Oil on canvas from 1902 by Marc Decoster, titled ‘Portrait of a Gentleman with a Cigarette.’ Crescent City Auction Gallery image.

Mardi Gras collection, artworks to star in Crescent City sale Feb. 15-16

Oil on canvas from 1902 by Marc Decoster, titled ‘Portrait of a Gentleman with a Cigarette.’ Crescent City Auction Gallery image.

Oil on canvas from 1902 by Marc Decoster, titled ‘Portrait of a Gentleman with a Cigarette.’ Crescent City Auction Gallery image.

NEW ORLEANS – Merchandise from a prominent French Quarter collector, items from other important local estates and Part 3 of the John Scheffler Mardi Gras Collection are just part of what will come up for bid at a massive, two-day auction event planned for Feb. 15-16 by Crescent City Auction Gallery.

Internet Live bidding will be facilitated by LiveAuctioneers.com.

In all, over 1,300 quality, mostly fresh to the market lots will cross the auction block, including many original works of art by renowned regional artists, period American and European furniture, Newcomb and George Ohr pottery, estate jewelry, antique lighting and clocks, sterling silver, fine decorative accessories and more.

An oil on canvas by Rockmore (Louisiana, 1928-1995), featured on the cover of that very book – titled Self Portrait of the Artist, 49 1/2 inches by 27 1/2 inches – will be in the auction. It should bring $3,000-$5,000. An oil on board by renowned Louisiana folk artist Clementine Hunter (1887-1988), titled The Watermelon Picnic, circa 1960, is also expected to fetch $3,000-$5,000.

A 19th century oil on canvas work by Belgian artist Petrus Van Schendel (1806-1870), signed and titled Young Woman by Candlelight (38 inches by 28 1/4 inches), should hammer for $10,000-$15,000. Also, a 1902 oil on canvas by Marc Decoster, titled Portrait of a Gentleman With a Cigarette (possibly Czar Nicholas II of Russia), is estimated to command $2,000-$4,000.

The auction will also feature two works by Georgia-born New Orleans artist Alexander J. Drysdale (1870-1934). One, an early 20th century oil wash on cardboard titled Moss Draped Oak Tree, pencil signed by the artist, should hit $4,500-$6,500. The other, an early 20th century oil on canvas titled Moss Draped Oak and Cypress, also signed, is estimated to rise to $6,000-$9,000.

Turning to antique clocks and lighting, a rare pair of cut crystal gasoliers, quite possibly Baccarat, made around 1900 and now electrified, 59 inches tall by 39 inches in diameter, is expected to garner $8,000-$12,000, and a late 19th century three-piece brass and rouge marble clock set, the clock measuring 20 1/4 inches tall by 12 1/2 inches wide, should hit $1,000-$1,500.

Period French furniture is expected to wow the crowd. A 12-piece Renaissance Revival carved mahogany dining room suite by Emile Leger should reach $8,000-$12,000; and a carved oak vasselier (traditional French style china cupboard serving hutch and buffet), circa 1874, from Brittany with inlaid relief carved Maria Regina cupboard and doors, should fetch $1,400-$1,800.

A French Empire-style ormolu mounted carved mahogany four-piece salon suite from the late 19th century, consisting of two side chairs, a fauteuil and a settee, is expected to change hands for $1,500-$2,500. Also from the furniture category, a massive late 19th century Baroque Revival carved oak bookcase, 97 inches tall, should make $1,200-$1,800.

A set of eight carved mahogany Chippendale-style dining chairs from the late 19th century is estimated to breeze to $2,000-$3,000.

Fans of estate jewelry will be dazzled by the selection of rubies, sapphires, emeralds, diamonds, tanzanites and pearls.

Part 3 of the John Scheffler collection will feature a Mardi Gras parade bulletin dated Feb. 7, 1910 (Proteus), titled Astrology (est. $450-$650), plus 25 other bulletins; a Mardi Gras ball invitation dated Feb. 11, 1902 (Comus), titled The Fairy Kingdom (est. $400-$600), plus 32 other invitations; Also offered in the Mardi Gras category will be the cape and collar worn by Lucille Armstrong as the Queen of Zulu in 1973, and several crowns and scepters.

Returning to artwork, offered will be an original oil on canvas by Robert Rucker (Louisiana, 1932-2001), titled The Steamboat Natchez, signed and framed, 15 1/2 inches by 19 1/2 inches (est. $4,000-$6,000); and two works by Alberta Kinsey (Louisiana, 1875-1952), one titled French Quarter Patio With Winding Staircase, the other titled French Quarter Patio (both est. $2,500-$4,500).

Rounding out some of the auction’s expected stars are a Newcomb Pottery matte glaze vase made in 1927 by Sadie Irvine, 3 1/2 inches tall; a George Ohr pottery cup and candlestick; an 86-piece set of sterling flatware by Wallace in the Grand Baroque pattern (est. $3,000-$5,000); and a fine pair of gilt bronze and marble dog bookends (est. $1,400-$1,800).

Start times will be 9 a.m. (CST) on Saturday, Feb. 15, when lots 1-750 will come up for bid, and 10 a.m. on Sunday, Feb. 16, when lots 751-1,293 will cross the block.

For details contact Crescent City Auction Gallery LLC at 504-529-5057 or info@crescentcityauctiongallery.com.

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.


ADDITIONAL LOTS OF NOTE


Oil on canvas from 1902 by Marc Decoster, titled ‘Portrait of a Gentleman with a Cigarette.’ Crescent City Auction Gallery image.

Oil on canvas from 1902 by Marc Decoster, titled ‘Portrait of a Gentleman with a Cigarette.’ Crescent City Auction Gallery image.

Oil on board folk art rendering by Clementine Hunter (1887-1988) titled ‘The Watermelon Picnic.’ Crescent City Auction Gallery image.

Oil on board folk art rendering by Clementine Hunter (1887-1988) titled ‘The Watermelon Picnic.’ Crescent City Auction Gallery image.

Rare pair of cut crystal gasoliers from around 1900, possibly Baccarat, electrified, 59 inches tall. Crescent City Auction Gallery image.

Rare pair of cut crystal gasoliers from around 1900, possibly Baccarat, electrified, 59 inches tall. Crescent City Auction Gallery image.

Monumental sideboard, part of a 12-piece dining room suite by the French maker Emile Leger. Crescent City Auction Gallery image.

Monumental sideboard, part of a 12-piece dining room suite by the French maker Emile Leger. Crescent City Auction Gallery image.

Pottery pieces will include this cup and candlestick by George Ohr and a Newcomb Pottery vase. Crescent City Auction Gallery image.

Pottery pieces will include this cup and candlestick by George Ohr and a Newcomb Pottery vase. Crescent City Auction Gallery image.

Oil on canvas by Petrus Van Schendel (Belg., 1806-1870), titled ‘Young Woman by Candlelight.’ Crescent City Auction Gallery image.

Oil on canvas by Petrus Van Schendel (Belg., 1806-1870), titled ‘Young Woman by Candlelight.’ Crescent City Auction Gallery image.

William Morris’ 'The Wood Beyond the World,' sold for £2,196 ($3,609). Dreweatts & Bloomsbury Auctions image.

Fairy-tale ending at Dreweatts & Bloomsbury Bibliophile sale

William Morris’ 'The Wood Beyond the World,' sold for £2,196 ($3,609). Dreweatts & Bloomsbury Auctions image.

William Morris’ ‘The Wood Beyond the World,’ sold for £2,196 ($3,609). Dreweatts & Bloomsbury Auctions image.

LONDON – William Morris’ The Wood Beyond the World, one of the earliest fantasy novels, sold for £2,196 ($3,609) alongside other printed books and works on paper at Dreweatts & Bloomsbury Auctions’ Bibliophile Sale on Jan. 23.

LiveAuctioneers.com provided the Internet live bidding services.

William Morris was a writer, artist and textile designer who was heavily involved in the Pre-Raphaelite Brotherhood and the Arts and Crafts movement, of which he was the leader. The movement was developed during the 1850s by a group of friends who supported traditional artistic processes and, later, supported social and economic reform. As a designer, William Morris was a passionate believer that the design and manufacture of a product should not be separated and he insisted on learning the techniques and understanding the materials used in anything produced in his workshop. He said, “without dignified, creative human occupation people became disconnected from life.”

In 1891 he founded the Kelmscott Press in Hammersmith, London, where he produced limited edition books in the elegant and classic style of the 15th century. It was at Kelmscott Press in 1894 that this copy was printed by Morris and the frontispiece designed by Edward Burne-Jones, a friend and artist also closely associated with the Pre-Raphaelite Brotherhood. This rare survivor was one of only 350 that were made on paper at the press [Lot 264].

Considered by many as the father of modern fantasy novels, William Morris was the first writer to create a completely imaginary and supernatural world. The Wood Beyond the World is believed to have heavily influenced C.S. Lewis’ Narnia series and other postwar authors including J.R.R. Tolkien.

In turn, their influence can be seen in more modern fantasy novels, some of which reached top prices elsewhere in the auction. A first edition of J.K. Rowling’s Harry Potter and the Half-Blood Prince with signed presentation inscription from the author “To Harry” on the title page sold for £1,037 ($1,704) [Lot 328]. Another signed copy of Rowling’s work, Harry Potter and the Deathly Hallows was sold with related ephemera achieving £1,159 ($1,905) [Lot 329].

Click here to view the fully illustrated catalog for this sale, complete with prices realized.

Click here to view the fully illustrated catalog for this sale, complete with prices realized.


ADDITIONAL LOTS OF NOTE


William Morris’ 'The Wood Beyond the World,' sold for £2,196 ($3,609). Dreweatts & Bloomsbury Auctions image.

William Morris’ ‘The Wood Beyond the World,’ sold for £2,196 ($3,609). Dreweatts & Bloomsbury Auctions image.

J.K. Rowling’s 'Harry Potter and the Half-Blood Prince' with signed presentation inscription from the author 'To Harry' on the title page sold for £1,037 ($1,704). Dreweatts & Bloomsbury Auctions image.

J.K. Rowling’s ‘Harry Potter and the Half-Blood Prince’ with signed presentation inscription from the author ‘To Harry’ on the title page sold for £1,037 ($1,704). Dreweatts & Bloomsbury Auctions image.

Lot 11: pressed Eye and Scale hand candlestick/chamberstick, brilliant deep peacock-blue, circa 1830-1850, Boston & Sandwich Glass Co. Price realized: $9,775. Jeffrey S. Evans & Associates image.

Colored glass rarities excel at Jeffrey S. Evans auction

Lot 11: pressed Eye and Scale hand candlestick/chamberstick, brilliant deep peacock-blue, circa 1830-1850, Boston & Sandwich Glass Co. Price realized: $9,775. Jeffrey S. Evans & Associates image.

Lot 11: pressed Eye and Scale hand candlestick/chamberstick, brilliant deep peacock-blue, circa 1830-1850, Boston & Sandwich Glass Co. Price realized: $9,775. Jeffrey S. Evans & Associates image.

MT. CRAWFORD, Va. – The market for 19th and 20th century colored glass is on the uptick, if Jeffrey S. Evans & Associates’ mammoth 1,167-lot Jan. 18 auction is any indication.The auction demonstrated that fine objects of great rarity will get bidders excited and that attractive and unusual examples are equally enticing to the market. Results were strong across the historical American section of the sale, as well as the Victorian opalescent and the art glass sections.

Internet live bidding was provided by LiveAuctioneers.com.

Two examples of mid-19th century Boston & Sandwich glass sold for $9,775 each at the auction, sharing the spotlight for the highest price of the day. The first item, a probably unique deep peacock-blue pressed Eye-and-Scale pattern hand candlestick/chamber stick (lot 11), was no less attractive than the pair of deep peacock-green pressed Loop/Leaf stand lamps (lot 37). Both lots had illustrious histories, having previously been in the Donald and Pamela Levine collection, and now being sold from the Greg and Joyce Prus collection. Brilliant amethyst, brilliant deep cobalt blue, and forest green glass objects also did very well in the auction, with a variety of vases, candlesticks and lamps realizing strong prices.

Another strong section of the auction was composed of Victorian opalescent glass. Virtually all of the lots offered sold above estimate, including those within the cranberry glass area. Two Swastika pattern cranberry opalescent items realized the highest prices for this section of the auction, with a water pitcher selling for $6,900 against a $2,000-$4,000 estimate (lot 453), and an Indiana mold syrup pitcher selling for $5,750 (lot 684). Both were made at Dugan Glass Co., circa 1904. Dugan also made a Swastika pattern nine-panel mold syrup pitcher, in green opalescent glass, which realized $3,737.50, over the $1,000-$1,500 estimate (lot 685).

The auction saw equally strong bidding for American art glass, European art glass, modern studio glass and cut glass. A set of eight Steuben engraved goblets, in shape 6596, sold for $2,990, estimated originally at $1,000-$1,500 (lot 905); a Charles Lotton “Multi Flora” studio art vase sold for $977.50, over the $400-$600 (lot 259); and a Thomas Webb & Sons English cameo cabinet vase, depicting scrolling foliage and flowers, sold for $3,450 against the original $400-$600 estimate (lot 999).

“This was our best performing glass auction since the recession started, grossing nearly $400,000. We saw many past buyers and numerous new buyers who were enticed by the high quality of merchandise and the conservative estimates, which combined to push some lots to near prerecession levels. Only three lots carried a reserve and all sold,” said auctioneer Jeffrey S. Evans.

Commenting on the antiques market in general, Evans added, “Things are really looking up. Collectors are beginning to recognize and take advantage of the great values presented by the current economy. We had a sizable in-house crowd throughout the day. The Internet accounted for 47 percent of lots sold and included buyers from 15 different countries. We have several very significant collections of glass lined up for the remainder of the year and anticipate a record breaking 2014.”

For details contact Jeffrey S. Evans & Associates at info@jeffreysevans.com or 540-434-3939

Click here to view the fully illustrated catalog for this sale, complete with prices realized.


ADDITIONAL LOTS OF NOTE


Lot 11: pressed Eye and Scale hand candlestick/chamberstick, brilliant deep peacock-blue, circa 1830-1850, Boston & Sandwich Glass Co. Price realized: $9,775. Jeffrey S. Evans & Associates image.

Lot 11: pressed Eye and Scale hand candlestick/chamberstick, brilliant deep peacock-blue, circa 1830-1850, Boston & Sandwich Glass Co. Price realized: $9,775. Jeffrey S. Evans & Associates image.

Lot 37: pair of pressed Loop/Leaf stand lamps, brilliant deep peacock-green, circa 1840-1860, Boston & Sandwich Glass Co. Price realized: $9,775. Jeffrey S. Evans & Associates image.

Lot 37: pair of pressed Loop/Leaf stand lamps, brilliant deep peacock-green, circa 1840-1860, Boston & Sandwich Glass Co. Price realized: $9,775. Jeffrey S. Evans & Associates image.

Lot 453: Swastika pattern water pitcher of cranberry opalescent glass, Dugan Glass Co., circa 1904, 9 inches high. Price realized: $6,900. Jeffrey S. Evans & Associates image.

Lot 453: Swastika pattern water pitcher of cranberry opalescent glass, Dugan Glass Co., circa 1904, 9 inches high. Price realized: $6,900. Jeffrey S. Evans & Associates image.

Lot 684: Swastika Indiana mold syrup pitcher, also in cranberry opalescent glass, Dugan Glass Co., circa 1904, 5 3/4 inches. Price realized: $3,737.50. Jeffrey S. Evans & Associates image.

Lot 684: Swastika Indiana mold syrup pitcher, also in cranberry opalescent glass, Dugan Glass Co., circa 1904, 5 3/4 inches. Price realized: $3,737.50. Jeffrey S. Evans & Associates image.

Lot 999: Thomas Webb & Sons, English cameo cabinet vase, white to deep red, fourth quarter 19th century, 4 inches high. Price realized: $3,450. Jeffrey S. Evans & Associates image.

Lot 999: Thomas Webb & Sons, English cameo cabinet vase, white to deep red, fourth quarter 19th century, 4 inches high. Price realized: $3,450. Jeffrey S. Evans & Associates image.

Christopher Richard Wynne Nevinson ARA (1889-1946), 'Metropolis or 2 a.m., New York' (from the American set, 1921), drypoint, signed in pencil, plate 25.3 x 17.7cm. Sworders image.

Richard Nevinson city etchings show strength at Sworders

Christopher Richard Wynne Nevinson ARA (1889-1946), 'Metropolis or 2 a.m., New York' (from the American set, 1921), drypoint, signed in pencil, plate 25.3 x 17.7cm. Sworders image.

Christopher Richard Wynne Nevinson ARA (1889-1946), ‘Metropolis or 2 a.m., New York’ (from the American set, 1921), drypoint, signed in pencil, plate 25.3 x 17.7cm. Sworders image.

ESSEX COUNTY, UK – Three etchings by Christopher R.W. Nevinson unexpectedly sold for more than £19,000 ($31,269) at a sale Jan. 28 held by Sworders Fine Art Auctioneers. LiveAuctioneers.com facilitated Internet live bidding.

The artwork, featuring scenes of Paris and New York, is from the 1920s and by the British artist. Best known as Richard Nevinson, he was a famous World War I artist and many of his works are featured in the Imperial War Museum. After the war, he traveled to the United States creating art that captured his fascination with the architecture of New York. He is also credited with hosting the first-ever cocktail party in London in 1924.

At the auction at Sworders’ Stansted Mountfitchet saleroom, an etching of Paris sold for £2,500 ($4,114), four times the starting guide price of £600. A second image of Paris, which had a starting guide price of £1,000, sold for £4,000 ($6,583), and a drypoint picture of New York made £12,600, more than six times its guide price of £2,000 ($3,292).

Auctioneer John Black, said: “It’s great to see work like this reach recognition and become popular among buyers. There’s been quite a sudden increase in interest in Nevinson’s work and particularly his New York pictures. They were commissioned by Frederick Keppel, the American print dealer and publisher, who gave Nevinson his first exhibition in 1919.”

The Decorative Art and Design Sale also featured a selection of artwork by local artist, Edward Bawden. His watercolors of local scenes including Audley End were particularly popular among local buyers, but some pieces also sold to London galleries. The Edward Bawden collection sold for a total of £28,000 ($46,091).

An unusual Arts & Crafts-style piano, designed by Charles Robert Ashbee and thought to be the last of just five pianos of its type, sold for £10,600 ($17,448).

Click here to view the fully illustrated catalog for this sale, complete with prices realized.

Click here to view the fully illustrated catalog for this sale, complete with prices realized.


ADDITIONAL LOTS OF NOTE


Christopher Richard Wynne Nevinson ARA (1889-1946), 'Metropolis or 2 a.m., New York' (from the American set, 1921), drypoint, signed in pencil, plate 25.3 x 17.7cm. Sworders image.

Christopher Richard Wynne Nevinson ARA (1889-1946), ‘Metropolis or 2 a.m., New York’ (from the American set, 1921), drypoint, signed in pencil, plate 25.3 x 17.7cm. Sworders image.

An unusual Arts & Crafts-style piano designed by Charles Robert Ashbee sold within estimate for £10,600 ($17,448). Sworders image.

An unusual Arts & Crafts-style piano designed by Charles Robert Ashbee sold within estimate for £10,600 ($17,448). Sworders image.

A typical glass milk bottle from a dairy in Sharon, Pa. Image courtesy of LiveAuctioneers.com and Dan Morphy Auctions LLC.

Extensive NC milk bottle collection is in good hands

A typical glass milk bottle from a dairy in Sharon, Pa. Image courtesy of LiveAuctioneers.com and Dan Morphy Auctions LLC.

A typical glass milk bottle from a dairy in Sharon, Pa. Image courtesy of LiveAuctioneers.com and Dan Morphy Auctions LLC.

SPENCER, N.C. (AP) – Saying this out loud will jinx him, of course, but in his two decades of collecting old milk bottles from across North Carolina, John Patterson Jr. has yet to drop one.

Despite his good hands, Patterson still experienced some uneasiness late last year moving close to 350 bottles from his Spencer residence across town to the N.C. Transportation Museum.

His bottles, showcased at the entrance to the Bumper-to-Bumper (old flue shop) exhibit, tie into the museum’s recent addition of a 1959 Divco Co. milk truck from the former Melville Dairy in Burlington.

“I had a lot of fun doing it,” Patterson says of setting up his temporary display, “and I’ve had a lot of comments about it.”

One side of the building’s entrance is devoted mostly to milk bottles from old dairies in Rowan and Cabarrus counties – it’s hard to believe how many there were.

Patterson also has included a good smattering of pint milk bottles from other N.C. communities, plus a corner devoted to the Biltmore Dairy Farms brand.

There are plenty of dairy-related “go-withs” on display, too. Patterson has collected calendars, advertising signs, pot-holders, milk crates, toy trucks, banks, trays, photographs – even a handheld capper used by the smaller dairies to seal off bottles one by one.

“I thought it would be neat to have,” Patterson says.

Patterson devoted the shelves on the other side of the entrance to mostly Melville Dairy and its onetime competitors in the Burlington area.

Again, it’s a good connection to the Melville milk truck on display just around the corner, and Patterson also wanted the Scott family, which donated the truck, to have a sentimental journey back to days of its dairy.

In fact, if you’re of a certain age, say 50 or older, you can’t help but become a little nostalgic when you see what Patterson has put together.

It harkens back to the home deliveries by the milkman, the days in school when milk came in pint or half-pint bottles and a time when dairy farms were big enough to bottle and sell their milk in local stores.

From Rockwell to Mount Ulla and Landis to Spencer, dairy farms in Rowan County marketed their milk, and Patterson has the bottles and other memorabilia to prove it.

As a kid on Saturday mornings, Patterson used to wait on the steps to his house for the Cabarrus Creamery’s milkman. They might have a short conversation before the milkman left his bottles on the porch with Patterson.

Not long after the milkman was out of sight, Patterson would peel off a cap, lick the pure cream off the top and return the cap to the bottle.

Patterson also looked forward to Wednesday afternoons at his elementary school. A crate of milk bottles would be delivered to each class, and if the students were lucky, they might be treated to chocolate milk.

“I can still taste that chocolate milk,” Patterson says, making your mouth water. “There just isn’t any comparison to milk today.”

Patterson actually is a self-proclaimed “jar nut” – it says so on the personalized license plate of his Toyota Land Cruiser.

He’s a world-class collector of fruit jars – a passion that started in 1974 when he dug up a blue jar in a creek bed close to Woodleaf.

“There was something about that color,” Patterson says, recalling how the glass caught the sunlight and sort of changed his life, as far as hobbies go.

Today he has 1,300 to 1,400 Ball jars. Patterson also has a keen interest in whiskey bottles from old Salisbury and Spencer distilleries, pharmacy bottles and soda bottles – anything in glass from Rowan and Cabarrus counties, he says.

His milk bottle collection started with a bang in 1994, when he bought more than 900 bottles from a single seller in Raleigh. It took him three separate trips to transport all the bottles back to Spencer and four years of building shelves to accommodate the collection.

From the start, the purchase gave Patterson some rare bottles from across the state that he would have had a difficult time in ever finding himself.

His interest in milk bottles grew from there, while correspondingly the display space at his house dwindled.

“I have had over 2,000 bottles in my collection,” Patterson says.

If Patterson isn’t the top milk bottle collector in the state, he’s mighty close. The overall number of bottles in his collection has been going down, he claims, because he has found others who wanted the bottles “a whole lot more than I did.”

For strong sentimental reasons, family members connected to old dairies often have the most interest in buying some of his milk bottles, Patterson adds.

And once he established a reputation in the state as maybe the top milk bottle collector, others made it their No. 1 goal to have things Patterson did not have.

Patterson says he now finds as much happiness in parting with bottles cherished by others as he does in obtaining them in the first place.

Patterson always hears the question: “What’s your most valuable bottle?”

He never likes to answer that question, but he does have bottles he is most fond of, such as two bottles – a quart and a pint – that came from the Enochville Dairy. He knows of only one other bottle from the Enochville Dairy in existence.

Patterson also cherishes an embossed bottle from the Rockwell Park Dairy, founded in 1890, and his hard-to-find Lomax Dairy bottles from Spencer.

“That’s a very good local bottle,” he says.

Spencer once had three dairies: Lomax, Mendenhall and Hilltop. But Rowan County had many others.

This list is probably not inclusive, but the others included Rowan Creamery, which became Rowan Dairy, Westview, Hickory Grove, Frank Corriher, Linn’s, Coble, Deal’s, Rockwell Park, Hall’s, Mack Harrison, Enochville and Morningside dairies.

Cabarrus County also had a significant number of dairies, including Cabarrus Creamery, Sunrise, H.B. Troutman, Pure Milk Products, Dixie, Russell, J.C. Misenheimer, Crest Ridge, Boxwood Manor, Rose Hill Guernsey, Cold Water Farm, Cedar Grove and Clear Springs Farm.

There also was York’s Goat Milk Dairy in Concord.

Patterson says Stonewall Jackson Training School in Cabarrus County once had its own dairy.

“That’s an awesome bottle,” he says.

In addition, Patterson has made a point to collect cardboard milk cartons from the past, though cartons are much rarer items, because they usually were tossed out with the next day’s trash.

Included in Patterson’s display at the N.C. Transportation History Museum are a couple of artifacts from the Haynes Dairy in Lincolnton.

Founded in 1914, Haynes Dairy remains in operation and is celebrating its 100th birthday this year.

Patterson’s bottles, cartons and go-withs also reflect the war bonds campaign and cowboy promoters for dairies such as Hopalong Cassidy and Wild Bill Hickok.

Patterson is retired from Philip Morris in Concord. He naturally has absorbed a lot of knowledge about dairies in North Carolina and would like to author a book some day and illustrate it partly with photographs of his bottles.

But first things first.

Later this winter or in the early spring, Patterson will have to dismantle his milk bottle exhibit and take everything back home.

Just think of him as the milkman, making another delivery.

___

Information from: Salisbury Post, http://www.salisburypost.com

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


ADDITIONAL IMAGE OF NOTE


A typical glass milk bottle from a dairy in Sharon, Pa. Image courtesy of LiveAuctioneers.com and Dan Morphy Auctions LLC.

A typical glass milk bottle from a dairy in Sharon, Pa. Image courtesy of LiveAuctioneers.com and Dan Morphy Auctions LLC.

Under the proposed bankruptcy plan the Detroit Institute of Arts would take control of thousands of pieces of art owned by the city. Deroit Institute of Arts image.

Museum joins plan to save Detroit-owned artwork

The main building of the Detroit Institute of Arts, designed by French-American architect and industrial designer Paul Philipe Cret. Detroit Institute of Arts image.

The main building of the Detroit Institute of Arts, designed by French-American architect and industrial designer Paul Philipe Cret. Detroit Institute of Arts image.

DETROIT (AP) – Officials say the Detroit Institute of Arts will announce a $100 million fundraising effort to help stave off the potential sale of city-owned pieces in its collection.

Mediators in Detroit’s bankruptcy said Wednesday that the museum is prepared to join the state and foundations in a plan to help preserve pension benefits for city retirees.

Foundations and individuals have pledged $370 million, including $40 million from the W.K. Kellogg Foundation.

Gov. Rick Snyder separately is trying to win approval for $350 million from the state.

State-appointed emergency manager Kevyn Orr has said artwork owned by Detroit could be vulnerable during the bankruptcy.

Orr says the city’s debt is at least $18 billion with its pension funds short by $3.5 billion.

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-01-29-14 2044GMT


ADDITIONAL IMAGE OF NOTE


The main building of the Detroit Institute of Arts, designed by French-American architect and industrial designer Paul Philipe Cret. Detroit Institute of Arts image.

The main building of the Detroit Institute of Arts, designed by French-American architect and industrial designer Paul Philipe Cret. Detroit Institute of Arts image.

The Ghent Altarpiece recovered from the Altaussee salt mine, where it had been stored by Nazi Germany during World War II. Image courtesy of Wikimedia Commons.

Jewish group demands return of all Nazi-looted art

The Ghent Altarpiece recovered from the Altaussee salt mine, where it had been stored by Nazi Germany during World War II. Image courtesy of Wikimedia Commons.

The Ghent Altarpiece recovered from the Altaussee salt mine, where it had been stored by Nazi Germany during World War II. Image courtesy of Wikimedia Commons.

BERLIN (AP) – Germany must make a stronger effort to identify and return thousands of looted art pieces the Nazis took from Jews, the president of the World Jewish Congress said Thursday as he met with top government officials in Berlin to push his case.

Ronald Lauder told The Associated Press that Nazi-looted art still hangs in German museums, government offices and private collections. He said the country’s legislation needs to be changed in order to facilitate its return.

The art pieces stolen from the Jews “are the last prisoners of World War II,” Lauder said. “They should be returned to the victims of the Holocaust and their heirs.”

The topic became the focus of attention in Germany and abroad after the 2012 discovery of more than 1,400 artworks in the Munich apartment of Cornelius Gurlitt, the son of a Nazi-era art dealer.

Some of the paintings, drawings and prints are claimed by the heirs of former owners persecuted by the Nazis. The affair prompted fresh scrutiny of how Germany handles disputes over Nazi-looted art.

Lauder, who was to hold closed-door meetings with Germany’s justice and foreign ministers to push for new solutions, called on Germany to eliminate its 30-year statute of limitations on stolen property cases, a major stumbling block in many restitution cases since World War II ended almost 70 years ago.

He also called for the establishment of an international commission that would research and help return the artworks to families of the original owners. Such a body “should have real power, so that museums that have avoided transparency up until now, will be required to do the research under its auspices in accordance with international standards,” he said.

Already on Wednesday, Monica Gruetters, the government’s top cultural affairs official, said Germany wants to double state funding for the hunt for Nazi-looted art, which since 2008 has amounted to (euro) 14.5 million ($19.7 million).

Gruetters told lawmakers it was “unbearable that there is still Nazi-looted art in German museums.”

She pledged to create a central point of contact for claimants to avoid the impression that German officials were trying to duck responsibility.

The German government also in 2003 created a commission can be called on if the ownership of a piece of art stolen or sold during the Nazi period is disputed. While the Limbach Commission’s recommendations are non-binding, they are almost always adopted. The government also installed a task force to look into the origins of the paintings and drawings recently found in Gurlitt’s Munich apartment.

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-01-30-14 1346GMT


ADDITIONAL IMAGE OF NOTE


The Ghent Altarpiece recovered from the Altaussee salt mine, where it had been stored by Nazi Germany during World War II. Image courtesy of Wikimedia Commons.

The Ghent Altarpiece recovered from the Altaussee salt mine, where it had been stored by Nazi Germany during World War II. Image courtesy of Wikimedia Commons.

This Stradivarius violin, recovered more than two years after it was stolen in London, sold recently at auction for $2.3 million. Image courtesy of Tarisio auction house.

Mugger uses stun gun to steal Stradivarius violin

This Stradivarius violin, recovered more than two years after it was stolen in London, sold recently at auction for $2.3 million. Image courtesy of Tarisio auction house.

This Stradivarius violin, recovered more than two years after it was stolen in London, sold recently at auction for $2.3 million. Image courtesy of Tarisio auction house.

MILWAUKEE (AP) – Whoever stole a 300-year-old Stradivarius violin in Milwaukee would have a hard time selling it, experts said Wednesday.

The rare violin was on loan to Milwaukee Symphony Orchestra concertmaster Frank Almond. The robber used a stun gun on Almond and took the instrument from him Monday night in a parking lot behind Wisconsin Lutheran College, where Almond had just preformed

A retired FBI expert told the Journal Sentinel he expects the motive to be similar to that of high-end art thefts.

“Throughout my career, what I always saw in the end is that it was always about making money,” said Robert K. Wittman, founder of the FBI’s National Art Crime Team and author of Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures.

“They are not about the pride of ownership or possessing an antique,” he said. “The ultimate goal is either getting paid by someone to take it or trying to sell it in some type of market, or it could be a situation for them to get some type of payment for it to be returned.”

Milwaukee Police Chief Edward Flynn has said the violin is valued in the “high seven figures.” Investigators believe the instrument, known in musical circles as the “Lipinski” Stradivarius, was the primary target.

Wittman said thieves often are good at taking, but not at selling, an item of such value.

Copyright 2014 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


ADDITIONAL IMAGE OF NOTE


This Stradivarius violin, recovered more than two years after it was stolen in London, sold recently at auction for $2.3 million. Image courtesy of Tarisio auction house.

This Stradivarius violin, recovered more than two years after it was stolen in London, sold recently at auction for $2.3 million. Image courtesy of Tarisio auction house.

Lot 137, diamond ring stands with a center stone of 2.69 carats and 1 carat of surrounding stones. Fellows image.

Fellows sets jewelry auction on Valentine’s Day eve, Feb. 13

Lot 137, diamond ring stands with a center stone of 2.69 carats and 1 carat of surrounding stones. Fellows image.

Lot 137, diamond ring stands with a center stone of 2.69 carats and 1 carat of surrounding stones. Fellows image.

BIRMINGHAM, UK – Fellows will hold a Valentines-themed auction of antique and modern jewelry on Thursday, Feb. 13. More than 600 lots will be offered. The auction will begin at 11 a.m. local time, 3 p.m. Pacific. LiveAuctioneers.com will facilitate Internet live bidding.

The month couldn’t be more suitable for Fellows’ offering of Cartier love bangles and heart-shaped rubies. As always, the sale features a selection of stunning diamonds (see lots 186, 138, 150 and 352). Lot 137 stands out with a center stone of 2.69 carats and 1 carat of surrounding diamonds. Another special piece is a 1960s lady’s diamond cocktail watch (lot 128) by Jaeger-leCoultre with an estimated total diamond weight of 9.20 carats.

Fellows is also featuring a diamond heart Tiffany ring (lot 319), a vivid ruby heart-shaped pendant (lot 115) and a stunning woven gold clutch bag with diamond accents by Tiffany & Co., circa 1965, (lot 318).

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.


ADDITIONAL LOTS OF NOTE


Lot 137, diamond ring stands with a center stone of 2.69 carats and 1 carat of surrounding stones. Fellows image.

Lot 137, diamond ring stands with a center stone of 2.69 carats and 1 carat of surrounding stones. Fellows image.

Fellows image.

Fellows image.

Fellows image.

Fellows image.

Fellows image.

Fellows image.

Fellows image.

Fellows image.

Fellows image.

Fellows image.

Fellows image.

Fellows image.

Fellows image.

Fellows image.

Bally ‘Wizard’ pinball machine with characters from the rock musical ‘Tommy’ portrayed by Roger Daltrey and Ann-Margret, 1975, est. $1,000-$1,500. Morphy Auctions image.

Morphy’s Feb. 21-22 Advert. Auction features pinball museum collection

Bally ‘Wizard’ pinball machine with characters from the rock musical ‘Tommy’ portrayed by Roger Daltrey and Ann-Margret, 1975, est. $1,000-$1,500. Morphy Auctions image.

Bally ‘Wizard’ pinball machine with characters from the rock musical ‘Tommy’ portrayed by Roger Daltrey and Ann-Margret, 1975, est. $1,000-$1,500. Morphy Auctions image.

DENVER, Pa. – Dazzling colors, flashing lights and clanging bells will provide the soundtrack for Morphy Auctions’ Feb. 21-22 auction featuring Part I of the David Silverman collection of vintage pinball machines. The 1,300-lot auction, with Internet live bidding through LiveAuctioneers, will include 75 machines from the 35-year Silverman collection, which is considered one of the largest and most exciting pinball groupings ever amassed.

“David Silverman founded the National Pinball Museum, originally located in Washington, DC. All of the machines we will be auctioning in a series of sales, starting with this one, come directly from David’s collection, which were on view in the museum,” said Morphy Auctions CEO Dan Morphy.

Some of the highlights within the introductory grouping include Lot 13, a 1950 Gottlieb Bank A Ball, with a $2,000-$3,000 estimate; Lot15, a Gottlieb Sittin Pretty, $2,500-$3,000; Lot 17, a Gottlieb Knock-Out, $3,000-$5,000; and Lot 66, a Bally Revenge From Mars, $3,000-$3,500.

The auction moves from pinballs to 70 lots of automobilia. Some of the highlights include a collection of more than 15 vintage gas pumps. The lineup includes Lot 159, a Bennett Model 150 $1,800-$2,500; and two designs by Wayne: Lot 162, a Model No. 60, $2,000-$3,000; and Lot 163, a No. 60 computing pump, also $2,000-$3,000.

A fine selection of tobacciana will follow, with highlights including Lot 199, a Safety Brand Cigar label $800-$1,200; Lot 203, a Big Run Good Luck Cigar label, $1,000-$1,500; and Lot 281, a Jack Rose paper poster, $1,500-$2,500. Lot 295, a celluloid sign advertising Ditto Cigars, is expected to make $1,200-$2,200, while Lot 303, a Recruit Cigars porcelain door push, is entered with a $2,000-$3,000 estimate. Lot 305, a window display for Lucky Strike, is estimated at $2,000-$4,000. Metal tobacco containers are led by Lot 318, a Dunnsboro Tobacco tin, $1,200-$1,800; Lot 321, a Mohawk Chief Cigar can, $1,000-$2,000; and Lot 353, a North Pole Tobacco tin, $800-$1,400.

For “chewsy” collectors there will be approximately 30 early gum-related lots. Top entries include Lot 387, an Adams Pepsin Gum die-cut, $800-$1,500; Lot 380, a Beech-Nut Gum display, $1,500-$2,500; and the star of the group, Lot 386, a rare circa-1900 Star Pepsin Gum machine, $10,000-$15,000.

The Friday session concludes with a variety of antique advertising items covering many consumer categories. Lot 494, a Graphite Paint poster, features a colorful Uncle Sam image and could reach $2,000-$4,000. Lot 495, a poster for American Rubbers, carries a $1,000-$1,500 estimate. Lot 507, a Butter Krust Bread embossed tin sign, could realize $4,000-$6,000. Also of embossed tin, Lot 534, advertising Kabo Corsets, is estimated at $2,000-$4,000. Other prized items include Lot 554, an 1880s Baker Cocoa Tin sign, $2,000-$4,000; Lot 580, an International Paints porcelain sign, $3,000-$4,000; and Lot 627, a very early wood sign touting “Brown Wagons.” It is cataloged with a $4,000-$6,000 estimate.

Saturday’s session begins with more than 50 barber shop-related items. Some of the key pieces include Lot 711, an antique occupational shaving mug emblazoned with an automobile, $1,000-$2,000; Lot 718, a shipbuilders shaving mug, $600-$1,000; Lot 745, an early wood barber pole, $1,000-$1,500; and Lot 746, a Koken barber chair, $1,500-$2,500.

Much of Saturday’s activity is devoted to 500+ Coca-Cola lots. The list of highlights is impressive and includes: Lot 835, a 1905 Coca-Cola serving tray, $3,000-$4,000; Lot 884, a 1901 Coca-Cola calendar, $10,000-$15,000; Lot 885, a 1902 calendar top, $12,000-$18,000; Lot 890, a 1913 Coca-Cola calendar top, $10,000-$15,000; and Lot 904, a 1930s Coca-Cola Brunhoff illuminating sign, $10,000-$15,000. Lot 905, a 1908 Coca-Cola poster carries the highest estimate among the Coke collectibles at $18,000-$25,000. Other noteworthy items include: Lot 923, a 1905 Coca-Cola cardboard sign, $3,000-$5,000; Lot 923, a 1937 Coca-Cola window display, $3,500-$6,000; Lot 956, a 1927 Coca-Cola “leaves” festoon, $5,000-$8,000; and Lot 967, a 1903 Coca-Cola tin sign, $10,000-$15,000.

Many other brands of soda pop are represented in the sale. The selection includes Lot 1093, a Pepsi celluloid pin-back, $3,000-$5,000; Lot 1109, an Orange Crush Rockwell sign, $1,500-$2,500; and Lot 1115, a Lime Crush cardboard sign, $2,000-$3,000. A Whistle Masonite clock, entered as Lot 1257, is a cheerful timekeeper with a $2,000-$3,000 estimate, while Lot 1311, a Wineberry syrup dispenser is a sweet choice at $10,000-$15,000. An Allen’s Red Tame Cherry tin die-cut sign concludes the list at $6,000-$9,000.

For additional information on any item in Morphy’s Feb. 21-22, 2014 Advertising Auction, call 717-335-3435 or email serena@morphyauctions.com. The sale will start at 9 a.m. Eastern Time.

Preview the online catalog and sign up to bid absentee or live online at www.LiveAuctioneers.com.

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View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.


ADDITIONAL LOTS OF NOTE


Bally ‘Wizard’ pinball machine with characters from the rock musical ‘Tommy’ portrayed by Roger Daltrey and Ann-Margret, 1975, est. $1,000-$1,500. Morphy Auctions image.

Bally ‘Wizard’ pinball machine with characters from the rock musical ‘Tommy’ portrayed by Roger Daltrey and Ann-Margret, 1975, est. $1,000-$1,500. Morphy Auctions image.

Williams ‘Star Trek: The Next Generation’ solid-state machine, 1993, est. $2,500-$3,500. Morphy Auctions image.

Williams ‘Star Trek: The Next Generation’ solid-state machine, 1993, est. $2,500-$3,500. Morphy Auctions image.

Data East ‘Guns N’ Roses’ pinball machine, 1994, est. $3,000-$3,500. Morphy Auctions image.

Data East ‘Guns N’ Roses’ pinball machine, 1994, est. $3,000-$3,500. Morphy Auctions image.

1908 Coca-Cola poster, 24 x 32½ in (framed), est. $18,000-$25,000. Morphy Auctions image.

1908 Coca-Cola poster, 24 x 32½ in (framed), est. $18,000-$25,000. Morphy Auctions image.

Star Pepsin Gum machine with cobalt blue and white sign, circa 1899, one of three known, est. $10,000-$15,000. Morphy Auctions image.

Star Pepsin Gum machine with cobalt blue and white sign, circa 1899, one of three known, est. $10,000-$15,000. Morphy Auctions image.

Poster advertising Graphite Elastic Paint with fine image of Uncle Sam painting a boat, 45¾ x 81in (framed), est. $2,000-$4,000. Morphy Auctions image.

Poster advertising Graphite Elastic Paint with fine image of Uncle Sam painting a boat, 45¾ x 81in (framed), est. $2,000-$4,000. Morphy Auctions image.

Kabo Corsets embossed tin sign, circa 1900, est. $2,000-$3,500. Morphy Auctions image.

Kabo Corsets embossed tin sign, circa 1900, est. $2,000-$3,500. Morphy Auctions image.

Rare 1903 Coca-Cola self-framed tin sign featuring model Hilda Clark, est. $10,000-$15,000. Morphy Auctions image.

Rare 1903 Coca-Cola self-framed tin sign featuring model Hilda Clark, est. $10,000-$15,000. Morphy Auctions image.

1920s Wineberry ceramic syrup dispenser, est. $10,000-$15,000. Morphy Auctions image.

1920s Wineberry ceramic syrup dispenser, est. $10,000-$15,000. Morphy Auctions image.