CAPTAIN ANDREW BROWN, Totem Pole, c. 1910-30

Unsigned Argillite Model Totem Pole, Restored, Attributed to Captain Andrew Brown, 6 3/4"H.

A Northwest Coast Polychrome Model Totem Polec. 1910 cedar wood, paint Provena

POSSIBLY PAUL JONES (c. 1847-1927), SKIDEGATE, HAIDA GWAII Model Totem Pole, c. 1890-1910 argillite, 9.5 x 2 x 2 in (24.1 x 5.1 x 5.1 cm) unsigned. Provenance Private Collection, British Columbia; Fir

ATTRIBUTED TO PAUL JONES (c. 1847-1927), SKIDEGATE, HAIDA GWAII Model Totem Pole, c. 1900-1910 argillite, 10 x 2.5 x 2.25 in (25.4 x 6.3 x 5.7 cm) ESTIMATE: $2,500 — $3,500 Provenance Pri

Estate / Collection: Estate of Bartlett Burnap American, 1958-2019Falcon and Totem Poles, 1993Signed © T. Isaac and dated '93Acrylic on Masonite30 x 22 3/4 inches (76.2 x 57.8 cm)

Cream balaclava, brown goggles. Captain Robert Falcon Scott (1868 - 1912) was the leader of the ill-fated British expedition to the South Pole in 1910. Not only were they bested by Amundsen's Norwegia

20th C Carved Wood Native American Totem Pole Sculpture. Original paint accents. Size: 30 h , 27

UNIDENTIFIED HAIDA ARTIST Model Totem Pole, c. 1880s argillite, with its original base: 15.5 x 3.5 x 2.5 in (39.4 x 8.9 x 6.4 cm); with additional base: 16.5 x 5 x 4.5 in (41.9 x 12.7 x 11.4 cm) unsig

Property from the Collection of John and Virginia Duncan, Savannah, GA Description: Manota Kwakwaka Wakw Totem, c. 1910, finely carved and painted in tones of green, black, white and red, with lab

UNIDENTIFIED ARTIST, HAIDA, PROBABLY MASSET, HAIDA GWAII Model Totem Pole,c. 1890 argillite, 13.5 x 3.25 x 2.75 in (34.3 x 8.3 x 7 cm) unsigned. Provenance Private Collection, Montreal.

UNIDENTIFIED ARTIST, POSSIBLY TLINGIT OR TSIMSHIAN Model Totem Pole, c. 1920s wood and pigment, 49 x 8 x 4.75 in (124.5 x 20.3 x 12.1 cm) unsigned. Provenance Important Private Collection, Canada. Qui

A Northwest Coast Totem Pole c. 1920 wood, paint Provenance: Property from the Esther and Alan Saks Family Collection Height: 57 inches HID03101062020 © 2024 Heritage Auc

Daum Freres, Nancy. Tall 'Cattleya labiata' vase, c1910. H. 30.9 cm. Cased glass, clear, deep red (gold ruby) and purple, between layers different kinds of powder inclusions, white opalescent, pink an

Tobias Musicant Totem Pole Down South c. 1950oil on board25 h × 13.5 w in (63 × 34 cm) Signed to upper right 'Musicant'. Provenance: Jim's of Lambertville, New

SST. Maker's marked, "Sentenne and Green New York." C. 1910 Captain Sigsbee 5¢ Cigar embossed tin sign. CONDITION: Sign shows good color and gloss with areas of surface scratching and rubs to the

The Ralph Brown Co. San Francisco, c. 1910. The 1 - 3/4" blade and nail file are both stamped "The Ralph Brown Co.". The 3"" knife contains five flats of gold quartz and an engraved panel with the ini

American c.1910 Rabbet Size: 30.5 x 26.5 in. Overall Framed Size: 32.5 x 28.5 in . (97-187) (114)

LARGE CARVED/PAINTED NORTHWEST COAST TOTEM POLE BY BILL HENDERSON, 20TH C. H. 8' 6", WEIGHT APPROX. 400 LBS. Wing span is approximately 6' the wings are detachable for easy transportation.

Handel Lamp Co., fine and rare pair Dogwood lamps, c. 1910, red and brown patinated metal base, leaded slag shade, stamped "Handel" on base edge, 24"h x 18"dia Provenance: Property from the Collection

Country store sign, Grape-Nuts, "To School Well Fed", self-framed metal w/girl & St. Bernard, c.1910, VG+ orig cond, 30"H x 20"W.

Country store sign, Grape-Nuts, "To School Well Fed", self-framed metal, great graphic of young girl w/her St. Bernard dog, c.1910, VG overall cond, 30.25"H x 20.25"W.

Group of Three Women's Hats. Comprising of a Woman's Hat, by A. SchwalbË Creator, Cloche Hat with Brown Fir and Velvet, with Brown Lace Bow, New York, c.1910 {10 5/8 x 10 5/8 x 5 1/8 in.}; a Woma

A hand carved and painted full size, all wood carousel goat by the Dentzel Co., Philadelphia, PA, c. 1910. Painted in light brown shading to white, with realistic expression, horns, and beard, wi

Untitled (Geometric Totem), c. 1970s, mixed media relief sculpture, 30 x 24, Note: It is believed that this work is a mural study and the structural cardboard represents metalsupports, or cells, that