[Wordsworth, William, Mary and Dora] - Fenwick, Isabella - A collection of manuscript material comprising:1) Wordsworth, William "The Pine Tree upon Monte Mario", Autograph Manuscript Poem, signed; 15 lines including title, with at foot: "Rydal Mount, St. Peter's day (June 29th), 1843. Transcribed for my beloved friend Isabella Fenwick, Wm. Wordsworth", one sheet, 23 x 19cm., few small creases, light spot or rust-mark at centre fold 2) Dora Quillinan [neé Wordsworth] A.L.S. to Isabella Fenwick "My beloved Miss Fenwick", a poignant letter, written two months before Dora's death in July 1847, "I must with my own hand send you one line of loving "farewell" & express the deep gratitude of my peaceful heart to you for the tender affection you have showered upon me... I know that you will not cease to pray for me & my beloved parents & my broken hearted husband..., 2pp., 24 May 1847 3) Wordsworth, Mary A.L.S. to Isabella Fenwick "Poor Mr W! his heart sinks at the thought of so long an absence were he to visit the continent without coming to see us - & indeed Rome being the long wished for object of his desire.... he adds to this in his last letter: 'Dora get well & go with me & perhaps dear Miss Fenwick may be well enough to be of the party. She, I rejoice to say, is almost well...", referring to Dora's illness, "Our dear little friend Kate Southey left us on Sunday, with the the intention to return to accompany Dora on a short journey - by the Lake - & along sands towards the sea coast..... How glad I should have been my dear Miss F. had it been in Mr Wordsworth's scheme of pleasure to have visited you at your own home.... Dora & her friend Kate, who are both too much addicted to almost a diseased home-clinging agreed that there was no person whom they could with so much pleasure go to visit as dear Miss Fenwick & if I may add, for myself, that I was not slow to be in sympathy with them", 8 pp., on two sheets, June 27th, [1836] 4) Wordsworth, Mary A.L.S. to Isabella Piotrowski (neé Fenwick), 8pp. (2 sheets folded), referring to Isabella Fenwick and Fanny Wordsworth's health, having "my dear sister & her two daughters settled in Grasmere", the Quillinans "in their usual happy way", referring to strangers "the Derwent Coleridges & their sister Edith" 5) Manuscript of Wordsworth's poem dedicated to Isabella Fenwick, in an unknown hand: "The Star which comes at close of Day to shine", headed at the top to the dedicatee "I[sabella] F[enwick].", at foot: "Rydal Mount, Feb. 1840. Bright is the star which comes at even to shine More heavenly bright than when it leads the morn, And such is friendship, whether the forlorn" 19 lines including dedicatory initials, one leaf, 23 x 18cm., slight loss to lower margin, small hole to upper margin not affecting ms. 6) Autograph of Wordsworth's poem, in an unknown hand: [On a Portrait of I[sabella] F[enwick], painted by Margaret Gillies] "We gaze - nor grieve to think that we must die and part But that the precious love this Friend hath sown Within our hearts - the love whose flower hath blown Bright as if Heaven were ever in its eye"... Rydal Mount, New Year's Day, 1840, William Wordsworth, dictated to Isabella Fenwick" 16 lines in total, one leaf 7) Southey, Katharine A.L.S. to Isabella Fenwick, thanking her for the pretty dresses [which] "will certainly be favourites with Papa as he likes to see us gaily attired and often tells us that it is a part of our duty to wear bright dresses, referring to Dora, Fenwick's gift of Abbott's "Young Christian" and his "Corner Stone which Papa brought with him", reminiscensing about her stay, referring to Papa "looking Better... & I need not say working hard", "The acceptable addition to his income for which we are all indebted to Mr Taylor & Sir R. Peel's kindness has made him happy in one way, for it enables him to look forward to writing his History of Portugal & other things which he has so long been desirous, tho' unable to do", saying of Bertha and her "we try to be content and submissive to our Heavenly Father's will, so beautiful an example as we have daily before us in Papa" who "always recommends us to look to the bright side of thing", 3pp, Keswick, 5 May 1835 8) Fenwick, Isabella 3 Autograph Letters Signed, to her niece Isabella Piotrowski (neé Fenwick). First Letter: Keswick, 4 April 1843, referring to Wordsworth, the death of Southey "dear Kate says "I never thought of my father as dearer than other men, I only thought he was better", and referring to Wordsworth being offered the Laureatship "Mr Wordsworth has been offered the Laureatship but has declined the honour - it was he said too late in life to undertake any new duty - for he could not view it exactly as a sinecure", saying she "wished I could send you a little Poem Mr W- has been writing on the subject of Grace Darling, the Northumbrian Heroine", with a postscript stating that "The old Poet is to be the Laureate. The Queen would not accept his refusal", 2 leaves, postmark excised with loss of a couple of words; 2nd Letter: Ambleside, March 1, 1845, recounting her visits including with the Wordsworths to William Whewell (1794-1866) at Cambridge, 4 pages, (1/4 of 2nd page torn away). 3rd Letter: The Gale, Ambleside, 6 May 1840, about moving into The Gale, 2pp. 9) Manuscript copy of William Wordsworth's poem "We are Seven", in an unidentified hand, 17 verses on 1 sheet, verso and recto, 19 x 30cm., now split along fold in two, small portion of verse 4 and 8 torn away affecting a few words, two small splits where once folded affecting a few letters, one small hole affecting one word 10) Manuscript copy of William Wordsworth's poem "Goody Blake and Harry Gill. A true story", in an unidentified hand, on two sheets, originally 19 x 32 cm., now split in four sheets, 129 lines including title at head of page 1, a few small holes where previously folded 11) Fenwick, Hannah (b. c.1782; sister of Isabella Fenwick). Autograph diary 1799-1800, Autograph Journal, partly disbound, partly in wrappers, c. 250pp.; manuscript verse, copies of contemporary poetry, including "A Portrait" (published in Edinburgh Annual Register for 1810, under title "A Character", p.ci-cii); 2 autograph letters from Henry Taylor to Isabella Piotrowski (neé Fenwick), 1856; 9 A.L.S. from Louise Fenwick, in French, to her sister Isabella Piotrowski [neé Fenwick], c.1840, most c/o their Aunt at Gale House, Ambleside; 6 A.L.S. from Aunt Sophia to Isabella Piotrowski, & 1 to Mina, 1868-69; A.L.S. from Louisa Elrington [neé Fenwick] to her brother Robert Orde Fenwick, 1 sheet, folded. Ambleside, 12 Dec. 1845 referring to "Mrs Quillinan restored to health by the climate of Portugal"; A.L.S. from Lady Cranworth to Isabella Piotrowski commenting on Isabella Fenwick's failing health, [c.1870]; Autograph letters from Louise Elrington [neé Fenwick] to her sister Belle [Isabella Piotrowska (neé Fenwick)], 1860's; Autograph letters from Julia Elrington to her cousin Mina, 1879-70; 12) Carte-de-visites including those of R. Fenwick Piotrowski, Phoebe & Creswell Desmond, Isabella Piotrowski, Jemima Quillinan "Mima" and Rotha Quillinan 13) Autograph Poem, in an unidentified hand, "To a Squirrel on a tree behind Mr Wordsworth's House, June 18 1845", 14 lines, also inscribed "John Morley, Salutation Inn, from Egerton, nr Bolton le Moors, Lancashire", 10 x 6cms.; another early copy of this poem in another hand, with the same date 14) Autograph Poem, in an unidentified hand, of Wordsworth's Poem "Sacred to the Memory of Robert Southey", commencing "Ye Torrents, foaming down the rocky steeps", 10 lines, undated, 18 x 11cm. 15) Commonplace Book, c. 148pp., inscribed "D. Robertson, the extracts were made by the late Mrs Fenwick of Lemmington", verses, extracts, religious reflections, prayers, hymns, &c., c.1800; A Lament by Robert Orde Fenwick, Song by Miss Hannah Fenwick, poem "To Fancy, address'd to her sister Isabella by Miss [Hannah] Fenwick, Lemmington, 1801, and other verses, contemporary calf, rubbed, cover detached 16) Manuscript poem by person unknown, headed "Wordsworth 1832" "Bard, who in simplest matter dost explore The beauty which in all things hidden lies, Loving to penetrate the secret store, In common for, of unseen harmonies"... 12 lines, Wadham College, Oxford, one page, within envelope addressed to Miss Fenwick, R. Thorp Esq., Bailiff Gate, with note written on inside envelope "One of the enclosed is for a memorandum of the man's own making on our delightful visit... I am sure Henry will be vexed in he has not your own account so he has mine alone" 17) Silhouette of William Wordsworth, inscribed in pencil "Silhouette of Wordsworth found among the old letters from Rydal Mount his home", sheet 20 x 12cm., torn without loss 18) 14 photographs of female members of the Thorp and Fenwick families, c.1890-1900 19) Fenwick, Robert Orde. The Goblin Groom, at Tale of Dunse. Edinburgh, 1809. 4to., inscribed "To Isabella Piotrowski from her affec. mother & sister in remembrance of the author, Dec. 29th 1852", pencil drawing of Lemmington Hall, Northumberland pasted in before half-title, contemporary calf, worn 20) Miniatures of Nicholas Fenwick; Mrs N. Fenwick (neé Dorothy Foster); Louisa Elrington (née Fenwick), daughter of Robert Orde Fenwick; Mrs Peareth, sister to Nicholas Fenwick; Dolly Robinson (two portraits); Lady Ventry, sister of Robert Fenwick's wife 21) Piotrowski, Isabella (neé Fenwick) Journal in French and English of her travels to Ireland and Britain, 17th June 1839- Dec. 1840, including period of her visit to her Aunt, Isabella Fenwick, at Ambleside (commencing 30 May 1840), numerous references to the Wordsworths, Edward Quilinnan's reading of his story The Moor of Andalucia, the visit of the Queen Dowager (spouse of William IV) to Wordsworth, Bible readings, sermons, visit to the Halsteads with Wordsworth 5 Oct. 1840, "Afterwards my Aunt read me one or two of Wordsworth's poems...", "W. was very funny yesterday. When Dora told him I was coming, when going to fetch me; "What Isabella again!" he exclaimed. It appears he did not know Aunt was out. He then said had he known it he would have come to keep me company. He was sure Aunt would have let him in. Returned after tea with darling old Poet..." (27 June 1840). &c., two 4to. notebooks, c. 54 + 88pp., marbled wrappers, worn, one with wrappers detached; and 12mo, 88 pages, contemporary calf 22) Taylor, Henry St Clement's Eve. 1862, inscribed "E.I. Thorp, from her affect. ?son, 1862", original cloth; [Idem] Notes from Books. London, 1849. 8vo, inscribed "E.I. Thorp from my dear husband 1851", original cloth; [Idem] Philip van Artevelde, a Dramatic Romance. London, 1834. 2 volumes, 12mo, inscribed "E. Tudor, July 1834, Bagbro' House", half calf 23) Manuscript copy of Samuel Taylor Coleridge's poem "The Good Great Man" [1st published in The Morning Post, 23/9/1802], one leaf, in an unidentified hand Estimate £ 15,000-25,000 Note: Henry Taylor (1800-1886), English dramatist and poet, official, and well-connected man of letters, met William Wordsworth and Robert Southey on a visit to the Lake District in 1823. Jane Taylor had a first cousin Isabella Fenwick (1783–1856), and it was Henry Taylor who introduced Isabella to the Wordsworth family. Isabella was the daughter of Nicholas Fenwick, of Lemmington Hall, Edlingham, near Alnwick in Northumberland, and his wife Dorothy Forster, who was the first cousin of Henry Taylor's step-mother. Taylor's tribute to his cousin's mind and character and his account of her relations with the Wordsworths are found in his Autobiography of Henry Taylor, (2 vols; London: Longmans, Green and Co., 1885). "Isabella Fenwick first signed the visitor's book at Rydal Mount in June 1831 though she probably met the poet first a year or two earlier. She spent months at a time as a guest of the Wordsworths before moving to Ambleside in 1838 to be close to her friends at Rydal Mount. In August 1838 she wrote to her cousin Henry Taylor that Wordsworth often visited her cottage, Gale House, at Ambleside, as a "refuge" from the crush of up to 30 visitors a day at Rydal Mount and for a month he and Mary Wordsworth were her guests there in February 1839. They conversed for hours at a time but Wordsworth also recited or read aloud to her portions of The Prelude, which he was then revising.... Isabella Fenwick often walked with Wordsworth among the nearby valleys and fells surrounding Lakes Windemere, Rydal Water and Grasmere, places that held so many associations with his poetic life. This woman of intelligence, imagination and strong affections in some sense filled the gap left by Wordsworth's sister Dorothy in her debilitating illness, and his letters to her in her absence from Ambleside and Rydal Mount vividly attest to his deep affection for her. Trusted and loved as much by Mary and Dora as by Wordsworth himself, she was the mediating force which made possible Dora's marriage to Edward Quillinan in April 1841.... Later, when work proceeded with the publication of Poems, chiefly of Early and Late Years, Isabella Fenwick undertook to copy large portions of the text for the printer. A few months later, probably late in 1842, Wordsworth accepted her offer to take dictation of his notes to the poems, and they commenced work in January 1843. They completed their work six months later at Rydal Mount June 24th 1843. Among those outside the family, and many within it, there was no one better qualified for such a task, no one so in tune with its aim and spirit." (Jared Curtis, The Fenwick Notes of William Wordsworth.) Dora and Edward Quillinan copied Isabella's notes into a leather bound folio notebook for use by family and friends, completing this task on 25th August 1843. None of Isabella Fenwick's original transcription of the dictated notes survives. "Two recent tours with family and friends provided impetus for his composing the ["Fenwick"] notes at this time. The first was in the summer of 1840 when Wordsworth, his wife Mary, their daughter Dora, Isabella Fenwick and her niece [also Isabella Fenwick (later Piotrowski)], and Edward Quillinan and his elder daughter Jemima, travelled through the Duddon valley, visiting scenes Wordworth had known from his days at Hawkshead School and written of in The Prelude, The Excursion, The River Duddon, and in a number of descriptive poems centred on Black Combe... The second tour included his visits to Tintern Abbey in the Wye valley, and to Alfoxden and the Quantocks just before and after his daughter Dora's marriage to Edward Quillinan in the spring of 1841... Of this second leg Isabella Fenwick wrote to Henry Taylor of their visit to Wells, Alfoxden, &c.: "He was delighted to see again those scenes... where he had been so happy - where he had felt and thought so much. He pointed out the spots where he had written many of his early poems, and told us how they had been suggested" (Jared Curtis, The Fenwick Notes of William Wordsworth, p.12-13). Curtis notes that "without the presence and encouragement of Isabella Fenwick, however, it is unlikely that the notes would have been composed at all." Footnotes: 2) Dorothy "Dora" Wordsworth, the only surviving daughter of the romantic poet William Wordsworth, immortalised in Wordsworth's poem, The Triad. Dora was devoted to her father and had a significant influence on his poetry. Their relationship was especially close. In 1843, with Isabella playing a crucial intermediary role, Dora married Edward Quillinan aged 39 against her father's strong opposition, and in 1847 died of tuberculosis. After her death, her father, distraught, planted hundreds of daffodils in her memory in a field beside St Mary's Church, Rydal, now owned by the National Trust. 3) A long news-filled letter from Mary Wordsworth, wife of the poet, to Isabella Fenwick, who seems to be the godmother of one of Mary and William's children, disusssing Mr Wordsworth's plans, Kate Southey, the health of her daughter Dora Quilllinan [neé Wordsworth] and the ecclesiastical appointments of her son William. 5) Wordsworth's close friend, Isabella Fenwick, to whom he dictated what are now known as the "Fenwick Notes" is immortalised in two poems by the poet, The Star which comes at close of Day to shine, and On a Portrait of I.F., painted by Margaret Gillies 9) We are Seven was first published in Lyrical Ballads in 1798. This version differs from the published version in having "handkerchief" for "'kerchief" in verse 11. 10) Goody Blake and Harry Gill was first published in Lyrical Ballads in 1798. This version differs from the published version in several instances; for example, in the third verse of the present manuscript the line reads "Ill fed was she, and thinly clad", and the published version read "Ill fed she was." Isabella Fenwick's notes in the published edition: "Written at Alfoxden, 1798. The incident from Dr. Darwin's Zoonomia. Thomas Thorp, 1797-1877, was educated at Trinity College, where he was elected a scholar in 1817, and a Fellow in 1820. " He held a number of College offices, including a tutorship and the vice-mastership (1843-4). Thorp is closely associated the Cambridge Camden Society, of which he was president for twenty years. The Society derived considerable support from William Whewell, Master of Trinity, [whom Wordsworth visited with Isabella Piotrowski [neé Fenwick] in 1845]. Thorp was strongly influenced by Romanticism and Wordsworth's appropriation of whatever was 'pure and imaginative, whatever was not merely utilitarian, to the service of both Church and State."... Influenced by the Oxford Movement, he once said that Wordsworth might be considered among the founders of the Society" [https://trinitycollegechapel.com/about/memorials/brasses/thorp/ ] The archive also contains some typed transcripts of autograph letters which are no longer present in the archive. A substantial, fascinating and hitherto undocumented archive relating to an intimate friend of one of the greatest English Romantic poets. Provenance: By descent from Dorothy Tudor [née Fenwick], sister of Isabella Fenwick (1780-1856) - Elizabeth Tudor (married Thomas Thorp) - W.T. Thorp - R.W.T. Thorp - R.J.F. Thorp - S.A.R. Thorp. Sold for £42,500 (buyer's premium included)
James Theodore Elrod Georgia (1952-2000)
GINNY'S TOWN
acrylic on canvas, unframed, signed: lower right
H11" W48"
Provenance : Purchased from the artist's estate.
Other Notes: Jim was born in Atlanta, Georgia on November 30, 1952. He was the second son to Charles and Gloria Elrod. Jim was raised off Stewart Avenue and graduated from Sylvan High Scholl in 1970. His passion was the Woodstock era and the movements that came with that style of music and flower children effect. Most of his early art, consisted of flowers and pottery paintings from that era. Jim's art brought out the happier times in his life. One of the fondest paintings centered around a Navy leave homing coming from his dad meeting his mother at the house. Jim spent a lot of his early years at his grandparent's house on Roswell Road in which he did a painting of those moments.
In later years, Jim grew to be a loner and resided in a singlewide modular home in Douglasville, Georgia from the middle 1970's up until 1999. During that time frame, Jim spent most all of his days and nights reflecting on happy memories. There were so many times my mother would ask that I go by and check on him because days, sometimes weeks, would pass before he would take himself away from his painting. His love for his painting would take him to another place in time. Hours, days and weeks ran together as if time stood still.
Christmas and birthdays would light up with paintings Jim would present to his nieces, nephews and other family members. It was such a joy to receive these paintings, as we all knew they were from his heart and were thoughts for that particular individual. Priceless memories.
Jim moved to St. Simons Island, Georgia with his mother in early 1999 after the passing of his father in 1998. Galleries throughout St. Simons Island has [have] displayed Jim's paintings consisting of Christ Church, The Lighthouse and the Pier, which are historic landmarks on St. Simons Island.
In 2000, Jim wrote a short letter to Britt (our older brother) and me. In this letter he expressed his feelings and how his art was the only happiness he endured and that his work was complete. Jim took his life the following day, which was on a Sunday.
The following Monday I went to the galleries on St. Simons Island and brought all his artwork back to Villa Rica, Georgia to be stored. In memory to my brother, I would like for his work to be seen again. Hopefully you and others will see and be touched by the passion Jim had for his work throughout his paintings.
Biography by: John B. Elrod (brother of the artist)
December 5, 1826 JOHN TYLER Signed Sheriffs Appointment as Governor of Virginia: Autographs. "John Tyler" Appointment as Governor of Virginia. JOHN TYLER (1790 - 1862). Tenth President and Vice President (1841) of the United States (1841-1845) following the death of William Henry Harrison, Annexed Texas from Mexico, and he remained loyal to Virginia following its Secession from the Union, served as a Virginia State Legislator, Governor, U. S. Representative, and U. S. Senator. December 5, 1826-Dated, Partially-Printed Document Signed, "John Tyler" as Governor of Virginia (December 10, 1825-March 4, 1827), Choice Very Fine. This Document is 1 page, measuring about 7" x 7. 75", being an official Appointment of Samuel Williams as Sheriff. Boldly printed in deep black and manuscript portions written in rich brown ink on quality clean wove period paper, having a sharp, full embossed official red Wax and Paper Seal at lower left. Clean and bold in appearance, having excellent eye appeal for display. John Tyler (March 29, 1790 - January 18, 1862) was the tenth president of the United States from 1841 to 1845 after briefly serving as the tenth vice president (1841); he was elected to the latter office on the 1840 Whig ticket with President William Henry Harrison. . Tyler ascended to the presidency after Harrison's death in April 1841, only a month after the start of the new administration. He was a stalwart supporter of states' rights, and as president he adopted nationalist policies only when they did not infringe on the powers of the states. His unexpected rise to the presidency, with the resulting threat to the presidential ambitions of Henry Clay and other politicians, left him estranged from both major political parties. . Tyler, born to a prominent Virginia family, became a national figure at a time of political upheaval. In the 1820s the nation's only political party, the Democratic-Republicans, split into factions. He was initially a Democrat, but opposed Andrew Jackson during the Nullification Crisis, seeing Jackson's actions as infringing upon states' rights, and criticized Jackson's expansion of executive power during the Bank War. This led Tyler to ally with the Whig Party. Tyler served as a Virginia state legislator, governor, U. S. representative, and U. S. senator. He was put on the 1840 presidential ticket to attract states' rights Southerners to a Whig coalition to defeat Martin Van Buren's re-election bid. . With the death of President Harrison after just one month in office, Tyler became the first vice president to succeed to the presidency without election. He served longer than any president in U. S. history not elected to the office. . To forestall constitutional uncertainty, Tyler immediately took the oath of office, moved into the White House, and assumed full presidential powers, a precedent that governed future successions and was codified in the Twenty-fifth Amendment. While Tyler did sign into law some of the Whig-controlled Congress's bills, as a strict constructionist he vetoed the party's bills to create a national bank and raise the tariff rates. Believing that the president should set policy rather than Congress, he sought to bypass the Whig establishment, most notably Kentucky Senator Henry Clay. . Most of Tyler's Cabinet resigned soon into his term, and the Whigs, dubbing him His Accidency, expelled him from the party. Tyler was the first president to see his veto of legislation overridden by Congress. Although he faced a stalemate on domestic policy, he had several foreign-policy achievements, including the Webster-Ashburton Treaty with Britain and the Treaty of Wanghia with Qing China. . The Republic of Texas separated from Mexico in 1836; Tyler, a firm believer in manifest destiny, saw its annexation as providing an economic advantage to the United States, and worked diligently to make it happen. . He initially sought election to a full term as president, but after failing to gain the support of either Whigs or Democrats, he withdrew in support of Democrat James K. Polk, who favored annexation. Polk won the election, and Tyler signed a bill to annex Texas three days before leaving office. Under Polk, the process was completed. After the American Civil War began in 1861, Tyler joined the government of the Confederacy; he won election to the Confederate House of Representatives shortly before his death. . Although some have praised Tyler's political resolve, his presidency is generally held in low regard by historians. He is considered an obscure president, with little presence in American cultural memory.
Capt. George Randolph Dyer AQM--Lincoln-Signed Commission and Pilot Knob Archive Comprising an early eagle mast head commission partially printed on vellum 12.25 x 15.75 in. matted framed and glazed 14.25 x 17.25 in. dated 21 February 1862 appointing George R. Dyer as Assistant Quartermaster of Volunteers with the rank of Captain. Signed by Abraham Lincoln (1809-1865) as President and Edwin M. Stanton (1814-1869) as Secretary of War (1862-1868) with a later conveyance letter from the Adjutant General??Ts Office; plus the earlier formal appointment letter to George R. Dyer signed by Secretary of War Simon Cameron (March 1861-January 1862). The archive portion consists of 31 file folders 24 of which contain primarily wartime personal correspondence coinciding with Captain Dyer??Ts assignment as Assistant US Quartermaster at the Pilot Knob Missouri post. The letters span January 1862 to July 1865 but are scant on details regarding the quartermaster operation at Pilot Knob (in fact Geo. Dallas Dyers??T letters are more illuminating). Additionally there are several pieces of interesting ephemera including Captain Dyer??Ts original 1885 GAR membership certificate from the Baxter Springs Kansas Post No.123 an 1864 dated military railroad pass original telegrams and two manuscript documents written and signed by noted abolitionist and educator General Clinton B. Fisk (1828-1890) a personal friend of George R. Dyer. Rounding out the lot are eleven civilian portraits (five are duplicates) of George Dyer taken between the late 1870s (a cdv) and 1892 (mostly cabinet cards) including one view of the regal old gentlemen wearing his MOLLUS medal. A file of 19th century manuscript Dyer biography and George??Ts printed 1895 MOLLUS ?In Memoriam? pamphlet complete the lot. George R. Dyer??Ts Pilot Knob letters contain no battle content and very little concerning the day-to-day operations of the quartermaster department at the post. There are large gaps in the letters and most consist of newsy correspondence between various friends and family members living back in Chicago Elgin and Plainfield Illinois. Even at the Pilot Knob post the presence of family is evident??"the captain??Ts son George Dallas Dyer worked as a clerk and died there in 1863 while Mrs. Dyer seems to have visited her husband with some regularity during the war. As the tempo of operations moved further south after 1862 Pilot Knob became something of a Missouri backwater albeit for sporadic guerrilla warfare that flared in a region dotted with Rebel sympathizers. The letters hint at legitimate business dealings as the buying and selling of ?contraband horses and mules? became a reoccurring theme. The quartermaster seems to have also speculated locally in food supplies and animal fodder systematically ?hauling it in teams? from a radius around the post. Captain Dyer who frequently complained of ill-heath was able to take leave on occasion and just happened to be absent ?in the North on sick leave? in September 1864 the one time Pilot Knob came under attack during Sterling Price??Ts ill-fated Missouri Invasion. After 1863 Captain Dyer hinted once or twice at pursuing loftier goals ??" a staff position with General Fisk ??" but remained at his post until his resignation from the army on May 15 1865. A few excerpts from the letter collection: September 10 1861 from Patience Huntington Dyer??Ts sister: Not all in Illinois were stirred by the prospect of war and buoyed by patriotism. George sister was terse in her feelings: ?I am about to employ all my powers of argument and persuasion to prevent you joining the army. Under other circumstances it might be your duty. Were your wife in vigorous health and your children (not so young) and your own health firm I would say no word to prevent it??|but our patriotism must not make us forgetful of the virtues we owe to those for whom none can be a substitute??|? Having reconciled his conscience with family responsibilities George Dyer enlisted on October 31 1861. The centerpiece of that decision is the Lincoln signed commission and accompanying War Department paperwork rarely found together after 150 years. January 8 1862 to his wife Elizabeth (Howell Kimball) a long letter: Already Captain Dyer confesses his loneliness writing that the pain of being separated from his children is ?harder than I thought it would be.? He hopes to return home ?some time next month? if he can get a leave of absence. George briefly describes his duties ?I have a vast amount to attend to? and tells Elizabeth that ?George (their eldest son George Dallas) arrived the 2nd day of this month and has done very well since he came??|? He offers some insight into business matters ?We sold 52 horses & mules that had been taken from the enemy I had to sell them. They brought 1300. They were very poor and small (and) sold rather low. Some were good but I did not buy for I thought I would rather send all the money home I could for you.? The letter includes a lengthy list of goods that Elizabeth should bring to Pilot Knob ??" ?towels butter tea a lamp or two? ??" as ?some items can??Tt be had in this country.? He will express his pay ?Only 156 dollars instead of the 200 as I expected but I hope to have George have 60 per month which will help pay for being scattered all over the world.? The family might have been experiencing some financial difficulties as Capt. Dyer then rationalizes the quartermaster job lamenting ?If I can stand it for one year it will help my family some and that is all I am at work for.? He gives some instructions relating to the livestock management at the Plainfield farm and concludes by asking Elizabeth to send ?my cane for it would help me to get through the mud which is very deep.? September 15 1862 to sister Patience: Young George Dallas Dyer has left his Pilot Knob clerkship and joined the army. A proud but fearful Captain Dyer writes ?My poor boy only 17 years old gone to defend his country. Sister he is a fine boy manly as most men of 25 years (see George??Ts military cdv) & capable of doing any kind of business??| He has gone & I hope he will do his duty. He is the youngest man in his company & is the captain. They all like him & I hope he will return the confidence of his company??|? November 2 1862 from Lt. W.F. Crain 5th Illinois Cavalry: A mundane request asking Captain Dyer for his help in locating and recovering ?a dozen lost or stolen horses? from the regiment. The animals were left at Pilot Knob and were due to be returned by cavalrymen convalescing in the hospital. A newspaper article dated January 8 1863 reported on an abundance of new from Pilot Knob giving scope to the quartermaster operation there as well as featuring the approbations of Captain Dyer??Ts peers who had presented him with a ?superb gold watch? on New Years Eve. The correspondent noted ?An air of unusual bustle and activity pervades this usually quiet town caused by the arrival of 300 wagons from General Davidson??Ts Division Army of Southeast Missouri. They are now loading with commissary stores for his army??|? destined for Little Rock. The article quoted the lengthy testimonial ?engraved on the case? and showered platitudes ?Our Government has been blessed and cursed with many faithful and unfaithful disbursing officers but few who stand so noble and deservingly high as Captain Dyer where is known and appreciated.? The author noted that Captain W. L. Banning was ?relieving him (Captain Dyer) of the duties of the Commissary Department from January 1st.? What follows in an extended gap in the letters. The next two letters written to Captain Dyer at Pilot Knob date to June 1863 from a Joliet friend named Willis Danforth formerly Captain Company F. 13th Illinois Cavalry. June 1 1863: Danforth writes at length conveying the conditions in Joliet and mentioning ?speculators and traitors.? He is spiteful of ?Vallandigham Copperheads? and complains that soldiers and those serving in the army get no respect. He mentions Colonel (Frederick A.) Bartleson of the 100th Illinois a local Joliet hero later killed at Kennesaw Mountain and finally asks Captain Dyer to intercede on his behalf with General Davidson as there are ?charges pending? against him ostensibly having to do with a forged signature for payment. Captain Danforth had resigned from the army on February 7. A prominent Chicago homeopathic doctor and medical instructor Danforth would be exonerated and restored as surgeon of the 134th Illinois. He later gained notoriety as one of the five physicians who gave testimony at Mary Todd Lincoln??Ts insanity trial in May 1875. Danforth??Ts testimony was said to be ?particularly damning? to Mary's cause ultimately forcing her into Bellevue Place a private mental institution in Batavia Illinois. In a follow-up letter dated June 9 1863 Danforth wrote of a little known incident in Chicago that fundamentally challenged the very basic First Amendment principle of free speech. The Democratic leaning Chicago Times newspaper had published articles supporting the controversial Clement Vallandigham who had been arrested and convicted by a military court of ?uttering disloyal sentiments.? District commander General Burnside ordered the paper suppressed and publication was suspended under armed Federal guard. Groups of armed citizens from rival political factions begin congregating and troops from nearby Camp Douglas patrolled the streets in the midst of rising tensions and vocal threats by angry Democrats to ?gut the Tribune office? (the Chicago Tribune the Republican mouthpiece). Chicago was a tinderbox and Danforth an eyewitness inferred that ?a single pistol shot fired by some disorderly drunkard would have exploded the whole machine & cost at least 900 lives??"fortunately the occasion passed without any accident.? Danforth added that ?W.B. Ogden (Chicago Mayor) and some few Republican friends joined the terrified Democrats in petitioning honest old Abe to revoke Burnsides order??"which was done the next day & freedom of the press restored and (indignantly) such freedom!? He ended the letter with the observation that ?Chicago is standing still no growth but money is plentiful ? adding that the city is in the midst of ?diphtheria? outbreak. September 19 1863: The long summer gap in Dyer??Ts letters is unexplained. However this original double-sided telegram exchange between Captain Dyer and General Clinton Fisk reinstated Captain Dyer to duty at Pilot Knob. Dyer requested that he be reassigned to the post and General Fisk quickly accommodated ?BG Allen/CQM/St. Louis Mo./ If agreeable to yourself I would be glad if you would relieve Capt. S.H. Moore AQM from duty at this post (Pilot Knob) & assign to the vacant place Capt. Geo. R. Dyer again./(signed) Clinton B. Fisk/BG.? On the same day son George writes his father from Pilot Knob with the news that the captain had been reinstated to duty and included a verbatim transcription of the earlier telegram from General Fisk to General Allen. Attached to the letter is a small 3.50 x 2.25 in. printed ?St. Louis & Iron Mountain Railroad Pass? filled out to ?Captain G.R. Dyer & family? good for 1864. Also a missive entitled ?4 Rules of Live.? October 20 1863: A extemporaneous tongue-in-cheek three stanza rhyme written on the front of a large envelope by General Fisk to Captain Dyer from ?Head Quarters D.S.E. Missouri/Pilot Knob.? One stanza will serve to convey some unknown but deliberate frivolity at play ?Respectfully returned to Captain D./Who smokes his pipe from dinner to tea/With information from General Fisk/ That playing with sick is attended with [risk].? The playful rhyme hints at some shared secret and underscores the bond between the two officers and friends. November 2 1863: A two-sided letter from brother Dr. Charles V. Dyer who writes from Geneva Switzerland with much travel news from the past several months indicating that he ?had been to Africa to establish my court.? Charles Dyer had been appointed by President Lincoln in 1863 ?as judge of the mixed court at Sierra Leone for the suppression of the slave trade.? November 17 1863: Young George Dallas Dyer died at Pilot Knob on November 13 of gastroenteritis. Captain Dyer was devastated by the loss of his son and this heartfelt letter from S.J. Kimball the husband of Dyer??Ts sister Patience offers sympathy and advice for finding solace ?Look to God for support for the Bible alone can direct us in time of affliction.? December 11 1863: To Capt. Dyer from Uncle Alonzo Huntington. Another condolence letter in the wake of George??Ts untimely death offering what else but more Biblical support. September 17 1864: After another long gap a parting letter from Clerk Charlie Price to Capt. Dyer as he leaves Pilot Knob traveling back to Plainfield on business or sick leave. Price relates an interesting bit of news saying ?the photographer Hunt at Ironton (was) arrested & put in the Guard House last night for feeding secreting & assisting Rebs.? There is no suggestion that Confederate General Sterling Price is poised to invade Missouri later in the month with his Trans-Mississippi Army. Captain Dyer missed the battle of Pilot Knob (September 27) where Price captured Fort Davidson while suffering crippling casualties that allowed the Union army to escape. September 19 1864: Another short letter from Clerk Charlie Price informing the absent Captain Dyer of the state of affairs at Pilot Knob. Price assures Dyer that everything is well and that he will update and keep him ?informed as necessary.? Still no hint of impending battle. September 20 1864: Another short communication letter from the ever efficient Charlie Price ?Everything running in pretty good shape. Rice still acting as Forage master and speculating in hay. We posted in shops this morning the following Order: -NOTICE-/It is hereby positively prohibited to manufacture or repair any other than Government Stores at this shop. Except by Special Order from this Office. All employees transgressing this rule will be discharged without pay and will be reported to the Commanding Officer for severe punishment./Geo. R. Dyer/Capt.AQM.? November 4 1864: A short note on ?Head Quarters St. Louis? letterhead from General Fisk acknowledging Capt. Dyer??Ts request for a letter of recommendation to be forwarded to Secretary Stanton ?in securing advancement for you.? Fisk adds ?I would be glad to see you promoted and trust that you may be signed Clinton B. Fisk/Brig. Gen?. March 8 1865: A full page manuscript letter from General Fisk answering Captain Dyer??Ts earlier inquiry regarding a position on Fisk??Ts staff. The general responds ?I would be much pleased to be able to confer upon you my former faithful staff officer any position of honor or trust within my gift ? but Fisk doubts that he will get another command and demurs without offering a firm answer. ?Colonel Beveridge and the officers of the 17th Illinois Cavalry? are mentioned in closing. Fisk had been brevetted and the letter is now signed as ?Maj. Genl.? The last letter from July 1866 illustrates Captain Dyer??Ts transition from military to civilian life. Captain Dyer resigned from the army on May 15 1865 and returned home to Joliet Illinois. George Randolph Dyer??Ts original hand written biography later edited and published in the 1878 History of Will County is included as is the MOLLUS ?In Memoriam? pamphlet printed at the time of his death in 1895. The first is by far the most comprehensive history of Dyer while the second ??" composed by committee ??" focuses necessarily on his military service and bears annotations in the hand of cousin Mabel E. Green. George Randolph Dyer was born in Clarendon Rutland Country Vermont on June 3 1813 from a lineage of illustrious ancestors going back to 13th century England. Among his early Colonial brethren were Roger Williams of Rhode Island and the unrepentant Quaker Mary Dyer martyred on Boston Common in 1660. Dyer??Ts father Daniel Dyer had served in Revolutionary War and George Randolph later inherited the commission signed by John Hancock. Educated at Rutland Academy in Vermont George trekked westward in 1834 to Chicago then little more than a small settlement and trading post on Lake Michigan followed by his older brother Dr. Charles V. Dyer who later served as post surgeon at Fort Dearborn. George then moved to Milwaukee and during that time aided in the organization of the territory of Wisconsin in 1838. George surveyed ?the Fox River with a view to using that stream as a feeder for the Illinois canal.? In 1841 he sold his Chicago holdings and relocated to Will County Illinois becoming one of the earliest settlers in the area. There he acquired farmland near present day Bolingbrook-Plainfield. For the next decade George and his wife Elizabeth H. Kimball of Elgin Illinois engaged in farming and stock-raising adding to their modest wealth while raising six children. The other characters in our story of our lots sons George Dallas Dyer and Daniel B. Dyer were both born on the Will County farm. Both boys helped to work the property as dark war clouds descended across the land. Sometime during the 1840s George Dyer befriended a young lawyer named Abraham Lincoln who was then traveling the state as a circuit rider (1840-1847). There is reason to believe that Lincoln occasionally stayed at the Dyer farm during the decade thus the source of an undefined friendship that survived into the Civil War years. George and brother Charles Dyer became committed Abolitionists during the 1850s and fairly early on family story relates that the George Dyer??Ts Plainfield farm was surreptitiously used as a way station on the Underground Railroad. In 1856 George Dyer was elected Sheriff of Will County residing in Joliet the county seat where he became acquainted with like-minded politicians and influential power brokers of the anti-slavery Republican Party founded in 1854. By 1860 George and Charles could claim sufficient stature as party loyalists to be named electors in the Republican nominating convention where all energy was focused on launching the states??T favorite rustic son Abraham Lincoln ??" soon to be known as the ?Rail-Splitter? ??" on a course toward the Whitehouse. Captain Dyer??Ts war years as Assistant Quartermaster at Pilot Knob are well documented by the important Lincoln signed commission and the letter archive offered for sale here. Following the war Captain Dyer returned to Joliet and according to the History of Will County ?entered the hardware trade continuing in that until 1870 since which time he has not been engaged in active business.? Dyer??Ts earlier letters suggest lifelong health problems yet he lived until 1895. In retirement he must have spent long hours adding to the Dyer family genealogy and perfecting his Will County biography. In March 1880 his younger son Daniel B. Dyer then serving as Indian Agent at the Quapaw Agency saw fit to write and entice his father and mother with a government job teaching at the Indian school. Despite Daniel??Ts solid economic persuasiveness George Dyer apparently declined. By 1884 George and Elizabeth had relocated to Baxter Springs Kansas closer to Daniel where the captain became a charter member of the local GAR Post No.123 parenthetically once more listing his occupation as ?farmer.? George R. Dyer died at Excelsior Springs Missouri on July 13 1895 age 83. He was suitably memorialized by friends and fellow citizens for his ?loyal nature and esteemed service to country? and buried in Joliet Oakwood Cemetery. Descended Directly in the Dyer Family Condition: Lincoln commission is complete and intact without damage or noticeable fold lines. The ink is somewhat lighter than desirable but both Lincoln's and Stanton's signatures are strong enough to read without assistance. The blue seal is undamaged and vibrant. A hint of brown toning is noticeable around the edges. The commission was not removed from the frame for inspection. Except for expected fold lines all letters and documents are undamaged and completely readable. The photographs show varying degrees of wear else fine.
PODSTRIZHENNYMI GLAZAMI, WITH AUTHORS INSCRIPTION AND DRAWING REMIZOV, Alexey Mikhailovich (Russian 1877-1957), Podstrizhennymi glazami. Kniga uzlov i zakrut pamyati [With Trimmed Eyes. The Book of Knots and Swirls of Memory] (Paris: YMCA Press, 1951). 8vo (230 x 162 mm). First edition. Second front free endpaper featuring author`s gifting inscription accompanied by his signature, drawing with self-portrait, monogram and date. The inscription in Cyrillic reads: To Boris Pavlovich Voinarsky. My life from the cradle to prison 1877-1897. Dated 7 IX 1951. With the stamps of Boris Voinarsky library on the front free endpaper and on the inner front cover. Author`s handwritten edition of text appears on page 203. Original publisher?s wrappers bound in quarter leather binding. PROVENANCEFrom the library of Boris Pavlovich Voinarsky (1895-1957)PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
PERIOD POSTER OF CALVIN COOLIDGE INCL. IN10-PIECE POLITICAL LOT. LOT INCLUDES: CHICAGO 451 UNION BUG FRAMED PRINTED PORTRAIT POSTER OF CALVIN COOLIDGE (SIGHT SIZE 10 1/2" X 25", OVERALL 13 1/2" X 27 1/2" ), COPYRIGHT 1908 FRAMED CAMPAIGN POSTER OF WILLIAM HOWARD TAFT COLORED LITHOGRAPH (SIGHT SIZE 18 1/2" X 12", OVERALL 21" X 14 1/2", OVERALL GOOD CONDITION, SOME STAINING), BLACK AND WHITE FRAMED WARREN G. HARDING CAMPAIGN POSTER CA. 1920, ALCO-GRAVURE INC NEW YORK, BALTIMORE, ST LOUIS, EDMONSTON STUDIO (SIGHT SIZE 16 1/2" X 12", OVERALL 18 3/4" X 13 3/4", SLIGHT CREASING), FRAMED WILLIAM MCKINLEY MEMORIAL PHOTO-GRAVURE WITH EMBOSSED DIE CUT PATRIOTIC BORDER (SIGHT SIZE 13" X 10", OVERALL 15" X 12", VERY SLIGHT WEAR TO FRAME), UNFRAMED PORTRAIT PHOTOGRAPH REELECTION CAMPAIGN POSTER OF HERBERT HOOVER BY BACHRACH, ALCO-GRAVURE INC (21 1/2" X 16 1/2", SOME CHIPPING TO THE EDGES, MINOR CORNER PAPER LOSS, IMAGE IS SLIGHTLY SCRATCHED, MINOR FOXING), UNFRAMED 1952 “I LIKE IKE" EISENHOWER CAMPAIGN POSTER (22" X 14", WATER STAINING, MODERATE CREASING TO CORNERS AND EDGES AND TOP), FRAMED PHOTOGRAPH OF WARREN HARDING PRINTED AT THE TIME OF HIS DEATH BY UNDERWOOD & UNDERWOOD, 1923 (SIGHT SIZE 11" X 8 1/2", OVERALL 13 1/2" X 12 1/2", MINOR CHIPPING TO EDGES AND CORNERS), FRAMED ABRAHAM LINCOLN NATIONAL DAY OF MOURNING PAPER BADGE, JUNE 1, 1865 (SIGHT SIZE 6" X 2 1/2", OVERALL 9 3/4" X 7" ), FRAMED COLORED DWIGHT EISENHOWER CAMPAIGN POSTER, “AMERICA NEEDS EISENHOWER FOR A DURABLE PEACE", LITHOGRAPHED BY THE NATIONAL PRESS CO, NJ (SIGHT SIZE 21 1/2" X 16 1/2", OVERALL 22 1/2" X 17 1/2", SOME LIGHT WATER STAINING), FRAMED AND MATTED SIGNED PHOTOGRAPH OF WILLIAM HOWARD TAFT’S SON, ROBERT TAFT, FORMER SENATOR, (SIGHT SIZE 9 1/2" X 7 1/2", OVERALL 15" X 12" ).
Lawrence, David Herbert - James Tait Black Memorial Prize - A. & C. Black, publishers - Edinburgh University Autograph letter signed to Robert Welsh, Solicitor, Ayr. One page, 4to, Villa Fontana Vecchia, Taormina, Sicily, 9 December 1921, written in response to the unexpected news that Lawrence had won the James Tait Black Memorial prize for his novel The Lost Girl (1920). After writing that he has received no communication on the subject, Lawrence acknowledges being "especially pleased at having at last some spark of friendly recognition out of Britain. It has been mostly abuse." After making arrangements for the deposit of the £100 prize in his London account, Lawrence asks for the "name of the Professor of English Literature at Edinburgh University" - the prize is traditionally judged by senior staff in the English department at Edinburgh University, letter tipped into a first edition copy of the novel, bookplate of J[ames] T[ait] B[lack], Underscar, Keswick Estimate £ 500-700 Note: The prize for The Lost Girl came after an especially lean time for Lawrence. In 1919 he had been seriously ill with influenza and had been reduced to writing a school history book for money. Scraping together enough money, he and Frieda left England for Italy which turned out to be "the real end of his life in England" ("ODNB"). After stays in the Abruzzi mountains and Capri, Frieda and Lawrence settled in Sicily at the Villa Fontana Vecchia where he embarked on a period of productive work including the composition of The Lost Girl. A.& C. Black was founded by Adam Black who was a publisher and politician. He opened a bookshop in 1807 in Edinburgh. He was born on 20 Feb 1784 in Edinburgh and died 24 Jan 1874 also in Edinburgh. He took his nephew, Charles Black (1834-1854), into partnership with him in his publishing business, establishing A. and C. Black in 1834. The firm acquired copyright to the Encyclopaedia Britannica and in 1851 they purchased the remainder of the copyright on Sir Walter Scott's works. Adam Black retired in 1870, his three younger sons, James Tait Black (1826-1911), Francis Black (1830-1892) and Adam William Black (1836-1898), who were already in the business with him took over the firm. Francis Black, Adam Black's third son was admitted into the partnership in 1855. Adam William Black, Adam Black's fourth son was admitted into partnership in 1858. A. & C. Black moved to Soho Square, London in 1889. The firm was a partnership from 1807-1914, and then became a public limited company. The firm bought the copyright of Sir Walter Scott's Waverley nNovels in 1851. A. & C. Black also published early P.G. Wodehouse, including Psmith Journalist, 1915, The Pothunters, 1915, Mike: a public school story, 1916, Psmith in the City: a sequel to Mike, 1919. Adam Rimmer Black (1865-1936), son of James Tait Black was bought into partnership in 1891. The James Tait Black memorial prizes were established in 1919 by Janet Coats, the widow of James Tait Black, to be awarded annually for the best work of fiction and the best biography published in the previous year. The prizes, which are still presented by The University of Edinburgh, are Britain's oldest literary awards. They are the only prizes of their kind to be presented by a university and they have acquired an international reputation for recognising excellence in biography and fiction. Past fiction winners, apart from D.H. Lawrence, include Grahame Greene, E.M. Forster, Salman Rushdie, Zadie Smith and Ian McEwan. Past biography winners include Lytton Strachey, John Buchan, Lady Antonia Fraser and A.S. Byatt.. Sold for £900 (buyer's premium included)
Kellar, Harry. Memorial portrait of magician Harry Kellar. 1922. Bust portrait of Kellar in coat and tie, published around the time of his death. Heav Kellar, Harry. Memorial portrait of magician Harry Kellar. 1922. Bust portrait of Kellar in coat and tie, published around the time of his death. Heavily retouched in the negative. 8 x 10Ó, on a paper mount 10 _ x 12 _Ó, with a short printed biography of Kellar attached at the bottom. Very good.
PEGEEN VAIL (1925-1966): UNTITLED Oil on canvas, unsigned. 14 1/4 x 47 1/4 in., 21 1/4 x 54 1/4 in. (frame). Note: Pegeen Vail was the daughter of Peggy Guggenheim and Laurence Vail. At the time of her death, Peggy Guggenheim dedicated a room in her Venice Museum to Pegeen's memory with an exhibition of twelve paintings. Provenance: The artist; Jean Carmen Dillow (aka Julia Thayer); The Estate of Jean Carmen Dillow. Estimate $ 800-1,000
EPHEMERA: "MEMORY BOOK" WITH EPHEMERA MEMENTOS STARTING IN 1914, MEMENTOS FROM STEAMER TRIP PEORIA TO SAINT LOUIS, AS WELL AS TIME S...EPHEMERA: "Memory Book" with ephemera mementos starting in 1914, mementos from steamer trip Peoria to Saint Louis, as well as time spent at New Britain Public High School with pictures of classmates, activities, etc., ribbons and pins from WWI era, college dances, sororities, clubs and photos in costumes, theatrical programs and many different adventures in life up to and including burial information, contained in a worn leather book, wear consistent with age and use, sold as is.
BIRCH, William.The City of Philadelphia, in the State of Pennsylvania North America; as it appeared in the Year 1800 consisting of Twenty Eight Plates. “Springland Cot, near Neshaminy Bridge on the Bristol Road, Pennsylvania”: 31 December 1800 [but 1798-1800]. Oblong folio (387 x 460 mm). Engraved title-page with the arms of Pennsylvania, hand-colored engraved Frontispiece, letterpress introduction and plate list, engraved Plan of the City of Philadelphia by W. Barker, 28 hand-colored engraved plates (including two extra-illustrations), letterpress Subscriber’s list and Prospectus leaf. Contemporary full calf, ruled in gilt, green morocco gilt title label on the upper cover. Housed in a morocco-backed clamshell box. Condition: repaired tears to the title and table of contents, repaired tears or other restoration to most plates, 5 plates paper-backed, several plates with light mat burn; rebacked to style, recased maintaining the original marbled endpapers but with new blanks, restoration at the corners. Provenance: William Hayward; Joseph Chamberlain (1883 gift inscription on the front free endpaper from Hayward to Chamberlain); Martin Snyder (obtained from A. S. W. Rosenbach).Plate list, in order of appearance:[Plate 1] The City of Philadelphia [engraved title-page][Plate 2] Frontispiece. The City & Port of Philadelphia, on the River Delaware from Kensington.[Plate 3] Plan of the City.[Plate 4] Arch-street Ferry, a commercial scene, with shipping, &c.[Plate 5] Arch-street, with the Second Presbyterian Church.[Plate 6] New Lutheran Church, in Fourth-street.[Plate 7] Old Lutheran Church, in Fifth-street.[Plate 8] South east corner of Market and Third street.[Plate 9] New Presbyterian Church, in Market-street.[Plate 10] Perspective View of the inside of the Market-place.[Plate 11a] High Street, From the Country Market-place Philadelphia. State 1.[Plate 11b] High Street, From the Country Market-place. State 2, depicting Washington's funeral procession.[Plate 12] High-street from Ninth-street.[Plate 13] The House intended for the President of the U.S. in Ninth-street.[Plate 14] An unfinished house, in Chesnut-street.[Plate 15] Second-street north from Market-street, with Christ Church.[Plate 16] New-Market, in South Second-street.[Plate 17a] Bank of the United States, in Third Street. [Plate 17b] Bank of the United States, with a View of Third Street. [Plate 18] View in Third-street from Spruce-street.[Plate 19] Library and Surgeons' Hall, Fifth-street.[Plate 20] Congress Hall and New Theatre, in Chesnut-street.[Plate 21] State-House, in Chesnut street.[Plate 22] Back of the State-House.[Plate 23] State-House Garden.[Plate 24] Gaol, in Walnut Street.[Plate 25] Alms-House, in Spruce-street.[Plate 26] Pennsylvania Hospital, in Pine Street.[Plate 27] Pennsylvania Bank, in Second-street.[Plate 28] Water-works in Centre Square.[Plate 29] Preparation for War to Defend Commerce. Swedish Church, Southwark, with the building of a frigate.the first american color plate book, a noted rarity and the best depiction of philadelphia as the capital of the infant united states. William Birch, a celebrated painter of miniatures on enamel, emigrated from England in 1794, arriving in Philadelphia at a time of enormous growth. The city was the capital of the United States and the center of the nation's trade and commerce. Indeed, in the last decade of the 18th century, the city's population increased fifty per cent. Houses, churches, and other buildings were being erected all over the city, including an executive mansion for President George Washington. Important facilities and institutions, such as The Pennsylvania Hospital, the Philadelphia Library, and Alexander Hamilton's Bank of the U.S. were opening. "Birch's eye was trained for the visual aspect of life around him, and its impact upon him was such that he decided to record it" (Snyder, William Birch: His Philadelphia Views).The Introduction to this first edition explains the artist's intent: “The ground on which [the city of Philadelphia] stands, was, less than a century ago, in a state of wild nature, covered with wood, and inhabited by Indians. It has, in this short time, been raised, as it were, by magic power, to the eminence of an opulent city, famous for its trade and commerce, crowded in its port, with vessels of its own producing, and visited by others from all parts of the world…This work will stand as a memorial of its progress for the first century.”In 1798, Birch and his son Thomas began surveying potential sites and accomplishing watercolor studies on which to base the copper plate line engravings. These watercolors, some still extant, and the eventual engravings depict more than the physical city. "[Birch] wanted to portray not architectural subjects alone, but the whole 'feel' of life in the city, its texture and personality…The pictures at their best retain to this day a vivid quality of civic accomplishment" (Snyder, William Birch: His Philadelphia Views). In this fashion, these views transcend the city of Philadelphia and impart a real sense of early American urban life and spirit. Set among the city's most noted sites, these views include images of everyday Americans, tradespeople, well-dressed artistocrats, and even Native Americans in traditional garb.After the frontispiece general view of the city, the plates are presented in geographic order, beginning with northern areas of the city, followed by several depictions on Market Street and concluding with the southern portion of the city. This copy is extra-illustrated. In 1798, Birch issued four plates, including depictions of High Street and the Bank of the U.S. The former plate was considerably reworked in 1799 to include George Washington’s funeral procession; the latter was abandoned and entirely re-engraved from a different perspective. This copy contains both states of the High Street plate, as well as both editions of the view of the Bank. All other plates are present here in their first states.Birch's subscription book lists 156 subscribers to the first edition, including Thomas Jefferson, Gilbert Stuart, Thomas Mifflin and others. Jefferson felt such fondness for the work that during his Presidency he kept his copy for public view in his visiting room. Of the 156 subscription copies, fewer than 20 have survived. This is only the fourth copy to appear at auction in the last half century and OCLC records fewer than a dozen institutional holdings. This copy is the deluxe version of the book, with hand-colored plates and bound in calf, and would have cost subscribers $35, making it extremely expensive. In his essay on the work, Snyder writes of Birch's efforts, "The result was a truly handsome volume, probably the handsomest produced in America to that time." It is also the best 18th century pictorial description of America and the birth of American color plate books. Bennett 13; Deak 228; Evans 38259; Howes B459 "dd"; Reese, Stamped with a National Character 1; Sabin 5530; Snyder, COI 224-248; Snyder, "William Birch: His Philadelphia Views" in PMHB, vol. 73, no. 3; Stokes, American Historical Prints, p. 44.
ARTHUR F. MAYNARD OIL ON CANVAS "ROCKY COASTLINE"Arthur F. Maynard (American 1920-1991) Oil on Canvas "Rocky Coastline", large dramatic canvas signed lower right Arthur F. Maynard.
35 ½ in. x 45 ½ in. Framed 41 ¾ in. x 52 in.
Provenance: Collection of Gail and Rich Mellin
Arthur F. Maynard, a student of Frank Vincent DuMond, was an immensely talented artist and an inspirational teacher. He is considered by many as the beloved patriarch of the Ridgewood Art Institute. He held degrees from Princeton and Harvard, served in the Navy in World War II, and studied at the Art Students League with Frank Vincent DuMond for eight years.
Maynard received numerous awards, including the DuMond Memorial Award from the Hudson Valley Art Association, but eventually stopped exhibiting because he did not want to compete with his students.
Arthur Maynard was profoundly influenced by Frank Vincent DuMond. Like DuMond, he had a great interest in the principles of light and its effects on the landscape. He is remembered by his students as teaching the "why" rather than the "how" of painting.
Why the light illuminating an object appears as it does - according to a basic set of principles determined by distance, atmospheric conditions, the time of day and the nature of the object's reflective surface - was of great interest to him. Maynard followed in the footsteps of his predecessor DuMond, becoming an instructor at the Art Students League for a few years before founding the Ridgewood Art Institute. ~ The Ridgewood Art Institute
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
William Henry Buck (Norwegian, 1840-1888; Active New Orleans 1869-1888) "Milne Family Boys Home", oil on canvas, 20-1/4" x 27-1/4", signed lower right "Wm H. Buck". Presented in a fourth quarter 19th-century carved giltwood frame. As art historian George Jordan noted of the World's Industrial and Cotton Centennial held in New Orleans in the winter and spring of 1884 and 1885, "It was a flop. Although it did leave behind some unusual memorabilia and interesting facts concerning the endeavor". Perhaps one of the most significant items to resurface from this time period would be this historic painting of the Milne Boys Home and chapel located at 5420 Franklin Street, the former Milneburg section of the city. Given Buck's contribution to the Centennial it is quite possible that he was commissioned to produce paintings of historic buildings in New Orleans, a theme picked up most successfully by William Woodward. No doubt Buck escaped the heat of New Orleans to enjoy the air in the summer resort on Lake Pontchartrain at Old Lake or Milneburg, founded by Alexander Milne, the New Orleans philanthropist. Alexander Milne, a Scotsman, arrived in New Orleans in 1776, and established himself in the hardware trade, later branching out to brick manufacturing. A shrewd and thrifty businessman, Milne amassed a fortune in money and lands; at the time of his death he owned twenty-two miles of land along the shore of Lake Pontchartrain from the Rigolets to Jefferson Parish. At the time of his death, the newspaper editorial remarked, "It appears almost the whole of Milne's fortune was distributed to relieve human distress." Milne had dictated his will in 1836, "It is my positive will and intention, that an Asylum for Destitute Orphan Boys, and another Asylum for Destitute Orphan Girls, shall be established at Milneburg under the names of the Milne Asylums...". It was not until 1900, however, that the State of Louisiana, through the attorney general, applied for the appointment of a trustee to take charge of the property of the two Milne asylums. In the 20th century, the Milne Boys Home, also known as the Colored Waifs Home for Boys, was operated by the New Orleans Welfare Department and became a home for wayward boys. Its most famous non-resident was Louis Armstrong (1900-1971). In his memoir, Armstrong states, "All in all, I am proud of the days I spent at the Colored Waifs Home for Boys." The Milne Home is a landmark of American Music, "It was at the Colored Waifs Home for Boys that Louis Armstrong was first taught to play horn. He went on to become the voice and heart of American Jazz and to affect the world's trumpeting and music." Recently noted in a New York Times, March 19, 2006 article by Susan Saulny, the Milne Boys Home stands as a "memorial to Armstrong and a reminder of what can happen when a poor child gets a chance at a better life." Provenance: The painting has descended in an old New Orleans family whose forbears were educators, doctors and musicians.
James Theodore Elrod Georgia (1952-2000)
SPRINGTIME AT THE FARM
acrylic on canvas, unframed, signed: lower left
H24" W48"
Provenance : Purchased from the artist's estate.
Other Notes: Jim was born in Atlanta, Georgia on November 30, 1952. He was the second son to Charles and Gloria Elrod. Jim was raised off Stewart Avenue and graduated from Sylvan High Scholl in 1970. His passion was the Woodstock era and the movements that came with that style of music and flower children effect. Most of his early art, consisted of flowers and pottery paintings from that era. Jim's art brought out the happier times in his life. One of the fondest paintings centered around a Navy leave homecoming from his dad meeting his mother at the house. Jim spent a lot of his early years at his grandparent's house on Roswell Road in which he did a painting of those moments.
In later years, Jim grew to be a loner and resided in a singlewide modular home in Douglasville, Georgia from the middle 1970's up until 1999. During that time frame, Jim spent most all of his days and nights reflecting on happy memories. There were so many times my mother would ask that I go by and check on him because days, sometimes weeks, would pass before he would take himself away from his painting. His love for his painting would take him to another place in time. Hours, days and weeks ran together as if time stood still.
Christmas and birthdays would light up with paintings Jim would present to his nieces, nephews and other family members. It was such a joy to receive these paintings, as we all knew they were from his heart and were thoughts for that particular individual. Priceless memories.
Jim moved to St. Simons Island, Georgia with his mother in early 1999 after the passing of his father in 1998. Galleries throughout St. Simons Island has [have] displayed Jim's paintings consisting of Christ Church, The Lighthouse and the Pier, which are historic landmarks on St. Simons Island.
In 2000, Jim wrote a short letter to Britt (our older brother) and me. In this letter he expressed his feelings and how his art was the only happiness he endured and that his work was complete. Jim took his life the following day, which was on a Sunday.
The following Monday I went to the galleries on St. Simons Island and brought all his artwork back to Villa Rica, Georgia to be stored. In memory to my brother, I would like for his work to be seen again. Hopefully you and others will see and be touched by the passion Jim had for his work throughout his paintings.
Biography by: John B. Elrod (brother of the artist)
Malcolm Fraser (1868 - 1949) "The Explorer" Gouache. Signed upper left. Sight Size: 11 x 6.25 in. Overall Size: 18.75 x 14 in. In 1892 he painted two six-foot windows for St. Luke's Episcopal Church in the Rue Notre Dame in Paris. In 1895 he graduated from the Sorbonne in Paris, and in the same year was awarded the title of Professor of Fine Arts by the City of Paris. Also in that year, he was sent by the London "Times" to Egypt to make drawings for an archeological expedition to that country. He also made drawings for the Boulak Museum in Cairo, and was associated with Sir Flinders Petri. Also in 1895, Mr. Fraser received a degree from the University of Heidelberg in Germany. Although just past his twenty-sixth birthday, he had the honor, on his return to England, of make drawings at the home of Alfred Lord Tennyson, with the poet and his place of residence as subjects. He was associated with many of the famous personages of his period: Whistler, Monet, Corot, Sargent, the Innesses (father and son), Charcot, Petri, Rodin; Sir Henry Irving, Ellen Terry, Sarah Bernhardt and G. B. Shaw; Helen Keller and Ignace Jan Paderewski. Portraits executed by Mr. Fraser at this time included two of Queen Wilhelmina of Holland and others of the Barons Rothschild, a cardinal of the Roman Catholic Church, and other prominent figures. He also executed murals for many private homes. In 1897, after returning to this country, Mr. Fraser became a member of the Salmagundi Club in New York, and began his career as an illustrator which during succeeding years made his name well known among readers of such magazines as the Ladies' Home Journal, Leslie's, St. Nicholas, Cosmopolitan, Harper's Century and other foremost periodicals of the time. He illustrated a number of fiction works in both the short-story and novel forms. Among these were "Black Beauty," F. Hopkinson Smith's "Caleb West," and Winston Churchill's "Richard Carvel," as well as the stories of Bret Harte. In 1908 he exhibited a series of seventeen symbolic paintings at Clausen's Galleries in New York; and between 1910 and 1914 made a complete series of biblical illustrations for Sunday schools for the Providence Lithograph Company of Providence, Rhode Island. In 1917 he exhibited sixteen symbolic paintings at the Boss Art Gallery in New York, and the same year donated three large paintings, with poster rights, to the National Red Cross in Washington, D.C. Mr. Fraser volunteered for service in World War I in 1917. He joined the French regiment known as the "Blue Devils." He later served as captain on the front lines, as zone commander with the American Red Cross, American Expeditionary Forces. In 1919 he resumed his career in America as painter, teacher and lecturer on art. From that time, he had an uninterrupted career. At various times he was identified with the advertising departments of the Vacuum Oil Company, the Standard Oil Company, and the staffs of the magazines noted above. He produced work for the Providence Lithograph Company. In his earlier career, he had also contracted with Bellevue Hospital to execute a series of surgical drawings. Malcolm Fraser was voted an honorary member of the International Mark Twain Society for his contribution to American Art; and he was also an honorary member of the Orlando Art Association. He has been included in "Who's Who in America" since 1901. Two major accomplishments later in his career were his donation of a large memorial altar piece to St. Luke's Episcopal Cathedral in Orlando in 1945; and his donation of fifty-six symbolic paintings to the City of Ormond Beach, Florida, in 1946. The Miami "News" of November 30, 1947 states that "This $200,000 Art Gallery is the first war memorial to be completed in Florida." This series of paintings, the central theme of which is: "Spirit is life's only significant reality," was presented by the artist as a war memorial to those who served in World Wars I and II. The citizens of Ormond erected a building to house this gift, and it was known as the Ormond War Memorial Art Gallery. Himself a veteran, Mr. Fraser had been wounded five times at the front from explosions, trench knife, shrapnel and gas. As evidence of his own extensive military record, he was awarded the following decorations: The Verdun Medal, Legion of Honor, Croix de Guerre, Cross of Malta, Jerusalem Cross, Silver Star of Belgium, The Cross of Joan of Arc, and the ribbon of the French Hospital Service with three stars. He was a member of the Veterans of Foreign Wars and the Alsace Lorraine Society. He had received the Congressional Medal of Honor for Life Saving by a special act of Congress in 1884. Provenance: Davis Galleries, New York City. This item is framed behind glass.
HENRY OSSAWA TANNER (1859 - 1937) Flight into Egypt. Oil on linen canvas, circa 1910. 590x952 mm; 23 1/4x37 inches. Signed in oil, lower left. Provenance: Cramer collection, Chicago; private collection, Santa Fe, New Mexico; Gerald Peters Gallery, Santa Fe, New Mexico (with the label on the frame back); private collection, Connecticut (1993). A photograph of the painting is in the Henry Ossawa Tanner papers in the American Archives of Art, Smithsonian Institution. On the verso, "Flight into Egypt by H. O. Tanner Paris" and "In Cramer Collection, Chicago" is hand-written in ink. (See the illustration below.) The Cramer collection is likely that of Mr. and Mrs. Ambrose Cramer of Lake Forest, Illinois, who were prominent collectors, active lenders and members at the Art Institute of Chicago from the late 1910s through the 1930s, or their son, the architect Ambrose Coghill Cramer. Exhibited: Twenty-Third Annual Exhibition of Oil Paintings and Sculpture by American Artists, the Art Institute of Chicago, October 18 - November 27, 1910. This painting was one of three Tanner paintings included - with The Three Marys, 1910, collection of Fisk University, and the now lost Behold, the Bridegroom Cometh (The Wise and Foolish Virgins), 1907-08. This beautiful nocturne is one of Tanner's larger and later interpretations of his important series of paintings depicting the Flight into Egypt. At the time of Tanner's second trip to the Holy Land, in 1898-99, Tanner began painting his intepretation of the Biblical story. It soon became a favorite subject of the artist - a depiction of the Holy Family escaping on donkeys under the cover of night. According to Dewey Mosby, Tanner had already painted four or five different versions by 1909. Today at least fifteen known examples, dated between 1899 and 1932, are known, including works in the Detroit Institute of Arts (1899), the Cincinnati Art Museum (c. 1907), the National Museum of African-American History and Culture (1916), the Museum of Fine Arts Houston (1921) and the Metropolitan Museum of Art (1923). Flight into Egypt was also a popular subject for Tanner with American collectors. The 1923 Flight into Egypt, now in the collection of the Metropolitan Museum of Art., was sold to Mr. and Mrs. John E. Naill of New York - reported in a February 9, 1924 issue of Artnews under the headlines "Collector Acquires a Tanner Painting". Tanner also exhibited other versions at Wanamaker's Art Gallery in Philadelphia and two in a solo exhibition at Vose Galleries in Boston in January, 1921. Records in the the Archives of American Art indicate Grand Central Galleries sold a large and small version of the subject in 1924 and another version in a traveling exhibition in Pasadena in 1929. A small version was also owned by the daughter of the important Atlanta collector J. J. Haverty, May Haverty and exhibited in Tanner's memorial exhibiton at the Philadelphia Alliance in 1945. This tonal and painterly canvas is part of a group of nocturnal scenes painted between 1900 and the 1920s. These canvases are characterized with broad painterly passages and deep tones, made with Tanner's rich glazes of cerulean and cobalt blue. Mosby p. 51, 172 and 302; Marley p. 163, 188 and 288.- 300,000
CHARLES RENNIE MACKINTOSH (1868-1928)
'SCALE DRAWING OF PROPOSED MEMORIAL STONE TO LT. COL. OSWALD ARTHUR GERALD FITZGERALD CMG', 1916 pencil and wash on squared paper, showing the front and side elevation of the memorial stone, later framedsheet size 27.5cm x 23.1cm (frame 46.5cm x 41.2cm)Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933and by descent to his son, James MeldrumGiven to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984Literature: www.mackintosh-architecture.gla.ac.ukNote: Lt Col. Oswald Arthur Gerald Fitzgerald (1875–1916) was personal military secretary to Lord Kitchener (1850–1916). Both men died in the sinking of HMS Hampshire off Marwick Head, Orkney, on 5 June 1916. Fitzgerald's body was not buried at Lyness on the island of Hoy, with others recovered from the sea, but was taken instead to Ocklynge Cemetery, Eastbourne, Sussex, where his father was buried. The design shows an upright stone slab 7 feet (2.13 m) high and just over 3 feet (0.91 m) wide at the base, framed at the top and sides by mouldings of a stepped profile. The angular mouldings have similarities with some of the stone carving at Scotland Street School and with later decorative work by Mackintosh, especially the hall fireplace at 78 Derngate, Northampton. The classical victor's laurel wreath and the military badges above and below the inscription speak the familiar language of soldiers' memorials. It is not known how Mackintosh came to make the design, or who commissioned it. Fitzgerald had served for some years with Kitchener in India, and it may have been through Mackintosh's association with Patrick Geddes's Indian town planning work in 1915–16 that the job came his way. The monument ultimately erected over Fitzgerald's grave is very much simpler and in no sense a realisation of Mackintosh's design, although it contains faint echoes of the original drawing offered here and suggests that whoever carved it may have had access to Mackintosh's design.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
Edinburgh - Arnot, Hugo
The history of Edinburgh. Edinburgh, 1779. 4to, frontispiece, folding map, contemporary half calf gilt, worn, signature cut from title, browing; Edinburgh Documents relative to the reception at Edinburgh of the Kings and Queens of Scotland. Edinburgh, 1822. 4to, original boards; Baird, William Annals of Duddingston and Portobello. Edinburgh, 1898. 8vo, map frontispiece, plates, contemporary calf gilt, rubbed at edges; Robertson, David The Princes Street proprietors. Edinburgh, 1935. 8vo, plates, original cloth gilt; Miller, Hugh Edinburgh and its neighbourhood. Edinburgh, 1864. 8vo, frontispiece, plates, original cloth gilt; Blaikie, Walter Biggar Edinburgh at the time of the occupation of Prince Charles. Edinburgh, 1910. 8vo, signed by the author, frontispiece, 2 plates, original blue cloth gilt; Edinburgh A new guide to the city of Edinburgh. Edinburgh, 1797. Third edition, 12mo, frontispiece, folding map, plates, contemporary half calf, rubbed, plates browned; [Ibid.] An historical sketch of the municipal constitution of the city of Edinburgh. Edinburgh, 1826. 8vo, plates, contemporary half morocco gilt, rubbed; Hill, Cumberland Historic memorials & reminiscences of Stockbridge. Edinburgh, 1887. Second edition, 8vo, plates, original cloth gilt; Stark, J. Picture of Edinburgh. Edinburgh, 1825. Fourth edition, 12mo, frontispiece, plates, folding map, contemporary red morocco gilt, rubbed, backstrip loose, upper board loose; and 55 others, mainly on Edinburgh (65)
Harriet Elizabeth Wilcox for Rookwood Pottery EXCEPTIONAL PAINTED MAT VASE WITH CARNATIONS USA, 1904glazed earthenware12½ h × 4½ dia in (32 × 11 cm) Glazed signature, date, number and inscription to underside ‘Flame mark IV 9046 Decorated at time of anniversary of birth of one whose life was forfeited because he was a servant of the nation. In memory of William McKinley H.E.W.’. Decal exhibition label to underside ‘Rookwood Pottery 1880-1940 100th Anniversary Jordan Volpe Gallery’. Provenance: Jordan-Volpe Gallery, New York | Important Private Collection
2019 LEXUS RC 350 TWO- DOOR CPEVIN no. JTHHZ5BC2K5019344; license no. 8JCU784; odometer reading 2,192 Condition: 8 speed sport Direct-Shift Transmission MILEAGE :2213 COLOR: EXTERIOR :ATOMIC SILVER INTERIOR:PLAYA Sticker Price:$52,840 OPTIONS • 19 in. Split 10-Spoke Alloy Wheels • Navigation w/Mark Levinson 17 Speaker 835 Watt Audio Package w/10.3 “ Color Multimedia Display • Intuitive Parking Assist • Premium Package( including: Lexus memory system for driver’s seat, outside mirrors, and steering column. Blind spot monitor w/ rear cross traffic alert, electrochromic outside mirrors w/ tilt down in reverse, Power tilt and telescopic steering column, Rain sensing wipers, heated and ventilated seats • Power moonroof • Heated steering wheel • Wheel locks EXTERIOR • No noted defects at time of report INTERIOR • Manuals,spare key fob remote, original window sticker present • No other noted issues at time of inspection Mechanical • No noted issues at time of report *Previous owner smoker
James Theodore Elrod Georgia (1952-2000)
AT THE FAIR
acrylic on canvas, unframed, signed: lower right
H24" W48"
Provenance : Purchased from the artist's estate.
Other Notes: Jim was born in Atlanta, Georgia on November 30, 1952. He was the second son to Charles and Gloria Elrod. Jim was raised off Stewart Avenue and graduated from Sylvan High Scholl in 1970. His passion was the Woodstock era and the movements that came with that style of music and flower children effect. Most of his early art, consisted of flowers and pottery paintings from that era. Jim's art brought out the happier times in his life. One of the fondest paintings centered around a Navy leave homecoming from his dad meeting his mother at the house. Jim spent a lot of his early years at his grandparent's house on Roswell Road in which he did a painting of those moments.
In later years, Jim grew to be a loner and resided in a singlewide modular home in Douglasville, Georgia from the middle 1970's up until 1999. During that time frame, Jim spent most all of his days and nights reflecting on happy memories. There were so many times my mother would ask that I go by and check on him because days, sometimes weeks, would pass before he would take himself away from his painting. His love for his painting would take him to another place in time. Hours, days and weeks ran together as if time stood still.
Christmas and birthdays would light up with paintings Jim would present to his nieces, nephews and other family members. It was such a joy to receive these paintings, as we all knew they were from his heart and were thoughts for that particular individual. Priceless memories.
Jim moved to St. Simons Island, Georgia with his mother in early 1999 after the passing of his father in 1998. Galleries throughout St. Simons Island has [have] displayed Jim's paintings consisting of Christ Church, The Lighthouse and the Pier, which are historic landmarks on St. Simons Island.
In 2000, Jim wrote a short letter to Britt (our older brother) and me. In this letter he expressed his feelings and how his art was the only happiness he endured and that his work was complete. Jim took his life the following day, which was on a Sunday.
The following Monday I went to the galleries on St. Simons Island and brought all his artwork back to Villa Rica, Georgia to be stored. In memory to my brother, I would like for his work to be seen again. Hopefully you and others will see and be touched by the passion Jim had for his work throughout his paintings.
Biography by: John B. Elrod (brother of the artist)
[PIOZZI, Hester Lynch Thrale (1741-1821)]. -- Cumberland, Richard (1732-1821).Memoirs… Written by Himself. Containing an Account of his Life and Writings, interspersed with Anecdotes and Characters of several of the most Distinguished Persons of his Time, with whom he has had Intercourse and Connexion. London: Printed for Lackington, Allen, & Co., 1806. 4to (313 x 248 mm.). 4 engraved portraits. Ca. 1830s fine-ribbed green cloth over boards, uncut. Condition: L1 torn, paper slightly discolored and brittle from old damp, the leaf at front with February 1806 inscription is on laid paper and may have been supplied from another of Piozzi's books (albeit at the time of its present binding); binding worn, covers dampstained. Provenance: Quaritch/1008 (1980), item 292, $5,000.hester lynch thrale piozzi's heavily annotated copy. Inscribed on a preliminary blank (laid down): "Bought at Bath|Feb: 1806--|H: L: Piozzi.", and with manuscript annotations in ink on 58 pages of text. The annotations range from comments of a few words only, with some grammatical corrections, to much longer notes mined from her memories of various occasions or facts as described by Cumberland, for a total of 267 lines (margin width). Her notes refer to Johnson on pages 84, 271, 272 and 273; the latter page also correcting the copyright price of Goldsmith's The Vicar of Wakefield ("for £10: Read £50"), and reporting Johnson's finding Goldsmith at Wine Office Court, "drinking himself drunk with a Bottle of bad Madeira." The longest entry appears on page 500 (actually two notes totalling 24 lines): "Cumberland's Women are always painted hateful I think, at least to Women: Susan May has a right to Men's Attention, & perhaps may gain it." Page 507 contains perceptive criticism of Burke's The French Revolution:"…That Oyster lives not long, which breeds many Pearls. Burke resembles those Roman Emperors who Suffocated their Guests with Fragrance - for their own Sport. There is besides a Fault in the Manufacturing this Pamphlet: The Author should have divided it into Sections or Chapters…". On the last page Piozzi writes: "I think his Book most beautiful. I read it over twice at Bath--borrowing it;…& bought it after all for purpose of reading it a Third Time at Brynbella|29: May|1806."first edition.
James Theodore Elrod Georgia (1952-2000)
VIBRANT LANDSCAPE
acrylic on canvas, unframed, signed: lower left
H24" W48"
Provenance : Purchased from the artist's estate.
Other Notes: Jim was born in Atlanta, Georgia on November 30, 1952. He was the second son to Charles and Gloria Elrod. Jim was raised off Stewart Avenue and graduated from Sylvan High Scholl in 1970. His passion was the Woodstock era and the movements that came with that style of music and flower children effect. Most of his early art, consisted of flowers and pottery paintings from that era. Jim's art brought out the happier times in his life. One of the fondest paintings centered around a Navy leave homecoming from his dad meeting his mother at the house. Jim spent a lot of his early years at his grandparent's house on Roswell Road in which he did a painting of those moments.
In later years, Jim grew to be a loner and resided in a singlewide modular home in Douglasville, Georgia from the middle 1970's up until 1999. During that time frame, Jim spent most all of his days and nights reflecting on happy memories. There were so many times my mother would ask that I go by and check on him because days, sometimes weeks, would pass before he would take himself away from his painting. His love for his painting would take him to another place in time. Hours, days and weeks ran together as if time stood still.
Christmas and birthdays would light up with paintings Jim would present to his nieces, nephews and other family members. It was such a joy to receive these paintings, as we all knew they were from his heart and were thoughts for that particular individual. Priceless memories.
Jim moved to St. Simons Island, Georgia with his mother in early 1999 after the passing of his father in 1998. Galleries throughout St. Simons Island has [have] displayed Jim's paintings consisting of Christ Church, The Lighthouse and the Pier, which are historic landmarks on St. Simons Island.
In 2000, Jim wrote a short letter to Britt (our older brother) and me. In this letter he expressed his feelings and how his art was the only happiness he endured and that his work was complete. Jim took his life the following day, which was on a Sunday.
The following Monday I went to the galleries on St. Simons Island and brought all his artwork back to Villa Rica, Georgia to be stored. In memory to my brother, I would like for his work to be seen again. Hopefully you and others will see and be touched by the passion Jim had for his work throughout his paintings.
Biography by: John B. Elrod (brother of the artist)
ADOLPH GOTTLIEB, (AMERICAN, 1903-1974), UNTITLED, WATERCOLOR ON PAPER, 9 1/4" H X 12 1/2"W(IMAGE) 14"H X 17"W (FRAME)Adolph Gottlieb (American, 1903-1974) Untitled watercolor on paper signed lower right. Provenance: From a private collection, Indianapolis, IN. Previously: Delray Beach, FL estate through Joyce Smith Art and Antiques, Rhode Island. Biography from the archives of AskArt: Born in New York City in 1903, Adolph Gottlieb was a founding member of The Ten, a group devoted to abstract art with whom he was active for about five years. He became a major exponent of Abstract Expressionism whose painting style is linked to Marc Rothko, Clyfford Still and Barnet Newman. A major theme in Gottlieb's painting is the challenge to humans to resolve dualities within the universe, the pressure of opposites: male and female, chaos and order, creation and destruction, order and chaos. His career is described as having four phases: Pictographs (1940s), Grids and Imaginary Landscapes (1951 to 1957), Bursts (1957 to 1974) and Imaginary Landscapes (1960s). Although he lived primarily in New York City and was one of the few Abstract Expressionists born in that city, time spent in Arizona and Provincetown, Massachusetts had a marked influence on him. Gottlieb studied at the Art Students League with Social Realists John Sloan and Robert Henri, but left abruptly in 1921 for Paris where he enrolled at the Academie de la Grand Chaumiere. Returning in 1923, he lived in New York and developed an interest in primitive sculpture. He was a WPA mural artist and painted a mural in 1939 for the Post Office in Yerington, Nevada. From 1937 to 1939, he was in Tucson, Arizona, which influenced his subsequent "pictograph" series that occupied him the remainder of his life. The pictographs involved compartmentalized grid divisions of the canvas, primitive iconography and imaginary landscapes and were intended "to evoke mythological responses" (Baigell 141). For him, the time in the Arizona desert was a time of transition from expressionist landscapes to highly personal still lifes of simple desert items such as gourds and peppers. From November 13, 1999 to January 9, 2000, the Tucson Museum of Art held an exhibition, Adolph Gottlieb and the West", sponsored by the Adolph and Esther Gottlieb Foundation. The publicity described it as "dedicated to more than 50 works from the seminal Abstract Expressionists little-known 1937-1938 stay in the Arizona desert." In the early 1950s, he designed a stained-glass exterior, 1,350 square feet, for the Milton Steinberg Memorial Center in New York City. His work was religious in tone but not specifically dogmatic. Sources include: Matthew Baigell, Dictionary of American Art Peter Falk, Who Was Who in American Art Jessie Benton Evans Gray, exhibition informaton of the Tucson Museum of Art 9 1/4" H x 12 1/2"W(image) 14"H x 17"W (frame) watercolor on paper Dimensions: 9 1/4" H x 12 1/2"W(image) 14"H x 17"W (frame)
Judaica.
7 Titles. Vp:vp. 4to. Hardcover in dj. Very good and better. Mostly illustrated. ++ Jews And Medicine: Religion, Culture, Science. Edited by Natalia Berger. (1995). ++ A Historical Atlas Of The Jewish People From the Time of the Patriarchs to the Present. Eil Barnavi general editor. (1992). ++ Miriam Weiner. Jewish Roots In Ukraine And Moldova: Pages from the Past and Archival Inventories. (1999). ++ Historical Atlas Of The Holocaust. US Holocaust Memorial Museum. (1996). ++ Hidden History Of The Kovno Ghetto. Exhibit catalog. ++ Jonathan Shea and William Hoffman. Following The Paper Trail: A Multilingual Translation Guide. (1994). ++ The Holocaust Chronicle. (2003).
Trafford Klots Painting - Living Room, ca. 1963: Trafford Partridge Klots (American, 1913-1976). Oil on canvas board. Ca. 1963. Signed "Klots" at the lower right. A fascinating painting by Trafford Klots presenting a view of a living room, perhaps located in Rochefort-en-Terre, Brittany, France where Klots lived as an ex-patriate artist in the chateau he had inherited. Klots includes Willy Draper, son of American artist William Draper, who is dressed in blue and surrounded by all the furnishings of a well-loved living room, including bowls of fruit on the table and a comfortable chair in the foreground, large multi-paned windows that allow sunlight to dapple across the room, a colorful carpet, shelves displaying coveted knick knacks, and more. All is delineated in a vibrant palette with rich, expressive brushwork. Interestingly, on the verso is a sketch of a couple - identified as old friends of the Drapers, Lee and Vicky Loomis, by the Draper Estate - relaxing on a couch, as the man holds a puppy in his arms. Size: 25" L x 30" W (63. 5 cm x 76. 2 cm). . This painting comes to us from the William Draper Estate. During the summer of 1963, Draper and his family visited Rochefort-en-Terre, Brittany, France. They were guests of American ex-patriate artist Trafford Klots (1913-1976) who had inherited a chateau that belonged to his father, American painter Alfred Klots, who had purchased it in the early 20th century, had it restored, and established an art colony. Trafford enjoyed inviting Draper and other artist friends to his home to paint the medieval architecture of this village that has been designated as a "Petite Cite de Caractere". . "The son of portrait painter, Alfred Partridge Klots and Agnes Boon Klotts, Trafford Klots spent much time in Europe with his parents, especially the medieval village of Rochefort-en-Terre in Brittany where they established an art colony. From 1927-1929, he attended Ecole des Roches and wrote his parents of his studies and activities, but he was not much of a scholar, and these letters like those written from Gilman School in Baltimore, 1929-1932 described his poor performance in all things but art. In 1932, he enrolled at the British Academy in Rome, and between 1933 to 1935, was a student in London at the Shaw School. After leaving Gilman in 1932, Trafford enrolled in the fall of 1932 at the British Academy in Rome, and at from 1933 to 1935, was a student at the Shaw School in London. For much of his early life, he was at Rochefort-en-Terre with his parents and after his father's death in 1938, carried on the work of promoting the area as an artist colony. After World War II, Trafford Klots and his wife, Isabel, restored the property at Rochefort-en-Terre, and worked together on this effort until his death in 1976. The French government purchased the Chateau in 1987. In 1989, after Trafford's death, his wife, established the Alfred & Trafford Klots Artist Residency Program in memory of her husband and father-in-law. From the time of its inception, it was a summer program, but its beginning with four participants expanded to more artist residencies of one month periods. The program is administered through the Maryland Institute College of Art. In May 2007, the Maryland Institute College of Art held an exhibition featuring the participants in the artist residency program of Chateau Rochefort en Terre. Papers documenting the life of Trafford Klots are in the Maryland Historical Society. " Source: Maryland Historical Society . . Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003), an accomplished American artist whose career spanned seven decades. Known as the "Dean of American Portraiture, " William Draper was the only artist to paint President John F. Kennedy from life, and his oeuvre includes marvelous landscapes from his world travels, military paintings as he was one of only seventeen Combat Artists in WWII, and portraits of illustrious individuals. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. . Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. . #153750 Condition Painting of living room is signed "Klots" at the lower right. There is a Draper Estate stamp on the verso. "Trafford Klots" is handwritten on the verso as well. Interestingly, there is a sketch of a couple and their dog on the verso, which is actually the canvas covered side of the board.
James Theodore Elrod Georgia (1952-2000)
LANDSCAPE WITH FISHERMAN
oil on panel, unframed, signed: lower left
H16" W28"
Provenance : Purchased from the artist's estate.
Other Notes: Jim was born in Atlanta, Georgia on November 30, 1952. He was the second son to Charles and Gloria Elrod. Jim was raised off Stewart Avenue and graduated from Sylvan High Scholl in 1970. His passion was the Woodstock era and the movements that came with that style of music and flower children effect. Most of his early art, consisted of flowers and pottery paintings from that era. Jim's art brought out the happier times in his life. One of the fondest paintings centered around a Navy leave homecoming from his dad meeting his mother at the house. Jim spent a lot of his early years at his grandparent's house on Roswell Road in which he did a painting of those moments.
In later years, Jim grew to be a loner and resided in a singlewide modular home in Douglasville, Georgia from the middle 1970's up until 1999. During that time frame, Jim spent most all of his days and nights reflecting on happy memories. There were so many times my mother would ask that I go by and check on him because days, sometimes weeks, would pass before he would take himself away from his painting. His love for his painting would take him to another place in time. Hours, days and weeks ran together as if time stood still.
Christmas and birthdays would light up with paintings Jim would present to his nieces, nephews and other family members. It was such a joy to receive these paintings, as we all knew they were from his heart and were thoughts for that particular individual. Priceless memories.
Jim moved to St. Simons Island, Georgia with his mother in early 1999 after the passing of his father in 1998. Galleries throughout St. Simons Island has [have] displayed Jim's paintings consisting of Christ Church, The Lighthouse and the Pier, which are historic landmarks on St. Simons Island.
In 2000, Jim wrote a short letter to Britt (our older brother) and me. In this letter he expressed his feelings and how his art was the only happiness he endured and that his work was complete. Jim took his life the following day, which was on a Sunday.
The following Monday I went to the galleries on St. Simons Island and brought all his artwork back to Villa Rica, Georgia to be stored. In memory to my brother, I would like for his work to be seen again. Hopefully you and others will see and be touched by the passion Jim had for his work throughout his paintings.
Biography by: John B. Elrod (brother of the artist)
NATHAN RAPOPORT, NEW YORK / RUSSIAN FEDERATION, POLAND (1911 - 1987), JACOB WRESTLING THE ANGEL, 1966, BRONZE, 13 1/2"H X 11"W X 5"DNathan Rapoport, New York / Russian Federation, Poland, (1911 - 1987) Jacob Wrestling the Angel, 1966, bronze Signed to base. Biography from the US Holocaust Memorial Museum: BIOGRAPHICAL HISTORY Nathan Rapoport was born in 1911 in Warsaw, Poland to a poor but extremely religious Jewish family. He was the grandson of Hasidim: one grandfather was a cantor; the other a shochet [ritual slaughterer]. As a child he belonged to Hashomer Hatsa'ir [Young Guard of the Zionist Left Wing], and attended Hebrew school. However, he had to leave school to help support the family. Rapoport trained as an architectural apprentice and at age 14 entered a municipal art school and studied sculpture. He attended the Academy of Art in Warsaw and won awards for his architectural, metal, and sculptural work and commissions for portrait busts that helped pay his tuition. He received scholarships to study at the Fine Arts Academy in Paris and to travel to Italy. Throughout the 1930s, he entered and won many competitions. In 1936, his piece, The Tennis Player, was submitted by the Polish government for exhibition in Berlin as part of the Summer Olympics, but Rapoport refused to let it be shown in Nazi Germany. In June 1939, Rapoport left Paris and returned to Warsaw. When Germany invaded Poland on September 1, 1939, Rapoport fled the city to join the Polish army which was regrouping in the forests between Warsaw and Bialystok. Unable to locate the army, Rapoport, along with other Jewish refugees, fled east into Soviet-controlled territory. Refugees who could provide skills deemed valuable by the state were allowed to stay in the Soviet Union. Rapoport identified himself as an artist and joined a collective of 120 Jewish artists in Bialystok which provided food, clothing and housing. Members of the Communist Party Arts Committee arrived from Minsk, looking for works for an upcoming exhibition. Rapoport's work impressed the committee and they moved him to a studio in Minsk where he worked alongside another Jewish artist. Several of his pieces were shown at this exhibition. While in Minsk, the 2nd secretary of the Party, Kulagin, visited Rapoport's studio and commissioned several state projects. On June 26, 1941, the Germans captured Minsk after a surprise attack on the Soviet Union, and Rapoport and his wife were evacuated to Alma Alta. Rapoport was forced to leave his family and was shipped to a forced labor prison camp in Novosibirsk, Siberia. Rapoport learned that his former patron, Kulagin, now the 1st secretary of the Party, was based in Novosibersk. The two met and Kulagin moved Rapoport out of the camp and into a studio. He provided Rapoport with food and vodka; Rapoport used the alcohol as currency to purchase supplies. Recommissioned as state sculptor, he created sculptures of people the state deemed worth remembering, such as people and heroes of the Patriotic War. He spent the remainder of the war living and working in Russia until he was repatriated to Warsaw in early 1946. Both his mother and sister perished during the Holocaust. In 1947 Rapoport presented a model to the Warsaw Jewish Committee. The model commemorated the Warsaw ghetto uprising, which began on April 19, 1943, when Jewish residents of the ghetto, faced with deportation, resisted German forces. It ended on May 16, 1943, with the destruction of the ghetto. The committee accepted his design with the provision that it must be completed by the anniversary of the uprising on April 19, 1948. Soon after the dedication, Rapoport emigrated to the newly established state of Israel where he lived until immigrating to the United States in 1959, becoming a citizen in 1965. Rapoport produced multiple, large scale, public works memorializing the Holocaust throughout the world, including Yad Vashem and Kibbutz Yad Mordecai in Israel and monuments in Philadelphia and New York City. He died in New York City on June 6, 1987. At the time of his death, he was divorced and survived by a daughter. He was 76 years old. Emu Biography: Nathan Rapaport also designed a monument to the Warsaw ghetto uprising which was unveiled in 1948. bronze Dimensions: 13 1/2"H x 11"W x 5"D
James Theodore Elrod Georgia (1952-2000)
COVERED BRIDGE IN COUNTRY LANDSCAPE
acrylic on canvas, unframed, signed: lower right
H24" W48"
Provenance : Purchased from the artist's estate.
Other Notes: Jim was born in Atlanta, Georgia on November 30, 1952. He was the second son to Charles and Gloria Elrod. Jim was raised off Stewart Avenue and graduated from Sylvan High Scholl in 1970. His passion was the Woodstock era and the movements that came with that style of music and flower children effect. Most of his early art, consisted of flowers and pottery paintings from that era. Jim's art brought out the happier times in his life. One of the fondest paintings centered around a Navy leave homing coming from his dad meeting his mother at the house. Jim spent a lot of his early years at his grandparent's house on Roswell Road in which he did a painting of those moments.
In later years, Jim grew to be a loner and resided in a singlewide modular home in Douglasville, Georgia from the middle 1970's up until 1999. During that time frame, Jim spent most all of his days and nights reflecting on happy memories. There were so many times my mother would ask that I go by and check on him because days, sometimes weeks, would pass before he would take himself away from his painting. His love for his painting would take him to another place in time. Hours, days and weeks ran together as if time stood still.
Christmas and birthdays would light up with paintings Jim would present to his nieces, nephews and other family members. It was such a joy to receive these paintings, as we all knew they were from his heart and were thoughts for that particular individual. Priceless memories.
Jim moved to St. Simons Island, Georgia with his mother in early 1999 after the passing of his father in 1998. Galleries throughout St. Simons Island has [have] displayed Jim's paintings consisting of Christ Church, The Lighthouse and the Pier, which are historic landmarks on St. Simons Island.
In 2000, Jim wrote a short letter to Britt (our older brother) and me. In this letter he expressed his feelings and how his art was the only happiness he endured and that his work was complete. Jim took his life the following day, which was on a Sunday.
The following Monday I went to the galleries on St. Simons Island and brought all his artwork back to Villa Rica, Georgia to be stored. In memory to my brother, I would like for his work to be seen again. Hopefully you and others will see and be touched by the passion Jim had for his work throughout his paintings.
Biography by: John B. Elrod (brother of the artist)
105 FRANKLIN LIBRARY SIGNED 1ST ED BOOKS LEATHER 105 Franklin Library Signed First Edition Leather Bound books, to include: "Memories of the Ford Administration", John Updike, "Toward the End of Time", John Updike, "The Hundred Secret Senses" Amy Tan, "Unto The Sons", Gay Talese, "Personal Injuries" Scott Turow, "Heart of War", Lucian K. Truscott IV, "Kowloon Tong", Paul Theroux, "O-Zone", Paul Theroux, "One Hundred Fairy Tales", The Brothers Grimm, "Gods of War", John Toland, "Lincoln", Gore Vidal, "A God In Ruins", Leon Uris, "Brazil", John Updike, "Original Sin", P.D. James (sealed), "Redemption", Leon Uris, "Damascus Gate", Robert Stone, "Outerbridge Reach", Robert Stone, "Crossing To Safety", Wallace Stegner, "Billy Straight", Jonathan Kellerman, "The Volcano Lover", Susan Sontag, "Black Alley", Mickey Spillane, "The Kitchen God's Wife", Amy Tan, "Journals 1939 - 1983", Stephen Spender, "Depths of Glory", Irving Stone, "Spock on Spock", Benjamin Spock & Mary Morgan, "The Killing Man", Mickey Spillane, "Saint Maybe", Anne Tyler, "Breathing Lessons", Anne Tyler, "Pleading Guilty", Scott Turow, "Ladder of Years", Anne Tyler, "The Burden of Proof", Scott Turow, "TheLaws of Our Fathers", Scott Turow, "Where I'm Calling From", Raymond Carver, "The Songlines", Butch Chatwin, "Recessional", James A. Michener, "Oswald's Tale", Norman Mailer, "Anything Considered", Peter Mayle, "Chasing Cezanne", Peter Mayle, "Hotel Pastis, Peter Mayle, "Tough Guys Don't Dance", Norman Mailer, "The Truth About Lorin Jones", Alison Lurie, "A Dangerous Woman", Mary McGarry Morris, "Hong Kong", Jan Morris, "Timebends", Arthur Miller, "Our Game", John Le Carre, "A Cloak of Light", Wright Morris, "The Bourne Supremacy", Robert Ludlum, "Nine Women", Shirley Ann Grau, "Foreign Affairs", Alison Lurie, "We Are Still Married", Garrison Keillor, "Devices and Desires", P.D. James, "Rabbit At Rest", John Updike, "A Patchwork Planet", Anne Tyler, "The Bonfire of the Vanities", Tom Wolfe, "Roger's Version", John Updike, "The Witches of Eastwick", John Updike, "New and Selected Poems, 1923- 1985", Robert Penn Warren, "In The Beauty of the Lilies", John Updike, "Gertrude And Claudius", John Updike, "A Man In Full", Tom Wolfe, "The Haj", Leon Uris, "Hocus Pocus", Kurt Vonnegut, "The Smithsonian Institution", Gore Vidal, "Bluebeard", Kurt Vonnegut, "Galapagos", Kurt Vonnegut, "The Fifth Son", Elie Wiesel, "Empire", Gore Vidal, "No Safe Place", Richard North Patterson, "The Thanatos Syndrome", Walker Percy, "Celebration", Mary Lee Settle, "A Time Of Change", Harrison E. Salisbury, "Dark Lady", Richard North Patterson, "The Long March", Harrison E. Salisbury, "Three From The Stage", Neil Simon, "The Anatomy Lesson", Philip Roth, "Rose", Martin Cruz Smith, "In America", Susan Sontag, "The Counterlife", Philip Roth, "The Death of Methuselah", Isaac Bashevis Singer, "The Penitent", Isaac Bashevis Singer, "The Human Stain", Philip Roth, "I Married A Communist", Philip Roth, "The Cycles of American History", Arthur M. Schlesinger, Jr., "A Fanatic Heart", Edna O'Brien, "Polar Star", Martin Cruz Smith, "Operation Shylock", Philip Roth, "Closing Time" Joseph Heller, "Airframe", Michael Crichton, "Travels", Michael Crichton, "Timeline", Michael Crichton, "The Lost World", Michael Crichton, "The Call", John Hersey, "The Centurion", Jan De Hartog, "The Short History of a Prince", Jane Hamilton, "Disclosure" Michael Crichton, "Rising Sun", Michael Crichton, "Now and Then", Joseph Heller, "Playing For Keeps", David Halberstam, "Prizzi's Money", Richard Condon, "Jurassic Park", Michael Crichton, "Gump & Co.", Winston Groom, "The Patient Has The Floor", Alistair Cooke, "The Venerable Bead", Richard Condon, "A Son of The Circus", John Irving, and "The Big Picture", Douglas Kennedy. One of two large groupings in this sale of these books. Condition: All books are like new / as new. Cataloger does not believe that these have ever been read.
James Theodore Elrod Georgia (1952-2000)
FLORAL STILL LIFE
oil on board, framed, signed: lower left
H28" W22"
Other Notes: Jim was born in Atlanta, Georgia on November 30, 1952. He was the second son to Charles and Gloria Elrod. Jim was raised off Stewart Avenue and graduated from Sylvan High Scholl in 1970. His passion was the Woodstock era and the movements that came with that style of music and flower children effect. Most of his early art, consisted of flowers and pottery paintings from that era. Jim's art brought out the happier times in his life. One of the fondest paintings centered around a Navy leave homecoming from his dad meeting his mother at the house. Jim spent a lot of his early years at his grandparent's house on Roswell Road in which he did a painting of those moments.
In later years, Jim grew to be a loner and resided in a singlewide modular home in Douglasville, Georgia from the middle 1970's up until 1999. During that time frame, Jim spent most all of his days and nights reflecting on happy memories. There were so many times my mother would ask that I go by and check on him because days, sometimes weeks, would pass before he would take himself away from his painting. His love for his painting would take him to another place in time. Hours, days and weeks ran together as if time stood still.
Christmas and birthdays would light up with paintings Jim would present to his nieces, nephews and other family members. It was such a joy to receive these paintings, as we all knew they were from his heart and were thoughts for that particular individual. Priceless memories.
Jim moved to St. Simons Island, Georgia with his mother in early 1999 after the passing of his father in 1998. Galleries throughout St. Simons Island has [have] displayed Jim's paintings consisting of Christ Church, The Lighthouse and the Pier, which are historic landmarks on St. Simons Island.
In 2000, Jim wrote a short letter to Britt (our older brother) and me. In this letter he expressed his feelings and how his art was the only happiness he endured and that his work was complete. Jim took his life the following day, which was on a Sunday.
The following Monday I went to the galleries on St. Simons Island and brought all his artwork back to Villa Rica, Georgia to be stored. In memory to my brother, I would like for his work to be seen again. Hopefully you and others will see and be touched by the passion Jim had for his work throughout his paintings.
Biography by: John B. Elrod (brother of the artist)
This beautiful and fascinating print expressing Washingtons reputation and patriotic fervor: Eulogium Sacred to the Memory of the Illustrious George Washington, Columbia's Great and Successful Son: Honored be his Name. Benjamin O. Tyler (19th cent. ). Copper-Plate engraving. New York: B. O. Tyler, 1817. 18 1/2 x 23 inches sheet. The story behind this work tells volumes about the reputation of Washington among Americans in the first half of the 19th century. Benjamin Tyler’s memorial was first issued at the same time as John Trumbull’s famous print of the Declaration of Independence, and, indeed, it competed with it because Trumbull complained of the situation. This beautiful and fascinating print expresses much about the patriotic fervor of Americans at this time.
(lot of 18) Books, including: (1) "Notes on the Manufacture and Inspection of Steel Breech Loading Rifles, Rapid Fire and Machine Guns, and Small Arms," United States Navy Bureau of Ordnance, 1892, 136 pages, (1) "Makers of History: a Story of the Development of the History of Our Country at the Muzzle of a Colt," F. Romer, 1926, 64 pages, (1) "Miniature Arms," Merrill Lindsay, 1970, 110 pages, collection stamps, (1) "Wyatt Atkinson: Riflesmith," Eldon G. Wolff, 1964, 52 pages, (1) "A Catalog of Firearms for the Collector," L.D. Satterlee, 1939, second edition, 334 pages, (1) facsimile 1900 sales catalog from Savage Arms Corporation, Utica, NY, printed 1960, 56 pages, (1) sales catalog from Savage Arms Corporation, no. 66, 28 pages, envelope with Lincoln 3-cent stamp, (1) "United States Martial Pistols & Revolvers," Arcadi Gluckman, 1939, 249 pages, appendices and illustrative plates, (1) "U.S. Martial and Semi-Martial Single-Shot Pistols," Charles Edward Chapel, 1962, first edition, 386 pages, collection stamps, (1) "The Book of the Pistol & Revolver," Captain Hugh B.C. Pollard, 1917, 230 pages, loose plates, (1) "United States Muskets, Rifles, and Carbines," Arcadi Gluckman, 1948, 447 pages, (1) "Americans and Their Guns," compiled by James B. Trefethen, 1967, 320 pages, collection stamps, (1) "The Fireside Book of Guns," Larry Koller, 284 pages, collection stamps, (1) "British Military Pistols: 1603-1888," R.E. Brooker, Jr., 1978, limited edition of 1,000 copies, 136 pages, collection stamps, (1) "The American Arms Collector," 1957, 128 pages, collection stamps, (1) "Samuel E. Smith Memorial: 1912-1983," Wisconsin Gun Collectors Association, Inc., (2 vol.) "The Gun Collector," vols. 19-38, vols. 39-47, library plates; largest book: approx 11.25"h, 9"w, 26.5lbs total **Provenance: From the estate of Dr. James R. Lucie, a well-known knifemaker, retired physician and author. He had a several-year waiting list of people wanting to purchase his hand-forged knives at the time of his death and at one point, had the largest collection of knives and ironwork made by William Scagel. Dr. Lucie is the author of "Scagel Handmade," published in 2010.**
c. 1805 Commemorative Poem to Lord Horatio Nelson In Tribute After His Death: Post-Revolutionary War to Civil War. c. 1805 Commemorative Poem Lord Horatio Nelson Tribute After Death Titled "ON THE BATTLE OF TRAFALGAR". c. 1805 "ON THE BATTLE OF TRAFALGAR, " Manuscript Poem in Tribute to Lord Horatio Nelson & the Battle Of Trafalgar, Choice Very Fine. This remarkable Handwritten Poem is a period Memorial Tribute to Lord Nelson and his amazing complete British Naval victory at the Battle of Trafalgar, where he was mortally wounded by an enemy sharpshooter. Trafalgar Square in London is so named in his honor. Beautifully penned in rich brown on clean wove period paper and just lightly folded. Measuring 7' x 9", 4 pages, three and a half pages being filled with stanzas of heroic praise for Nelson. Written on fresh appearing paper in clearly readable dark brown ink. This original manuscript patriotic poem entitled "ON THE BATTLE OF TRAFALGAR", written in tribute to the glorious English Naval victory over a combined French and Spanish fleet at the 1805 Battle of Trafalgar, and the tragic death by sharpshooter of Lord Horatio Nelson, the English commander during the battle. The origin of this tribute is unknown, no date, but is probably English being written around the time of mourning at his death and euphoric celebration for his Naval victory. A British fleet under Admiral Lord Nelson, in one of the most decisive naval battles in history, defeats a combined French and Spanish fleet at the Battle of Trafalgar, fought off the coast of Spain. . At sea, Lord Nelson and the Royal Navy consistently thwarted Napoleon Bonaparte, who led France to preeminence on the European mainland. Nelson's last and greatest victory against the French was the Battle of Trafalgar, which began after Nelson caught sight of a Franco-Spanish force of 33 ships. . Preparing to engage the enemy force on October 21, Nelson divided his 27 ships into two divisions and signaled a famous message from the flagship Victory: "England expects that every man will do his duty. ". . In five hours of fighting, the British devastated the enemy fleet, destroying 19 enemy ships. . No British ships were lost, but 1, 500 British seamen were killed or wounded in the heavy fighting. The battle raged at its fiercest around the Victory, and a French sniper shot Nelson in the shoulder and chest. . The admiral was taken below and died about 30 minutes before the end of the battle. Nelson's last words, after being informed that victory was imminent, were "Now I am satisfied. Thank God I have done my duty. ". . Victory at the Battle of Trafalgar ensured that Napoleon would never invade Britain. Nelson, hailed as the savior of his nation, was given a magnificent funeral in St. Paul's Cathedral in London. A column was erected to his memory in the newly named Trafalgar Square, and numerous streets were renamed in his honor.
SIR THOMAS BROCK (BRITISH 1847-1922): SIR THOMAS BROCK (BRITISH 1847-1922). Hercules and Antaeus, 1869 . bronze with dark brown patina . height including base: 108 cm (42. 5 in. ) . signed, dated and inscribed with edition number 4/99 on base . . LOT NOTES. Sir Thomas Brock was born in Worcester, England in 1847. He was commissioned to create many significant works of sculpture for Queen Victoria. Most famous is his imperial memorial to Queen Victoria. The work is now in front of Buckingham Palace where he was knighted in 1911. Sir Thomas Brock’s sculptures echo style and allegory commonplace in Baroque era sculpture. Sir Thomas Brock’s sculptures were later associated with the New Sculpture Movement. The New Sculpture Movement focuses on the renewal of classicized British sculpture adding a new “elegance” and “vitality”. In his piece “Wrestlers”, it is evident that Sir Thomas Brock was strongly influenced by Hellenistic and Baroque sculpture. The two men are twisting around each other, as the smaller man is pulled upwards -- his face full of agony. The defined muscles and arms of both men are intertwining. There is a terrific sense of tension and force being exerted as both men try to overcome the strength of the other. The work is an exemplar of Brock’s wonderous ability to demonstrate varieties in texture, depict hair and emotion-filled facial expressions, and evoke a sense of the piece being a “frozen” in time -- a particular moment within a time of dynamic movement and chaos; there is a sense of potential energy. . . The piece is likely a depiction of Hercules slaying Antenaeus. The mythical giant Antenaeus was the son of Gaia, goddess of earth. Because of this, Antenaeus was strong and undefeatable when in contact with the earth. Knowing this, Hercules lifted Antenaeus into the air and squeezed him to death. . . Both this piece of artwork in particular, as well as the story of Hercules Slaying Antenaeus, can be seen as allegorical to the story of David and Goliath. However, the story of Hercules Slaying Antenaeus clearly differs in that Anetaeus, the loser of the brawl, is a giant. . . CONDITION. N. B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC. , including its consultants and agents, shall have no responsibility for any error or omission. Dimension
HOMER DODGE MARTIN WATERCOLOR LANDSCAPEHomer Dodge Martin (American, 1836 – 1897) watercolor depicting a river landscape, framed under glass; measures approximately 18-7/8" x 22-7/8" with a sight image of approximately 9-7/8" x 13-3/4". Signed H D Martin 1896 to lower right.
Homer Dodge Martin was born in Albany, New York on October 28, 1836. A pupil for a short time of William Hart, his earlier work was closely aligned with the Hudson River School. Other Albany painters of his acquaintance included George Boughton, and Edward Gay. During the 1860s he spent the summers in the Adirondacks, Catskills and White Mountains, and painted landscapes from the sketches he made there at his studio in New York City's Tenth Street Studio Building. Martin was elected as associate of the National Academy of Design, New York, in 1868, and a full academician in 1874. From 1882 to 1886, he lived in France, spending much of the time in Normandy, including stays at the Etaples art colony. At Villerville on the Seine, he painted his celebrated Harp of the Winds, now at the Metropolitan Museum of Art. By 1897 Martin had returned to New York City; in 1893 he moved to St. Paul, Minnesota where, nearly blind, he painted one of his best-known works, Adirondack Scenery (1895) from memory. He died on February 12, 1897 in St. Paul, Minnesota.
ARTHUR F. MAYNARD OIL ON CANVAS "ROCKY COASTLINE"Arthur F. Maynard (1920-1991) Oil on Canvas "Rocky Coastline", signed lower right.
36 in. x 46 in. Framed 41 ¾ in. x 52 in.
Provenance: The Gail and Rich Mellin Collection
Arthur F. Maynard, a student of Frank Vincent DuMond, was an immensely talented artist and an inspirational teacher. He is considered by many as the beloved patriarch of the Ridgewood Art Institute. He held degrees from Princeton and Harvard, served in the Navy in World War II, and studied at the Art Students League with Frank Vincent DuMond for eight years.
Maynard received numerous awards, including the DuMond Memorial Award from the Hudson Valley Art Association, but eventually stopped exhibiting because he did not want to compete with his students.
Arthur Maynard was profoundly influenced by Frank Vincent DuMond. Like DuMond, he had a great interest in the principles of light and its effects on the landscape. He is remembered by his students as teaching the "why" rather than the "how" of painting.
Why the light illuminating an object appears as it does - according to a basic set of principles determined by distance, atmospheric conditions, the time of day and the nature of the object's reflective surface - was of great interest to him. Maynard followed in the footsteps of his predecessor DuMond, becoming an instructor at the Art Students League for a few years before founding the Ridgewood Art Institute. ~ The Ridgewood Art Institute
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
A MEMORIAL PLAQUE TO ARTHUR WHITLEY ROYAL NAVY Arthur Whitley was born in Weaverham, Lancashire, on the 19th of August 1886. He joined the Royal Navy on his 18th birthday giving his occupation as Labourer. His service number was 222393 He sadly died of illness on the 27th of October 1918 and was buried in Wraverham Cemetery. At the time of his death, he was serving on HMS Whitley.
ROBERT SWAIN GIFFORD, (AMERICAN, 1840-1905), THE CITADEL OF CAIRO, EVENING, 1871, OIL ON CANVAS, 28 1/4 X 33 1/4 IN., FRAME: 41 1/4 X 46 IN.ROBERT SWAIN GIFFORD, (American, 1840-1905) The Citadel of Cairo, Evening, 1871, oil on canvas signed and dated R. Swain Gifford '71, l.l. 28 1/4 x 33 1/4 in., frame: 41 1/4 x 46 in. Provenance: By descent in the family of the artist. Exhibitions: Old Dartmouth Historical Society Whaling Museum, New Bedford, MA (label verso). Other Notes: Born in 1840 on the small island of Nonamesset, Massachusetts, Robert Swain Gifford spent his formative years in New Bedford, Massachusetts, before settling in Nonquitt, Massachusetts in 1886. After showing promise as an artist from an early age, Gifford trained with Dutch marine artist Albert Van Beest from 1854-1857, and later with noted New Bedford artist William Bradford. In 1870-74, Gifford traveled to Europe and Northern Africa, expanding his oeuvre as he depicted the locales he visited on his travels, applying the techniques he had learned painting New England seascapes. Gifford was also an avid draughtsman and illustrator, producing scores of drawings and etchings from this period as well. Fellow artist F.D. Millet reflected on Gifford in a 1906 memorial: "He saw and recorded the landscape in its fullest and warmest aspects; he was enchanted by the glow of color on grass, in rocks, in foliage, and in water; he saw new glories in sunset skies and found new charms in the sweeping lines of the beach and the character of stunted, wind-beaten trees. There is in many of his works a note of suggestive sadness, the true note of nature in the time of the fall of the leaf." Citadel of Cairo is an exemplar of so much of what Millet describes: the depth of Gifford's artistic talent, from the deftly painted figures in the foreground and the exact rendering of the architecture to the impressive blending of colors in the evening sky. The luminous work is one that has with good reason remained a favorite of Gifford's family for nearly 150 years. Condition: Condition: Conserved by Yoder Conservation, Cleveland, OH in 2007. Lined; minor scattered inpainting throughout; some areas with stable craquelure.
SIR ALFRED GILBERT: A bronze of "Comedy and Tragedy": "Sic Vita", the bronze 27" high, on a circular serpentine base, 30.75" high overall including the base. See illustration Provenance: The collection of J.P. Heseltine, Esq. Acquired by Robert Worthington, Esq. OBE, FRCS of Exeter, Devon, from Gooden and Fox in February 1931 for £100 (the original invoice included with this lot). Worthington was a prolific collector and the purchase is also recorded in his notebook. Literature: The Easter Art Annual, 1903. Sir Alfred Gilbert spoke of "Comedy and Tragedy" as "The climax to my cycle of stories". In one sense it is autobiographical, the commentary on Gilbert's state of mind at the time of its' creation: mounting debt, difficulties with patrons and a sick wife forced him to live with continual anxiety, though what the world saw was a supremely successful sculptor and social figure publicly moving from one triumph to another. The stature shows a stage-prop boy running with the mask of Comedy in his hands at the moment he is stung by a bee. From one side, the statue is dominated by the comic mask; from the other the boy's expression forms a tragic mask. The statue needs to be seen in-the-round to appreciate the twisting of the angular muscular form into a complex and artificial pose. The title for the bronze comes from W.S. Gilbert's one-act play "Comedy and Tragedy", which was staged in a revival at the Lyceum with Gilbert's friend, the American actress Mary Anderson, in the leading role. A pen and ink sketch "Comedy and Tragedy" (first idea) "December III 90 Alfred Gilbert" shows a winged putto leaping to avoid an arrow shot at his right leg. Gilbert was just beginning to think about the figure of Eros for the Shaftesbury Memorial at this date, so the arrow in the drawing may be identified as the one Eros has just shot from his bow. The model for Eros, Angelo Colorossi, recalled that before posing for that statue he had posed for "Comedy and Tragedy". The latter was begun on 2nd February 1891 and advanced throughout the month. Gilbert noted in May of that year that he had worked on the top of the Shaftesbury Memorial, so Eros followed immediately upon Comedy and Tragedy (Alfred Gilbert, Royal Academy of Arts 1986 - The Great Bronzes 1881-1892). This lot is sold with Robert Worthington's personal copy of "Alfred Gilbert" by Isabel McAllister, published London 1929 and the original invoice of sale dated 16th February, 1931
James Theodore Elrod Georgia (1952-2000)
SUMMER COASTAL SCENE WITH LIGHTHOUSE
oil on canvas, framed, signed: lower right, JT Elrod
H30" W48"
Provenance : Purchased from the artist's estate.
Other Notes: Jim was born in Atlanta, Georgia on November 30, 1952. He was the second son to Charles and Gloria Elrod. Jim was raised off Stewart Avenue and graduated from Sylvan High Scholl in 1970. His passion was the Woodstock era and the movements that came with that style of music and flower children effect. Most of his early art, consisted of flowers and pottery paintings from that era. Jim's art brought out the happier times in his life. One of the fondest paintings centered around a Navy leave homing coming from his dad meeting his mother at the house. Jim spent a lot of his early years at his grandparent's house on Roswell Road in which he did a painting of those moments.
In later years, Jim grew to be a loner and resided in a singlewide modular home in Douglasville, Georgia from the middle 1970's up until 1999. During that time frame, Jim spent most all of his days and nights reflecting on happy memories. There were so many times my mother would ask that I go by and check on him because days, sometimes weeks, would pass before he would take himself away from his painting. His love for his painting would take him to another place in time. Hours, days and weeks ran together as if time stood still.
Christmas and birthdays would light up with paintings Jim would present to his nieces, nephews and other family members. It was such a joy to receive these paintings, as we all knew they were from his heart and were thoughts for that particular individual. Priceless memories.
Jim moved to St. Simons Island, Georgia with his mother in early 1999 after the passing of his father in 1998. Galleries throughout St. Simons Island has [have] displayed Jim's paintings consisting of Christ Church, The Lighthouse and the Pier, which are historic landmarks on St. Simons Island.
In 2000, Jim wrote a short letter to Britt (our older brother) and me. In this letter he expressed his feelings and how his art was the only happiness he endured and that his work was complete. Jim took his life the following day, which was on a Sunday.
The following Monday I went to the galleries on St. Simons Island and brought all his artwork back to Villa Rica, Georgia to be stored. In memory to my brother, I would like for his work to be seen again. Hopefully you and others will see and be touched by the passion Jim had for his work throughout his paintings.
Biography by: John B. Elrod (brother of the artist)
MASSACHUSETTS WATERCOLOR MEMORIAL. Unknown Hopkinton Middlesex County ca.1825 watercolor and ink on paper. Mourning woman leaning on plinth inscribed for Lucy and Moses Morse both 51 dying less then two months apart in 1825. Good colors. In a frame 17''h. 181 /2''w. Lucy Witherbee married Moses Morse in November 1804 in Southboro Massachusetts. They were living in Hopkinton at the time of their deaths. Their only daughter Almira died at age two. It is not glued down. There is an area of repair in the lower right hand corner. The paper is very fragile and is deteriorating mostly around the edges.
c. 1780-1810 British Regiment Light Dragoon Pattern Flintlock Pistol: Guns. British Regiment Light Dragoon Pattern Flintlock Pistol. c. 1780-1810 Revolutionary War to War of 1812 Era, Regiment Marked, British Light Dragoon Pattern Flintlock Pistol, Very Fine. This Regiment Marked British Light Dragoon Pattern Flintlock Pistol, type used in the Revolutionary War, Napoleonic Wars and War of 1812, measures about 15. 75" overall with a 9. 25" long, . 65 calibre (carbine bore) round steel barrel with (2) PROOFS and top of barrel engraved with Regimental Marks; "22 L D" (22nd Light Dragoons). Lock marked, "CROWN" over "GR" (King George III). Brass regulation furniture. Stock has the remnants of the arsenal "stores keeper" mark, which appears to be the bottom protion of the "East India Company Heart" and is solid with some typical scratches and dings from years of service. In good working order. The first regiment to bear the title 22nd Dragoons was raised in 1716. Also known as Viscount Mountjoy's Regiment of Dragoons, it appeared on the Army List on 16 February 1716 but was disbanded in 1718. . In 1779, John, Lord Sheffield raised a light dragoon regiment that was styled 22nd (Light) Dragoons but this was disbanded in 1783. [2] William, Viscount Fielding raised the next regiment to use the title 22nd (Light) Dragoons on 24 February 1794; this regiment lasted slightly longer, being disbanded in 1802 with the onset of peace. However, the 25th Dragoons (raised for service in India by F E Gwyn on 9 March 1794) was renumbered 22nd (Light) Dragoons in that year. This 22nd (Light) Dragoons regiment served throughout the Napoleonic Wars which began in 1805 and was disbanded in 1820. . Overview. . Four regiments of Light Dragoons have in succession borne the identification number of 22. The first regiment had but a brief existence, being raised in 1760 and disbanded in 1768. The second regiment was raised in 1779 for home service by the Earl of Sheffield under the title of the York Light Dragoons. It was dissolved in 1783. The third regiment was raised in 1794 and was commanded by Colonel Viscount Feilding. This regiment served in Ireland and in Egypt, and bore the badge of the Sphynx surmounting the word Egypt. . The fourth regiment was raised in 1794 as the original 25th Light Dragoons, or Gwyn's Hussars, after its commanding officer, Colonel Francis Gwyn. The uniform consisted of French grey with scarlet facings and bore a badge on their helmet consisting of the Roman Cardinals XXV between the letters L. D. surmounting a hunting horn. In 1796 the regiment was dispatched on active service to Cape Colony and took part in the first march ever made by British troops in South Africa - that of Saldanha Bay. Later they were shipped to India and served through the Mahratta War in Mysore, 1799. In 1802 the regiment was renumbered as the 22nd, and next saw service in the Expedition to Java in 1811, returning again to India where they fought in the action of Maheidpore in 1817. For its services the regiment was awarded the battle honour " Seringapatam. ". . Its uniform in 1812 consisted of pink collar, cuffs and lapelles, with blue jacket and white breeches. There is a record of an inspection of the 22nd Light Dragoons at Bangalore, Southern India, in July, 1815, when owing to the difficulty experienced by the officers in procuring the pink colour for their facings, " the Commander-in-Chief was pleased to admit of their wearing red facings for the present. " In the following November the Prince Regent issued an order to the effect that owing to the difficulty in procuring peach blossom cloth in India for the officer's uniforms that the facings of the regiment were to be changed to white. . In the 1819 Army List the regiment made its last appearance with "Ordered to be Disbanded" underneath their sole battle honour "Seringapatam", which embraced so much hard fighting. Colonel F. E. Gwyn was still shown as colonel. . Battles. . The following account of the exploits of HM 22nd Light Dragoons from 1817-1819 is extracted from the 'The Mahratta and Pindari Wars' compiled by the General Staff, India and published in Simla in 1910. It was transcribed by Cathy Day. The archaic language and values of the document reflect the times in which they were written. For the most part Cathy has extracted the history verbatim, and added some clarifying comments and explanations where appropriate. . Brigadier-General Thomas Munro, the Commander of the Reserve of the Deccan Army, exercised both civil and military jurisdiction in the country between the rivers Krishna and Tungabhadra where his forces were disposed, his headquarters being at Dharwar. In October 1817, prior to the outbreak at Poona, the Peshwa had asked the assistance of the British Government in the reduction of the valley of Sundur, which was in a state of insubordination, and contained a temple of great sanctity which he occasionally visited. For this purpose the force then at Dharwar was most conveniently situated, and preparations were made early in October for its movement. On the 11th October all the artillery marched from Dharwar for Hampsagar on the Tungabhadra, under command of Lieutenant-Colonel Dalrymple; followed on the 13th by Colonel Munro with the remainder of the force. On the 20th October Colonel Munro divided his force into two parts, of which one, consisting of all the cavalry except half a squadron of Dragoons, and half a Squadron of Native cavalry, was placed on the left bank of the river in charge of the sick and heavy baggage, and the other crossed over by basket boats to Hampsagar, which took 3 days. These boats were wicker boats made by the troops in the jungle, and covered with skins. The material used in their construction was probably sambalu, a plant resembling willow, which grows in profusion on river banks in Southern. India. The force was there joined by the headquarters and three companies, 2nd Battalion of Pioneers, from Bellary. On the 27th October Colonel Munro entered the valley of Sundur, when the fort was surrendered, and the same day was occupied by a British garrison. On the 16th November the greater part of Colonel Munro's force was formed into the reserve of the Army of the Deccan under Brigadier-General Pritzler; the former officer having returned to his headquarters at Dharwar. . In December Colonel Munro was reappointed to the command of the Reserve with the rank of Brigadier-General, but he had only one battalion at headquarters, the remainder having taken the field under Brigadier-General Pritzler. Munro found himself at Dharwar opposed in the first instance by the influence of Kashi Rao Gokla, lately appointed by Baji Rao civil and military Governor of the Southern Mahratta country. The country was studded with forts, and probably no territory of similar extent in any part of the world possessed so many of these strongholds as that belonging to the Peshwa before the war. They had most of them been constructed as secure retreats in the time of Sivaji, whom Aurangzeb called "the Mountain Rat. ". . When Brigadier-General Munro took the field, he procured from Bellary a small battering train and the detachment of the 2-12 Native Infantry, which had been left at Sundur since the beginning of November. He also occupied himself in raising an irregular force of infantry (called Peons) as auxiliaries to relieve his few regulars from unimportant duties and to garrison places he might reduce. A party of these Peons at Nalgund were harassed by a body of Kashi Rao Gokla's horse, and were relieved by Lieutenant-Colonel Newall with five companies 2-4th Native Infantry, two guns, and a 5-inch howitzer on the 24th December. . On the 5th January, Brigadier-General Munro, having collected a sufficient force, began active operations. He opened the campaign with the siege of Gadag, which surrendered on the 6th; Kashi Rao's horse appeared, but made no stand. The garrison of Damal, after four hours' firing from two batteries, surrendered on the 8th, to the number of 450 men; Hubli fell on the 14th and Misri Kotah on the 16th, both these places being then occupied by Peons. . The Brigadier-General then returned to Dharwar, and halted there to reorganise until the 4th February, drawing supplies and treasure in the meantime from the Ceded Districts. In the middle of December a body of Pindaris (roving mercenaries and plunderers) had ascended the Berar Ghats and gone southward. They plundered Harponhalli and other places on the way to Chitaldrug, and then, being pursued by the 5th Madras Cavalry, broke up into smaller detachments. They were attacked by a detachment on horseback and on foot, and suffered considerably in men, horses, and booty; and on their return journey, they were attacked again , when they lost twenty men and forty horses. . On the 5th February Brigadier-General Munro reopened the campaign by marching against Badami, on the Malpurba. At Holur on the 8th a party of the enemy's horse was met with, and some of the native cavalry fell into an ambush, and lost nine men and eight horses killed and wounded. On the 9th February the force arrived at Belur, the garrison of which, 400 horse and 300 foot, escaped over the hills towards Badami. Against this place the General advanced on the 12th when the advanced guard encountered a detachment posted in a pagoda. A gun was brought up to cover passage, and the place taken at the point of the bayonet. . Badami was a walled town at the foot of fortified hills, containing an inner fort, and it was at first considered necessary to attack the lower defences. By the evening of the 17th a practicable breach was made, and at daybreak next morning the storming party surmounted the breach, killed the men in the neighbouring works, and drove those to the upper works, to which they quickly pursued them. The enemy then surrendered at discretion, and by 10 a. m. the Brigadier-General was in possession of all the forts, and 14 guns and 17 jinjals. The British losses amounted to 4 Europeans and 5 natives killed and wounded. This was one of the strongest hill forts in India. Other places surrendered in quick succession and Brigadier-General Munro then advanced against Belgaum, before which he arrived on the 20th February 1818, and immediately occupied the town. The fort was found to be in perfect repair, surrounded by a deep and broad wet ditch, and garrisoned by 1, 600 men. A battery was prepared at a mosque 800 yards from the north face, and opened fire on the 21st, being answered by five guns of the enemy, which were nearly silenced the following day. On the 24th the approach by trench was begun, and carried 140 yards, advancing 120 yards the following day. The approach was carried forward daily. On the 31st the magazine at the mosque blow up, and the enemy garrison made a sally to take advantage of the expected confusion but they were met by the battery guard and driven back, under a heavy fire of guns and small arms from the walls. . The approach was now well advanced, and on the 3rd April a breaching battery opened within 550 yards of the wall with great effect on the left of the gateway. The enemy garrison had still two effective guns, with which they annoyed the breaching battery, but these were silenced, and on the 4th a large portion of the outer wall and part of the inner wall were brought down. A few days later an effective breach was made on the right of the gateway, and on the 10th April the commandant of the fort surrendered. The garrison lost 20 killed and 50 wounded during the siege; the British had thirty-six casualties. Thirty-six large guns and 60 small guns and jinjals were taken. The walls, it was found, were solid and massive and upwards of a mile and half in extent; affording the garrison ample cover from fire. In his despatch the General commended Lieutenant-Colonel Newall " for the judgement, zeal, and energy with which he personally directed every operation. ". . Brigadier-General Munro and his force marched to Nagar Manaoli, where he was joined by the Remainder of the Reserve under Brigadier-General Pritzler, who in January had taken the important fortress of Wassota, releasing the family of the Raja of Satara and the two British officers who were confined there. (Coronets Morison and Hunter, 1st and 2nd Madras Cavalry, were captured on their way to Poona in November 1817. They had undergone such hardships as to be scarcely recognisable when released. ) Many other places surrendered to Brigadier-General Pritzler on his march from Satara to join General Munro. . It will be remembered that a force of infantry and guns of Baji Rao's army had marched to Sholapur. These formed the next objective of Brigadier General Munro's operations. The enemy had been encamped south-south-west of Sholapur, but withdrew on the approach of the British. On 8th May 1818 the force crossed the Sina at Patri, and encamped on the 9th within two miles of the enemy's position which was under the walls of the town. . Near the eastern gate of the fort is a tomb to the memory of two Pathans who fell when the fort was taken in 1818. These two men were in charge of a round open tower on the wall, which they defended to the last, having sworn on the Koran never to surrender. . The fort of Sholapur was a fine specimen of Eastern architecture, built of granite. On one side was a spacious tank with a temple in the centre connected with the shore by a stone causeway. On the other three sides the fort was surrounded by a wide and deep ditch cut in the solid rock. The entrance passed through three strongly fortified gateways, protected by heavy guns. Adjoining the fort on the western side was the native town, walled in, with round towers at intervals and several gates. . The Mahratta Chief, Ganpat Rao, had taken up a position under the walls with 850 horse, 1, 200 Arabs, 4, 300 other infantry under Major Pinto, and 14 pieces of field artillery. In addition the fort had a garrison of 1, 000 men. . General Munro had with him the force consisting of 180 men of the 22nd Light Dragoons, a detachment of artillery, His Majesty's Flank Battalion, a rifle detachment and one battalion each from the 4th, 7th, 9th and 12th Native Infantry. He first reconnoitred the place with a squadron of dragoons, half the flank battalion and rifles, and the flank companies of the remaining corps, under a continuous fire. . Subadar Cheyn Singh, 4th Madras Infantry, was sent to summons and offer terms to the garrison, but was cruelly murdered by the Arabs under the walls. This native officer had on many occasions during the campaign been selected for similar duties, on account of his singular intelligence and address. His next heir was liberally pensioned by the Government, in recognition of his devotion to duty. . At 3 o'clock on the morning of the 10th May the troops began to get under arms for the attack. Two parties were formed : for the escalade of the town walls, under Colonel Hewitt, two columns each composed of two European flank companies, one battalion native infantry, and one company pioneers; for the support of the escalade, a reserve under Brigadier-General Pritzler, consisting of a squadron and a half of dragoons with gallopers, two European flank companies, four native flank companies, four 6-pounders, and two howitzers. At dawn the escalading columns moved rapidly forward, preceded by the pioneers carrying scaling ladders, while the reserve opened fire on the front and flanking defences. The ladders planted, the heads of the columns topped the walls simultaneously, possession was taken of the towers to the right and left, parties were sent to open the gates, and in a short time all the troops had entered. One column followed the course of the wall by the right, and occupied three large houses close to the fort. The left column separated into two parts, one keeping along the wall on the left, and the other up the central street to the opposite extremity, after forcing the gate which divided the town. The outer gate was also forced open and the column dislodged a party of the enemy posted in a neighbouring suburb. . Meanwhile Ganpat Rao left his position near the fort, and making a detour by the eastern side, placed himself with seven guns and a large body of horse and foot opposite the reserve force, on which he opened fire. One of the enemy's tumbrils (wagons for carrying ammunition and explosives) blew up, and an attack upon them was then carried out with the bayonet under direction of General Munro. Brigadier-General Munro directed the charge in person, cheered vociferously by the Europeans, whose delight at the veteran's presence among them on such an occasion was an excuse for the noisy freedom with which he was hailed. Ganpat Rao was severely wounded, and his second-in-command killed by a cannon shot. The Mahrattas began to draw off their guns but three of them were taken, while their infantry were driven into a garden and enclosures, from whence they maintained a fire of musketry. . Lieutenant-Colonel Newall now joined with a detachment of Europeans and rifles from the town, and attacked and dislodged them. They retreated to their original position near the fort, being fired on by a field piece from the south gate of the city as they passed. A gate leading into the inner town was taken possession of by a company of the 69th Regiment, and three companies of Native infantry, but they were forced to abandon it by the enemy's gun and rifle fire. . The enemy retained possession of the parts of the town that were covered by matchlock fire from the fort; the British troops occupying the remainder. The reserve returned to camp, which had been moved to the north side of the place, where Dhuli Khan, of the Nizam's service, joined with 800 irregulars. . Later in the day the enemy who were encamped under the walls, consisting of Baji Rao's infantry, began to move off. They were pursued by the detachment of dragoons, and two galloper-guns, while Dhuli Khan's horsemen followed. Having left behind them the guns which impeded their flight, they were not overtaken until seven miles from camp. The gallopers opened with grape (hundreds of balls of lead shot, linked by chains and fired from a cannon, and designed to kill humans), while half a squadron took ground on each flank of the retreating enemy, which maintained an unsteady fire of matchlocks. Followed up, this body of fugitives was completely dispersed before night put an end to the pursuit on the banks of the Sina river. Nearly a thousand dead were left on the field. Much execution was done by the pistols of the troopers, which, Brigadier Pritzler stated in his report, the men used effectively after the charge. It was observed on this as on other occasions that the British thrusting sabre was of little use, owing to the thick and quilted garments worn by the enemy. After the attack on the town, operations were undertaken against the fort, and by the 14th a practicable breach was made in the outer wall. The garrison, seeing the futility of further resistance, surrendered the place with 37 guns and 39 field pieces the following morning. The British loss throughout amounted to 102. . 1819 - During October, 389 men (including Cathy Day's ancestor, Private William Killmain) volunteered from the 22nd Light Dragoons and joined the 13th Light Dragoons.
Carl Barks - Celestial Arts Presentation Copy to The Life & Times of Scrooge McDuck, Signed by Edward Summer, George Lucas, Gary Kurtz, and others
Celestial Arts, 1981, First Edition, large octavo, un-numbered, with a soft brown leather binding (different from regular issue), gold stamped, laid down photograph print of Carl Barks holding his first copy of the book, signed on the half-title page by the following people..."Gary Kurtz, Well, we finally did it!," "All the Best, QUACK! Walt Simonson," "Thanks for all the memories Edward Summer," "Thanks to you, we know the answer to Chico Marx's immortal question: why a duck? Mike Barrier," "May the force be with you, George Lucas," "It's worth it! Danelle McCaffery," and one other unidentified signature; this would be the "ultimate" copy of this book for any collector to find and own, measuring 13 1/4 x 10", condition is Near Fine, without the print issued with the normal edition, and un-numbered at the back page.
AN EXTREMELY RARE CHINESE EXPORT SCOTSMEN PLATE An extremely rare Chinese Export Jacobite Highlanders plate for the Scottish Market. Early Qianlong Era, 1741-45 decorated in Famille Rose enamels with two members of the Highland Regiment, one holding a gun and the other playing the bagpipes, the rim with four reserves of birds and landscapes. This rare and highly important plate is one of the most sought after and iconic examples of Chinese export porcelain. An identical plate is illustrated by Howard and Ayers, China for the West, Vol. I, p. 239, no. 234, who provide an interesting account of the decoration: "The piper is copied faithfully from the 1743 frontispiece [drawn and] engraved by George Bickham for A short history of the Highland Regiment..." (The regiment represented here is "the 42nd Foot, amalgamated later with the 73rd and became the Black Watch....) The private is also after a Bickham drawing of the same date. The piper has been reversed, but the rifleman is as he appears in the drawing....These prints had also been sold separately...in 1743 as a 'set' of four by John Bowles, and it seems probable that that two [of the prints] were taken to China (rather than a copy of [the book])." The occasion commemorated on John Bowles' 'set' of prints occurred on July 18, 1743, when "Riflemen Farquar and Shaw, together with Samuel and Malcolm McPherson of the 42nd, were shot at the Tower, while Piper Macdonnel [or Macdonald] was among those sent as a convict to Georgia [in America] for their part in a mutiny....As Macdonnel was a piper, it was inevitable that the very recent print of a piper of the 42nd should be used and given his name. It is thought that Piper Macdonnel's companion on the porcelain is Rifleman Shaw, but it may equally well have been another of these 'Jacobite martyrs'." In fact, Le Corbeiller, 1974, p. 95, no. 38, identifies the piper (fig. 51) as "Alexander Monro, 'piper to ye prince'," (Charles Edward Stuart: 'Bonnie Prince Charlie'), and she notes that an undated version of the print of the private (fig. 52) "is inscribed, in an apparently contemporary hand, 'The Scottish Highlander "Hamilton" who was executed on Tower Hill at the time of the Rebellion 1745'." With respect to the date of the Scotsmen plates, Howard and Ayers, ibid., comment that it is probable "that the order was sent to China in or before 1745, for thereafter the [Jacobite] cause lay in ruins and the memory of the mutiny of the 42nd Regiment and its martyrs was quite obliterated." The same account is provided by David Howard, "Chinese Porcelain of the Jacobites," Country Life, January 24, 1973, pp. 243 and 244, and a similar plate is illustrated as pl. 2. Similarly decorated plates of which, according to Howard and Ayers, ibid., p. 239, "at least twenty are known," are illustrated by Beurdeley, p. 99, color pl. XIX (an example in the Musée Guimet, Paris); examples in the Royal Scottish Museum, the Zeeuws Museum, Middleburg, The Netherlands, and the Rhode Island School of Design (RISD) Museum; documented by Hervouët and Bruneau, p. 225, no. 9.90; by Hyde, p. 89, pl. XV, fig. 52; by Le Corbeiller 1974, p. 95, no. 38; by Lunsingh Scheurleer, pl. 205; and by Veiga, p. 288, pl. 264. A bowl with this 'Scotsman' decoration, sold at Christie's in London on April 6, 1998, lot 151, is illustrated by Fuchs, p. 132, no. 83, who also illustrates on p. 133 a detail of the piper and the George Bickham print, circa 1742. The aforementioned plate illustrated by Howard and Ayers, ibid., p. 239, was in the collection of Mr. and Mrs. Rafi Y. Mottahedeh, sold at Sotheby's New York on October 19, 2000, lot 196, and is now in the Peabody Essex Museum, Salem, Massachusetts. For another example, see also Sotheby's New York, The Collection of Khalil Rizk (Apr. 25, 2008), Lot 186. 9 in., Diameter. Reference: David S. Howard, A Tale Of Three Cities, Canton, Shanghai & Hong Kong, p. 112, no. 135. Condition: In excellent condition with only minimal age-appropriate wear to enamels and some pitting and imperfections from the firing process visible on the verso.
NATHAN DRAKE. SHAKSPEARE AND HIS TIMES, 1817, AND MEMORIALS OF SHAKSPEARE, 1828. FIVE TITLES OF SHAKESPEARE BIOGRAPHYNATHAN DRAKE. SHAKSPEARE AND HIS TIMES, 1817, AND MEMORIALS OF SHAKSPEARE, 1828. FIVE TITLES OF SHAKESPEARE BIOGRAPHY, [Literature] William Shakespeare biographies and literary criticism, 5 titles in 6 volumes. Included are Nathan Drake. Shakspeare and His Times. London: T. Cadell and W. Davies. 1817. 2 vols. 4to. Later cloth binding, new endpapers, with advertisements; Nathan Drake. Memorials of Shakspeare: Or, Sketches of His Character and Genius.... London: Henry Coleburn. 1828. 8vo. Quarter leather and marbled covers, bookplate; Facsimile of Shakspeare's Will. London: Cassell, [nd]. Slim green 8vo. with gilt lettering; James Boaden. An Inquiry Into the Authenticity of Various Pictures and Prints, which have been offered to the public as Portraits of Shakspeare. London: Robert Triphook. 1824. 5 engraved plates; and Samuel A. Tannenbaum. Shakspeare Forgeries in the Revels Accounts. New York: Columbia University Press. 1928. Folio. 109 pp. Limited edition, 156/500 (6)
English Divine ANTIQUE PHILIP DODDRIDGE MEMORIAL BROADSIDE 1760 Company For Propagation Of The Gospel In The New England And The Parts Adjacent In America Laid Paper Manuscript Signatures Details: This lot consists of the antique Philip Doddridge memorial broadside shown in the corresponding images.An apparently unrecorded memorial broadside printed for the Company for Propagation of the Gospel in New England attesting to the good character of the English Divine Philip Doddridge (1702-51), the author of the FAMILY EXPOSITOR and numerous other religious works popular on both sides of the Atlantic in the eighteenth century. The Company's declaration is dated Oct. 25, 1760, nine years after Doddridge's death in Lisbon due to consumption. "The said Philip Doddridge bore an irreproachable religious and moral character, and was a zealous Protestant to the time of his death, as we verily believe; and that his writings are justly held in the highest esteem...we were well acquainted with Dr. Doddridge's character, and firmly believe the above certificate concerning him to be true." The document is signed in print by nine members of the Company, including Governor James Lambe and Treasurer Jasper Mauduit. On the verso are fourteen names inscribed in a contemporary hand. It is assumed these additional signatories also ascribed to the printed description of Doddridge's character. It is also possible the lists represents those English men and ladies who were to receive copies of the broadside.A surviving example of mid-18th-century British memorial ephemera. No copies recorded in ESTC, or OCLC.DNB V, pp.1063-69 (Doddridge). To inspect and acquire more detailed information about this lot, please attend our live preview before the auction.Condition / Notes: This 1760 broadside on laid paper is well preserved, with a moisture marking in the top center around the crease and small spotting in the top half. There is institutional notation in pencil in the upper left corner. The signed names on the verso are clear with no fading. Very light edge wear is evident.This item measure approximately 10" by 7.75".For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $6.50
Milton Avery: (American, 1885-1965)Birds Over Sea, 1957, signed lower left "Milton Avery 57" and titled, dated and signed verso canvas, oil on canvas, 56 x 42 in. ; parcel white gold leaf frame, 59 x 44-3/4 in. Note: Birds Over Sea: Milton Avery?s Meaningful Work?I try to construct a picture in which shapes, spaces, colors, form a set of unique relationships independent of any subject matter. At the same time I try to capture and translate the excitement and emotion aroused in me by the impact with the original idea. ? -Milton AveryBirds Over Sea, 1957, is the embodiment of Avery?s mature period. The subtle color harmonies are those he favored. There is a tremendous sense of order, color, and space that occurs from his many years of exploring paint, brush, and its effects on canvas. He paints without complicating the matter to arrive at a simple but powerfully controlled composition. It is flattened yet has an expansive sense of space. This painting is exquisitely organized and intentional. A moment on the beach at Provincetown has become a ?poem? where his love of nature is fully expressed. In fact, he does not care if the viewer necessarily knows what he is painting, as seen in the pylons below the gulls. The shape and color of these pylons are essential to his composition. As Avery states, he is ?seeking pure abstractions; rather the purity and essence of the idea - expressed in its simplest form. ?In the summer of 1957, Milton Avery arrived at Provincetown, Massachusetts to enjoy the coast, paint, and reconnect with two old friends, Mark Rothko and Adolph Gottlieb. The home which he, his wife, Sally, and his daughter, March, would share provided a larger space on the second floor in which to paint. He would usually do oil paintings on paper in the summer and then translate those to larger canvases in the winter. This summer, motivated by a larger space and perhaps his two friends, he began to paint large scale paintings on canvas. These larger scale paintings coupled with the subtle color harmonies that he had been using since his heart attack in 1949, would mark a breakthrough in his painting and usher in this ?mature period. ? Early on, Avery was already exploring abstractions, divisions of color, and simplified shapes in his art that would later resurface in the 1950?s and 60?s in such sentinel works as his Moon Pathÿseries. It is tempting to see these late paintings beside Gottlieb?s Burstÿseries or to compare the division of color in Birds Over Seaÿto Mark Rothko?s color divisions in his abstract compositions and think that he had only just arrived at these simplified and abstracted forms. Sally, in an interview after Avery?s death in 1965, said of the period following his heart attack that he went on to do his ?most meaningful work. ? His friend, Mark Rothko would eulogize this great artist in his Memorial Address, January 7, 1965, in what stands as lasting and intimate tribute:?Avery is first a great poet. His is the poetry of sheer loveliness, of sheer beauty. Thanks to him this kind of poetry has been able to survive in our time. This - alone - took great courage in a generation which felt that it could only be heard through clamor, force and a show of power. But Avery had that inner power in which gentleness and silence proved more audible and poignant. There have been several others in our generation who have celebrated the world around them, but none with that inevitability where poetry penetrated every pore of the canvas to the very last touch of the brush. For Avery was a great poet inventor who had invented sonorities never seen nor heard before. From these we have learned much and will learn more for a long time to come. ?To exact a precise biography of Dr. Luther W. Brady, a man as great in science and medicine as he was in his support of the arts, would take many pages and the words of the many he has touched. In his extraordinary life, he was a world-class pioneer of advancements in radiation oncology and beginning in 1953, a friend to artists, gallerists, directors, and curators of major museums. In a tribute, Brady?s colleagues described this passion to support and mentor students by saying, ?His residents knew they were in the presence of greatness, yet Dr. Brady was kind, gracious, generous and devoted to each of them. As their Chairman, Dr. Brady also eagerly introduced his residents to the arts and often provided concert experiences and introductions to renowned artists in Philadelphia. When asked, he was always there for them. ?ÿBrady was a generous and active patron of the arts. Brady said of himself in a 1976 interview for Philadelphia Magazine, ?Living with art is an adventure of constant discovery. I never tire of it, it is always different. I see it changed by light, dark, by one?s mood, by climate. Even people in a room change it. The collection grew and became diverse, as my interests became diverse over different periods. An art collection is a personal record. ? He served on many boards, including the Museum Committee of the Pennsylvania Academy of Fine Arts, and was Chair of the Executive Committee and member of the Board of Trustees at the Philadelphia Museum of Art. When controversy broke out over the rather secretive sale of Thomas Eakin?s masterpiece, ÿThe Gross Clinic, to two out of state institutions, he helped champion the effort to keep the iconic painting in Philadelphia. He continuously funded and lent art for major exhibitions. He donated his vast art collection to museums such as the Philadelphia Museum of Art, The Luther W. Brady Gallery at George Washington University, The Phillips Collection, The Pennsylvania Academy of Fine Arts, The Ackland Art Museum at the University of North Carolina, The Delaware Art Museum, The Michener Museum, The Nelson-Atkins Museum, and others. It was his passion and enthusiasm for science and for the arts that caused him to give -- both in life and in death -- to the public trust, to institutions, and to all for the benefit of future generations. In keeping with this, the proceeds from the sale of Birds Over Seaÿwill benefit The Luther W. Brady Foundation. It was his desire that the sale of this painting would help ensure that his work to support students of both science and the arts would continue in perpetuity. This lot is accompanied by a letter from William McWillie Chambers III, Vice President of Grace Borgenicht Gallery from 1973-1995, stating that the painting was consigned to the Grace Borgenicht Gallery by the Estate of Milton Avery during the 1980?s. He states, ?I remember this ?impressive and important? Avery very well. ? It is also accompanied by the original receipt from Riva Yares Gallery. Exhibitions:Grace Borgenicht Gallery, New York, NY, ?Milton Avery: Recent Paintings, ? October 28 - November 16, 1957;Park Gallery, Detroit, Michigan, ?Paintings By Milton Avery, January 7 - 27, 1962, ill. ;The Fort Wayne Art Museum, Fort Wayne, Indiana, ?Milton Avery, November 1 - November 30, 1962;Woodstock Artists Association, Woodstock, New York, ?Milton Avery Memorial Exhibition, ? September 10 - September 22, 1965;Gallery Reese Palley, San Francisco, California, ?Milton Avery, ?, 1968;Summit Art Center (Visual Arts Center of New Jersey), Summit, New Jersey, ?Milton Avery: Drawings and Paintings, March 13 - May 1, 1977;The Phillips Collection, Washington, DC, ?Milton Avery, Drawings and Paintings, May 21 - June 19, 1977, Lender: Milton Avery Trust;Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, Kansas, ?Milton Avery: Paintings and Prints?, November 30, 1977 - January 15, 1978;Edmonton, Alberta, Canada, The Edmonton Art Gallery, ?Milton Avery?, September. 22 - October 22, 1978, traveled to Banff, Alberta, Walter Phillips Gallery, Nov. 24 - Dec. 15, 1978; Windsor, Ontario, Windsor Art Gallery, Jan. 1 - 29, 1979; Saskatoon, Saskatchewan, Feb. 9 - Mar. 5, 1979; Hamilton, Ontario, Art Gallery of Hamilton, Mar. 23 - Apr. 23, 1979;Milton Avery: Paintings and Drawings 1930-1963, Yares Gallery, Scottsdale, AZ, February 1 - February 28, 1980;Hirshhorn Museum and Sculpture Garden, Smithsonian institution, Washington, DC, ?The Fifties: Aspects of Painting in New York?, May 22 - September 21, 1980, # 100. 80 Catalog #45, Lender: Milton Avery Trust courtesy of Grace Borgenicht Gallery, New York;Grace Borgenicht Gallery, New York, ?Milton Avery Major Paintings?, January 7 - February 1, 1984, ill. ;Center For The Fine Arts, Miami, Florida, ?Milton Avery: A Singular Vision?, February 7 - April 10, 1988, No. 25, ill. exhibition poster;Boise Art Museum, Boise, Idaho, ?Milton Avery: Progressive Images?, Catalog #33, September 3 - October 23, 1988, Lender ?Milton and Sally Avery Arts Foundation, New York, courtesy of Grace Borgenicht Gallery, New York;Western Gallery, Western Washington University, Bellingham, Washington, ?Milton Avery: Progressive Images?, January 8 - February 16, 1989;Grace Borgenicht Gallery, New York, New York, ?Milton Avery: Animals, ? January 16 - February 13, 1993;Andr‚ Emmerich Gallery, New York, New York, Milton Avery: Pictures Never Shown, ? March 28 - April 27, 1996, No. MA - 011238;Riva Yares Gallery, Santa Fe, New Mexico, ?Milton Avery: The Nude and Other Subjects: A Retrospective View 1929-1963, ? July 6 - August 11, 2001, (Traveling Exhibition);Riva Yares Gallery, Santa Fe, New Mexico, ?Milton Avery: All Creatures Great and Small, ? July 4 - August 4, 2003. (Traveling Exhibition);The Phillips Collection, Washington, DC, ?Discovering Milton Avery: Two Devoted Collectors, Louis Kaufman and Duncan Phillips, ?February 14 - May 16, 2004;Freedman Art, New York, New York, ?Passion & Commitment: The Art of Luther Brady, ? October 30, 2015 - February 11, 2016;Yares Art, New York, New York, ?Milton Avery Early + Late, February 24 - April 30, 2018Literature:Milton Avery: Paintings and Drawings 1930-1963, Yares Gallery, Scottsdale, AZ (1980). #6, illustrated;Milton Avery: Recent Paintings, Grace Borgenicht Gallery, New York, NY (1957). #9;ÿPaintings by Milton Avery, Park Gallery, Detroit, MI (1962), #5;Milton Avery, The Fort Wayne Art Museum, Fort Wayne, IN (1962). #15;Agee, William C. , David Ebony, et al. Milton Avery: Early Works on Paper and Late Paintings, Yares Art, New York, NY (2018). Listed p. 98; illustrated p. 23; mentioned in the text pp. 8, 33;Avery, Sally M. Milton Avery: Major Paintings, Grace Borgenicht Gallery, New York (1984). illustrated, n. p. ;Avery, Milton. Milton Avery: Animals, Grace Borgenicht Gallery, New York (1993);Blanch, Arnold. Milton Avery Memorial Exhibition, Woodstock Artists Association, Woodstock, NY (1965). #1;Chernow, Burt and Sally Michel Avery. Milton Avery: A Singular Vision, ed. Brenda Williamson. Center for the Fine Arts Association, Miami, FL (1987). Cat. no. 25; illus p. 40; announcement image;Hobbs, Robert. Milton Avery, Hudson Hills Press, New York (1990). p. 89;Kramer, Hilton. Milton Avery: Paintings 1930-1960, Thomas Yoseloff, New York (1962). #24;Lucie-Smith, Edward and Mark Rothko. Milton Avery: The Nude and Other Subjects: A Retrospective View 1929-1963, Riva Yares Gallery, Scottsdale, AZ and Santa Fe, NM (2001). listed p. 64; illustrated p. 49; mentioned in the text p. 5 Mellow, James R. , Mark Rothko, et al. ;Milton Avery, Gallery Reese Palley, San Francisco, CA (1968). p. 10;Miller, Harvey S. Shipley and Earl A. Powell, III. Milton Avery, Drawings & Paintings, The University of Texas at Austin, Austin, TX (1976). Listed p. 54; illustrated p. 30;Oellet, Raymond. Milton Avery, The Edmonton Art Gallery, Edmonton, Alberta (1978). illustrated Price, Marla, Sandy Harthorn, et al. Milton Avery: Progressive Images, Boise Art Museum, Boise, ID (1988). Cat. #33, illustrated, mentioned in the text;Rathbone, Eliza E. and Jay Gates. Discovering Milton Avery: Two Devoted Collectors: Louis Kaufman and Duncan Phillips, The Phillips Collection, Washington, DC (2004). #35, checklist p. 105; illus. p. 30, cover; mentioned p. 35;Rothko, Mark. Milton Avery: All Creatures Great and Small, Riva Yares Gallery, Santa Fe, NM & Scottsdale, AZ (2003). Listed p. 48; illustrated p. 35References:Haskell, Barbara, and Milton Avery. Milton Avery. New York: Whitney Museum of American Art in association with Harper & Row, 1982;Avery, Milton, Adolph Gottlieb, Mark Rothko, and E. A. Carmean. Coming to Light - Avery, Gottlieb, Rothko Provincetown Summers 1957-1961: May 2 - August 15, 2002, Knoedler & Company, New York. New York, NY: Knoedler & Company, 2002. https://www. aaa. si. edu/collections/interviews/oral-history-interview-sally-michel-avery-11687#transcripthttps://brooklynrail. org/2018/04/artseen/MILTON-AVERY-Early-Works-on-Paper-Late-Paintinghttps://www. nxtbook. com/hoffmann/PCMS_Philadelphia_Medicine/PhiladelphiaMedicine_Fall2017/index. php - Provenance: Collection of the Artist; Milton Avery Trust; with Grace Borgenicht Gallery, New York, New York, circa 1980's; with Riva Yares Gallery, New York, New Mexico, Arizona, purchased 2003-2006 (accompanied by the final statement from the gallery); Estate of Luther W. Brady, Philadelphia, Pennsylvania, sold to benefit the Luther W. Brady Foundation Dimension Condition three small points of retouch at middle between grasses, crackle, stretcher marks an effect of pigment being caught on the stretcher line by the pressure the artist exerted on the canvas, paint stains on canvas verso likely studio work related and not associated with a conservation effort, a condition report by Colin Post accompanies the lot; frame with wear
James Theodore Elrod Georgia (1952-2000)
VILLAGE ON COVE
acrylic on canvas, unframed, signed: lower right
H24" W48"
Provenance : Purchased from the artist's estate.
Other Notes: Jim was born in Atlanta, Georgia on November 30, 1952. He was the second son to Charles and Gloria Elrod. Jim was raised off Stewart Avenue and graduated from Sylvan High Scholl in 1970. His passion was the Woodstock era and the movements that came with that style of music and flower children effect. Most of his early art, consisted of flowers and pottery paintings from that era. Jim's art brought out the happier times in his life. One of the fondest paintings centered around a Navy leave homing coming from his dad meeting his mother at the house. Jim spent a lot of his early years at his grandparent's house on Roswell Road in which he did a painting of those moments.
In later years, Jim grew to be a loner and resided in a singlewide modular home in Douglasville, Georgia from the middle 1970's up until 1999. During that time frame, Jim spent most all of his days and nights reflecting on happy memories. There were so many times my mother would ask that I go by and check on him because days, sometimes weeks, would pass before he would take himself away from his painting. His love for his painting would take him to another place in time. Hours, days and weeks ran together as if time stood still.
Christmas and birthdays would light up with paintings Jim would present to his nieces, nephews and other family members. It was such a joy to receive these paintings, as we all knew they were from his heart and were thoughts for that particular individual. Priceless memories.
Jim moved to St. Simons Island, Georgia with his mother in early 1999 after the passing of his father in 1998. Galleries throughout St. Simons Island has [have] displayed Jim's paintings consisting of Christ Church, The Lighthouse and the Pier, which are historic landmarks on St. Simons Island.
In 2000, Jim wrote a short letter to Britt (our older brother) and me. In this letter he expressed his feelings and how his art was the only happiness he endured and that his work was complete. Jim took his life the following day, which was on a Sunday.
The following Monday I went to the galleries on St. Simons Island and brought all his artwork back to Villa Rica, Georgia to be stored. In memory to my brother, I would like for his work to be seen again. Hopefully you and others will see and be touched by the passion Jim had for his work throughout his paintings.
Biography by: John B. Elrod (brother of the artist)
ARBIT BLATAS, NEW YORK / FRANCE, LITHUANIA (1908 - 1999), ZIZI, LITHOGRAPH, 20"H X 8 1/4"W (PLATE)Arbit Blatas, New York / France, Lithuania, (1908 - 1999) Zizi, lithograph Numbered 180/200 lower left and signed lower right. Biography from Papillon Gallery: Arbit Blatas (né Nicolai Arbitblatas) was born in Kaunas, Lithuania on November 19, 1908. He was a precocious talent who began exhibiting in his native country at the age of 15. Soon afterwards, he left for Paris and, at the age of 21, became the youngest member of an illustrious group of artists known as the School of Paris. When Blatas was 24, the Jeu de Paume in Paris acquired its first painting of the young artist, who had already become a colleague and friend of many of the great figures of the Paris art world, such as Vlaminck, Soutine, Picasso, Utrillo, Braque, Zadkine, Léger and Dérain. He was to paint and sculpt them all, as well as Bonnard, Vuillard, Matisse, Dufy, Van Dongen, Cocteau, Marquet and many others. His 30 portraits in oil and bronze are considered a unique document of the painters and sculptors of that dynamic period in 20th-century French painting.. In the 1930s, Blatas exhibited in London and New York, as well as in his adoptive home of Paris. Fleeing Nazi-occupied Europe in 1941 for the United States, Blatas became an American citizen and solidified his reputation among the front ranks of contemporary American painters. After the war, Blatas divided his life between New York and France, where, in 1947, he was elected a life member of the Salon D'Automne. His life-size bronze of his colleague and friend Chaim Soutine, created in 1967, was highly admired by André Malraux. In 1987, the City of Paris installed the statue in Montparnasse in the square of the Gaston Baty and conferred on Blatas the Médaille de Vermeil. A life-size statue of another close friend and colleague, Jacques Lipchitz, now stands in the garden of the Hotel de Ville next to the Museum in Boulogne. In 1978, Arbit Blatas was named Chevalier de la Légion d'Honneur by the French Government for his contribution to French art as an outstanding member of the School of Paris. In 1994 he was promoted to the rank of Officier de la Légion d'Honneur. The Holocaust Blatas' parents were deported from Lithuania in 1941. His mother died in the Studthof concentration camp. His father miraculously survived Dachau; after the war, Blatas returned to France to bring his father with him to the United States. After the death of his mother, Blatas turned his back on the Holocaust until the late 1970s, when it burst forth in the artist's oeuvre and remained a recurring theme in many major works. His black-and-white drawings memorializing the unspeakable events of that time appeared in the 1978 American television series, "Holocaust." The drawings became the basis for four public memorials, consisting of seven powerful bas-reliefs, known as The Monument of the Holocaust, now on permanent display in four countries: Italy, France, The United States and Lithuania. The first edition of this monument was installed in the historic Ghetto of Venice on April 25th, 1980, the National Holiday of Liberation from the Nazis. On that occasion, Mayor Mario Rigo decorated Blatas with the gold medal Venezia Riconoscente. On September 19th, 1993, in the same Historic Ghetto of Venice, President of Italy Oscar Scalfaro honored Blatas by personally dedicating his sculpture The Last Train, a monument honoring the 50th anniversary of the deportation of the Jews from the Venetian Ghetto. The second edition of The Monument of the Holocaust was dedicated at the Shrine of the Unknown Jewish Martyrs in Paris on April 23, 1981. The third edition was placed by the Anti-Defamation League in Hammerskjold Plaza, across from the United Nations in New York on April 25, 1982. In 2009, this edition was installed permanently at the Hebrew Union College-Jewish Institute of Religion in New York City. In 2003, the fourth and final edition of this powerful series of sculptures was donated posthumously by his widow as part of the consecration of the memorial at Fort Nine in Blatas' native Kaunas, Lithuania, the notorious location from which Blatas' parents were deported in 1941. Marcel Marceau and The Threepenny Opera Two other major subjects became leitmotifs in Blatas' work: Marcel Marceau and The Threepenny Opera. Both inspired the artist in paintings, sculpture, and a third medium for which Blatas became widely appreciated: Lithography Beginning in the 1950s, the artist's great friend, Marcel Marceau, appears in all shapes, poses and sizes: from large portraits to small-scale studies, to sculptures, to sets of lithographs that capture the famous mime in mid-air. Through a magical coincidence, Blatas attended the world premiere of The Threepenny Opera in Berlin in 1928; the groundbreaking musical theatre work by Kurt Weill and Berthold Brecht would inspire Blatas for the next 70 years. His canon of work depicting scenes and characters from The Threepenny Opera includes 18 portraits, 10 sculptures, several large canvases and sets of color and black-and-white lithographs. The outstanding preface by the legendary Lotte Lenya, Weill's widow, to the first edition of Threepenny Lithographs, published in 1962, pays tribute to Blatas' profound understanding of the work. In 1984, the Threepenny Opera exhibition was displayed at Venice's Teatro Goldoni; in 1986, at the Museum of the City of New York and the Goethe Institute in Toronto. In May 1994, the Grosvenor Gallery in London presented the exhibition called "Arbit Blatas and his World of Music and Theatre." In 2000 and 2001, respectively, the entire Threepenny Opera collection appeared as part of Kurt Weill Centenary celebrations at Belmont College, Nashville, Tennessee, and the Leubsdorf Gallery, Hunter College, New York. Career as Stage Designer During the 1970s and 1980s, Blatas designed scenery and costumes for nine international opera productions in collaboration with his wife, the renowned mezzo-soprano, Regina Resnik, as stage director. These productions included Elektra (Teatro La Fenice, Venice; Teatro Sao Carlos, Lisbon; Opéra du Rhin, Strasbourg); Carmen (Hamburg State Opera); Salome (Teatro Sao Carlos); Falstaff (Teatre Wielki, Warsaw; Teatro la Fenice; Teatro Sao Carlos; Festival of Madrid); The Queen of Spades (Vancouver Opera Association; Sydney Opera House); and The Bear and The Medium (Teatro Sao Carlos). The 1980s and 1990s saw major exhibitions of Blatas' work, including several devoted to the School of Paris. In Venice, in 1982, the School of Paris portraits became a major exhibition at the Church of San Samuele under the joint auspices of the Mayor of Paris, Jacques Chirac, and the Mayor of Venice, Mario Rigo. Le Musée Bourdelle offered the first major exhibition in Paris of the portrait collection in 1986. In 1990, the entire collection of the School of Paris, portraits, drawings and bronzes, were shown at the Musée des Années Trentes in Boulogne-Billancourt, which subsequently acquired the entire collection now permanently installed in galleries dedicated to Blatas. In 1996, the Eastlake Gallery of New York presented Blatas in an exceptional exhibition entitled "Aspects of Venice." In 1997, the Beacon Hill Gallery, also in New York, presented a landmark exhibition of more than 100 of Blatas' works. From September 2008 through July 2009, the 100th anniversary of the birth of Arbit Blatas was celebrated in "Arbit Blatas: A Centenary Exhibition," at the Hebrew Union College-Jewish Institute of Religion in New York. This exhibition brought together all the major themes and media of Blatas' diverse oeuvre for the first time: French and Venetian landscapes, music and theatre subjects in painting, sculpture and lithographs, the School of Paris in sculpture, and scenic designs. The Holocaust was honored in the fourth edition of Monument of the Holocaust and four towering, major paintings. Blatas was an artist of enormous range. His vivid colors and joie de vivre extend through his entire canon of paintings: landscapes, portraits and still-lifes. The distinguished French art critic, Jean Bouret, summed the artist up this way: "He is color, his palette is color, exuberant and sensual, as is the man." On the other end of Blatas' artistic spectrum, the noted Italian art historian Enzo di Martini wrote of the Monument of the Holocaust: "In complete contrast to his paintings, these bronzes are hammered and chiseled in anger and tragedy." Arbit Blatas passed away on April 27, 1999 at his home in New York City. lithograph Dimensions: 20"H x 8 1/4"W (plate)