Featured Collections

At Auction: SATURDAY, FEBRUARY 25

On Feb. 25, visitors to Morphy Auctions’ gallery will be transported back to “days of old when knights were bold,” with the auction of an antique armor collection belonging to renowned animator and film director Frank Andrina. In all, 40 lots will be offered, with contents ranging from helmets, swords and other weaponry to breastplates and dramatic full suits of armor.

Known as “the most chivalrous man in Hollywood” because of his lifelong interest in swordsmanship and antique armor, Andrina was a competitive fencer as a youth and won numerous championship awards. Also a one-time student of metallurgy and an appraiser of Bronze Age metals, he started collecting swords in the 1950s. As his knowledge increased and his preferences became more focused, Andrina graduated to collecting period arms and armor of the 13th through 17th centuries.

The most imposing piece in the collection is a composite suit of full standing armor, most of its pieces dating to around 1560. Standing approximately 75 inches tall, the suit is in very good to excellent condition. It is expected to sell in the $30,000-$50,000 range.

A favorite sword in the Andrina collection is a circa-1580 German production with flambé blade and deeply stamped haft. One side of the handle is marked “SDIOSDI,” while the other bears the sacred “IHS” monogram. The 75-inch-long sword could fetch $10,000-$15,000.

Constructed entirely of hand-forged steel, a circa-16th-century mace incorporates six unusual arrowhead-spiked flanges. Each flange features the touch mark of a shield with cross and the initials “H.K.” Nicely laminated throughout, it carries an estimate of $4,000-$8,000.

Yet another highlight is a circa-1630 Italian or German Savoyard-style helmet with two-piece skull, low comb and two-piece visor. The helmet retains the majority of its blackened finish and displays two small period restorations. Estimate: $4,000-$8,000.

“It is such an honor for us to be auctioning Frank Andrina’s collection,” said Morphy Auctions’ CEO Dan Morphy. “Frank is revered in the field of animation and even won a Golden Globe for his work. His remarkable imagination has created a living legacy that puts him in a class of his own, both as an animator and a collector.”

It takes more than six printed pages from the Internet Movie Database (imdb.com) to list the complete official filmography of Hollywood’s “Renaissance Man.” With a career that started with Disney in 1954, Andrina went on to work at every major Hollywood studio, from animation specialists like Hanna-Barbera [Flintstones, Jetsons, Yogi Bear] to motion picture industry giants, including Warner Bros. [Bugs Bunny, Daffy Duck].

If there is one scene for which Andrina is perhaps most famous, it’s the now-classic “spaghetti sequence” he created for the film Lady and the Tramp, in which the refined Lady and rough-cut Tramp eat from opposite ends of a strand of spaghetti until meeting in the middle.

Now retired, Andrina and his wife Barbee live in a gracious Spanish-style home in southern California, in the hills just below the famous “HOLLYWOOD” sign.


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At Auction: SATURDAY, FEBRUARY 25


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At Auction: SATURDAY, FEBRUARY 25

SPECIAL FEATURE
Leonard Reedy Kentucky Rifle

Lot 949

This spectacular, untouched Kentucky rifle is the product of Leonard Reedy, a gunsmith who first apprenticed in Womelsdorf, Pennsylvania, with the Master gunsmith, John Bonewitz. Reedy subsequently relocated to Gratz, a small community in the mountains north of Harrisburg, Pennsylvania, several miles east of the Susquehanna River, where he became a well-known, prolific gunsmith, working primarily in the first and early second quarter(s) of the 19th century. With the Susquehanna River and its active canal trade routes, a number of his rifles did go west with the pioneers; however, this particular rifle stayed in Eastern Pennsylvania for almost two centuries where it was “used but not abused” by its original owner and then was put away in its almost-new condition – only recently surfacing from a private estate in Eastern Pennsylvania.

Without question, this long rifle showcases the very best of Reedy’s workmanship. The brass patchbox with its nine piercings may be considered as his finest design, and obviously was more costly! The patchbox engraving, while typically light in depth, is highly visible on the mellowed, oxidized brass, and inside the patchbox cavity, there is still some of the tallow-beeswax used for greasing the patches that encase the lead balls. All of this rifle’s brass elements have a pleasing mellow oxidation, and so does the silver engraved hunter’s star on the cheek piece, as well as the silver non-engraved, thumb piece. Of note, the finial of the toeplate is typically reminiscent of those used by the earlier gunsmiths of the Reading/Womelsdorf School, a somewhat uncommon feature not often seen during this time period of the 1820s.

His rifles’ architectural lines have a gracefulness which have great appeal to collectors, as well as casual observers, who are drawn to the flowing curvature of the buttstock. On most all of his known examples, Reedy’s raised carving is always done in low-relief, and his designs became so perfected that he used them repeatedly on his rifles, thus “signing” his rifles. No one who knows Kentucky rifles can ever mistake his work as belonging to anyone else, save an apprentice or two who may have emulated his style. This rifle stock’s relief carving is almost as crisp as the day it was done, showing only the softness of time and age in a very few areas of normal handling. Additionally, the relief carving is aesthetically detailed with accents, made by using his small “gouge” chisels. Of course, his classic, typical patterns of relief-carving surround the barrel tang, and also they typically decorate both sides of the comb/wrist juncture as well. Invariably Reedy’s recognizable patterns of relief carving are found both forward and behind the molded cheekpiece, while his signature lock and counter plate moldings commonly called “beavertails” are also present in low-relief. As always, Reedy used exceptionally fine buttstock and forestock moldings, which are also present here.

Most spectacular, however, is the extraordinary, rich, blackish-amber finish - in a dry unpolished state - on this beautiful curly maple stock. To compare this rifle’s exceptional finish to other finishes, which may occasionally be found on antique furniture, it can be said that this is the “million-dollar” surface which all sophisticated collectors love to see and strive to acquire. Primarily, these rare finishes have become so uncommon because previous owners in earlier generations often wanted their pieces to look “like new”. Thus, many old original surfaces were cleaned to the bare wood and then “freshened up” with a modern finish to give that “new” appearance. Consequently, this rifle’s surface becomes one of the very few which have survived the cleaning processes of earlier times.

Of special interest to collectors, another highly known gunsmith’s name appears twice, both on the original flintlock and also on the 40” full octagonal .45 caliber rifled barrel. The logo of “J.J. Henry Boulton” is stamped on both the flintlock, as well as on the barrel – so marked between the rear right and the barrel tang. Speculation offers the possibility that either J.J. Henry, who started his gun factory in Boulton, Pennsylvania in 1821/1822 may have offered his products at a discounted rate – as a promotion - to some of the local gunsmiths, while another possibility is that the logo of “J.J. Henry” would be akin to advertising that Reedy was using the best local American made locks and barrels available. One other thought might be that a customer or even an employee of J.J. Henry may have purchased both the lock and barrel and then asked Leonard Reedy to stock the two pieces. Of course, these thoughts are only conjectural. Both the flintlock and the barrel are still in the “white” with a minor light-brownish oxidation only. Although the complete condition of this rifle seemingly gives the appearance of being unfired, it certainly was used frequently, because the frizzen shows that a number of strikes were made upon it; so, it was the owner’s “shooter” and not a wall-hanger or cabinet-gun. Fortunately, the original owner cared well for this rifle as there are no missing or damaged elements. In fact, the “candy-striped” ramrod is still intact along with its attached “ball-puller” screw, which is still encased in its original container and screw-on cap! Uniquely, this ramrod has a black leather – encased tip – a currently undocumented feature.

In summary, this rifle is a sterling example of Leonard Reedy’s work and remains in as close to “work-bench” condition having the most remarkable state of preservation and a superb surface patina that commands the highest respect today. Although Reedy rarely signed his work, this rifle has his name everywhere! His work was his “calling card”, and this rifle exemplifies the very best that he has to offer. Undoubtedly, the new owner of this rifle will take as much pride in his ownership as did the original owner. And, it can be said, without question, “this rifle is in one hundred percent original condition!”.