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Works of Art

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948. Lincoln chromolithograph by E.C. Middleton, this with 1864 copyright date. Colors remain quite strong. While Middleton issued these well into the latter part of the decade, this example is made that much more desirable by the 1864 “Warranted Oil Colors” stamping. Housed in original, gold-painted gessoed frame with typical chips and faults. A popular, period tribute to the wartime president that pre-dates the assassination. (Est. $400-600)

A HUGE (and heavy!) Italian marble.

949. An enormous and quite unusual Lincoln bust, accomplished by an unknown sculptor in pink and red marble for the body and base with the head in a white stone, possibly alabaster. A striking piece, 22″ wide and 32″ tall on a 9″ diameter base, we believe that the likeness was probably the work of an Italian-American sculptor circa 1900. Sadly the sculptor has left no markings or signature.

Of interest is the rough carving on the head, which gives relief to his hair and beard. The sculptor then used a chisel to form and accentuate brow lines and other facial features on an otherwise smooth surface. An extremely unusual presentation. Please view on the internet to see in color! [Note that this is an extremely large and heavy piece that will require special handling/shipping arrangements.]

(Est. $1,000-3,000)

950. An absolutely lovely, small parian-ware bust on a square, titled base. Stands 8″ tall, 5″ wide at the shoulder. Quite clean without any cracks, chips or faults whatsoever. A handsome, delicate piece that would display well on your desk or in a small bookcase. We believe it might be a period item but do not know for certain…certainly well over 90 years old. (Est. $300-500)

951. A fine Lincoln bust by George Edwin Bissell (1839-1920), 20″ tall (including marble base), cast in bronze bearing his credit “GEO E. BISSELL” at the base. Entitled “The Emancipator”, Bissell modeled this life-sized 1898 bust after his 1893 work, the “Emancipation Group” which resides in Edinburgh, Scotland. Following his service in the Civil War, Bissell joined his father’s marble business where he was soon at work on life-sized statues. He later moved to Europe to formally study sculpture where he produced the Soldier’s and Sailor’s monument for Waterbury, Connecticut. A most striking and fine example of Bissell’s work. (Est. $1,000-2,000)

952. A nice replica of Daniel Chester French’s monumental likeness housed in the Lincoln Memorial in Washington accomplished in solid plaster, 15″ tall on a 11 x 11″ base, should be cleaned. (Est. $150-300)

953. Lincoln terra-cotta bronzed bust by Robert Berks (b. 1922), 17″ tall (including polished brick base), bearing his hallmark on verso and dated 1958. Burke did several Lincoln busts in the late 1950s, but is now best known for his large bust of John F. Kennedy rendered in a similar style. Base bears a few minor scratches, else fine. (Est. $300-400)

954. A set of three busts, 10″ to 12″ tall, the largest cast in metal, one ceramic, and the third white marble set on a dark marble base. (Est. $100-300)

955. Abraham Lincoln by Joseph Alexis Bailly (1825-83), a 10″ tall cast metal bust on a 1 1/2″ plastic pedestal (added later). Hallmarked on base “Patent J. Bailly May 1865”. Below his hallmark appears the founder’s mark, Warner Miskey Merrill of Philadelphia. Active since 1859, the firm was primarily a manufacturer of chandeliers. This piece was more than likely a special project done in memory of the recently slain Lincoln as the firm was not known for producing statuary. Some loss to original patina, a few minor cracks at base. The French-born Bailly emigrated to the United States in 1850 settling in Philadelphia where he became an instructor at the Pennsylvania Academy. This one is scarce! (Est. $300-600)

956. A large, modern plaster bust after the original by Leonard Volk, 1860. Stands 18″ tall, uneven paint can be re-finished, we believe an issue from Alva Studios. (OPEN)

957. Lincoln in a Victorian shadow box. A high relief, profile bust, 8 x 5″ (13 x 15″ overall), that makes a handsome presentation. (Don’t become jaded: just because you find examples in each of our catalogs, they are getting tough to find in this condition!) Quite nice. (Est. $200-250)

958. The classic mezzotint by William Edgar Marshall, 1866. A New York painter and engraver, Marshall’s original painting of this tribute was so acclaimed, his subsequent line-engraving prints became a national best-seller. His mourning portrait adorned almost every Victorian parlor of means. Measures 20 x 25″ (site), framed to 26 x 35″ overall. The detail to these works is quite impressive…there is a textured element to the actual print. Pencil signed by the artist and dated from New York December 24, 1866 — a Christmas gift from the year it was printed!

(Est. $300-400)

959. Another example of the classic mezzotint by William Edgar Marshall, 1866. Measures 18 x 25″, mounted onto a board 24 x 31″ overall. The detail to these works is quite impressive… there is a textured element to the actual print. Some even toning, mostly to board, does not detract from presentation of print whatsoever. An impressive piece. (Est. $250-350)

960. An extremely scarce, hand-colored study from a series published by Ensign, Bridgman & Fanning: “The Cabinet at Washington.” 16 x 12″ overall, one small hole at bottom margin, nicely shaded with blue, green, red, and yellow, quite fine. We can verify this as rare – no example is found in the Jack Smith Collection nor has a copy been encountered by the preeminent Lincoln print collector Tim Saiter. This opportunity may not come around again! (Est. $500-750)

961. A color print after a painting bearing the signature “Darro” (in print). Housed in a very nice 22 x 26″ burl walnut frame – easily adapted to hold a superior artistic effort! (Est. $100-150)

962. (The Lincoln Home) A lovely 15.5 x 14.5″ lithograph by Louis Prang of Boston, lightly colored in wash, titled “HOME OF ABRAHAM LINCOLN. Springfield, Ills. 1860” with the additional caption below the title: “He left it in peace, to preside over a nation, then in bondage. He now reposes under its soil a martyr to the Freedom he won.” Two small tears at bottom repaired on verso, else fine condition. (Est. $150-300)

963. Abraham Lincoln by John Sartain. A good example of Sartain’s work published by Bradley & Co. of Philadelphia. 9 x 10.5″ (12 x 15.5″ overall). Light dampstain at top margin, lightly toned, a few tape repairs on verso, pretty. (Est. $200-300)

An 1864 print by Perine.

964. A rich 1864 engraving by George Perine of New York, 8 x 11″ (11.75 x 15.75″ overall) bearing a reproduction of his full signature above title. Moderate dampstains at margins, neatly matted and in very good condition. (Est. $200-400)

965. A good set of four (4) pencil signed prints including a 10 x 10″ print signed “Othmar Hoffler”; a 1926 bust portrait, 12 1/2 x 16″ signed and inscribed in pencil by Timothy Cole; an expressive 8 x 11″ etching signed “D. Rosenthal” together with a matted 10 x 14″ (sight) profile etching signed “T. Johnson 1900”. A few bear mounting remnants at margins, light toning, else very good. A fine group. (Est. $200-300)

966. A wonderfully rich talio-chrome print of an original illumination by J. R. Rosen, engrosser for Harvard University, with paintings by A. E. Hilton being the text of Lincoln’s Gettysburg Address. 12.5 x 16.75″ A lovely presentation piece, rich in color and detail with thick gilt borders. In pristine condition.

(Est. $200-300)

967. “Abraham Lincoln, Sixteenth President of the United States.” By Kimmel & Forster on Canal Street in NYC. 9 x 12″, colored with red highlights, 9 1/2 x 11 1/2″. A lovely, 1865 tribute that was issued in large numbers as a more affordable mourning print. (We’ve seen examples offered in fixed-price catalogs for as much as $1,000!) But…keeping with the “spirit” by which they were first sold… (Est. $150-200)

968. “Abraham Lincoln, Sixteenth President of the United States.” Hand colored with red highlights, similar to the preceding lot, also printed by Kimmel & Forster, New York. 9 1/2 x 11 1/2″. A lovely, 1865 tribute that was issued to meet Victorian demand. (Est. $150-200)

969. Mounted albumen of “The Lincoln Family” set onto a gold ruled titled mat housed in an oval Victorian frame. (Est. $100-300)

Three letters by famous artists

working with Lincoln.

970. CARPENTER, Francis Bicknell. (1830-1900) American portrait painter who gained notoriety in 1864 with his large historical painting “The First Reading of the Emancipation Proclamation,” which captured President Lincoln’s presentation of that famous document to his Cabinet on January 1, 1863, and was painted during numerous sittings with Lincoln at the White House. In 1866, Carpenter wrote about his creation of the famous painting in Six Months in the White House with Abraham Lincoln; among Carpenter’s famous portraits include numerous distinguished Americans and presidents. Uncommon Autograph Letter Signed “F.B. Carpenter,” Homer, N.Y., October 3, 1866. Writing to noted New England clergyman and educator “Rev. Dr. [Leonard] Bacon,” Carpenter arranges for a sitting, and relates that: “According to an engagement made with Prof. Salisbury, I shall be ready to commence the portrait of you on Monday, or Tuesday next, in New York. (Studio 653 Broadway) at whatever hour may suit your convenience. I have been staying in the country with my family for several weeks, but expect to return to New York on Friday, and will be prepared for you the first of the week.” Carpenter is quite scarce in letters relating to portrait sittings. In very good condition. (Est. $400-500)

971. BACON, Henry. (1866-1924) American Beaux-Arts architect best remembered for his severe Greek Doric Lincoln Memorial in Washington, D.C., built 1915-22. He helped design numerous buildings and monuments and, in fact, collaborated with Daniel Chester French on the Memorial’s pensive colossal Lincoln. Quite scarce A.L.S., 2p., [Paris], April 16, 1893, inquiring of his correspondent if there is “any chance of that book of sketches of mine coming out this summer? Stories of Barbison are in fashion at present and the one of ‘Monsier Emanuil’ that tells of the life at Barbison might be made the leading story and the book called Life at Barbison etc -or someth[in]g of the kind- Another story ‘End of a romance’ also tells of life there…” Tiny marginal tear at right, else quite fine. (Est. $200-250)

972. BALL, Thomas. (1819 –1911) An American sculptor famous for numerous works that helped define our image of Founders and great leaders, including the equestrian statue of George Washington in the Boston Public Garden, and several Lincoln studies including the Lincoln Emancipation group at Washington. A.N.S., Florence, Feb. 15, 1895 to a London mercantile firm noting receipt of a draft “the amount due me on account of copyright to Dec. 31st, 1894…” Fine. (Est. $50-100)

Please view this one in the color section or on-line…absolutely gorgeous!

973. A true Victorian work: a sizable painting on coarse fabric (similar to that used for samplers), stylisticaly like a “theorem painting” of the 19th century. Measuring an impressive 29 x 38″, it is signed on the board on verso “P. Baldelli.” Found in an upstate New York auction several years ago, the study is reminiscent of a work we’ve seen in carte format – a French CDV by E. Nuerdein of Paris, issued in 1863. The colors are bold and bright; the board is somewhat warped and should be replaced. Once this period work (we believe it dates to the 1860s-1870s) has been restretched and properly framed, it would certainly make a wonderful presentation. In our estimation, a true masterpiece to adorn any home. (Est. $2,000-3,000)

This one really makes cents!

974. A fantastic piece of outsider art,

an enormous 35 x 43″ bust portrait of Lincoln fabricated entirely of pennies mounted to a piece of plywood. Accomplished by an anonymous artist circa 1967 (as this is the latest penny we found on the portrait) who has affixed a simple black molding to frame this great piece of folk art. Shiny “new” pennies are contrasted with older, worn coins to create lights and shadows creating the Lincoln visage. This is certainly one of the more unusual pieces we’ve encountered. (Est. $500-700)

An original bas-relief carved in marble. A magnificent work of art.

975. Original bas-relief of Abraham Lincoln carved in marble by sculptor John Calabro in white marble – never before offered to the public. It came directly from his studio after he died. The marble is 1″ thick and has irregular dimensions: top is 10″; bottom is 11″; left side is 12″; and right side is 13″. The image of Lincoln rises above the carved surface of the marble. The sculptor has carved an inscription in the lower left corner, “LINCOLN BY JOHN CALABRO.” The marble sculpture is mounted to a 17 x 14″ mahogany board, painted black. The marble is held in place with heavy unobtrusive metal brackets and may easily be removed. An outstanding addition to any Lincoln collection. John Calabro (1908-94), born in New York City, was the seventh in a generation of artists. He grew up “surrounded by stone” – his father was a stonecutter and a professional sculptor. Calabro was described by The New York Times in the 1970s as a “modern Michelangelo.” This observation was based upon +the way he adopted Michelangelo’s method of hacking away directly on whatever medium he was working with.”

Calabro’s works were in granite, marble, plaster and bronze; he was also a painter and even worked with metal. He did many busts and sculptures of famous people including Abraham Lincoln (3), Marie Curie (2), George Bernard Shaw, Leonardo da Vinci, Thomas Edison, Moshe Dayan, Winston Churchill, Arturo Toscanini, Nelson A. Rockefeller, Elias Boudinot, Mark Twain, Albert Einstein, Dwight D. Eisenhower, Christopher Columbus, John F. Kennedy, Jawaharial Nehru and Saint Peter for various churches and organizations. His bust of Nelson Rockefeller now sits in the hall of Vice Presidents in Washington as part of the Senate collection of its presidents. (Thus, Calabro joined the ranks of Daniel Chester French, Augustus Saint-Gaudens, Jo Davidson and many others whose works appear in this Senate collection.) His “heroic-size” sculpture of “Abraham Lincoln, Standing” resides in Fort Wayne, Indiana. He also created a number of works with coins and medallions. This is an impressive, well-accomplished work.

Because of the shape of the marble, and since Calabro had such great respect for Lincoln, this may have been a simple exercise he performed on a scrap of marble that he did for himself and which he displayed in his studio to simply reflect his admiration for the President. (Est. $3,500-4,500)

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