AGNES DENES, (American, b. 1938), The Isometric Systems in Isotropic Space-Map Projections: The Doughnut: AGNES DENES. (American, b. 1938). The Isometric Systems in Isotropic Space-Map Projections: The Doughnut. ink, metallic paint, and pencil on paper with screenprint on plastic overlay. 1980, signed and dated Denes '80, l. r. . sight: 11 x 9 in. , frame: 17 1/4 x 14 3/4 in. . Provenance: The Estate of Thomas W. Leavitt, Director of the Johnson Museum of Art, Cornell University. . Other Notes: Cornell University Professor Thomas W. Leavitt (1930-2010) was the founder of The Herbert F. Johnson Museum of Art at Cornell University and director of the museum from 1973-1991. Prior to founding the Johnson Museum, Professor Leavitt as director of the University's A. D. White Museum of Art, and he was President of the Association of Art Museum Directors from 1977-1978. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
51. William Charles Baker (American, 1872-1958)
Sunset. Oil on Beaverboard, signed in the lower right corner, approx. 12-1/4" x 15-3/4", framed in a vintage frame overall approx. 15" x 18-1/2". Born on November 17, 1872, in Buffalo, NY, Mr. Baker went to Cornell University as a student in 1894 and as an underclassman, his drawing ability was so outstanding in biological courses that various professors called upon him for illustrations for their publications. Graduating from Cornell University in 1898, Baker stayed on to teach drawing for several years. In 1904 he traveled to Paris where he studied with J.P. Laurens at the Academie Julian. Returning to Ithaca, Baker became professor of drawing in the College of Agriculture at Cornell, a position he held until retiring in 1938. He was survived by a daughter, Mrs. John W. Wells, who inherited his studio and kept his collection together until the 1980s. With the assistance of Mr. Richard Baron, Appraiser, of David W. Mapes, Inc., many of the paintings were then placed in art museums including the Herbert Johnson Museum of Art in Ithaca.
600/800 Sold: $690.00
Michael Johnson (born 1938), (Untitled ) 1979. mixed media, signed and dated 'Michael Johnson 1979' on mount lower right, 16 x 20cm
1938-1939 Album of Major League Baseball Cut Autographs, including George "Bird" Tibbetts, Joe Vosmik, Jimmie Foxx, Chas. Gehringer, Hank Greenberg, Jimmie Dykes, Bob Doerr, Earl Averill, Ival Goodman, Wally Berger, Carl Hubbell, Louis Fette, Chick Cuccinello, Bill Lee, Gabby Hartwell, Dick Bartell, Ernie Roy, Joe Moore, Mel Ott, Jim Turner, Wally Moses, Al Simmons, Connie Mack, Lloyd Mauer, Wally Moses, Buddy Myer, Ben Chapman, Gene Desautels, Joe Medwick, Jack Wilson, Lyn Lary, Left Grove, Rip Radcliff, Luke Appling, Bill Werber, Lou Gehrig, John Peacock, Joe Hoving, Casey Stengel, Red Kress, Mel Almeda, Luke Sewell, Joe Cronin, Bob Johnson, Billy Herman, Bill Dickey, Vince DiMaggio, Frank McCormick, Johnny Mize, Rabbit Warstler, Red Ruffing, George Selkirk, Tom Henrich, Pinky Higgins, Ted Williams, John Cooney, Harry Craft, Joe Gordon, Joe McCarthy, Bob Feller, Leo Durocher, Ernie Lombardi, Denny Galehouse, Emmett Mueller, Barney McCosky, Dizzy Dean, Joe DiMaggio, Tom Yawkey, Eddie Collins, Chuck Klein, with loose signatures Luke Hamlin, Fritz Ostermueller, Lefty Gomez, Red Rolfe, Leif Erickson, Earle Brucker, Fred Haney, Bucky Walters, Oscar Vitt, Jimmy Outlaw, Frank Frisch, Ted Williams, Denny Galehouse, John Peacock, Jim Bagley Jr., Bosey Bugar, and Charlie Maguire, Jr., 129 total.
James Weldon Johnson "Black Manhattan" 1st Edition: James Weldon Johnson (1871-1938), "Black Manhattan, " New York: Alfred A. Knopf, 1930. First edition. Lacking dust jacket. Inscription from a former owner along the inside of the endpaper. SKU: 02822 Follow us on Instagram: @revereauctions Condition Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions. com with any condition questions.
Autographs of World War II Generals Eight 4-Stars Including One MOH Lot of 10 including: Wallace M. Greene Jr. USMC General TNS 1964; J. Lawton Collins TLS 1966; Harold K. Johnson TNS 1966; Harry Vaughan Major General Military Aide to President TNS 1952 on White House Stationery; Earle G. Wheeler TNS 1963; N.F. Twining TNS 1957; L.L. Lemnitzer TLS 1959; Alfred M. Gruenther TNS 1957; H.A. Drum General Commanding 1st Army TLS 1942; A.A. Vandegrift TLS 1946. TNS 1p Washington DC 4 Jan. 1957. On American Red Cross letterhead. Signed by Alfred M. Gruenther as President of the Red Cross. Alfred Maximilian Gruenther (1899-1983) graduated from USMA in 1918 and became the youngest 4-star general in WWII. He commanded U.S. forces in Austria after the war and was appointed supreme allied commander in Europe from 1953 until his retirement in 1956. After retiring he served the Red Cross until 1964. TLS 1p n.p. but likely Washington DC (where he worked and died) 19 July 1966 on Collins' letterhead. Joseph Lawton Collins (1896-1987) graduated from USMA in 1917 and commanded the 3rd Battalion 22nd Infy. in France in 1919. He achieved the ranks of Colonel and Brig. Maj. and Lieut. General (both brevet and full ranks) during WWII the remainder including General post-war. He was Chief of Staff of the Army from 1949-1953 which covered most of the Korean ''police action.'' He was also involved in crafting the Army's role in NATO. TNS 1p Washington DC 25 Oct. 1963. Signed by Earle G. Wheeler as Army Chief of Staff. Earle Gilmore Wheeler (1908-1975) graduated from USMA in 1932. Just before WWII he was teaching at West Point and spent the first years of the war training Infantry divisions. He went to Europe in 1944 and when he returned in 1945 he became an artillery instructor at Fort Sill. He was back and forth to Europe for the next decade in both U.S. and NATO positions. He was appointed Chief of Staff of the Army in 1962 and Chairman of the Joint Chiefs of Staff in 1964 a position he held through the height of the involvement in Vietnam. TNS 1p Washington DC 25 June 1952. Signed H.H. Vaughan as Military Aide to the President on White House stationery. Harry H. Vaughan (1893-1981) was one of very few generals to not attend West Point. Instead Harry's degree was from Westminster College Fulton MO. Vaughan became friends with Harry Truman during training in 1917. He seems to have left active service and moved to reserves after WWI and several of his promotions in rank stem from reserve duty. He was recalled to active duty in 1942 and sent to Australia. After the war he became Truman's military aide (1945-1953). During this time he achieved higher ranks up to Major General (1947). Vaughan was in the middle of several scandals during his time in Washington. He retired from the military when Truman left office in 1953. TNS 1p Washington DC 30 Apr. 1957. Nathan Farragut Twining (1897-1982) started military service with the 3rd Oregon Infantry a National Guard unit on Mexican border patrol in 1916. With the build up for WWI he was recalled to active duty and was appointed to USMA graduating in 1918. In 1923 he began air training at Brooks Field TX. In 1940 he was assigned to the Chief of the Air Corps in Washington. In mid-1942 he went to the South Pacific as chief of staff to Maj. Gen. Harmon commanding the U.S. Army Air Forces. The following year he was put in command of the first Joint Air Command Army Navy Marine and Allied Air Forces in the South Pacific. He was named Chief of Staff of the Air Force in June 1953 and in 1957 was nominated as Chairman of the Joint Chiefs by Eisenhower serving until 1960 in that capacity. TLS 1p Washington 22 Apr. 1959. Thanking recipient for well wishes on his appointment as Chief of Staff of the Army on letterhead signed by L.L. Lemnitzer. Lyman Louis Lemnitzer (1899-1988) graduated from USMA in 1920. He achieved the rank of Brig. General in the early days of WWII and by the end helped negotiate the Italian and German surrenders. Following the war he was assigned to the Joint Chiefs' Strategic Survey Committee before commanding the 7th ID in Korea. He became Chief of Staff of the Army in 1957 and was appointed Chairman in 1960. He got tied up in the politics of Cuba and only served one term as Chairman. He became Supreme Allied Commander of NATO in late 1962 a post he held until his retirement in 1969. TNS 1p Washington DC 13 Jan. 1966. On Army Chief of Staff letterhead signed by Harold Johnson. Harold Keith Johnson (1912-1983) graduated from USMA in 1933. Johnson requested an overseas assignment and was sent to the Philippines. He was there when Bataan fell survived the death march and spent the war as a prisoner. When the Americans started closing in the Japanese transferred their prisoners. American fighter planes sank one of the ships carrying POWs killing 300 of them. Johnson survived and was taken to Japan; he was transferred again to Korea where the 7th Infantry liberated him in Sept. 1945. Johnson went back to Korea five years later as that police action commenced. He became Chief of Staff of the Army in 1964 and was involved in the escalation of Vietnam. He advocated full mobilization decisive action and rapid withdrawal. When Lyndon Johnson did not follow this recommendation Johnson threatened to resign and later regretted not doing so. He retired from active service in 1968. TLS 1p Washington DC 15 Apr. 1946. On Marine Corps Commandant's letterhead signed by General A.A. Vandgrift. Alexander Archer Vandegrift (1887-1973) attended the University of VA; he won his commission in the Marine Corps through a week-long competitive examination. He got off to a rough start; his early evaluations were less than stellar. He went through most of the training programs available and by the time the U.S. entered WWII Vandegrift was a Major General. He was assigned to the south Pacific and for his service in the Solomon Islands he would receive the Medal of Honor. In 1944 he became Commandant of the Marine Corps and the following year was appointed General the first Marine officer to attain 4-star rank on active duty. He left active service at the end of 1947. TLS 1p Governors Island NY 15 Jan. 1942. On letterhead of the commander of the 1st Army signed by H.A. Drum Lt. Gen. Hugh Aloysis Drum (1879-1951) initially wanted to join the Jesuit priesthood. He joined the Army and rose rapidly through the ranks becoming Pershing's Chief of Staff during WWI. By 1931 he was a Major General Lieutenant General in 1939. He was in charge of Eastern Defense Command in WWII and retired by age in 1943 although he remained commander of the New York Guard until the end of the war. TNS 1p Washington DC 19 June 1964. On U.S. Marine Corps Commandant's letterhead signed by Wallace M. Greene Jr. Wallace Martin Greene Jr. (1907-2003) graduated from the Naval Academy in 1930. He had several assignments until being sent to Shanghai where he helped defend the international settlement during the Sino-Japanese hostilities in 1937 and 1938. He served in the Pacific during WWII and held many assignments until being nominated as Commandant of the Marine Corps to begin in 1964. By the time Greene's term as commandant expired in 1968 the Marine build up in Vietnam went from less than 1000 to over 100 000. He retired 31 Dec. 1967. Condition: Folds as expected. Otherwise excellent overall. One stray ink mark on last.
SEVEN MINIATURESWilliam S. "Bill" Johnson (1938-2009)
Virginia Beach, VA, c. 2000
plover base is 11 in. wide
Three Verity-style plover on base, a Bunn-style curlew, two Lothrop Holmes-style mergansers, and a Dudley-style canvasback. All bear either the maker's incised or ink signature on the undersides and many are dated.
Original paint with light wear.
Provenance: Harry and Judy Bextel Collection
THOMAS HART BENTON Threshing. Lithograph, 1941. 237x353 mm; 9 3/8x14 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb, strong impression. This lithograph relates to a series of drawings and a painting (now in the Swope Art Gallery, Terre Haute) Benton made in 1938 on a farm in Johnson County, Kansas, around 25 miles outside Kansas City. Fath 48.- 8,000
JOHNSON Daniel LaRue. Abstract Geometric O/C.A very large and beautifully executed oil by important African American artist Daniel LaRue Johnson who has exhibited at the Whitney the Guggenheim and the Museum of Modern Art. Daniel LaRue Johnson African-American b. 1938. Dimensions: 60'' square. Condition: Light surface grime but in good condition.
English Literature.
9 titles, incl: Swift, Jonathan. A Voyage to Lilliput; A Voyage to Brobdignag. LEC: 1950. 2 vols, folio and 12mo, slipcase. * Boswell, James. The Life of Samuel Johnson. LEC: 1938. 3 vols, slipcase. * ---. The Journal of a Tour to the Hebrides.... LEC: 1974. Slipcase.
SIX MINIATURESWilliam S. "Bill" Johnson (1938-2009)
Virginia Beach, VA, c. 2000
curlew is 10 1/2 in. long
Two black ducks, an English-Dawson-style pintail, a Phillips-Rig-style running curlew, a feeding yellowlegs, and a godwit. All bear either the maker's incised or ink signature on the undersides and many are dated.
Original paint with light wear.
Provenance: Harry and Judy Bextel Collection
1937-1938 Johnson Sea Horse outboard boat motor: 1937-1938 Johnson Sea Horse outboard boat motor, Waukegan, Ill. , 1 1/2 horsepower, with a period Johnson Sea Horse motor stand, 35" h. Condition Overall very good condition, some small dents to top of tank, as expected wear, do not know if operable.
JOHNSON, Daniel La Rue. Abstract Oil on Canvas.Signed and dated verso. Daniel LaRue Johnson, African-American, b. 1938. From an NYC storage facility. Dimensions: 54.75" high x 32.5" wide. Condition: Good.
(CIVIL RIGHTS.) LYNCHING. Group of seven items relating to the problem of lynching in the U. S. Lynching, America's National Disgrace, by James Weldon Johnson (1924); The Mob Still Rides, Commission on Interracial Cooperation (1933); Southern White Women on Lynching and Mob Violence (ca 1930's); H.R. 164. A Bill to Assure Persons within the Jurisdiction of Every State the Equal Protection of the Laws (1937); House Report 1597 Mob Violence and Lynching (1948); `Lynchings and What They Mean (1929); Feeling is Tense. Association of Southern Women for the Prevention of Lynching (1938); We the People of the United States Address This Petition for a Federal Anti-Lynching Law, broadside/petition (ca 1938). condition generally very good, should be seen. Vp, 1924-1948of them black.
JOHNSON Daniel LaRue. Abstract Oil on Canvas.An great 20th C. painting by important African American artist Daniel LaRue Johnson who has exhibited at The Whitney Museum of Modern Art and The Guggenheim. Daniel LaRue Johnson African-American b.1938. Dimensions: 76.5'' high x 53.75'' wide. Condition: Good over condition with light surface grime.
George Romney (British 1734-1802) Portrait of Sir Sampson Wright Unsigned Oil on canvas 30 x 24-3/4 in (76.2 x 52.7 cm) Provenance: Ralph Cross Johnson Collection Gift to the National Gallery of Art, Washington, DC, 1919 National Museum of American Art, Smithsonian Institution, Washington, DC, 1998 Acquired by present owner in these rooms, American and European Paintings, Drawings, Sculpture and Photographs, May 16, 1998, lot 40 Literature: T. Humphrey Ward and W. Roberts, Romney, a Biographical and Critical Essay with a Catalogue Raisonné of his Works, 1904 Catalogue for the Opening of the National Gallery of Art, 1910, p. 22 National Gallery of Art Catalogue, 1916, p. 176; 1922, p. 57; 1926, p. 69 United States National Museum Report, 1919, pp. 23-24, 147 American Magazine of Art, August and December, 1920 Art and Archaeology, September, 1920, pp. 75-107 Evening Post, New York, 1920 George B. Rose, "The Ralph Cross Johnson Collection in the National Gallery of Art at Washington D.C.," 1922, pl. 14 The Washington Star, Washington, DC, August 7, 1938 Exhibitions: Royal Academy Exhibition of the Works of the Old Masters, 1887 The National Gallery of Art, opening 1910
SOULAGES, GOTTLIEB, NEWMAN, FRANKENTHALER, LEWITT: TEN MONOGRAPH BOOKS & EXHIBITION CATALOGS 12 1/2"H X 10"W (LARGEST)Soulages, Gottlieb, Newman, Frankenthaler, LeWitt: ten monograph books & exhibition catalogs, The Prints of Barnett Newman 1961-1969, Gabriele Schor and Verlag Gerd Hatje, exhibition catalog, 1996 Adolph Gottlieb Works on Paper, The Art Museum Association of America, 1985 Soulages Eaux-fortes, Lithographies, 1952-1973, Yves Rivière, Arts et Métiers Graphiques, 1974 Sol LeWitt Prints 1970-1995, The Detroit Institure of Arts, June 15- August 24, 1997 Johns, Kelly, Lichtenstein, Motherwell, Neumann, Rauschenberg, Serra, Stella: Prints from Gemini G. E. L., exhibition catalog, Walker Art Center, 1974 Adolph Gottlieb The Complete Prints, January 13 - February 26, 1994, Associated American Artists Adolph Gottlieb, Paintings 1938 -1973, November - December 1999, Bentley Gallery Helen Frankenthaler, Prints: 1985 - 1987, Tyler Graphics, June 20-July 25, 1987, Alice Simsar Gallery Soulages Paintings since 1963, James Johnson Sweeney, M. Knoedler & Co., Ltd, 1964 Soulages, Hubert Juin, Evergreen Gallery Book 6, Twelve Color Plates and Black and White Illustrations, Grove Press, Inc. 1959 Dimensions: 12 1/2"H x 10"W (largest)
JOHNSON Daniel LaRue. 1974 O/C ''Hysteria.''Named on stretcher and inscribed on canvas verso. Abstract oil by important African American artist Daniel De La Rue Johnson who has exhibited at The Whitney Museum of Modern Art and The Guggenheim. Daniel LaRue Johnson American b. 1938. From a NYC location. Dimensions: 40.5'' x 64.5.''
1953 BMW R51/3Frame no. 524836Engine no. 524836
An important step forward in the development of BMW’s long-running flat-twin occurred in 1936 with the introduction of the 494cc R5. Prior to that the BMW engine had been recognisably related to the first of its type, the 1923 R32, and like those of its (500cc) predecessors, the R5’s engine dimensions were ‘square’ at 68x68mm bore/stroke. However, the overhead-valve R5 engine broke new ground by adopting two chain-driven camshafts, a move that permitted shorter pushrods and higher revs. In 1938 the model was up-dated as the R51, gaining a telescopic front fork and plunger rear suspension, and continued in production until 1940.
BMW recommenced production in December 1948 with the R24 single, but it would be another 12 months before a twin-cylinder model became available again. This was the R51/2 based, as its designation suggests, on the pre-war R51. Improvements incorporated into the R51/2 included a two-way damped front fork, gearbox mainshaft damper and strengthened frame. In truth, the R51/2 was only a stop-gap model to get production under way while BMW worked on something more modern. Its replacement, the R51/3 – arrived in February 1951, and despite the similarity in designation had an entirely new and much neater looking engine incorporating a single gear-driven camshaft and crankshaft-mounted generator among a host of other advances.
Found intact in South Carolina in the mid-1980s, this R51/3 benefits from a ‘ground upwards’ restoration completed in 2002 that included an engine rebuild by Ozzi’s BMW, chrome by Johnson Plating, Paintwork by Todd Rasmussen and wheels by Kelly Moss. We are advised that the machine has since achieved a 2nd place award at the Minden Show.
JOHNSON, Daniel La Rue. Abstract Oil on Canvas.Signed verso. Daniel LaRue Johnson (African American, b. 1938, active in New York). Dimensions: 60" high x 60" wide. Condition: Generally good, with wear to edges and light scuffs. Unframed. As found in a storage unit.
LBJ 1938 SIGNED ELISABET NEY 1905 STATUARY HALL BKBook: "Proceedings in the House of Representatives on the Occasion of the Reception and Acceptance from the State of Texas of the Statues of Sam Houston and Stephen F. Austin, February 25, 1905," for Placement in Statuary Hall of the United States Capitol, Government Printing Office, 1905, signed in blue ink at the inner cover board "To W.F. Jeffrey, With best wishes and regards from his Congressman, Lyndon B. Johnson, April 10, 1938, both sculptures by Elisabet Ney (1833-1907, Texas, Germany), book: green cloth, gilt lettering at cover, 143 pages, approx 10.5"h, 7.25"w, 3/8"d, 1.25lbs
AGNES DENES, (AMERICAN, B. 1938), THE ISOMETRIC SYSTEMS IN ISOTROPIC SPACE-MAP PROJECTIONS: THE DOUGHNUT, INK, METALLIC PAINT, AND PENCIL ON PAPER WITH SCREENPRINT ON PLASTIC OVERLAY, SIGHT: 11 X 9 IN., FRAME: 17 1/4...AGNES DENES, (American, b. 1938) The Isometric Systems in Isotropic Space-Map Projections: The Doughnut, ink, metallic paint, and pencil on paper with screenprint on plastic overlay 1980, signed and dated Denes '80, l.r. sight: 11 x 9 in., frame: 17 1/4 x 14 3/4 in. Provenance: The Estate of Thomas W. Leavitt, Director of the Johnson Museum of Art, Cornell University. Other Notes: Cornell University Professor Thomas W. Leavitt (1930-2010) was the founder of The Herbert F. Johnson Museum of Art at Cornell University and director of the museum from 1973-1991. Prior to founding the Johnson Museum, Professor Leavitt as director of the University's A.D. White Museum of Art, and he was President of the Association of Art Museum Directors from 1977-1978. Leavitt wrote the text for the 1979 exhibition of Denes' Map Projection series. Condition: Condition: Paper slightly wrinkled along left edge. Not examined out of frame.
[BOOK CLUB OF CALFORNIA]. A group of 11 works relating to California authors and history, comprising: : [BOOK CLUB OF CALFORNIA]. A group of 11 works relating to California authors and history, comprising: . . REEDY, William Marion. The City That has Fallen. 1933. 12mo. Original cloth-backed boards. One of 350 copies. -- KING, Clarence. The Helmet of Mambrino. 1938. 12mo. Original vellum-backed boards. One of 350 copies. -- BROWNE, J. Ross. Muleback to the Convention. 1950. 8vo. Original boards. One of 400 copies. -- HART, James D. , editor. My First Publication. 1961. 8vo. Original cloth-backed boards. One of 475 copies. Original prospectus laid in. -- FRÉMONT, John C. Geographical Memoir. 1964. 8vo. Original boards. One of 425 copies. -- Yo Semite 1878. Adventures of N & C. 1964. 8vo. Original cloth-backed boards. One of 450 copies. -- JOHNSON, Kenneth M. The Sting of the Wasp. 1967. Folio. Original cloth. One of 450 copies. -- LEWIS, Oscar. The First 75 Years. 1987. 8vo. Original cloth-backed boards. One of 1200 copies. -- DAVISON, Richard Allan. Charles & Kathleen Norris The Courtship Year. 1993. 4to. Original cloth. One of 400 copies. -- LEWIS, Oscar. A Widely Cast Net. 1996. 8vo. Original cloth-backed boards; original plain dust jacket. One of 400 copies. -- Dear Master. Letters of George Sterling to Ambrose Bierce 1900-1912. 2002. 4to. Original cloth-backed boards; original slipcase. One of 350 copies. . . ALL LIMITED EDITIONS, published by various printers for The Book Club of California. . . Condition For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions. com
JOHNSON, Daniel La Rue. Abstract Oil on Canvas.Signed and dated 71 verso. Daniel LaRue Johnson, African-American, b. 1938. From an NYC storage facility. Dimensions: 60" square. Condition: Unframed. Surface scuffs and light soling.
AGNES DENES, (American, b. 1938), The Isometric Systems in Isotropic Space-Map Projections: The Doughnut, ink, metallic paint, and pencil on paper wit: AGNES DENES. (American, b. 1938). The Isometric Systems in Isotropic Space-Map Projections: The Doughnut. ink, metallic paint, and pencil on paper with screenprint on plastic overlay. 1980, signed and dated Denes '80, l. r. sight: 11 x 9 in. , frame: 17 1/4 x 14 3/4 in. . Provenance: The Estate of Thomas W. Leavitt, Director of the Johnson Museum of Art, Cornell University. . Other Notes: Cornell University Professor Thomas W. Leavitt (1930-2010) was the founder of The Herbert F. Johnson Museum of Art at Cornell University and director of the museum from 1973-1991. Prior to founding the Johnson Museum, Professor Leavitt as director of the University's A. D. White Museum of Art, and he was President of the Association of Art Museum Directors from 1977-1978.
AGNES DENES, (American, b. 1938) The Isometric Systems in Isotropic Space-Map Projections: The Doughnut, ink, metallic paint, and pencil on paper with screenprint on plastic overlay 1980, signed and dated Denes '80, l.r. sight: 11 x 9 in., frame: 17 1/4 x 14 3/4 in. Provenance: The Estate of Thomas W. Leavitt, Director of the Johnson Museum of Art, Cornell University. Other Notes: Cornell University Professor Thomas W. Leavitt (1930-2010) was the founder of The Herbert F. Johnson Museum of Art at Cornell University and director of the museum from 1973-1991. Prior to founding the Johnson Museum, Professor Leavitt as director of the University's A.D. White Museum of Art, and he was President of the Association of Art Museum Directors from 1977-1978. Leavitt wrote the text for the 1979 exhibition of Denes' Map Projection series. Condition: Condition: Paper slightly wrinkled along left edge. Not examined out of frame.
An English Twelve Inch Table Globe W. & A.K. Johnson Edinburgh c. 1938 imported by Nystrom & Co. Chicago full meridian with degree marks; on elaborate pierced cast iron associated stand.
Johnson, Samuel.
2 Titles (4 Vols). Limited Editions Club. ++ James Boswell. The Life Of Samuel Johnson. 3 Vols. Marginal comments by Hester Lynch Thrale Piozzi. 1938. Olive green cloth, maroon leather spine label. Spines slightly faded, hint of foxing. Slipcase soiled, partly split. #207 of 1500. ++ Boswell. The Journal Of A Tour To The Hebrides With Samuel Johnson, LL.D. Marginal comments by Piozzi, illustrated with reproducted contemporary prints by Thomas Rowlandson. 1974. 8vo. Crimson morocco back & marbled board, teg. Book near fine, slipcase bit spotted. #1560 of 2000. Accompanied by 3 prints (1 signed): Original etching by Stephen Abeles, pencil signed by him; 2 color facsimiles of engravings by Thomas Rowlandson: "Chatting" and "The Contest at Auckinleck."
Robert H. Rockwell (American/ Virginia, -)
Bronze
African Bull Elephant
1938, 6/10
Signed: R.H. Rockwell, 1938, 6/ 10
27 1/4" H x 34 1/2" L x 14 1/4" W
Accompanying plaque reads as follows:
African Bull Elephant
BY ROBERT H. ROCKWELL
presented to
JOHNSON & HIGGINS
by
RAC, WHC, RVH, GFBO, RJR
December, 1990
"REMEMBER THE PAST, BUT MASTER THE FUTURE"
Provenance: The Estate of Robert V. Hatcher, Jr. of Manakin-Sabot, VA.
[WRIGHT, FRANK LLOYD. 1869-1959.]
ARCHIVE ASSEMBLED BY PROFESSOR HENRY-RUSSELL HITCHCOCK FOR THE WORK HE CO-AUTHORED WITH FRANK LLOYD WRIGHT, IN THE NATURE OF MATERIALS.
1. Approximately 600 photographs of Wright's buildings and interiors, assembled for potential publication in the book. Various processes including gelatin silver, cyanotype and carbon prints, a small percentage copy prints, various sizes, many contemporary with the completion of the buildings. Photographers mainly uncredited, but including: Henry Fuermann of Chicago, Gilman Lane of Oak Park, IL, Samuel H. Gottscho of Jamaica, NY, and G.E. Kidder-Smith of New York. Most with annotations on verso, some on recto, usually for publication purposes; many either stamped "Property of F.LL. Wright" or with the penciled initials "FLLW."
2. Approximately 300 photographic reproductions of drawings and plans. Gelatin silver prints, 8 by 10 inches, probably 1950s or 1960s, typed captions pasted on verso. These not used in In the Nature of Materials.
3. Several plans by members of the Taliesin Fellowship, redrawn specifically for Hitchcock's book. Ink and pencil on tracing paper, various sizes.
4. 7 plans and one perspective of various projects, believed to be by Wright, ink, pencil and wash, including: ground plan of atelier for Richard Bock, 1903; C.H. MacAfee, 1894; Harry Brown ground floor, 1909; Brown concrete block house (perspective); Eckhart, 1899.
5. 3 Typed Letters Signed ("Frank Lloyd Wright," "FLLW"), 3 pp, 4to, Taliesin, Spring Green, WI, June 1938 to June 1941, to Hitchcock, two with manuscript amendments, folds, one with heavy staining in margin. Together with a further Typed Letter Signed by Wright's assistant Eugene Masselink regarding drawings for publication in the book.
Hitchcock and Wright's book was intended to be a sort of ex post facto catalogue of the 1940 MoMA exhibition Frank Lloyd Wright: American Architect – described by the man himself as "the show to end all shows." The Great Depression, Wright's prolonged absence from the country, and his turbulent personal life had resulted in a dearth of commissions for the first half of the 1930s. At the time of the MoMA show, he was still at the opening of his "second career," which had been revived by the Kaufmann house (Fallingwater) and the Johnson office building.
In the Nature of Materials, published in 1942, was swiftly acknowledged as a standard work on Wright and remained in print for nearly a quarter century. Its author Hitchcock [1903-1987] had risen to prominence through the 1920s and early 30s, cementing his reputation with the 1932 International Style show at the MoMA, co-curated with the architect Philip Johnson. The year after the book's publication, Wright was commissioned to design a permanent home for the art collection of the Solomon R. Guggenheim Foundation – a project that occupied him for some fifteen years but resulted in one of the most instantly recognizable buildings in the world.
The present archive offers an exceptionally rich documentation of the work of Frank Lloyd Wright. The content is well-organised, and arranged chronologically in file folders. Many of the interior photographs show the original furnishings and the houses in daily use – papers strewn across desks, tables set for dinner, and toys on the floor. Families can be seen standing proudly in front of their new homes. A number of photographs record buildings that no longer survive, including Taliesin I (burnt beyond recognition in 1914), Midway Gardens in Chicago (destroyed in 1929), and the Imperial Hotel in Tokyo (demolished in 1968). Several images are by noted architectural photographers such as Samuel H. Gottscho and G.E. Kidder-Smith, and many derive from Wright's own photographic collection, sent by him to Hitchcock for publication in their book (as Hitchcock explains in his acknowledgements).
Despite their collaboration, Hitchcock and Wright enjoyed a checkered relationship. They started off on the wrong foot in July 1937, when Hitchcock referred in the Architectural Review to "the absence of any new directing genius in America" and "the days when [Wright] was an active architect before the war." The first letter from Wright in the present archive suggests a rapprochement the following year: "I feel that a good talk will straighten out our 'differences' and I do think the letter I wrote apropos of your article in the Review somewhat hasty and unnecessarily unkind." In the next letter, the architect highlights certain projects for inclusion in the book ("some of these are paid up 'prospects' that did not get into bricks and mortar but are the more important on that score as they were actual work in hand"), while the last letter focuses on their deal with the publisher Duell and Wright's "great hopes for the book... [I] believe we will both be satisfied."
Provenance: Henry-Russell Hitchcock [1903-1987]; bequeathed to the present owner.
See illustrations.
JOHNSON, James Weldon (1871-1938).Black Manhattan. New York: Alfred A. Knopf, 1930. 8vo. 12 plates. Original slate blue cloth decorated with chain motif in brown, orange lettering to upper cover and spine in the rare publisher’s dust jacket. Condition: Lettering rubbed on spine and covers, cloth frayed at ends; jacket price clipped, but crisp, bright, unfaded and unrestored.first edition of this history of the African-American community in New York. Johnson’s life was remarkably varied; though remembered chiefly as a prominent figure in the Harlem Renaissance, he was also one of the first African-American professors at New York University and was a United States consul in both Venezuela and Nicaragua.
THOMAS HART BENTON (1889-1975) PENCIL SIGNEDThomas Hart Benton (1889-1975)Threshing Wheat (1941)The lithograph published by Associated American Artists in an edition of 250 prints is signed by the artist in pencil below the image lower right and listed as Fath catalog number 48.Benton's comments in Fath read: Made from a series of drawings and a painting done in 1938. The scene represents the last steam thresher engine to be operated in Johnson County, Kansas. The area represented is within 25 miles of my K.C. home. We were still near the county here in 1938. I'll bet every bit of this land is now sprouting ranch houses and swim pools and teenage protestants. It is, in 1974.Image measures 9.25 x 13.75, sheet is 12.5 x 17.5, and frame is 18 x 22.5 inches.The full untrimmed sheet with stain from the residue of eighty tape tabs around the outer edge, not laid down, no other major issues.
BLACK AMERICANA: Framed paper target game "Turkey Doodle", c. 1938, depicts numerous cartoon black characters from Jimmy Scriberner's radio show "Johnson Family", minor pin holes at corners, framed and matted behind plexiglass, 18 1/2" h. x 17" w.; also included is the original shipping tube, wear consistent with age and use.
HALF-SIZE RUDDY TURNSTONE AND PRINTWilliam S. "Bill" Johnson (1938-2009)
Virginia Beach, VA, c. 1980
6 1/2 in. long
A miniature ruddy turnstone carving and accompanying print by the maker. Signed and incised on the bottom by this past director of the Atlantic Wildfowl Heritage Museum in Virginia Beach, VA.
print of decoy:
On front "Ruddy Turnstone by Lothrop Holmes Kingston, Mass. c.1885."
lower right "(C) Wm S Johnson 2002"
frame, 8 3/4 by 10 3/4 "
sight,
Original paint with light wear.
Provenance: Harry and Judy Bextel Collection
1938 Churchman Boxing Personalities Tobacco Cards
Description This very clean set includes such boxing greats as Joe Louis, Jack Dempsey, Jack Johnson, Max Schmeling, Gene Tunney and Max Baer.
Condition (Excellent). Size 2 - 1/2" x 1 - 1/2".
Western Hardback Book Collection: This is a collection of 14 Western hardback books. Included is "Jim Bridger Mountain Man" 1st ed. 1946 by Stanley Vestal, "Life and Adventures of Frank Grouard" 1st ed. with dust jacket, 1958, by Joe DeBarthe, "The Deaths of the Bravos" 1st ed. with dust jacket, 1962, by John Myers Myers, "The American West" 2nd ed. , 1984, by Robert V. Hine, "Riding Buffaloes and Broncos" with dust jacket, 2003, by Allison Fuss Mellis, "The Plainsmen of the Yellowstone" 1st ed. with dust jacket, 1961, by Mark H. Brown, "Crow Killer: The Saga of Liver-Eating Johnson" 2nd ed. , 1969, by Raymond W. Thorp and Robert Bunker, "Vikings of the Prairie" 1st ed. with dust jacket, 1958, by N. C. Hagen, "Powder River: Let 'er Buck" 1st ed. with dust jacket, 1938, by Struthers Burt, "In Search of Butch Cassidy" 1st ed with dust jacket (Signed by Author), 1977, by Larry Pointer, "When Indians Became Cowboys" 1st ed. with dust jacket, 1994, by Peter Iverson, "Shorty Harris or The Price of Gold" 1st ed. with dust jacket, 1999, by William W. Bevis, "Cowboy Lore" 2nd ed. with dust jacket, 1950, by Jules Verne Allen, "and "From Log to No Log" 1st ed. with dust jacket, 1969, by Edward J. Lettermann. All the books are in good to very good condition. The largest book measures 6. 5" x 9. 5". Condition For a complete representation of condition and for additional images please call 800-686-4216. It is the buyer
A ROYAL WORCESTER PLAQUE
painted by G Johnson, signed, with a ginger kitten in a purple ribbon with a bow, seated before an empty dish, 23.5 x 15cm, printed mark and date code for 1925
George Johnson, who was employed at the Worcester factory from at least 1883 specialised in the painting of birds, in particular the exotic or fancy birds on replicas of 18th c 'Dr Wall' scale blue ground wares. The present plaque is highly unusual for its charming cat subject and was perhaps made to special order. In his spare time he painted both oils and watercolours and was according to Sandon a "master in his own field". He had retired by 1933 and died in 1938 (see H Sandon, Royal Worcester Porcelain from 1862 to the Present Day, 1973, p96).
Ralph Bacerra (1938-2008 USA) American Imari Mod Platter?ca 1970Porcelain dia. 16.25 in.Ralph Bacerra was one of the leading decorative ceramicists' in the world. Bacerra derived his aesthetic mix from a diverse group of influences; Japanese Imari-style decoration is the root but so are Optical Art Edo Period Nabeshima as well as M.C. Escher's interlocking imagery. As Ken Johnson wrote for the New York Times in 1999 "Sometimes one wishes avant-garde art could be so unashamedly sumptuous".?Reference:Del Vecchio Mark. Postmodern Ceramics. Thames and Hudson London 2001. For similar examples see page 66-67.? Ralph Bacerra Collection
DANIEL LARUE JOHNSON (1938 - )
Past Time.
Mixed media collage on canvas, 1962. 355x355 mm; 14x14 inches. Signed, titled, dated "Painted May 28, 62," and inscribed "Eichmann 6 million Jews, America ? Negroes" and "250.00" in ink verso.
Illustrated in The Golden State Mutual Afro-American Art Collection, p. 14 (mis-identified, correct description on facing page).
This is an early collage work by a young artist who was tackling issues that reflected the growing Civil Rights struggle. In 1963, Johnson travelled to New York with Melvin Edwards to see if his "ideas about American art and life were relevant to reality." According to Mary Schmidt Campbell, he continued to make assemblage works that year - "Danny Johnson, also a metal sculptor, whose abstract minimalist forms had begun to attract critical attention, crafted a piece entitled Yesterday, a box in which a headless doll drifts next to an American flag, which paid homage to the times. Johnson's assemblage, unlike Edwards's totems, proved to be a diversion from his major aesthetic direction." Campbell, p. 51.
EMIL HOLZHAUER W/C, WPA TENEMENT HOUSES, LIKELY SOUTHER...Emil Eugen Holzhauer (German/American, 1887-1986) 1930s watercolor painting depicting a street scene, likely Southern, with closely spaced houses. Signed lower right. Unframed, 15" x 22 1/4". Artist biography (from The Johnson Collection): "Emil Eugen Holzhauer was born in Schwabisch-Gmund, Germany. In 1906, he moved to New York City without a job, money, or any knowledge of the English language. He initially worked in manufacturing plants to support himself and save money for art instruction. After settling into his adopted city, Holzhauer registered for night classes at the New York School of Art in 1909 where he studied with Robert Henri. Henri, a Social Realist, was a passionate and energetic teacher. He stressed the importance of painting from a personal point of view and urged his students to develop a uniquely American art, one based on their own individual experiences and perspectives. Henri remained an inspiration for Holzhauer throughout his career and the two men became close friends. In 1913, Holzhauer attended the famed Armory Show and was inspired by the work of the American and European modernists. He held his first solo exhibition in 1915 and exhibited regularly in New York, both individually and as part of a group, over the next ten years. In the summer of 1932, he began to teach art at a summer camp in upstate New York and found teaching to be a rewarding and gratifying experience. In 1938, he briefly taught at a junior college in New York State, before moving south to Asheville, North Carolina. In 1942, he became an art professor at Wesleyan College in Macon, Georgia. Throughout the 1930s, Holzhauer became identified with the American Scene movement in art, and the scenes that he painted while in the South are among his best-known. The subjects were often homes and neighborhoods of the working class. The images are quiet glances into a private world. He often chose narrow side streets or back alleys and portrayed the dilapidated buildings in a simple non-judgmental way. He neither idealized his subject nor romanticized it, but rather found beauty in simple scenes from daily life. During the late 1940s and into the 1950s, Holzhauer began to move into a more expressive and less realistic style. The color became more intense and less true to nature, and his figures became more stylized. In 1953, Holzhauer retired from his professorship at Wesleyan. He and his wife moved to Florida where he held several exhibitions. He continued to travel and paint until 1972 when his eyesight began to fail. Holzhauer died just before his hundredth birthday in 1986."
Condition:
Light toning to front, pinholes at each corner; tape residue with acid burn to back, overall good condition.
Three Magic Books by Sharpe, Inscribed and Signed. : Sharpe, S. H. Three Magic Books by Sharpe, Inscribed and Signed. Including Great Magic (1938), Conjured Up (1935), and Good Conjuring (1936). London: George Johnson. All in printed publisher’s wrappers, illustrated. 8vos. Each book inscribed and signed by Sharpe to his friend Dick Nesfield (Dleisfen). These works were later anthologized in the book Neo-Magic Artistry.
Book: "Proceedings in the House of Representatives on the Occasion of the Reception and Acceptance from the State of Texas of the Statues of Sam Houston and Stephen F. Austin, February 25, 1905," for Placement in Statuary Hall of the United States Capitol, Government Printing Office, 1905, signed in blue ink at the inner cover board "To W.F. Jeffrey, With best wishes and regards from his Congressman, Lyndon B. Johnson, April 10, 1938, both sculptures by Elisabet Ney (1833-1907, Texas, Germany), book: green cloth, gilt lettering at cover, 143 pages, approx 10.5"h, 7.25"w, 3/8"d, 1.25lbs
Large Collection of Early Children's Books/First Editions: Large group of early children's books, including several first editions. Christopher Morley (1890-1957), “Where the Blue Begins, ” Doubleday, Page & Company, New York, 1922; Frances Hodgson Burnett (1849-1924), “Two Little Pilgrims’ Progress, A Story of the City Beautiful, ” Charles Scribner’s Sons, New York, 1895. first edition; John Groth (b. 1908), “Studio: Europe, ” The Vanguard Press, New York, 1945. Introduction by Ernest Hemingway (1899-1961); Harry Golding, F. R. G. S, “The Wonder Book of Ships, ” Ward, Lock & Co. Limited, London and Melbourne, 1927. 13th edition; Munro Leaf (1905-1976), “Wee Gillis, ” The Viking Press, New York, 1938; Kenneth Mahood (b. 1930), “The Laughing Dragon, ” Charles Scribner’s Sons, New York, 1970; Robert Browning (1812-1889), “The Pied Piper of Hamelin, ” Frederick Warne and Co. , London and New York. Illustrated by Kate Greenaway. Originally published in 1842, this edition unknown. Spine is in poor condition; Robert Heitmann, “The Man in the Red Flannel Suit, ” Golden Press, New York, 1959; Henry L. Stephens (1824-1882) and Gaston Fay, “Mother Goose’s Melodies for Children, or Songs for the Nursery, ” Hurd and Houghton, New York, 1869. First edition. Illustrations by Stephens and Fay. Binding is ripped on first page; William Rossa Cole (1919-2000), “The Birds and the Beasts Were There, ” The World Publishing Company, Cleveland and New York, 1963. First edition. Woodcuts by Helen Siegl (1924-2009); Hans Christian Andersen (1805-1875), “Fairy Tales, ” The Orion Press, New York, 1958; Christianna Brand (1907-1988), “Naughty Children, ” E. P. Dutton & Co. , New York, 1963. First edition. Illustrations by Edward Ardizzone (1900-1979); Johnny Gruelle (1880-1938), “Raggedy Ann and Andy and the Nice Fat Policeman, ” Johnny Gruelle Company, New York, 1942. First Edition; Howard R. Garis (1873-1962), “Uncle Wiggily and His Friends, ” Platt & Munk, New York, 1939. Binding is loose. ; “Snow White and the Seven Dwarfs, ” Grosset & Dunlap, New York, 1938. Illustrated by Walt Disney (1901-1966). First edition, rare. Some damage to spine; Ruth Krauss (1901-1993), “The Carrot Seed, ” Scholastic Book Services, New York, 1945. Pen, pencil, and crayon markings and doodles. Very worn book; Kate Greenaway (1846-1901) and Edmund Evans (1826-1905), “Under the Window, Pictures and Rhymes for Children” George Routledge & Sons, New York, 1878. First edition. Silas Weir Mitchell (1829-1914), “The Wonderful Stories of Fuz-Buz the Fly and Mother Grabem the Spider, ” J. B. Lippincott & Co. , Philadelphia, 1867. Binding and corners slightly damaged; William Steig (1907-2003), “The Lonely Ones, ” Duell Sloan and Pearce, New York, 1942. Books spin label detached; Horatio Alger, Jr. (1832-1899), “Ragged Dick Series. Fame and Fortune; or The Progress of Richard Hunter, ” Loring, Boston, 1868. Front, binding, back covers are missing. Title page torn, some pencil markings, handle with care; Horatio Alger, Jr. , “Rufus and Rose; or The Fortunes of Rough and Ready, ” Loring, Boston, 1870. Book, binding, and spine is a little worn; Horatio Alger, Jr. , “, Ragged Dick Series. Mark the Matchbox; or Richard Hunter’s Ward, ” Loring, Boston, 1899. Binding is a little loose, spine has a little worn; Angelo Patri (1876-1965), “Pinocchio in America, ” Doubleday, Doran & Company, inc. , New York, 1930; Annie Fellows Johnston (1863-1931), “The Little Colonel Stories, ” L. C. Page & Company, Boston, 1904. Illustrated by Etheldred B. Barry; W. H. Auden (1907-1946), “The Dyer’s Hand and other Essays, ” Random House, New York, 1962. First edition; Padraic Colum (1881-1972), “The Boy Apprenticed to an Enchanter, ” The Macmillan Company, New York, 1920. Illustrated by Dugald Stewart Walker. First edition; Alf Prøysen (1914-1970), “Mrs. Pepperpot’s Outing, ” Pantheon Books, New York, 1970. Illustrated by Björn Berg; Unknown author, “The Cost of Revenge; or Dirty Dick and His Dog Bones; and other stories, ” Kessinger Publishing, London. Torn first page; Kate Douglas Wiggin (1856-1923), “The Birds’ Christmas Carol, ” Houghton, Mifflin and Company, Boston and New York, 1888. First edition; Kate Douglas Wiggin, “Rebecca of Sunnybrook Farm, ” Houghton, Mifflin and Company, Boston and New York, 1903. Spine is ripped and a little worn; Lois Lenski (1893-1974), “Spinach Boy, ” Frederick A. Stokes Co. , New York, 1930. One ripped off page. Binding is quite loose; William O. Stoddard (1835-1925), “The First Cruiser Out, ” Herbert S. Stone and Company, Chicago and New York, 1898; T. M. O, “Adventures of a Green Dragon, ” Auburn Publishing Co. , New York, 1908. Binding is loose; Willard B. Canopy (1931-2011), “The High School Stunt Show and Carnival, ” T. S. Denison & Company, Minneapolis, 1929; Jerome K. Jerome (1859-1927), “Three Men on Wheels, ” Dodd, Mead and Company, New York, 1900. Illustrations by Harrison Fisher; Henry Wadsworth Longfellow (1807-1882), “The Seaside and the Fireside, ” Ticknor, Reed, and Fields, Boston, 1850. First edition; Louise Chandler Moulton (1835-1908), “New Bed-Time Stories, ” Roberts Brothers, Boston, 1880. Cloth is ripped on spine; Crockett Johnson (1906-1975), “Barnaby and Mr. O’Malley, ” Henry Holt and Company, New York, 1944. First edition. Includes pencil note on first page, and post card note. SKU: 01948 Follow us on Instagram: @revereauctions Condition Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions. com with any condition questions. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Important Archive Between Carl Waring Jones and Various Magicians, Magic Dealers, and Other Organizations, Regarding “Great [Correspondence] Important Archive Between Carl Waring Jones and Various Magicians, Magic Dealers, and Other Organizations, Regarding “Greater Magic.” Minneapolis, Minn., 1938. Approximately 200 pieces total, being original correspondence to Jones (most with his carbon replies), organized chronologically from July through November amidst the critical period leading up to the publication of the monumental work on conjuring Greater Magic, which Jones edited. Correspondents including Jean Hugard, Al Baker, Harlan Tarbell, Percy Abbott, Herman Hanson, William Larsen, Royal V. Heath, Thomas C. Worthington III, Mike Kanter, R.W. Hull, Ade Duval, S.L. Quimby, Barkann Rosinoff, L.L. Ireland, Fitzroy Carrington, Charles Larson, Dorothy Wolf (The Sphinx), Irving Desfor, L. Rothbart (Circle of Hungarian Amateur Magicians), Caryl S. Fleming, Gus Bartlett, Eugene Bernstein, John Snyder, Harriet (Mrs. Thomas Nelson) Downs, William E. Rudge’s Sons (firm), Leo Rullman, Melbert B. Cary, George Pughe, Milbourne Christopher, James G. Sherman, George Johnson, Leo Horowitz, Hugh Mackay, Ida (Mrs. John Northern) Hilliard, Willard Smith and others. Including a quantity of related materials including brochures, fliers, as originally enclosed. Among the numerous matters and subjects addressed in the archive: Inquiring of Ida Hilliard for information and anecdotes from her husband’s life and experiences in the world of magic, for an introductory section, with her reply; communicating with Tarbell regarding his illustrations for the book; the problem of Tarbell’s travel schedule interfering with completion of the work; discussing chapter arrangements with Hugard; soliciting from Ade Duval a contribution on a Dyeing Tube routine; discussing with Heath his chapter on magic squares; book dealers and magic shop owners inquiring on the soonest availability of the book and its price; Harriet Downs relaying death of her husband (T. Nelson) by telegram; contacting Caryl Fleming for his contribution to the book; title page and book design with the firm William E. Rudge’s Sons; Leo Rullmann advising against increasing the price of the book.
THREE MAGIC BOOKS BY SHARPE, INSCRIBED AND SIGNED.Sharpe, S.H. Three Magic Books by Sharpe, Inscribed and Signed. Including Great Magic (1938), Conjured Up (1935), and Good Conjuring (1936). London: George Johnson. All in printed publisher’s wrappers, illustrated. 8vos. Each book inscribed and signed by Sharpe to his friend Dick Nesfield (Dleisfen). These works were later anthologized in the book Neo-Magic Artistry.
SIGNED SHANE CAMPBELL ROBERT JOHNSON SCULPTURE, 2008Shane Campbell (American, b. 1978). "Robert Johnson" mixed media sculpture, 2008. Signed "Shane Campbell East Tenn. 2008" on verso of case. A unique tribute piece honoring the famous 1930s Mississippi blues musician, Robert Johnson, by outsider artist Shane Campbell. The work is comprised of an open violin case with a painted, carved wood rendering of Johnson wearing a blue suit and dapper white hat standing before a large, intimidating red devil on the left, a guitar inscribed "ROBERT JOHNSON 1911-1938 R.I.P. THE GREATEST BLUESMAN THAT EVER LIVED" on the right, and a wooden cross with "CROSS ROADS" painted in red placed above. The legendary story about how Johnson came to a crossroads in Mississippi and sold his soul to the devil in order to achieve success as a blues musician is painted on the interior of the violin case, this exciting narrative delineated in red on white. Finally, the piece is signed and dated by the artist on the verso. Size: 32" L x 19.25" W (81.3 cm x 48.9 cm)
For those who would like to learn more about Robert Johnson, a fascinating documentary film entitled, "ReMastered: Devil at the Crossroads" (2019) sheds further light on the life of this incredible master of the blues. According to Rolling Stone magazine's review , "Johnson was a little-known musician and juke joint performer in Mississippi during the early 1930s, before mysteriously disappearing for a year and a half and returning with a profound set of guitar-picking skills. ('He's doing things with the guitar that even his mentors can't do.') Legend has it that Johnson became a virtuoso through sinister means: as the myth goes, he set his guitar down in the middle of a crossroads one night and called upon the Devil, striking a deal that he could become a guitar master in exchange for his soul." This said, the documentary film "seeks to go beyond the myth itself and explore Johnson’s influence in the history of music."
Provenance: ex-J Compton Gallery, Wimberley, Texas, USA
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#167278
Condition:
The 'guitar' is actually a small instrument with 4 pegs (for 4 strings). Strings are missing and there is some slight surface wear. Other sculptural components are intact and excellent. Some wear to the rectangular plank behind the cross and expected scuffs/nicks/abrasions to the violin case.
JOHNSON Daniel LaRue. Abstract O/C ''Scopophilia.''Signed verso and inscribed ''Scopophilia/ OCT 12 1974/ MEGINU DZIVOT.'' A great looking painting by important African American artist Daniel LaRue Johnson who has exhibited at the Whitney Museum the Museum of Modern Art and the Guggenheim Museum. Daniel LaRue Johnson African-American b. 1938. Dimensions: 40.5'' high x 67.5'' wide. Condition: Good overall condition with light surface grime.
GABOR F. PETERDI (american 1915-2001) "DESPAIR I" 1938, pencil signed, titled, dated and numbered 27/35 in the margin. Etching and engraving 10 1/4 x 7 3/4 in. (image) [Johnson 11]. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman''s Conditions of Sale.
JOHNSON, Daniel La Rue. Abstract Oil on Canvas.Signed verso and priced at $4,200. Daniel LaRue Johnson (African American, b. 1938, active in New York). Dimensions: 60" x 60". Condition: Generally good, with wear to edges and light scuffs. Unframed. As found in a storage unit.
JOHNSON, Daniel La Rue. Abstract Oil on Canvas.Signed and dated 71 verso. Daniel LaRue Johnson, African-American, b. 1938. From an NYC storage facility. Dimensions: 60" square. Condition: Surface staining and scuffing. Unframed. Moisture drips along mid to lower left and upper right. Wear to edges.