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Premier Firearms Auction #85

May 13, 2022 to May 15, 2022

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Premier Firearms Auction #85

May 13, 2022 to May 15, 2022

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Page 1 of 6

Showing 1-50 of 251 results

Highly Desirable, Very Scarce Winchester Lithograph "Double W" 1902 Pattern "Cartridge Board" with Original Wood Frame

Winchester Lithograph "Double W" 1902 Pattern "Cartridge Board"

These lithograph boards were produced c. 1902, and represent the older 1897 style cartridge boards without having any physical cartridges attached. The board is mounted in a 3 inch broad flat wood frame that is totally original, 57 1/4 inches wide by 39 3/4 inches tall, with a gold painted border around the 49 inch by 31 inch green board. In the center is a vignette of two Winchester-armed hunters behind a dead bear in a woodland scene, which is flanked with a moose head and a mallard in flight. Over 100 cartridges, bullets and primer tins are represented in the "Double W" pattern. This board saw the addition of some new cartridges that were not represented on the 1897 pattern board, as well as a repositioning of the mallard so that it is not blocked by "cartridges".

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Highly Desirable Glass Winchester Store Display Gun Cabinet

Glass Winchester Store Display Gun Cabinet

This factory store display cabinet was manufactured in the early 1900s to aid Winchester dealers in displaying their Winchester long guns. There is a patch of residue on the bottom of the floorplate where a maker's marked plaque is sometimes found. It is constructed of oak, with full length glass panels and a cathedral top with glass panels. The top frame of door is stamped with either "A12" or "412", which is also hand marked on the bottom. The number on the door was the original identifier assigned to these types of cabinets. It stands approximately 73 inches in height on four legs with the typical brass feet sheathes present, and each side is approximately 18 inches wide. The inside display height is approximately 45 inches. On the inside is a four sided rack that will hold 20 long guns. All four sides are 5/8 inch thick and are marked "WINCHESTER" in white and black bordered red letters with black lettered "PATENT APPLIED FOR" on a white background below. The bottom of the case and the inner edge of the rack is lined with original green felt.

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Highly Prized Lettered Frame Winchester Repeating Arms Co. Henry R. Poore "Bear Dogs" Advertising Print

Framed Winchester Henry R. Poore "Bear Dogs" Advertising Print

This print was used in a variety of Winchester advertisements and depicts a barn setting with white "bear dogs" in the foreground and two large brown dogs that may be bloodhounds in the background. These dogs were reportedly part of the Winchester family hunting pack. The lower left corner is signed by the artist "H. R. Poore/Philadelphia". The original Winchester walnut frame is marked with "WINCHESTER" across the top, Winchester W's in all four corners, three shot shells descending on both sides, and "RIFLES. SHOTGUNS FOR SALE HERE and AMMUNITION" across the bottom. The frame measures approximately 41 inches in width and 31 3/4 inches in height overall, with the observable area of the print measuring approximately 34 3/4 inches in width and 25 3/8 inches in height.

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Desirable Winchester "W" Cartridge Display Bullet Board

Winchester "W" Cartridge Display Bullet Board

This advertisement displays the large variety of ammunition produced by Winchester from percussion caps up to the massive express cartridges and large gauge shot shells. The ammunition is displayed in a large "W" pattern and additional cartridges are organized in star and circular patterns as well as lines of shotshells on the sides. The board displays a dark brown woodgrain background, "WINCHESTER/REPEATING ARMS CO." at the top in bold red and yellow lettering, a pair of ducks at center, and vignettes of two hunters in the woods with a Winchester rifle aimed at unseen game and a cowboy using his horse for cover as he engages a distant foe with his Winchester. A few assorted cartridges are absent from the board (see photograph, some included loose). The back of the board has the original "PRESENTED WITH COMPLIMENTS OF THE WINCHESTER REPEATING ARMS CO. PLEASE HANG IN A PROMINENT PLACE" paper label affixed to the center. The overall display measures approximately 51 x 38 inches.

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New Haven Arms Co./Volcanic Repeating Arms Advertising Poster

New Haven Arms Co./Volcanic Repeating Arms Advertising Poster

The headline of the poster reads "VOLCANIC/REPEATING FIRE ARMS,/MANUFACTURED BY THE/NEW HAVEN ARMS COMPANY,/NEW HAVEN, CONN./(PATENTED, 1854.) The advertisement praises Volcanic pistols and rifles for their modernity and expresses their superiority over cap and ball revolvers. It also shows a price list for the different models as well as two testimonials of Volcanic Arms in sea service. It is dated "October, 1859". The poster measures 12x18 1/2 inches and is stored between two sheets of plexiglass. Provenance: The Dr. Gerald Klaz Collection

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Volcanic Repeating Arms Advertising Poster

Volcanic Repeating Arms Advertising Poster

The poster shows a patent drawing of a Volcanic Pistol along with the company name at the top of the page. The body of the text explains how to load, fire, clean, and maintain the Volcanic Pistol and explain the new type of ammunition. The other side is listing reasons one should be interested in the pistol and singing the praise of the new action over traditional percussion revolvers as well as an ammunition price list. The back is also marked for James Carlton, an agent for Volcanic in Baltimore, MD. The poster measures some 10x12 inches and is between plexiglass. Provenance: The Dr. Gerald Klaz Collection

Scarce and Desirable Early Production Newhouse No. 6 Slick Pan Bear Trap

Early Production Newhouse No. 6 Slick Pan Bear Trap

This massive bear trap weighing in at about 50 pounds was manufactured c. 1850 to 1855 by Sewell Newhouse of Oneida County, New York. He began making traps in the early 1800s, at first by using metal scraps from his father's blacksmith shop. In 1849, Newhouse joined a religious community started by John Humphrey Noyes and continued making traps by hand. The business gradually grew until becoming a primary manufacturing operation for the community. Their primary sellers were always smaller traps, such as those for beaver, with reported sales in 1864 being 7,250 beaver traps compared to only 30 bear traps, making these large game traps incredibly scarce. This variation of the Newhouse bear trap is often referred to as a "slick pan" as the pan/trigger mechanism is unmarked, unlike later models which bore the Oneida Newhouse markings. This example with the Newhouse markings on top of each spring has large teeth riveted to the jaws with square rivets and is fitted with a short length of anchoring chain. The chain is the original length and it retains the original swivel, a component that is often missing from surviving examples.

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Exceptional 50-Count Box of Winchester Repeating Arms Company Model 1873 .44 W.C.F. Cartridges

Box of Winchester .44 W.C.F. Cartridges

This is an exceptionally high condition, full box of Winchester Repeating Arms Co. .44 W.C.F. cartridges. The box retains a partial factory seal and is of plain cardboard construction with a green top label with black lettering and features the picture of a .44-40 cartridge. The black ink labelling around the sides features a picture of a Model 1873 carbine, a .44-40 cartridge, and the Winchester guarantee.

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Excellent French & Indian War New York Map Powder Horn

French & Indian War New York Map Powder Horn

Outstanding 18th Century, French & Indian War, Colonial New York map powder horn c. 1760-64. This high quality, professionally engraved, colonial powder horn was executed sometime after 1759 based on the location of British forts George on Lake George and Crown Point on Lake Champlain. The horn is the work of a professional engraver located in England or one of the larger colonial cities. High quality, professionally carved, map powder horns were popular with British officers both as practical, elegant, accouterments and mementos of military service in the American colonies. This medium sized powder horn has been scrubbed and bleached to a very attractive cream color with contrasting dark throat and delicately turned spout and pinned wooden base plug with turned rings. The delicate engraving is high-lighted with red and black ink. The body of the horn is engraved with a detailed map of the Hudson River Valley and the northern and western routes to Canada thru Lake Ontario, Lake George, Lake Champlain and the St. Lawrence River. The base of the horn has a detailed engraving of New York City with batteries and ships in the harbor. The engraving depicts the Hudson River Valley and significant towns, settlements and forts along with lakes Ontario, George and Champlain. A highly detailed British Royal Coat of Arms with rampant lion, crown, unicorn and motto is engraved near the base of the horn. A cartouche located above the coat of arms is engraved in a different hand with a crest that appears to be a bishop's miter above a banner bearing the name "Wm Woolsey". The crest and the banner are surrounded by delicate flourishes. The crest engraving is contemporary to the engraving on the powder horn. William Woolsey has not been identified. Map powder horns from the French and Indian War are some of the most desirable and attractive of all colonial artifacts. Included with the with powder horn are letters from Stephen D. Hench and Walter O'Connor which describe it as an original, professionally carved 18th century powder horn.

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Powder Horn with Engraved Fort and Patriotic Motifs

Powder Horn with Engraved Fort and Patriotic Motifs

The horn measures approximately 15 3/4 inches long with a 3 inch plug. It is carved with a star fort/redoubts firing cannon along with an American bald eagle and shield motif and bow and arrow. There are two decorative bands of engraving that appear to have not been completed. The base plug has a brass stud, and the throat is stepped and has a wood spout plug.

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Extraordinary Gilt Model 1850 Foot Officer's Sword and Scabbard

Model 1850 Foot Officer's Sword

The Model 1850 Foot Officer’s sword was the standard company grade officer's sword from 1850 to 1872 and was manufactured by several companies, particularly during the Civil War when demand was exceptionally high. An iconic Civil War officer’s sword, it would remain in service until 1872. This sword has no dates or maker's marks. The 30 3/4 inch long blade has classical martial and patriotic etching. The brass hilt and scabbard fittings are gilded, and the hilt has the usual floral patterns. The grip is wrapped in alternating brass wire and black shagreen. The scabbard body is black leather.

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Outstanding Gilt Ames Mfg. Co. Model 1852 Naval Officer's Sword and Scabbard

Ames Mfg. Co. Model 1852 Naval Officers Sword and Scabbard

This is an exceptionally high condition example of an Ames Mfg. Co. Model 1852 Naval Officer's Sword. This model saw extensive use during the American Civil War and remained the standard U.S. Navy officer sword up to WWII. The lightly curved, 29 inch blade has classical martial, naval, and patriotic etching along with "Ames Mfg. Co. /Chicopee/Mass." etched on the obverse side above the ricasso. The gilt brass hilt features sea serpent designs "USN" on the guard, and oak leaves and acorns. The grip is wrapped in white shagreen and twisted gilt brass wire. The scabbard has a black leather body and gilt brass fittings with a sea serpent drag, knotted rope suspension bands, and "AMES MFG. CO./CHICOPEE/MASS" marked on the reverse of the upper band.

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Incredibly Fine Gilt, Etched, and Silver Hilt Emerson & Silver Officer's Presentation Grade Sword and Scabbard

Emerson & Silver Officer's Sword & Scabbard

This is a very attractive sword and scabbard that certainly would have been suitable for presentation to an accomplished Union hero of the Civil War, particularly a cavalry officer. Emerson & Silver of Trenton, New Jersey, were active during the Civil War and supplied thousands of swords, mainly Model 1860 sabers, before the end of the conflict. Before the war, they were manufacturers of edged tools at the Keystone Edge Tool Works. During the war, they advertised, "Particular Attention Given to Presentation Swords" and "Fine Swords For Presentation constantly on hand" and indicated they completed 125 swords a day. The quote on the blade has often been attributed to Benjamin Franklin during the American Revolution and was used by some Americans during the war, but it has been around even longer, including use in Latin (Ubi Libertas: Ibi Patria) by influential colonist Robert Dinwiddie who died in 1770 and by others back in England. The approximately 34 3/4 inch curved blade has broad fullers and very high grade etching with a cavalry battle scene with cabins in the background as well as an American flag and shield and martial trophies on the obverse, "IRON PROOF" on the spine, and "U.S.," "Where Liberty dwells/there is my Country," an officer, and "EMERSON/&/SILVER/TRENTON" on the reverse. The gilt brass hilt has the decoration on the inside of the guard including scroll, laurels, and a patriotic shield and oak leaves and acorns and laurel and fruit at the base of the pommel and a floral pattern around the pommel edge. The grip is cast silver with an officer on horseback with his sword raised and detailed natural scenery on the obverse side and scroll work around a blank panel for an inscription on the reverse. The scabbard has a silver body and pierced gilt fittings. The drag has an officer with a sword and American flag on the obverse and foliage on the reverse. The lower section of the body of the scabbard is engraved with elaborate scroll patterns with martial trophy accents flanking a detailed bust of a horse. The lower suspension band has classical trophies, while the upper has a cavalryman on horseback at full gallop looking back over his shoulder as if in a running battle. Between the bands is a blank panel for an inscription surrounded by an elaborate engraved border. The mouthpiece has martial items.

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Exceptional Presentation Grade Horstmann & Sons Model 1840 Foot Officer's Sword and Scabbard

Horstmann & Sons Model 1840 Foot Officer's Sword

This is an exceptionally high condition, presentation grade Model 1840 Foot Officer's sword with the "HORSTMANN/&/SONS/MAKERS/PHILADA" scroll marking on the reverse of the scabbard, a 32 inch etched blade with bright floral and patriotic patterns, gilt brass hilt and scabbard with floral and patriotic designs, and silver wire pattern grip.

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Historic Documented 1862 Dated Civil War Phoenix Iron Co. Model 1861 3-Inch Ordnance Rifle Identified as Used by Battery F of the 1st Pennsylvania Light Artillery with Carriage

1862 Civil War Phoenix Iron Co. Model 1861 3-Inch Ordnance Rifle

The 3-Inch Ordnance Rifle, Model 1861 was one of the primary field artillery pieces of the Union Army during the Civil War and were also prized by the Confederacy when they could capture them. It could accurately fire a 10lb round 1,830 yards and could fire solid bolts, case shot, shells, or canister as needed. This example has a pinched front sight post and is marked "TTSL No 379 PICo 1862/816" on the muzzle (Inspector Theodore Thaddeus Sobieski Laidley, No. 379, Phoenix Iron Company, 816 lbs. weight). "US" is marked on top over the trunnions. The original sight base for the Pendulum Hausse sight is present. An included copy of a July 25, 1864 Battery Report for Battery F of the 1st Pennsylvania Light Artillery (Ricketts' Battery) lists this gun by number as the sixth of the battery's six guns and indicates it fired 499 rounds during the last quarter and had fired 1,299 rounds in total to that date. 325, 375, 378 and 379 were likely the replacements issued to the unit in September 1862 given the other two guns on the battery report were no. 42 and 64 and from 1861. The unit had defended Henry House Hill at Second Bull Run and was also part of the "artillery hell" at Antietam. #378 from Ricketts' Battery is discussed in the article "Historic 3-Inch Ordnance Rifle from Ricketts' Battery" by Ron Rupp in the included copy of Artilleryman Magazine Volume 37 No. 3. He located the tube on display in York, Pennsylvania, at Hanover Junction and discusses the report noted above and the unit's history including their famous defense of East Cemetery Hill on the evening of July 2, 1863, at Gettysburg. General Johnson sent 6,000 men in an assault on the hill that they latter termed "Battery Hell" while another 1,295 under General Hays attacked the right flank and another 1,244 under Colonel Avery hit the left. Fire from R. Bruce Ricketts' Battery tore many of the assaulting Confederates to pieces, but some of the Confederates reached the battery. The artillerymen then fought to defend their guns while the remainder of the battery kept on firing. Rupp notes, "It can be claimed Ricketts' battery served as the 'High Water Mark' on East Cemetery Hill when the crest of the Confederate attack broke on Ricketts' center section, [and] then receded downhill as Federal reinforcements arrived." The fighting was fierce. The Confederates managed to spike the piece on the far left after its crew was all either killed, wounded, or taken as prisoners. One of the Confederate officers that broke through was struck in the head with a stone by an artilleryman when he demanded he surrender at musket point. Lt. Brockway stated, "The scene was now one of the wildest confusion. Friends and foes were indiscriminately mixed, and our means of handspikes, rammers, stones, etc., made a sturdy resistance, animating each other with shouts and cries, 'to conquer on the soil of our native state or perish.'" The Confederates were forced to retreat after taking heavy losses, and the fighting continued the next day. On July 3, the battery suffered under enfilading fire from Benner's Hill and Seminary Ridge and repositioned to focus their fire on the former. When the battle was over, they had lost six killed, fourteen wounded, and three missing. During the battle, they fired 1,200 rounds, more than 200 rounds per gun in a less than 24 hour period. The gun would have seen use in the Overland Campaign in the Spring of 1864 in the Wilderness and at Spotsylvania, Cold Harbor, and Siege of Petersburg. In addition to documented Civil War use by a famous battery, this piece was professionally relined with a 3/8 seamless liner by Bernie Kurdt and has been fired recently at the North-South Skirmish Association Nationals in Winchester, Virginia. The 2021 NSSA registration for it is included. Also include are a copy of the Artilleryman Magazine Volume 37 No. 4, a reproduction No. 1 field carriage by Stafford Wheel & Carriage, LLC, two rammers, a worm, and a handspike.

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Caliber / Gauge: 3 inch

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Very Rare Civil War 1862 Dated Revere Copper Co. Napoleon 12-Pounder Model 1857 Light Field Gun with Field Carriage

1862 Dated Revere Copper Co. Napoleon 12-Pounder Light Field Gun

Though weighing over 1,200 pounds, the 12-pounder Napoleon field guns or "gun-howitzers" were considered light artillery and were the most widely used artillery pieces of the Civil War, and the Revere Copper Co. manufactured more of them than another other foundry, 461 of the roughly 1,157 manufactured in the North during the war (see page 91 of "Field Artillery Weapons of the Civil War" by Hazlett). Additional Revere Napoleons appear to have been made for individual states. 36% of the Union artillery pieces at Gettysburg were Napoleons, and 130 Napoleons were used by the Union forces at Antietam. The company was the descendant of Paul Revere's foundry in Boston. The Napoleon 12-pounders could fire solid shot or explosive shells nearly a mile (max range of 1,600+ yards) as well as shot for close range engagements. They are also historically significant as the last cast bronze cannons used by the U.S. military. The muzzle is marked "No. 131 REVERE COPPER CO 1231/T.J.R. 1862." indicating it was inspected by Thomas Jackson Rodman, the inventor of the Rodman gun and commander of the Rock Island Arsenal from 1865 until his death in 1871. The tube's smoothbore is roughly 63 3/4 inches in length, and it has "U.S." in ornate letters on top near the trunnions. The ornate nature of this marking is one of the distinctive aspects of the Revere guns. "137" is marked by the right trunnion. It is mounted on a carriage.

Caliber / Gauge: 12

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Desirable 1862 Dated Civil War Phoenix Iron Co. Model 1861 3-Inch Ordnance Rifle with Carriage

1862 Civil War Phoenix Iron Co. Model 1861 3-Inch Ordnance Rifle

The Model 1861 3-Inch Ordnance Rifles were among the best and most widely used field artillery pieces of the Civil War and continued to be used into the late 19th century Indian Wars. They were designed by John Griffen, the superintendent of the Phoenix Iron Co. of Phoenixville, Pennsylvania, who created a new technique that produced stronger and lighter artillery by using multiple layers of wrought iron strips welded together and using a rolling press. Only one reportedly failed in use, and it had been double charged. A one-pound charge can fire a 9.5 lbs. solid projectile 1,830 yards. They were very accurate and lighter than some of the comparable rifled artillery of the period such as the Parrott rifles. This example is marked "J.M.W. No 456 PICo. 1862/816 lbs" on the muzzle (inspected by James Madison Whittemore, no. 456, manufactured by Phoenix Iron Co. in 1862, and 816 pound weight). "US" is marked on top over the trunnions. It is mounted on an accurate reproduction Historical Ordnance Works carriage with implements.

Caliber / Gauge: 3 inch

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Approximately 1/2 Scale Rifled Cannon/Parrott Rifle with Carriage

Approximately 1/2 Scale Rifled Cannon Parrott Rifle & Carriage

No markings have been found on this Parrott rifle style artillery piece. The tube has a 1.6 inch rifled bore that is 57 3/4 inches in bore length and is fitted with a modern globe front sight. The smallest Civil War production Parrott rifles were the 2.9 inch and 3 inch 10-pounder Parrott rifles, so this gun's bore is roughly half the size of the usual smaller Parrott rifles. The carriage is marked "U.S./2ND CAV."

Caliber / Gauge: 1.6 inch

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Historic and Rare Civil War U.S. "O'Donnell's Foundry" 6-Pounder Wiard Rifle with Carriage

Civil War U.S. O'Donnell's Foundry 6-Pounder Wiard Rifle

These unique rifled artillery pieces were invented by Norman Wiard and were made from cast "semi-steel" initially, and later from conventional iron to reduce costs. Wiard also designed these cannons' distinct carriages which were designed to use readily interchangeable parts. Approximately 60 Wiard rifles were manufactured c. 1861-1862. These are split between various calibers. Of these, around 24 of the 6-Pounders are known to survive, mainly at battlefields and historic sites. They were long reported as manufactured at O'Donnell's Foundry in New York City. However, more recent research has suggested they were made by other contractors. In "Revealing the Makers of the Wiard Rifle" in "Artilleryman Magazine" Vol. 36, No. 3, Capt. (ret.) Steven W. Knott of the U.S. Navy demonstrates that "The American Annual Cyclopedia" from 1861 indicates the steel was made by rolling mills in Troy, N.Y., and Trenton, N.J., and the tubes were forged by Tugnot & Dally of New York and then bored by Plass & Co. (Carpenter & Plass). The carriages were made by the John Stephenson Car Company of New York. Knott indicates that the details are also confirmed in a letter from March 14, 1863, from William L. Miller of Carpenter & Plass to the Ordnance Bureau, and Tugnot & Dally ran the Franklin Forge, then "one of the largest steam-powered hammer forges in the world." Relatively little is known about these scarce artillery pieces in actual combat, but the 6-pounders had an incredibly effective range of up to 7,000 yards, and some are reported to have been used by Major General Daniel Sickles' "Excelsior Brigade", and at the Battle of Stones River and Shiloh by the Ohio Light Artillery. This very attractive example has a globe type front sight, a modern elevation and drift adjustable rear sight, "1861" on the left trunnion, "NW/NYC/OF" (Norman Wiard, New York City, OF are likely the initials of the inspector) on the right trunnion, "No. 38" on top of the right trunnion, the patriotic shield and "TO ARMS" logo over "U S" and "WIARD" on top of the tube, "722 lbs" behind the vent, and a Paulson Bros. Ordnance Corp carriage.

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Rare, Documented First Edition Elizabeth H. Colt Presentation Signed Copy of “Armsmear”

Elizabeth H. Colt Presentation Signed Copy of “Armsmear”

Offered here is a first edition (1866, printer: Alvord, New York) of the privately printed biography of famed firearms inventor and manufacturer Samuel Colt, “Armsmear: the Home, the Arm, and the Armory of Samuel Colt. A Memorial.” The book features a handwritten dated presentation inscription by Samuel Colt’s widow, Elizabeth. The inscription reads, “Mrs Kneeland/With the love of/Mrs Samuel Colt/Armsmear-/Jan. 11th 1867.” Elizabeth or Samuel Colt’s connection to the Kneeland family remains unknown at the time of the writing. When Samuel died Elizabeth inherited control of her husband’s famed firearms manufacturing company worth $3.5 million dollars in 1862 or nearly $97 million in 2021 dollars, and she is largely credited for rebuilding the company in the aftermath of the 1864 fire. Following the death of Elisha Root in 1865, her brother, Richard Jarvis, became company president, and the brother-sister duo oversaw the company’s successful transition from manufacturing percussion arms of the second half of the 19th century to semi-automatic and machine guns of the early years of the 20th century. Outside the firearms business, Elizabeth was an active community leader in Hartford. For over 20 years she served as president of the Union for Home Work, an organization that provided daycare services for children of working mothers. She was the first president of the Hartford Soldiers Aid Society, a Civil War woman's charity organization that organized the delivery of donated goods to soldiers both in the field and in the hospital. She organized the first suffragette convention in Connecticut in 1869. Due to her charitable civic actions she was given the honorary title “The First Lady of Hartford.” Upon her death in 1905, Elizabeth Colt willed to the Wadsworth Athenaeum Museum of Art in Hartford an extensive collection of American and European art, furnishings from her Armsmear estate, and her husband’s personal collection of firearms, edged weapons and armor. Much of the collection is displayed in the Elizabeth Hart Jarvis Colt Memorial Wing, which was the first American museum wing to be named after a woman donor. Includes a copy of George Gamble and R.L. Wilson's "A Life's Tapestry of a Collector: The Gamble Collection" where this signed edition is pictured and identified on page 224. Also comes with a framed (20x14 inches) Charles Loring Elliot portrait of Samuel Colt issued by The American Historical Foundation in the late 1990s (no. 55 of 1,862) along with the original receipt. Provenance: The George F. Gamble Collection

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Desirable Masterfully Relief Carved Antique Ivory Buffalo Bill Cody Bust Cane

Relief Carved Antique Ivory Buffalo Bill Cody Bust Cane

During the 19th and 20th centuries, canes became incredibly popular as a status symbol, especially among upper class gentlemen in Western Europe and North America. The grip of this particular cane has been masterfully relief carved in the form of a bust of famous Wild West Show star Buffalo Bill Cody. It specifically appears to represent Cody around the time of his Wild West Show taking place near Paris, France, in 1889, bearing resemblance to promotional photos of him from the time. This specific cane is pictured and described on p. 64-67 of "Larry Mattson Collections: Carved Cane Handles 2021", where the author indicates that two copies of this cane were made, one for presentation to Cody, and one that was retained by the artist. Buffalo Bill's immense fame due to his Wild West show make him a prime candidate for a decorative cane. The shaft is Malacca, and tipped with antique ivory. It measures 36 1/2 inches overall. Provenance: The Larry Mattson Collection

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Desirable Antique Retailer Style Glass Cane Display Case

Antique Retailer Style Glass Cane Display Case

This cabinet appears to be made of oak and similar examples have been seen made by Excelsior Showcase Works of Quincy, Illinois, and H. Pauk & Sons Mfg. Co. of St. Louis. There are no visible maker's marks on this example, but it is stamped "32" in three places on the interior of the wood. Almost the entire case is made up of large glass panels to view the canes, umbrellas, or walking sticks within, apart from the back which is hardwood. The entire domed top lifts on hinges via a brass handle on the front. There are slots to display 48 canes on six tiers for better display. It stands 46 1/4 inches tall at the back, is 17 3/4 inches deep, and 22 1/2 inches wide. (Display case only).

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Desirable Relief Carved Antique Ivory Native American Bust Cane

Relief Carved Antique Ivory Native American Bust Cane

Steadily growing in popularity starting around the 16th century, canes reached the pinnacle of their popularity amongst the upper classes of society around the late-19th and early-20th centuries. They became more than just an accessory, but rather a symbol of ones status and wealth. This example is pictured and described on p. 68-71 of "Larry Mattson Collections: Carved Cane Handles 2021", where the author suggests that the handle may be a representation of Sitting Bull or the Oglala chief Red Shirt, who was a famous member of the Buffalo Bill Wild West Show. The antique ivory grip of this cane has been masterfully relief carved in the form of the bust of a Native American man wearing a feathered war bonnet, in the style of those worn by various plains tribes. The thick shaft is made of a light springy wood, possibly Malacca, and tipped with metal. It measures 36 1/4 inches. Provenance: The Larry Mattson Collection

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Masterfully Relief Carved Antique Ivory Rooster Head Cane

Masterfully Relief Carved Antique Ivory Rooster Head Cane

Canes reached the pinnacle of their popularity, especially among the gentry and upper echelons of society, in the late-19th and early-20th centuries, becoming far more than just a mobility tool, but rather a statement piece to project one's social status and wealth. The particular cane is pictured on p. 157-159 of "Larry Mattson Collections: Carved Cane Handles 2021". The antique ivory grip on this example has been masterfully carved into the form of a crowing rooster's head fitted with glass eyes, and sporting what appears to be the collar of human clothing around its neck. It is joined to the shaft by an ornately stamped brass band. The shaft is Malacca, and is tipped with antique ivory. It measures 35 1/2 inches overall. Provenance: The Larry Mattson Collection

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Attractive Relief Carved Antique Ivory Clenched Fist Cane

Relief Carved Antique Ivory Clenched Fist Cane

Though they trace their roots further back in history, canes reached their peak popularity in the 19th and 20th centuries, becoming more than just a mobility tool, but rather a physical symbol of social and economic status. The grip of this example is of antique ivory and has been expertly relief carved in the shape of an arm with a ruffled cuff and a clenched fist, a symbol long associated with solidarity, unity, strength, and resistance. The ebonized shaft is tipped with a metal ferrule. It measures 36 1/4 inches overall.

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Magnificent Masterfully Relief Carved Tree and Stags Cane

Masterfully Relief Carved Tree and Stags Cane

Canes steadily grew in popularity starting around the 16th century, reaching their peak amongst the upper classes of society around the late-19th and early-20th centuries. They became more than just an accessory, but rather a symbol of ones status and wealth. This example has been magnificently relief carved with a forest and stag scene by a true master craftsman. The scene features a large tree at the center with two red stags attempting to eat from its lowest branches. There is a brass ferrule where the grip meets the shaft that is made of a slightly knobby, light and springy wood, and tipped with a metal ferrule.

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Masterfully Relief Carved Antique Ivory Chimera Heads Cane

Relief Carved Antique Ivory Chimera Heads Cane

The Victorian Era saw canes reaching the pinnacle of their popularity among those who desired an accessory to be a physical representation of their wealth and social standing, particularly among those in the upper classes. The era also saw a renewed interesting in classical antiquity, leading to many canes displaying imagery from the period. This cane is an example of that, with the somewhat L-shaped grip being carved into the two heads of the fire breathing chimera from classical mythology, one being that of the lion and one being a goat, both fitted with glass eyes. There is a German silver band where the grip meets the shaft and a woven band of silver wire further down. The shaft is of a light, slightly springy wood, possibly a fruit wood, and is tipped with a German silver and iron ferrule.

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Attractive Relief Carved Antique Ivory Billy Goat Cane with Bamboo Shaft

Relief Carved Antique Ivory Billy Goat Cane with Bamboo Shaft

During the 19th and 20th centuries, canes became incredibly popular as a status symbol, especially among upper class gentlemen in Western Europe and North America. The antique ivory grip of this cane has been expertly carved into the head of a billy goat and is fitted with glass eyes. There is a small silver band where the grip meets the shaft, which is made of light springy bamboo and fitted with a German silver ferrule at the tip. It measures 35 1/2 inches overall.

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Framed Print of Chief Two Moons Dated 1913 by L.A. Huffman

Framed Print of Chief Two Moons Dated 1913 by L.A. Huffman

This print features at its center an elderly Cheyenne Chief, Two Moons, in what appears to be a deep conversation. Two Moons (Ishaynishus) was present at the battles of Rosebud, Little Bighorn, and Wolf Mountain. After his band's surrender to U.S. forces he became a government scout under General Nelson Miles, and later was appointed chief of the Cheyenne Northern Reservation. The lower left of the print has L.A. Huffman's copyright and is dated March 1913. The very bottom of the print is hand marked "Isha o Nishus [sic] (Two Moon) chief of Montana Cheyennes". Laton Alton Huffman (1854-1931) was among the few photographers to capture the landscape, Native Americans, wildlife, and ranching life in Montana in the late 19th and early 20th centuries. Later in his life, he enlarged many of his earlier photographs.

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Framed Print "A Buffalo Family" by L.A. Huffman

Framed Print "A Buffalo Family" by L.A. Huffman

The visible portion of this print by legendary Western photographer L.A. Huffman measures 7 3/8 x 9 1/4 inches. It features four American bison on the prairie with rolling hills in the background. The bottom right is faintly marked "LAHuffman" in black ink. The backing is hand marked "D. Koster" and stamped by the framers. Laton Alton Huffman (1854-1931) was among the few photographers to capture the landscape, Native Americans, wildlife, and ranching life in Montana in the late 19th and early 20th centuries. Many of his photographs were enlarged and colorized later in his life.

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Colorized Print of Bighorn Sheep by L.A. Huffman

Colorized Print of Bighorn Sheep by L.A. Huffman

This 10 x 14 1/8 inch colorized print features a small herd of bighorn sheep on a barren hillside, likely in Montana. The lower left corner is stamped with a small and discreet L.A. Huffman copyright mark. Laton Alton Huffman (1854-1931) was among the few photographers to capture the landscape, Native Americans, wildlife, and ranching life in Montana in the late 19th and early 20th centuries, and colorized and/or enlarged many of his original photographs late in his career.

Framed Colorized Print "Hymen Terrace, Yellowstone Park" by Haynes

Colorized Print "Hymen Terrace, Yellowstone Park" by Haynes

This 10 1/2 x 13 1/2 inch print has been colorized with watercolors and features a photo of the colorful calcium deposits of the Hymen Terrace formation, which is located in the Mammoth Hot Springs area of Yellowstone National Park. The bottom right of the photo is stamped with the copyright "BY HAYNES.ST.PAUL", and the matting is stamped "Haynes/YELLOWSTONE PARK". The photograph was taken by either Frank Jay Haynes (1853-1921) or his son Jack Ellis Haynes (1884-1962), with the elder Haynes being the more likely candidate. Frank Haynes started his photography in Minnesota and later became the official photographer of both the Northern Pacific Railway and Yellowstone National Park. The position as photographer of the national park, as well as the photography business, was taken over by his son, Jack Ellis Haynes, in 1921, and he operated it until his death in 1962. The frame measures 18 1/2 x 22 inches.

Framed Colorized Print of the "Riverside Geyser" in Yellowstone National Park by Haynes

Colorized Print of the "Riverside Geyser" by Haynes

This 13 1/2 x 10 1/2 inch colorized print features a photo of the "Riverside Geyser" in Yellowstone National Park mid-eruption. The bottom right of the photo is stamped with the copyright "BY HAYNES.ST.PAUL", and the matting is stamped "Haynes/YELLOWSTONE PARK". The photograph was taken by either Frank Jay Haynes (1853-1921) or his son Jack Ellis Haynes (1884-1962), with the elder Haynes being the more likely candidate. Frank Haynes started his photography in Minnesota and later became the official photographer of both the Northern Pacific Railway and Yellowstone National Park. The position as photographer of the national park, as well as the photography business, was taken over by his son, Jack Ellis Haynes, in 1921, and he operated it until his death in 1962. The frame measures 21 1/2 x 17 5/8 inches.

Framed Print "#226 A Trail Herd" by L.A. Huffman

Framed Print "#226 A Trail Herd" by L.A. Huffman

The visible portion of this black and white print measures 9 5/8 x 15 inches and features a herd of cattle grazing on the frontier in the American West. The bottom of the print is marked in black "#226 A Trail Herd, Powder River, Negative, Print and copyright by LA Huffman Milestown Mont 1886". The frame measures 11 3/4 x 17 1/8 inches. Laton Alton Huffman (1854-1931) was among the few photographers to capture ranching life in Montana in the late 19th century and enlarged many of his earlier photographs later in his life.

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Framed Colorized Print "Throwing the Herd on Water" by L.A. Huffman

Colorized Print "Throwing the Herd on Water" by L.A. Huffman

The visible portion of the colorized print measures 3 3/8 x 11 3/8 inches with thick cream colored matting around it and features a herd of cattle being driven to a waterhole by two mounted cowboys. It is backed in dark grey that is marked in black ink "344 Throwing the herd on water Big Dry Mont. an original photo done in water colors and copyrighted 1905 by LA Huffman Miles Mont." The frame measures 11 5/8 x 19 5/8 inches. Laton Alton Huffman (1854-1931) was among the few photographers to capture ranching life in Montana in the late 19th and early 20th centuries, and enlarged many of his earlier photographs later in his life.

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Framed Print "Going To The Roundup" by L.A. Huffman

Framed Print "Going To The Roundup" by L.A. Huffman

The exposed portion of this black and white print measures 12 1/8 x 19 1/8 inches and features a band of cowboys riding off to round up their heard in the Powder River region of Montana. It is marked "Going To The Roundup - Powder River-" in black ink in the lower left, and there is an L.A. Huffman watermark in the lower right. The backing of the frame is hand marked with an indication that this piece was from the L.A. Huffman studio collection. Laton Alton Huffman (1854-1931) was among the few photographers to capture the landscape, Native Americans, wildlife, and ranching life in Montana in the late 19th and early 20th centuries, and enlarged many of his earlier photographs later in his life.

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Large L.A. Huffman Style Print of a Grazing Cattle Herd on the Frontier

Huffman Style Print of a Grazing Cattle Herd on the Frontier

This 13 1/2 x 23 1/4 inch black and white print features a distant cattle herd grazing on the frontier of the American West. It appears to be unmarked, but certainly shows the typical style of L.A. Huffman's photography. The plastic wrapping around the print is marked "#4" in the bottom right corner. Laton Alton Huffman (1854-1931) was among the few photographers to capture ranching life in Montana in the late 19th century and enlarged many of his earlier photographs later in his life.

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Two Prints of the American West, One on L.A. Huffman Marked Matting

Two Prints of the American West, One on Huffman Marked Matting

1) Depicts a cowboy on a horse in the foreground and a small homestead in the background, matting is stamped with L.A. Huffman's mark, and hand marked "Old Time Cattle Ranch Powder River 1886" below the photograph in what appears to be Huffman's hand. 10 x 12 inches including matting. 2) Depicts a small homestead, a tepee, and a grazing horse on the Western frontier, the back of the matting is marked "Roh Coulee, Custer Battlefield". There appears to be no artist's mark but it is certainly of the style Huffman was known for. 11 7/8 x 21 3/4 inches. Laton Alton Huffman (1854-1931) was among the few photographers to capture ranching life in Montana in the late 19th century, later in his life, he enlarged and colorized many of his original photographs.

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Documented Iconic Alvin A. White Signed Rampant Colt Bronze Statue

Alvin A. White Signed Rampant Colt Bronze Statue

This iconic Rampant Colt bronze is one of a limited run of 50 that was designed by Colt Master Engraver, Alvin A. White. The colt is rearing on its hind legs clutching the broken point of a lance in its mouth, and the handle of the lance between its front legs. This symbol of defiance and determination is synonymous with Colt firearms and in many ways has become an American cultural icon due to the influence Colt had in taming the American West. This statue is based very closely on one of the many variations of the logo that was utilized by the company throughout the years. White has signed this piece "A A White" discreetly on the backside of the lance facing the colt's chest. It is also numbered "26/50" on the backside of the handle of the lance. The statue stands approximately 12 inches tall to the tip of the ear including the hardwood plinth, which has a diameter of approximately 7 1/4 inches and a felt bottom. There is a leather plaque attached to the plinth marked "THE RAMPANT COLT/A.A. WHITE/26/50". Includes a copy of George Gamble and R.L. Wilson's "A Life's Tapestry of a Collector, The Gamble Collection" where this statue is pictured and identified on pages 262-263. Provenance: The George F. Gamble Collection

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Extraordinary "Time Capsule" Fully Documented Survivor First Year Production 1959 Ford Fairlane 500 Galaxie Sunliner Coupe Convertible with Desirable 300 Horsepower 352 Thunderbird Special V-8 with 16,968 Miles and All Original Paperwork

1959 Ford Fairlane 500 Galaxie Sunliner Coupe Convertible

The second generation of Ford Fairlane was introduced in 1957, and with its longer, wider, and sleeker look, it was a huge hit on the American market, out-selling Chevrolet for the first time since 1935. In 1958, along with a face-lift of the model including fashionable quad-headlights and grill styling similar to the Thunderbird, the Fairlane 500 continued to be the top trim level offered, until 1959 with the introduction of the Galaxie. Examples produced that year, such as this one, wore both the Fairlane 500 and Galaxie badges, reinforcing that they were truly the height of luxury. Ford advertising made bold claims in 1959 that their models that year were "The World's Most Beautifully Proportioned Cars", a claim that was backed up by Comité Français De L'élégance, who gave Ford a gold medal for exceptional styling at the Brussels World's Fair. The Ford Galaxies were also offered in the Skyliner and Sunliner, hard and soft-top convertible packages, just like the Fairlane, with the Sunliner soft top outselling its hard topped sibling nearly four-to-one. Now turn the pages of history back to 1959, as this extraordinary example is a true "time capsule" and is quite possibly the only one of its type that is as close to what one would have seen in a Ford dealer showroom 63 years ago in 1959! This example is in two-door coupe configuration with the Sunliner soft top convertible roof. The Galaxie was available with various power plants from the more reserved 200 hp 292 cu. in. to the more aggressive "Thunderbird Special" 300 hp 352 cu. in. 5.7L V-8 installed in this example, which is original. According to the included original window sticker, this motor upgrade cost $48.90 in 1959. Special features installed on this model according to the window sticker include a Cruise-O-Matic 3-speed automatic transmission, curb guard body molding, Magic-Aire heater, 6-tube console range radio, 2-speed electric wipers, windshield washer, padded dash and visors, backup lights, clock, heavy duty battery, sun ray wheel covers, and power steering. Much of the interior is original including the tri-tone red/black/white leather seats which have protective plastic coverings over them. The seats feature Fingerhut covers that were installed in July 1959. The consignor reports that the tires are original. The air fitler has the FOMoCo stamping. This car has the original top plus the original tonneau cover that is in the original canvas holder. Includes all original documentation from the original purchase of the car including the original window sticker, invoice, optional features brochure, a service invoice from 1963, and other documents.

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Attractive Incredibly Detailed Relief Carved Bone Memento Mori Monk and Serpent Cane

Relief Carved Bone Memento Mori Monk and Serpent Cane

Steadily growing in popularity starting around the 16th century, canes reached the pinnacle of their popularity amongst the upper classes of society around the late-19th and early-20th centuries. They became more than just an accessory, but rather a symbol of ones status and wealth. This specific cane represents a famous Latin phrase, "memento mori", or "remember that you die". It is discussed and pictured on p. 40-43 of "Larry Mattson Collections: Carved Cane Handles 2021". The phrase and artistic representations of it were used for centuries in Western culture to represent the inevitability of death and later salvation. The bone grip of this particular example has been masterfully carved into the bust of a man who appears be a Catholic monk due to his tonsure/tonsura haircut; however, the bust is divided vertically, with one half showing the live man looking to the heavens, while the other shows the skull beneath. The grip is joined to the shaft by a silver band which is marked "FRANZ HIESS & SOHN WIEN", who is known as one of the most respected master carvers of Meerschaum pipes by collectors, and may have been who carved the grip of this cane. Farther down the shaft is a silver serpent coiled around it and climbing towards the handle, a symbol often associated with salvation in early Christianity. The shaft is of light springy wood with rough knobs/removed thorns scattered throughout and tipped with German silver and iron. Provenance: The Larry Mattson Collection

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Attractive Relief Carved Antique Ivory Detailed Duck's Head Cane

Relief Carved Antique Ivory Detailed Duck's Head Cane

Canes steadily grew in popularity starting around the 16th century, reaching their peak amongst the upper classes of society around the late-19th and early-20th centuries. They became more than just an accessory, but rather a symbol of ones status and wealth, with this particular cane being the prime example of what a gentleman of the era might have in hand as he strolled his estate. This particular cane is described and pictured on p. 148-151 in "Larry Mattson Collections: Carved Cane Handles 2021". The antique ivory grip of this cane has been expertly relief carved into a very detailed duck's head, which is fitted with glass eyes and features an exceptionally detailed beak and feathers. The grip is fitted to the shaft with a wide silver band engraved with an "AD" monogram, and the shaft is Malacca, tipped with metal. It measures 37 1/2 inches overall. Provenance: The Larry Mattson Collection

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Attractive Relief Carved Antique Ivory Tirailleurs Sénégalais Soldier Cane

Relief Carved Antique Ivory Tirailleurs Sénégalais Soldier Cane

Canes reached the pinnacle of their popularity, especially among the gentry and upper echelons of society, in the late-19th and early-20th centuries, becoming far more than just a mobility tool, but rather a statement piece to project one's social status and wealth. This attractive cane certainly checks those boxes, having been masterfully carved by a skilled artisan. This specific cane is pictured and discussed on p. 88-91 of "Larry Mattson Collections: Carved Cane Handles 2021". The antique ivory grip is carved in the shape of a bust of a bearded man wearing a Chechia fez hat, a fairly unique feature of the uniform worn by the Tirailleurs Sénégalais. The Tirailleurs Sénégalais were formed in 1857 by Louis Faidherbe, the governor general of French West Africa at the time. The unit saw decorated service through both World Wars and remained in French service until 1964. The grip is joined to the shaft by a decorative silver band with floral and geometric embellishment. The knotted and ridged hardwood shaft is tipped with German silver. It measures 33 1/2 inches overall. Provenance: The Larry Mattson Collection

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Attractive Roaring Lion Head Relief Carved Antique Ivory Cane with Engraved Silver Band Inscribed to C.D. Jordan/St. Louis

Lion Relief Carved Antique Ivory Cane Inscribed to C.D. Jordan

During the 19th and 20th centuries, canes became incredibly popular as a status symbol, especially among upper class gentlemen in Western Europe and North America. This specific cane is a fantastic example of that, and is inscribed on the silver band around the shaft, just below the grip, "C.D. Jordan/St. Louis", which is surrounded by near full coverage floral scroll engraving. The band also has Henry Howell & Co. Birmingham hallmarks dated to 1893. The antique ivory grip has been masterfully relief carved into a roaring lions head and fitted with glass eyes. The shaft is of ebonized hardwood with a dark horn tip. St. Louis newspapers from around the turn of the century mention a C.D. Jordan many times, who was Vice President of the A.J. Jordan Cutlery Company, and who certainly would have been wealthy enough to own such a fine cane. The A.J. Jordan Cutlery Company appears to have manufactured a multitude of mostly folding utility knives, likely for the booming markets in the American West.

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Attractive Masterfully Relief Carved Antique Ivory Polar Bear Cane

Relief Carved Antique Ivory Polar Bear Cane

Canes reached the pinnacle of their popularity, especially among the gentry and upper echelons of society, in the late-19th and early-20th centuries, becoming far more than just a mobility tool, but rather a statement piece to project one's social status and wealth. The grip appears to have been carved out of part of a walrus tusk, and takes the form of a swimming polar bear, with a walnut cap on the larger diameter end. There is a silver band where the grip meets the shaft with London hallmarks and "K&SLD" for Kendall & Sons Ltd. Kendall & Sons Ltd. was founded by William Wheeler Kendall in 1870 and remained an esteemed family business for over 100 years. The ebonized shaft is tipped with a brass ferrule. It measures 31 1/8 inches overall.

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Attractive Sterling Silver Accented Art-Nouveau/Art-Deco Style Cane

Sterling Silver Accented Art-Nouveau/Art-Deco Style Cane

The styling of this cane fits into the latter portion of peak popularity for decorative canes. The L-shaped handle is carved with cuboid flutes, very reminiscent of the Art-Deco movement of the early-20th century, and is wrapped in a sterling silver web of lightly engraved, flowing vines, embodying the natural shapes and themes of the Art-Nouveau movement. "STERLING" and the letter "H" are marked on the silver at the bottom where it meets with the shaft. The lightly colored hardwood shaft has a contrasting dark horn tip.

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Unique Smith & Wesson Advertising Tapestry

Smith & Wesson Advertising Tapestry

This very interesting and highly attractive Smith & Wesson advertising tapestry dates to the early 20th century, measures 48 x 65 inches, and is the first of its kind that we have seen. As a tapestry, it is certainly the most unusual type of U.S. firearms manufacturer advertisement we have cataloged. The consignor reports that this advertisement was found hanging on a wall of a gun shop in Switzerland some 40 years ago. This advertisement features large and bold graphics touting S&W revolver accuracy and encourages customers to send away for a company catalog and noting in “12 different styles.” Listed is the Stockbridge Street, Springfield mailing address. The now legendary Smith & Wesson opened in 1857 and operations began in a small rented shop on 5 Market Street, Springfield, MA, but high demand for its Model 1 revolver forced S&W to expand to a new location on Stockbridge Street. The four-story factory on Stockbridge Street was completed in 1860 and demolished over 100 years later in the early 1970s. Construction for the current S&W plant located on Roosevelt Avenue began in the 1940s.

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Attractive Relief Carved Antique Ivory Nude Woman Cane

Relief Carved Antique Ivory Nude Woman Cane

Steadily growing in popularity starting around the 16th century, canes reached the pinnacle of their popularity amongst the upper classes of society around the late-19th and early-20th centuries. They became more than just an accessory, but rather a symbol of ones status and wealth. This example, from that relatively reserved era, displays some rarely seen imagery for the time. It is likely this cane is of French origin and comes from one of multiple eras in that country when such erotic displays were more openly accepted. This specific cane is described and pictured on p. 188-191 of "Larry Mattson Collections: Carved Cane Handles 2021". The L-shaped handle is carved in the shape of a mostly nude woman wearing only stockings, garters, and healed shoes, straddling the grip. The grip is joined to the shaft with an engraved silver band and the ebony shaft is lightly knobbed/thorned and tipped with metal. It measures 36 3/4 inches overall. Provenance: The Larry Mattson Collection

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Attractive Relief Carved Antique Ivory Helmed Man Bust Cane

Relief Carved Antique Ivory Helmed Man Bust Cane

Canes reached the pinnacle of their popularity, especially among the gentry and upper echelons of society, in the late-19th and early-20th centuries, becoming far more than just a mobility tool, but rather a statement piece to project one's social status and wealth. This specific cane is discussed and pictured on p. 92-95 of "Larry Mattson Collections: Carved Cane Handles 2021", where it is described by the author as representing an Austro-Hungarian soldier c. 1870-1890. While possible given somewhat similar helms worn by Austrian troops during the Napoleonic Wars, the writer finds the figure to closer represent romanticized depictions of Roman soldiers in 18th-19th century art. Classical themes such as this became widely popular during the Victorian period, when the carrying of canes was very widespread. The antique ivory grip of this cane features an L-shaped handle with a bust wearing a crested helm with "visor" and chin strap protruding from the front. The grip is joined to the shaft with a copper band and the shaft is Malacca, and tipped with antique ivory. It measures 38 inches overall. Provenance: The Larry Mattson Collection

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Attractive Relief Carved Antique Ivory Resting Pig Cane

Relief Carved Antique Ivory Resting Pig Cane

Canes reached the pinnacle of their popularity, especially among the gentry and upper echelons of society, in the late-19th and early-20th centuries, becoming far more than just a mobility tool, but rather a statement piece to project one's social status and wealth. This attractive cane certainly checks those boxes, having been masterfully carved by a skilled artisan. This specific cane is pictured and described on p. 144-147 of "Larry Mattson Collections: Carved Cane Handles 2021". The bulbous antique ivory grip is carved in the shape of a sleeping pig. Pigs are rarely seen portrayed on cane handles, especially in such a positive manner. The finely figured shaft is of either ebony or rosewood and tipped with antique ivory. Provenance: The Larry Mattson Collection

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