera Cruz in 1847 to Texas Ranger Private Sam Wilson sold for $920,000.

Samuel Colt produced, between 1847 and 1849, roughly 1100 massive .44 caliber revolvers along the lines suggested by Texas Ranger Captain Samuel Walker.

The Walker Colt could be argued to have been the most powerful handgun in the world up until the introduction of the .357 Magnum in 1935. Its use by Texas Rangers in the Mexican War and in frontier battles with the Comanche Indians combined with its rarity and extraordinary size all combine to make the Walker Colt the ne plus ultra of 19th century collectible revolvers.

Antique and Auction News explains why this particular example was so desirable.

With the Wilson/Kenly Walker there are some specific attributes that make this example stand far above all others known. First of all is its spectacular condition. The Walker was so revered during its period of use that one of the first actions that occurred as a Texas Ranger fell in battle was the retrieval of his Walker pistol. The thousand martial Walker pistols originally produced saw a tremendous use in future years. Those few examples that have survived are almost all in extremely worn and well-used condition. Very rarely is there even a hint of finish left on the revolver. It is not uncommon to find many or most of the markings worn off, parts replaced, etc. The Wilson/Kenly Revolver, however, is in extraordinary condition, retaining 40-60% of its original finish, and of equal importance, retaining all of the inspector marks, proof marks, and other fragile idiosyncrasies almost never seen on other surviving Walkers. This resulting masterpiece literally makes it a reference study in what a real martial Walker looked like at the time of issue.

A second very appealing aspect of this important revolver is its impeccable provenance. The gun was originally issued to Samuel Wilson, a private in the Texas Rangers. Not only is it recorded that the Walkers were issued to his Company, Wilson also scratched his name on the brass trigger guard of this most prized of his possessions. Wilson unfortunately died in late 1847 or early 1848 at Jalapa and Major Kenly, at that time Jalapa’s Garrison Commandant and in charge of the hospital, obviously obtained the gun at Wilson’s demise. He kept this and other items he collected throughout the battle for his entire life, and passed them on down to his descendants. The consignor, an octogenarian from Libby, Montana, first saw the gun in 1941 when he and his mother retrieved it along with the Walker Flask from the family homestead. It had been in the possession of his mother’s aunt (Kenly was a great-uncle to this aunt). The Colt Walker A Company No. 210 has never been outside the family, nor ever offered for private sale before. October 7, 2008 will be the first time. The Walker will be offered with a $500,000 to $1,000,000 pre-sale estimate.

James D. Julia press release

Maine Morning Sentinel story

Shooting a replica Walker Colt 9:01 video

Kitagawa Utamaro (1753?-1806), Mono omou koi (Reflective Love),
from the series of five prints entitled Kasen koi no bu (Anthology of Poems: The Love Section), c. 1793-94

Estimated to sell for $1,000,000 – $1,500,000 at the Christie’s auction sale of Japanese & Korean art scheduled for September 18, 2008 at Rockefeller Center in New York.

Jeffrey Olson‘s excellent description reads (in part):

Her underrobe lies loose about her neck, as in a casual moment at the end of a day, and her eyes are unusually compressed to give the sense of the heavy-lidded stare of the daydreamer. Features or dress that might define personality or status or period are absent. Utamaro is using “delicious approximations” to decant the sensation from the scene.2
The visual glory of Reflective Love begins with the contrasts between the planes of color. The violet inner robe and matching silk hair tie are breathtaking. Purple, one of the most fugitive hues, tends to fade to grayish brown. The muted colors of the Reflective Love in the Musée Guimet prompted Richard Lane to remark on Utamaro’s subdued palette.3 Its cool tone conveys a somber mood, a brooding over something lost or never to be. The impression here—the vermilion lips and cuff lining, the velvet swirl of hair—is stirring (fig. 1). The underrobe is in a traditional tie-dyed dappled pattern (kanoko shibori moyo) that appears often in Japanese prints, usually on undergarments. Utamaro uses it to stage intimate settings, as here. The middle robe has the trellis design of plain-weave robes from crossing warp and weft threads. The fabric of the outerrobe represents crepe treated with wax resist so that the clusters of plovers and dots, symbolizing clouds or waves, appear white against the dyed grey.
The pink mica ground is exceedingly rare. …

kino kyo Yesterday, today–
kumo no hatate nino matter how I gaze in vacant reverie
nagamu tote toward the cloud tips
mi mo senu hito no tinted in the evening, how can I know
omoi ya wa shiru the feelings of one I cannot see?
(Fuga waka shu X: 954)

2:19 recording.

Loon Decoy, Nova Scotia

One of my liberal college classmates was recently ranting about the terrible growth of Inequality over the whole post-Reagan period of the ascendancy of Conservatism in American politics, which roughly coincided, interestingly enough, with most of our own real, post-age-30, adulthoods.

Another classmate effectively rebutted those assertions of declining middle-class economic well-being by pointing out how much had changed with respect to lifestyle and expectations in America during that time, as well as over our own lifetimes. We approaching-age-60 adults can remember not only a world with no personal computers, no cell phones, and no multiple family automobiles. We can remember the time of no televisions, no air conditioners, party-line telephones, and a lot of people owning no automobile at all.

One can see the dramatic impact on human life of the economic growth produced by the free economy just by looking at antique artifacts of everyday life. Those charming collectible pieces of folk art being sold at auction for high prices to serve in future as decorative art not so terribly long ago were practical tools.

Take the charming, somewhat primitive, stark and streamlined decoy above, found in Nova Scotia, going on the block at a Guyette & Schmidt Auction later this month. Someone will be proudly displaying it soon in his living room or den but, less than a century ago, it was bobbing in some cove or inlet along the shore as a hunter was trying to shoot… a loon.

The common loon, Gavia immer, is protected today, and most people would find the idea of shooting one of these iconic symbols of the Northern wilderness sacrilegious and the idea of cooking and eating one even less appealing.

Loons are pretty much the lowest evolutionary form of waterfowl, the most primitive and the boniest, featuring the toughest flesh and the fishiest taste. No one would eat loon if he could get coot or even merganser.

Loons were so renowned for their lack of gustatory appeal that a whole genre of loon recipes taking roughly the following form are traditional jokes.

PLANKED LOON
Catch a Loon Duck. (Black Lake Loon’s are best). Pluck and clean. Boil well. With sharp knife, split duck down the belly. Splay it on a well soaked hardwood plank. Nail it good and wire it securely. Place upright on plank in front of hot coals on outdoor fireplace. Cook well for about two hours. When done, throw that fishy duck away, and eat the plank!

But, in the old days, people really did hunt loons in order to eat them. There would be periods of the year when the more migratory waterfowl were not present and available in the North Country. Ducks and geese would have flown South, but you could still find loons.

Even in Nova Scotia, I expect it’s been a long, long time since anybody was reduced to dining on loon.

The regimental flag of the Continental Army 2nd Light Dragoons, also known as Sheldon’s Horse, captured at the Battle of Pound Ridge, July 2, 1779.

One of the brighter flames in Hell undoubtedly surrounds the spirit of the late Banastre Tarleton (1754-1833), brave but merciless commander of the Loyalist British Legion during the American Revolution.

Tarleton’s spirit is doubtless also feeling a trifle vexed these days, knowing that the depredations of numerous Labour Governments caused his descendant last year to sell his war trophies at Sotheby’s.

The battle flag of Connecticut cavalry regiment Colonel Elisha Sheldon’s Continental Light Dragoons (pictured above), captured by Tarleton at the Battle of Pound Ridge, July 2, 1779, estimated to change hands for $1.5 to $3.5 million dollars, sold for $12.36 million dollars.

The three regimental and divisional flags of the Third Virginia Detachment, commanded by Abraham Buford, captured May 29, 1780 at the Waxhaw Massacre, in which Tarleton’s Legion slaughtered Americans after they had surrendered, estimated at $2.5 to $6.5 million dollars, possibly had their price depressed by the circumstances surrounding their capture, and sold below the high estimate at $5.056 million dollars.

Tarleton’s trophies, recaptured by the American dollars of an anonymous purchaser, will be displayed at Williamsburg, Virginia’s Dewitt Wallace Decorative Arts Museum, at an exhibition titled Captured Colors: Four Battleflags of the American Revolution starting today through January 9, 2009.

Rare Revolutionary War battle flags returning to U.S.

Flags of our forefathers with 2:21 video

BBC:

A rare copy of the Magna Carta has been sold for $21.3m (£10.6m) in an auction at Sotheby’s in New York. The copy dating from 1297, one of only 17 still in existence, was bought by US businessman David Rubenstein.

The auction item had been owned by American billionaire Ross Perot’s Perot Foundation since 1984 and was on view at the National Archives in Washington.

The original Magna Carta was sealed by King John of England in 1215 and enshrined civil rights in English law.

Mr Rubenstein, co-founder of private equity firm The Carlyle Group, wants to put the document back on display at the National Archives.

He said: “I have always believed that the three most important documents were the Constitution, the Declaration of Independence and the Magna Carta.

“This document stands the test of time. There is nothing more important than what it represents.

“I am privileged to be the new owner, but I am only the temporary custodian.

“This is a gift to the American people. It is important to me that it stays in the United States.”

The auctioned copy, the only one in private hands, had been expected to fetch $20m when it went under the hammer.

The Magna Carta was not confirmed as English law until the version sealed by Edward I in 1297.

pdf version of Sotheby’s 56-page catalogue by Nicholas Vincent (Professor of Medieval History at the University of East Anglia in the UK), including introduction, Latin text and English translation, and discussion of related documents and the history of the sold copy.

Earlier posting -12/7

Hat tip to Dominique Poirier.

On December 18th, in a rather unusual single-item auction, Sotheby’s will be selling one of 17 surviving 13th century copies of the Magna Carta, one of only two copies outside Britain.

AP:

In the year 1215, a group of English barons handed King John a document written on parchment. Put your royal seal on this, they said. John did, and forever changed the relationship between the monarchy and those it governed.

The document was the Magna Carta, a declaration of human rights that would set some of the guiding principles for democracy as it is known today.

While that original edict was initially ignored and John died the next year, its key ideas were included in other variations over the next few decades, most notably the right of Habeas Corpus, which protects citizens against unlawful imprisonment. More than 800 years later, about 17 copies survive, and one of those, signed by King Edward I in 1297, will go up for sale Dec. 18 at Sotheby’s.

The document, which Sotheby’s vice chairman David Redden calls “the most important document in the world,” is expected to fetch a record $20-30 million.

While earlier versions of the royal edict were written and then ignored, Redden said, “the 1297 Magna Carta became the operative version, the one that was entered into English common law and became the law of the land,” ultimately effecting democracies around the world.

Today, its impact is felt by perhaps a third of the world’s people, he said. This includes all of North America, India, Pakistan, much of Africa, Australia and other areas that made up the British Commonwealth.

“When it’s something as enormously important as this, you try to get a handle on it,” he said. “It is absolutely correct to say the Magna Carta is the birth certificate of freedom. It states the bedrock principle that no person is above the law – that is the essence of it.”

Only two copies of the Magna Carta exist outside Britain, one in Australia and the one Sotheby’s is auctioning off.

An earlier Magna Carta version was loaned by Britain to the United States for its bicentennial celebration in 1976, but suggestions that it be made a permanent gift were rejected.

The 1279 Magna Carta was forced on Edward I by barons unhappy over taxes imposed to pay for his military campaigns in France, Wales and against Scottish rebel William Wallace. The levies were approved in the king’s absence by his 13-year-old son, Prince Edward.

Written in medieval Latin on sheepskin that after 710 years remains intact and legible, the 1297 Magna Carta was owned for five centuries by a British family that put it up for sale in the early 1980s.

From 1988 until a few months ago, it was exhibited in a custom-designed, gold-plated container at the National Archives in Washington, a few feet from its direct descendants, the Declaration of Independence and the U.S. Constitution.

Hat tip to Dominique Poirier.

A magnesite or crystalline limestone figure of a lioness,
Elam, circa 3000-2800 B.C.

AFP:

A tiny and extremely rare 5,000-year-old white limestone sculpture from ancient Mesopotamia sold for 57.2 million dollars in New York on Wednesday, smashing records for both sculpture and antiquities.

The carved Guennol Lioness, measuring just over eight centimeters (3 1/4 inches) tall, was described by Sotheby’s auction house as one of the last known masterworks from the dawn of civilization remaining in private hands.

“It was an honor for us to handle The Guennol Lioness, one of the greatest works of art of all time,” Richard Keresey and Florent Heintz, the experts in charge of the sale, said in a joint statement.

“Before the sale, a great connoisseur of art commented to us that he always regarded the figure as the ‘finest sculpture on earth’ and it would appear that the market agreed with him,” they said.

Five different bidders, three on the telephone and two in the room, competed for the sculpture. The successful buyer was identified only as an English buyer who wished to remain anonymous.

The sale easily broke the previous record for the highest price for a sculpture at auction, which had stood at 29.1 million dollars and was set just last month at Sotheby’s in New York by Picasso’s “Tete de Femme (Dora Maar).”

It also beat the 28.6 million dollars paid for “Artemis and the Stag,” a 2,000-year-old bronze figure which sold also at Sotheby’s in New York in June and held the record for the most expensive antiquity to be sold at auction.

Described by Sotheby’s as diminutive in size, but monumental in conception, The Guennol Lioness was created around 5,000 years ago — around the same time as the first known use of the wheel — in the region of ancient Mesopotamia.

The piece was acquired by private collector Alastair Bradley Martin in 1948 and has been on display in New York’s Brooklyn Museum of Art ever since.

Sand Picture in a Bottle, Paddle Wheeler Gray Eagle
Andrew Clemens, McGregor, Iowa, c. 1885

Skinner was kind enough to send me the catalogue for their upcoming November 3 & 4 sale of American Furniture & Decorative Arts.

Glancing through it last night, I was simply astonished at the sight of Lot 590.

These unique artworks were apparently created in the late 19th century by a deaf-mute, Andrew Clemens (1852-1894), who sold them as his sole means of support. The colored sands were naturally-occurring, and were collected by the artist in the Pictured Rocks, a mile south of McGregor, Iowa.

Richard J. Langel of the Iowa Geological Survey writes:

To create his sand paintings, Clemens used only a few tools: brushes made from hickory sticks, a curved fish hook stick, and a tiny tin scoop to hold sand. His sand paintings ranged from original designs to reproductions of images from photographs.

Because the majority of the bottles that Clemens used were round-top drug jars, he painted his designs upside down. Clemens inserted the sand using the fish hook stick. The brushes were used to keep the picture straight. No glue was used in the process; the sand was only held in place by pressure from other sand grains. Once a design was completed and the bottle was full, the bottle was sealed with a stopper.

Clemens originally sold his sand paintings in the McGregor grocery store. A small bottle sold for $1; a larger personalized bottle sold for $6-$8. The popularity of his sand paintings increased as travelers and steamboat agents purchased the bottles as souvenirs. Eventually, orders for his bottles became worldwide.

Clemens’ sandbottles are avidly collected as folk art, and now sell for thousands of dollars.

McGregor Sand Artist by Marian Carroll Rischmueller

Wikipedia

The Sandbottles of Andrew Clemens

Andrew “Andreas” Clemens

Cowan’s – Painter Without a Brush

oil on relined canvas, 90cms x 66cms, (36″ x 26″)

The Telegraph reports that a portrait recently auctioned on July 10th by Gildings, described as an “18th Century Continental School, Half-length portrait of Aesthete” and estimated to sell for £300-500 wound up selling for £205,000 (plus 12 1/2 % buyer’s premium, for a total (before VAT) of £230,625).

At least two bidders were of the opinion that the portrait was by Titian.

catalogue listing

The late G.E.P. How enjoyed great wines, opera, fishing, shooting, edged weapons, beekeeping, cricket, cars, and mastiffs.

On July 25, Bonham’s at its Knightsbridge branch will be auctioning Arms & Armour from the collections of the late G.E.P. How and others.

The London Times said in its obituary of Mrs. How:

Mrs G. E. P. How, silver expert, was born on January 2, 1915. She died on June 26, 2004, aged 89.

A legend in the art world almost as much for the startling trenchancy of her utterance as for her impeccable scholarship and taste, Mrs. G. E. P. How was perhaps the last surviving link to the heroic age of antique dealing before the war, when great discoveries were made and dealers were becoming more than mere merchants of curios. Mrs. How stood out from the first by her scholarly energy and integrity, and she became one of the most influential dealers of her time. …

Jane Penrice Benson was born in 1915, the posthumous daughter of an officer killed in the war. The family had been based in South Wales, though she herself grew up in the Home Counties. Her early ambition was to be an archaeologist; it was accidentally transmuted into silver when a neighbour suggested that she would enjoy helping to catalogue his collection of early spoons. (The fascination of spoons is that they are the only form of silver to survive in any quantity from the Middle Ages and the early Renaissance; without them it would be impossible to map the early history of the craft.) The expert she was to assist was Commander G. E. P. How, RN (retd), who turned out to be a jovial gentleman dealer with some considerable knowledge and a not entirely unpiratical bent. It was not long before the young Miss Benson was enthralled by man and subject alike.

The Ellis catalogue on which they worked is still a useful reference book, and Miss Benson moved to work with George How, and eventually, after his divorce, to marry him. The Commander and the Commando, as they were soon known, threw themselves into new research, living, breathing and in some cases sleeping with their spoons. …

As dealers, the Hows were a new breed, coming from a background very different from that of the traditional silver merchant, and they owed a lot to their contacts, to their social ease and an unquestionable sense of gentlemanly integrity. Their shops were fitted out to look like a collector’s drawing room, and indeed they held open house in the evenings for collectors to come to talk about silver. The Hows also offered more intellectually than much of the competition. They were among the first to persuade collectors to insist on the highest quality and untouched condition, however modest the piece. The greater importance this placed on the historical value of silver appealed to discerning customers, even of small means, and to museums here and in America. …

(Her) pugnacity could make her seem a fearsome, if diminutive, figure, especially when encountered on the serious ground of silver. But though few were spared the rougher edge of her tongue, no one could be in doubt as to her enormous underlying generosity. No serious scholar was ever refused help, and her personal kindness was great, if discreetly performed.

And she could be compelling company, with a great sense of the pleasures of life. Her offices, particularly the Queen Anne houses in Pickering Place behind Berry’s in St James’s, were glamorous in a peculiarly Dickensian way, with a creaking cage staircase and an Ali Babaesque twinkle of precious metal. To see silver gilt cups gleaming against cherry-red velvet in the sombre drawing room was an irresistible invitation to any sensual collector, and the lucky were further treated to a view of her own collection of spoons and early rarities. Parties at Pickering Place were equally fulfilling, with Mrs. How uncorking bottles of champagne apparently larger than herself. Little else except smoked salmon or caviar would be on offer. Great wines, opera, fishing, shooting, edged weapons, beekeeping and cricket were all enjoyed to the full.

Cars were a passion “I wear a car,” she said — and well into her eighth decade she sold a beloved silverplated Jaguar SS100 to Alan Clark in order to buy the latest Bentley Turbo, with which she liked to burn off all-comers at the lights. Anyone overtaken by her was liable to a fright, since she was so small as to be almost invisible at the wheel. By way of balance the back of the car was usually occupied by terrifyingly outsize dogs. She helped to save the Old English mastiff from oblivion, and one of her proudest achievements was to have won best of breed at Crufts twice with her dog Don Juan. Characteristically, she refused to show him again, as she did not want to prevent others having a decent crack at the title.

A sample item:

Lot No: 123

A Viking Sword Of Petersen Type M And Wheeler Type I
9th/10th Century
In excavated condition, with broad pattern-welded double-edged blade, tapering flat pattern-welded tang, cruciform hilt comprising short flat ovoidal cross, and shorter pommel en suite surmounted by a flat rectangular button
76.3 cm. blade

Estimate: £10,000 – 15,000
Footnote:
See J. Petersen, De Norske Vikingesverd, Kristiania, 1919; R.E. Mortimer Wheeler, London and The Vikings, London Museum Catalogue: No.1, 1927, pp. 31-32, fig. 13, 1; and J.G. Peirce, Swords of the Viking Age, 2002, pp. 84-86

Daniel Hopfer (c.1470-1536), Old Women Thrashing the Devil
Etching, 22.3 x 15.6 cm (8.8 x 6.2″), purchased at a recent European auction

“Gib Frid (Let me go!),” cries the devil, held to the ground, his pitchfork broken, by three old women pounding him with what I take to be bread boards, as four of his demonic auxiliaries hover nearby in the air, impotent and looking on in alarm.

Artists of the Northern Renaissance apparently viewed the variety of the forms of Nature with considerable suspicion, picturing the devil as an amalgamation of animal and avian forms: with head combining lion, goat, and dragon; limbs of lizard; birds’ heads for knee and elbow joints; and a boar’s head for a phallus.

Hopfer is attempting to convey the moral that life’s labors, the wife’s domestic chores symbolized by the bread boards, pursued with assiduity, may prove a weapon which can effectively defeat temptation.

The press is reporting (a bit late) that the best surviving sword owned by Napoleon Bonaparte still in private hands was to be auctioned yesterday at Versailles by Osenat.

The sword is a Mameluke-style saber, a form of edged-weapon which became fashionable in France and Britain after Napoleon’s Campaign in Egypt in 1798.

The future Emperor, then First Consul, reputedly used this sword at the Battle of Marengo, June 14, 1800.

Napoleon presented the sword after the battle to one of his brothers as a wedding present. It has descended in the same family for eight generations.

BBC

Fox News

1:42 video

Louis-François (baron) Lejeune, Battle of Marengo, 1801
Musée National du Château, Versailles, oil on canvas
1.8 m. x 2.5 m.

—————————————————

Doubtless stung by NYM’s criticism for slow reporting, Fox News has stepped up with the results of the auction. The sword sold for $6.4 million.

—————————————————

Hat tip to Frank. A. Dobbs.