Harry T Peters AMERICA ON STONE 1931 Vintage Art History Lithography Color & Black & White Plates & Illustrations Native American Indians George Washington Title: America on Stone: The other printmakers to the American people A chronicle of American lithography other than that of Currier & Ives, from its beginning, shortly before 1820, to the years when the commercial single-stone hand-colored lithograph disappeared from the American scene. A Prologue being a survey of the field as a whole; Followed by The Alphabetical List of the Artists, Lithographers, Publishers and Craftsmen who built up America on Stone in lithographs, being a collector's notes on their lives, times and activities, gather together as much as possible of their stories from all sources; Illustrated with 18 colored and 136 black and white plates, together with numerous other illustrations showing examples of the work of more than 100 different craftsmen from every part of AmericaAuthor: Harry T. Peters - A chance encounter with an old print of the famous Long Island trotting horse Lady Suffolk led Harry T. Peters to become a collector of American lithographs and one of the leading authorities in his day on the firm of Currier & Ives. Peters' early collecting focused on English color-plate books, but as Master of Fox Hounds at the Meadow Brook Hunt on Long Island for many years, he also had strong interests in horses, dogs, and hunting. At first he collected prints of those subjects, but later he developed a more comprehensive group of historical graphic works.In the early 20th century these images were not in fashion, and Peters' advocacy of their content and charm helped interest a new generation of collectors. He was presented with the New-York Historical Society's gold medal for achievement in history for his contributions to the field of graphic arts in 1947.Peters appreciated the historical importance and visual appeal of American lithographs at a time when few others recognized their value. He began collecting before World War I, and he amassed several groups of prints later donated to museums. His books document the importance of this democratic medium that offered "cheap, popular pictures" serving both art and commerce. Smithsonian exhibitions and publications have included prints from the Peters Collection, and his books have been reprinted in several editions. Peters also published California on Stone (1935) to document lithography's coverage of the Gold Rush period. His research identified many early prints and printmakers from across the U.S. [Information courtesy the Smithsonian Institution.]Publisher: Doubleday, Doran & Company, IncCity: New YorkYear: 1931Printing Information: Limited EditionBinding Style: HardcoverPagination: 415 pagesWidth: 9.5" Height: 12.5"Book Details: A standard work on American lithography. "The introduction to this monumental volume provides an excellent survey, discussing business methods, aesthetics, and subject matter. The alphabetical list of lithographers is tremendously helpful in documenting prints."-Karpel, Arts in America (139)Condition / Notes: This is a scarce first edition, limited to 751 copies, of which this is numbered 140. This vintage volume is bound in the original silver/gray cloth and features reflective silver and black lettering on the spine and front cover. Moisture markings are visible at the lower margins of the covers. The binding is sound. Rippling occurs at the bottom edge of the rear endpaper and the final pages of the text. Faint tide markings appear in the lower right corner of the front flyleaf and the following two blank preliminaries. The pages are clean and bright.A full-color frontispiece appears opposite the monochrome title page. Seventeen colored and 136 uncolored plates are included, as well as many illustrations (some of which are mounted). The limitation notice appears on the final page.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: $10.50
Edward Curtis, The North American Indian Volume IX, 1913: Edward S. Curtis. (1868 - 1952). The North American Indian Volume IX, 1913. Individual volume on Holland Van Gelder etching stock . Salishan Tribes of the Coast, Chimakum, Quilliute, Willapa. . The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Volume IX. Written, Illustrated and Published by Edward S. Curtis. Edited by Fredrick Webb Hodge. Foreward by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass. ], 1913. . . LIMITED EDITION: Quarto-sized (313 x 239 mm): This volume is numbered 48 of an unfulfilled edition of 500, on handmade Holland Van Gelder etching stock, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, raised paneled spines, ribbon bookmarks, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. . . TEXT VOLUME: 75 photogravures, including 1 hand-colored print. Over 220 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. . Provenance:. Edward S. Curtis Studio. Charles Arthur Moore, Jr. By descent to family. The Christopher G. Cardozo Collection 2019. . This set of “The North American Indian, ” number 48, by Edward Sherriff Curtis comes directly from the hands of the photographer, through four generations of the Moore (Close) family, to the hands of the buyer. The books keenly represent that period in American history when industrialization conquered the nation’s wild lands and clashed with its indigenous peoples, and for purposes of provenance it should be known that the man who acquired them from Curtis himself embodied both industry and a deep reverence for nature and the American West. The books were purchased from Edward S. Curtis by the seller’s great grandfather, Charles Arthur Moore, Jr. of Greenwich, Connecticut. Moore was a Greenwich native, a humanist, and an industrialist who became president of his father’s metal products manufacturing company Manning Maxwell & Moore that built parts such as gauges, valves, and hoists for cranes and trains. Moore’s New York City office was in the Chrysler Building just below the gargoyles. Born 23rd of June, 1880, in Lynn, Massachusetts, to Charles A. Moore, Sr. and Mary Campbell Moore, his siblings were Mary Elsie Moore who married Italian prince Don Marino Torlonia, 4th prince of Civitella-Cesi; Eugene Maxwell Moore who married Titanic survivor Margaret Graham; and Jessie Ann Moore who married US Navy Admiral Colby Mitchell Chester. Moore married twice, first to Annette Sperry of Nashville with whom he had three children and divorced in 1919, then to Elizabeth Hyde (1897-1983), daughter of Seymour Jairus Hyde and his wife Elizabeth Worrall. The Hyde’s were also wealthy industrialists whose company, A. G. Hyde & Sons Co. manufactured dry goods such as the Heatherbloom petticoats, and advertised with the first moving sign on Times Square. Charles and Elizabeth, who was known as Betty, had two children: John Campbell Moore (1921-1943), who died in active service with the 853d Engineer Battalion while being transported on the H. M. T. Rohna in World War II; and Bettine Moore, to whom the Curtis books later belonged. Moore was educated at St. Paul’s school and graduated Yale class of ’03. He was with the Montenegrin Army for some months during the Balkan War, then served throughout WWI, commanding in France the Old Twelfth Company of Greenwich attached to the 56th Artillery, A. E. F. He retired at the conclusion of the war with the rank of Major. A life member of American Museum of Natural history, Moore contributed specimens to the institution, like a mountain goat he shot in northern Rockies near the Columbia River in 1904, among others. He was also a member of New York Zoological Society (now the Wildlife Conservation Society) and the National Geographic Society, as well as many manufacturing groups. Moore was a physically imposing man, a great lover of nature, a deeply devoted father, and the owner of a self-sustaining 168-acre farm/estate in Greenwich called Mooreland, on Mooreland Road, at which he hosted the Highland Games every summer. He had a wide and eclectic circle of friends of many ethnicities. An avid photographer, he shot both stills and movies, a collection of which the family retains. Many photographs depict beautiful natural scenes, or holidays to places like Cuba and dude ranches in the west. The reels of black and white film that he shot portray his family life (Johnny and Bettine as children, the Highland games, etc. ), and travels during the 1920’s – 40’s. . EARLY INFLUENCE & LATER EXPEDITIONS:. In the fall of 1883, at the tender age of three, Arthur, as Charles, Jr. was known to his family, made a trans-continental trip by train on the Northern Pacific Railroad from New York City to Portland, Oregon with his parents. This was the very year the tracks were laid. One of his father’s letters from the journey, dated September 29, 1883 reads, "Yesterday Arthur shook hands through the window with an Indian Brave in War paint. ” This telling scene took pace in Billings, Montana, which at the time was still a territory. The Indian man was most likely Cheyenne, Crow, or Lakota Sioux. To put it into perspective, the Battle of the Little Big Horn/Battle of the Greasy Grass, otherwise known as Custer’s Last Stand, which took place just south of Billings, had happened only a few years prior, in 1876. Although the Indians won that battle, it was a symbolic win. In a mind-bogglingly short period of time their world had been forever altered. The last wild herds of buffalo had recently been obliterated from the landscape. Tribes were being force onto reservations. Settlers and miners were staking their claims. Who was he, the mystery “Indian brave”? We wish we knew, because his touch likely sparked in young Arthur a deep admiration for indigenous Americans and the west that eventually inspired him to sign onto the young Edward Curtis’ courageous venture in photography in 1906. Arthur’s early travels—and his father’s international travels and extensive political connections—also inspired him to become an explorer. Besides venturing west, he went north and east. He became dear friends with Captain Bartlett and 1897 journeyed with Commander Robert E. Peary, U. S. N. to find the geographic North Pole. Moore then took charter of the steam whaler Algerine and spent the summer of 1901 in the Hudson’s Straights and Hudson’s Bay. His expedition north and with Peary succeeded in charting new waters and bringing back trophies, like Inuit artifacts and the Cape York meteorite, which is housed in the American Museum of Natural History in New York City. It is likely that befriending Inuit peoples also compelled him to support Curtis’ work. Later, in 1906, Mr. Moore traveled to Arabia, lands then controlled by the Ottoman Empire, including into what is now modern-day Syria, with the day’s most famous political cartoonist, Homer Davenport, whose drawings satirized figures of the Gilded Age and Progressive Era. The purpose of the expedition was to bringing back Arabian horses to the United States. Davenport had fallen in love with the breed at the World’s Fair in Chicago in 1893, the first time Arabian horses were on US soil. Moore, also a keen horseman, photographed and documented their expedition to Arabia, playing a key role in bringing some of the earliest desert-bred Arabian mares and stallions to America. Moore’s love of animals, wild lands, native peoples, art, and the west, he passed on to his daughter Bettine, wife of Dr. William Taliaferro Close, and mother of actress Glenn Close and her three siblings, and, through them, to his great granddaughter who made the difficult decision to sell the books. Dimension Condition This original volume is in very good to excellent condition overall. A formal, detailed condition report is available upon request. . The condition reports for the lots offered by Santa Fe Art Auction (SFAA) are provided as a courtesy and convenience for potential buyers. The reports are not intended to nor do they substitute for physical examination by a buyer or the buyer's advisors. The condition reports are prepared by SFAA staff members who are not art conservators or restorers, nor do they possess the qualifications needed for comprehensive evaluation. Each condition report is an opinion of the staff member and should not be treated as a statement of fact. The absence of a condition report does not imply anything as to the condition of a particular lot. Buyers are reminded that the limited warranties are set forth in the Terms and Conditions of Sale and do not extend to condition. Each lot is sold as-is.
THIRTEEN BOTTLES OF NORTHWEST VINTAGE RED WINESTHIRTEEN BOTTLES OF NORTHWEST VINTAGE RED WINES: 2013 3 Horse Ranch Vineyards Syrah/Mourvedre red blend, Snake River Valley, Idaha (1); 2015 Archery Summit Arcus Vineyard Pinot Noir, Dundee Hills, Dayton, Or (1); 2012 Colene Clemens Vineyards 'Adriane' Pinot Noir, Chehalem Mountains, Newberg, Or (1); 2012 Domaine Drouhin 'Laurene' Pinot Noir, Dundee Hills, Dayton, Or (2); 2015 Domaine Serene 'Aspect' Pinot Noir, Grace Vineyard, Dayton, Oregon (4); 2015 Raylee Wines Pinot Noir, Carlton, Or (1); 2013 Passing Time Cabernet Sauvignon, Horse Heaven Hills, Woodinville, Wa (1); 2015 Passing Time Cabernet Sauvignon, Horse Heaven Hills, Woodinville, Wa (1) and 2013 Spring Valley Vineyard 'Uriah' red, Walla Walla Valley, Wa (1).
ATTRIBUTED TO JOHN BOULTBEE (1753-1812)
ROBERT BAKEWELL'S BLACK CART-HORSE STALLION DISHLEY GRANGE BEYOND
with inscription THE CELEBRATED CART HORSE PROPERTY OF MR BAKEWELL OF DISHLEY 1790., 62 x 75cm
Provenance: (according to an old label on the stretcher) Mrs J S Bakewell and her son, Capt Robert Harrison Bakewell.
Illustrated: Moncrieff (E) and S & I Joseph, Farm Animal Portraits, Woodbridge 1996, col plt 297.
Exhibited: (possibly) Royal Academy, 1788, No 102 ('Portrait of a Favourite Horse of Mr Bakewell).
Engraved: Francis Jukes (1745-1812) ('Portrait of a Horse Six Years Old. The Property of Mr Bakewell of Dishley').
Even before Bakewell's time, the area of N W Leicestershire was notable for its fine black cart horse stallions. Determined to improve the breed, Bakewell toured Flanders and Holland, purchasing several West Friedland mares which according to Pitt (General View of the Agriculture of ... Leicester, 1809) "excelled in those points wherein he thought his own horses defective... he produced some capital horses, in particular his famous horse Gee, the noblest and most complete and beautiful creature of his kind that had been see in Europe... for a time he was the first subject of conversation... he was taken to Tattersall's and shown to the nobility and gentry with great approbation; Mr Bakewell had the honour of showing him personally to his Majesty [King George III]."
Bakewell's cart horses soon became a familiar sight on farms, further selection resulting in the distinctive characteristics of the Shire Horse.
Sadly Gee met with an untimely end, being killed by lightning in his pasture at Dishley.
Royal Doulton Figure of a horse. Plus 2 other Royal Doulton figures. "Mother Bunnykins" DB189 and "Sands of Time Bunnykins" DB229.
PAIR OF CONFEDERATE GENERAL'S EPAULETS. Pair of Mexican War era General's grade epaulets with sgl star & staff buttons which are maker marked "H.E. Baldwin New Orleans". On reverse of each epaulet is contemporary pencil inscription which reads as follows: "Rebel Brigadier General Johnson taken by Major Williamson of New Orleans" and the other reads "Brigadier General / 3 rows Dead(?) & Bright (Bullion?) / Brigadier General Johnson / taken by Major Williamson". Brigadier General on this epaulet & second line description is in different script than writing on other epaulets and appears to be that of vendor selling epaulet. Since these epaulets were found in Boston area & from old collection in Nantucket we believe the Maj. Williamson to be Maj. Henry F. Williamson from Boston of the 2nd Louisiana Cavalry U.S. He first served in the 3rd Mass. Cav, enlisting in Boston. Which rebel Brig. Gen. Johnson he took these from, we are not positive. There are only 4 Confederates with this rank at any time. Extensive research was done that narrowed it down to most likely be Confederate Brig. Gen. Adam R. Johnson, AKA "Stovepipe", who was infamous with his Partisan Ranger’s exploits alongside Gen. John Hunt Morgan. Johnson was captured in KY in Aug, 1864 and imprisoned at Fort Warren in Boston Harbor in the winter of 1864/65. A summary of the research and biographies of both Williamson and Johnson are available. In addition, a full set of documentation including copies of all research done Vonnie Zullo, the Horse Soldier Research Center, will accompany the epaulettes. Regardless, these are wonderful "as found" pair of Confederate Brigadier General used epaulets with good untouched surfaces & contemporary identification. CONDITION: Epaulets overall are very good exhibiting dusty untouched patination. Bullion is very good with some minor fraying & stretching. Cord borders have some loose stitching & cracking. Baldwin staff buttons are excellent with most gilding present. Bullion General Stars are very good & well attached with a few bullion stitches loose. Yellow silk padded backs and ties are complete and lightly soiled. ADDENDA PAIR OF CONFEDERATE GENERAL'S EPAULETS. Regarding this lot number, further information has been discovered, since cataloging, confirming that Williamson & Johnson were in New Orleans at the same time. A book titled Confederate States Army, published in 1904 and written by Gen. Adam R. Johnson, states "….near the end of the war, he was given transportation from Vicksburg to New Orleans, ‘arriving at the place, I found a letter from one of my officers in Kentucky stating that a large number of my men had been arrested, charged with horse-stealing, etc’". Thus affirming they were both in New Orleans at the same time. This book will accompany the lot. 4-58149 (2,000-5,000)
DELBERT BUCK FOLK ART SCULPTURE - COWBOY WITH SADDLE**First Time At Auction**
Delbert Buck (Navajo, b. 1976). Mixed media folk sculpture (cottonwood, acrylic paint, string, and wool) n.d. Signed on underside of base. A lively hand-carved and hand-painted sculpture of a cowboy by self-taught Navajo artist Delbert Buck. Dressed to the nines in colorful Western garb with a wide-brimmed cowboy hat, a buttoned vest layered over a red shirt with stars adorning the sleeves, blue jeans, fringed chaps, and cowboy boots, this cowpoke holds a lasso in one hand and a saddle in the other. A wonderful piece by Delbert Buck whose love of rodeos has inspired fabulous sculptural figures like this handsome cowboy. Size: 5.75" L x 10" W x 19" H (14.6 cm x 25.4 cm x 48.3 cm)
Born in Shiprock, New Mexico, self-taught Navajo folk artist Delbert Buck began creating art at age nine. At age 12, Buck began created sculpture from found objects, and at age 14 he was represented by a gallery.
More about the artist: "Delbert got a young start as a folk artist. He began making sculpture from found objects at age twelve and was represented in a gallery by the time he was fourteen. It was in 1988 that Delbert's father Wilford Buck introduced his son to trader Jack Beasley, of the Four Corners area. With his father handling the boy's art business, Delbert says he didn't even know the value of money until he was in in his teens.
He assembles constructions from found objects and cottonwood limbs, then roughly carves and paints them. His first carvings were the toy guns and the small wooden horses he and his brothers used to make. His inspirations are many.
First there were the comic books that encouraged him to think it possible for a sheep to drive a car. As he aged, he drew on personal experiences, such as his rodeo bull riding, the colorful chaps he wore in rodeos, and his trips in a single engine airplane, to inspire his sculpture.
Delbert's art is humorous and even satiric. His cowgirls and cowboys ride be-speckled skunks, buffaloes, propeller planes, rocking horses, or giraffes, with a goat in chaps and hat, or maybe a monkey or dog, riding behind. A wagon filled with pigs, Dalmatians, or chickens is pulled by a booted pig or an oxen-sized dog. It might take Delbert three to four weeks to complete one of his larger pieces.
All of his carving is by hand. He uses acrylic paint and a wide variety of found materials. Paper, fabric, yarn, and wool all find their way into his work. He even sews the clothing on his figures, as taught by his mother…" (Wheelwright Museum of the American Indian)
Delbert Buck's sculptures have been collected by the Smithsonian Museum of American Art, the Wheelwright Museum of the American Indian, and other esteemed art instititions.
Delbert Buck has modestly stated, "I'm just an ordinary guy. I'm surprised how people have responded and that I can make a living from my carving." The art world has certainly received Buck favorably, and we agree with their assessment wholeheartedly!
Provenance: private Goldstein collection, Denver, Colorado, USA. The Goldstein's have amassed their collection over the past six decades.
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.
We ship worldwide and handle all shipping in-house for your convenience.
#177074
Condition:
Signed on underside of base. Some age wear with loss to fringe on shirt, chaps, and saddle as shown. Possibly missing adornment on back. Crack on verso running from head to buttocks as shown.
18TH C. TIBETAN GILT TANTRIC / WRATHFUL DEITY HAYAGRIVA...**First Time At Auction**
Central Asia, Himalaya region, Tibet / Nepal, ca. 18th to 19th century CE. A fabulous gilt brass tantric and wrathful deity known as Dharmapala, manifesting as Hayagriva , standing upon a pedestal, his feet crushing prone figures of a nude man and woman set upon a lotus pedestal. The deity's face is frightening, with bared teeth, and flared nostrils under glaring eyes, and snakes wrap around his body, a horse head at the top of the headdress, and wielding a staff with vajra (dorje) terminals in his hand. The statue is hollow, but the underside is sealed with a copper panel stamped with a double vajra (visvavajra). Often these devotional statues were filled with paper prayers or relics then sealed! Size: 6.75" L x 3" W x 9.45" H (17.1 cm x 7.6 cm x 24 cm)
Dharmapala are "protectors of the faith" ritualistically used in the monastery's Cham ceremonies depicting the triumph of Buddhism over "demons" that once ruled Tibet. The Cham dances were performed to commemorate the introduction of Buddhism by Padmasambhava in the 8th century CE and its victory over the animist Bon religion. The fearsome visage was created to protect the faith from demonic forces of the former religion as well as eliminate any obstacle that stood in the way of the path toward Enlightenment. Hayagriva is one of these protectors and worshipped as the patron deity of horse merchants- the characteristic horse head protrudes from the headdress. Hayagriva is usually shown as a horse-headed deity, but in one myth he challenges the demon of vice, Rudra, to battle and Hayagriva enters Rudra's anus, destroying the demon from the inside out, the horse head emerging from the skull, and the triumphant Hayagriva then uses Rudra's body like a garment.
Provenance: private Hawaii collection, acquired 2000 to 2010
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.
We ship worldwide and handle all shipping in-house for your convenience.
#177431
Condition:
Repaired, deity is reattached to prone figures under feet. Rest is intact and very good. Dark patina and toning. Nicks and abrasions to high pointed areas. Metal plate on base is sealed.
Marshall Joseph Smith, Jr. (American/Louisiana, 1854-1923), "Louisiana Bayou", oil on canvas, signed lower right, 16 in. x 30 in., in an antique pine frame. $100000/150000 Provenance: Purchased from Henry Stern Gallery, Royal Street, New Orleans, 1951. Note: Marshall Joseph Smith, Jr. was among the most talented and preeminent painters of Louisiana bayou and swamp scenes of the late 19th century. While maintaining a studio in New Orleans, Smith evidently traveled extensively throughout the rural isolated countryside of Southern Louisiana, at the time accessible only by boat or horse. Smith's paintings reveal his intimate knowledge of the particulars of life in the rural Acadian communities. This engaging scene of "Louisiana Bayou" depicts a rustic cabin among the tall pines with a wooden bridge spanning the bayou. A woman washes laundry on the wooden dock by the shore; behind her is the iron kettle above a fire and a wooden barrel filled with water for the laborious task. Her husband and son drive a horse-drawn sugar cart down the path, possibly into town. A boat is docked by the bridge. Smith's handling of the brushwork for the flora and fauna along the bank and the reflections of the woman and boat in the water were sensitively and beautifully rendered. The painting accurately captures a moment in time and a way of life that no longer exists. Of the three masters of Louisiana landscape paintings, Richard Clague, William Henry Buck and Marshall J. Smith, Jr., Smith was the least prolific. To appease his parents, Smith worked as a clerk and as an agent in his father's insurance company. Additionally, as a founding member of the Krewe of Proteus, he designed their annual Mardi Gras floats and tableaux. Smith's personal time to devote to travel and paint his alluring and evocative Louisiana landscapes apparently was limited. By contemporary accounts, Smith was a favorite student of the Dean of Louisiana landscape painting, Richard Clague. Upon finishing his studies in art at Virginia's Washington College, Smith returned to New Orleans in 1869 and furthered his studies with Clague in his studio, and later during a Grand Tour of Europe. Smith's sensitive and masterful brushwork, subtle and effective use of color, and his ability to interpret and respond to the indigenous landscape in his own personal style made him a highly respected, exhibited, and collected artist of his day. The combination of the rarity of Smith paintings, fine artistic quality and brushwork, nostalgic historical quality of rural Southern Louisiana life, as well as the magnitude of "Louisiana Bayou" contribute to the importance and significance of the painting. Reference: Poesch, Jessie, "Growth and Development of the Old South, 1830-1900," Painting in the South: 1564-1980, Virginia Museum, Richmond, 1983; Bacot, H. Parrot, "Louisiana Art from the Roger Houston Ogden Collection," Anglo-American Art Museum and Hill Memorial Library, Louisiana State University, 1992; and Pennington, Estill Curtis, Look Away; Reality and Sentiment in Southern Art, A Saraland Press Book, 1989.
GILLENWATER BRONZE - HEADIN' FER' TEXAS LITTLE DARLIN'**First Time At Auction**
Thomas R. Gillenwater (American, 1926-2009). "Headin' Fer' Texas Little Darlin'" bronze, 1995. Edition 1 of 50. Inscribed with title, date, edition number, and signature behind horse's front right hoof. A romantic bronze sculpture by award winning artist Thomas Gillenwater entitled "Headin' Fer' Texas Little Darlin'". Gillenwater's sculpture depicts a cowboy on horseback bidding his sweetheart farewell with a kiss. Gillenwater provides the viewer with special little touches that bring this amorous moment to life - a gate embellished with a flowering vine that one might imagine just swung open when the woman ran up to give her hubby a smooch; the bows and finely delineated lace trimming her dress with it voluminous ripples of fabric; the way the man's hat is tossed back so that he can embrace his love; the movement of the horse's mane as he turns his head toward the couple, thus redirecting the viewer's gaze; the cowboy's western garb as well as the supplies - saddle bags, canteen, and lasso - strapped to his horse; we could go on and on as this bronze presents no end of delightful details. Size (bronze): 12" deep x 14.75" W x 17.75" H (30.5 cm x 37.5 cm x 45.1 cm); 20.75" H (52.7 cm) on included custom stand.
Thomas R. Gillenwater's passion for Western art began during childhood when he drew in his words "horrible little horses, Tarzans and cowboys" on the back of cardboard shirtboards that came with laundered shirts. However, his childhood enthusiasm would lead to a successful career as a sculptor of beautiful bronzes like "Headin' Fer' Texas Little Darlin'". According to Gillenwater's obituary, "Having chosen a career in commercial art after serving in WWII, Tom illustrated children's books, cartoon strips and advertising sketches for newspapers. In 1963 he moved from Ohio to California, and worked as a graphics supervisor in the aerospace industry, until his love for Western Art became his passion. As an award winning sculptor working in bronze, his work was featured in numerous art shows and displayed in art galleries around the country." (Orange County Register, August 20, 2009)
Provenance: private Boulder, Colorado, USA collection
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.
We ship worldwide and handle all shipping in-house for your convenience.
#177477
Condition:
Inscribed with title, date, edition number, and signature behind horse's front right hoof. Mounted on a marble and wood base that is furnished with a brass plate inscribed with the title of the sculpture. Overall intact and excellent.
THE ANSON SERVICE -AN IMPORTANT GEORGE II SERVING DISH Paul de Lamerie, London 1747, of scalloped oval outline with cast gadrooned border and foliate detail at intervals, armorial engraved to the raised rim, engraved to reverse, scratch weight, 22=10Diameter: 28cm, weight: 20.3ozProvenance: Presumed Christie's 8th May 1893 auctionReputed to have been a gift to a member of staff at Fordell House in Fife Thence by descentHeraldry:Arms: Quarterly 1st and 4th Argent three bends engrailed gules in the sinister chief a crescent of the last (for Anson) 2nd and 3rd Sable a bend or between three spear heads argent (for Carrier)Motto: Nil desperandum [Never despair]Supporters: (Dexter) A sea-horse (Sinister) A sea-lion both proper and each gorged with a collar double gemel or the arms are ensigned with a baron’s coronet of rank.Note:George Anson (1697-1762), 1st Baron Anson, the famous Admiral who circumnavigated the globe in four years and captured Spanish Treasure to the value of approximately half a million pounds, and later elevated to Baron Anson of Soberton, from 1751 till his death in 1762 he was First Lord of the Admiralty. This serving dish forms part of a much larger service which included tureens, plates and inkstands, named the ‘Anson Service’, which would have been specifically commissioned and built up over a period of time. Crafted by one of the most regarded silversmiths of the day Paul de Lamerie, this serving plate forms part of an important part of the history of early 18th Century silver. George Anson was regarded as the Father of the British Navy and was key at introducing reform and even introduced the structure of naval uniforms. Participating in significant battles such as the Austrian Succession and the Seven Years War, his efforts closer to home Anson prevented a French invasion on British shores in 1759. Further afield, by 1760, he had assisted in capturing Canada, Senegal and Guadeloupe from the French. Anson’s most celebrated victory was the 1843 capture of a Spanish treasure ship sailing from Manila to Acapulco with a cargo of nearly half a million pounds, and it has been reputed that there were 2,600,000 Pieces of Eight, 150,000 ounces of plate, 10 bars of Gold, and a large quantity of gold and silver dust aboard. The treasure was so vast that it was paraded through the streets of London on the way to the King in thirty-two wagons. Following his three-year circumnavigation of the globe concluding in London in June 1744 and the successes of his naval pursuits he was elevated to the peerage as Baron Anson of Soberton. To mark this occasion, he invested his wealth in the family estate at Shugborough in Staffordshire and his home Moor Park in Hertfordshire adding further silverware to the collection. In fact, this plate hallmarked in 1747 matches the date of his elevation to Baron and emphasises the importance of silver to Georgian society. The epitome of Georgian wealth Anson is captured in portraits by Thomas Hudson and, currently in the National Portrait Gallery, a portrait after Joshua Reynolds. Anson died without issue and the house being regarded of National importance was laterally entrusted to the National Trust. Parts from the service can still be found in their collection at Shugborough, including a pair of salvers (NT 1271250.1 and .2) and a meat plate (NT 1271293). The Victoria and Albert Museum also display an inkstand as part of the Gilbert Collection (LOAN:GILBERT.664:1-2008) These examples and more were all crafted by Paul de Lamerie, who was an obvious early 18th-Century choice to produce the finest silverware. De Lamerie was born in the Netherlands to Huguenot parents, but the family fled religious persecution on the continent and settled in England. He became a freeman of the Goldsmith's Company, London and registered his hallmark in 1712. The continental and in particular French influence of the Roccoco style was to heavily inspire his work especially from the 1730s and he became perhaps the finest designer and maker working in this style. He was regarded as one of the most famous silversmiths of his age due to his craftsmanship and this was aided his business acumen. With most work based on commissions, these important connections helped his reputation, becoming known as the King’s silversmith for the numerous commissions for the Royal Households. Other key clients included Catherine the Great, who commission a wine cistern of 1726, still housed in the Hermitage, (pg 77, Paul de Lamerie, At the Sign of the Golden Ball, An Exhibition of the Work of England's Master Silversmith) and the Walpole salver for Robert Walpole. A remarkably finely engraved salver with the design of the Second Exchequer Seal of George I, housed at the Victoria and Albert Museum (M.9-1956). Although working mainly on commissions, his shop based at 40 Gerrard Street from 1738 stocked further delights for the eye to behold.The majority of the Anson service was sold at auction on the 8th May in 1893 by Christie’s and is rarely at auction, but when it appears it still attracts much interest. In 2010, Sotheby’s offered a piece from the service, which had appeared in the 1893 auction, lot 195, ‘A snuffer’s tray’ which achieved USD$50,000, other appearances of the Anson Service include the 2012 Christies sale of the ‘Property from the Estate of Benjamin F. Edwards II’ where a pair of sauceboats, lot 2591 achieved USD$43,750In 2008, as part of The Chen Collection, Lyon & Turnbull sold ‘A pair of George II silver circular serving dishes’ (lot 197, 23rd November 2008, The Chen Collection), which had formed part of the Anson service, for £26,250 (inc. premium).
PR. RALPH E. EARL PORTRAITS, HARDY CRYER AND WIFEPair of Tennessee portraits by Ralph Eleaser Whiteside Earl (1788 - 1838) depicting the Reverend Hardy Murfree Cryer (b. 1792--1846), in dark coat with ruffled collar, and a woman believed to be his first wife Elizabeth Rice Cryer (b. 1793--1832) in black mourning dress with white lace collar and cap. Housed in black and gilt wooden frames. Both portraits measure 26 1/2" H x 21 1/2" W sight; 33" H x 28 1/2" W framed. Circa 1830. Provenance: Descended in subject's family to current consignor. Biography ( Courtesy of James C. Kelly, Virginia Historical Society, Tennessee Encyclopedia of History and Culture, 1998): Ralph E. W. Earl was the son of Connecticut painter Ralph Earl (1751-1801). Earl studied under his father in Northhampton, Massachusetts, before traveling to London in 1809 to study under Benjamin West and John Trumbull. In 1817, Earl arrived in Nashville to paint General Andrew Jackson, the hero of the battle of New Orleans. Later that year, in Natchez, he met and married Jane Caffrey, Rachel Jackson's niece. She died the next year, but Earl moved into the Hermitage would from then on remain in Jackson's circle, accompanying the newly elected president to Washington. During the next eight years, Earl turned out numerous paintings of Jackson. Politicians, especially Democrats, knew it "did not hurt to order a portrait of General Jackson from Earl." He painted many of Jackson's friends and a few of his foes. Earl returned to the Hermitage with Jackson in 1837 and died there in September 1838. Rev. Cryer was a close friend of Andrew Jackson who spent time at the Hermitage. According to the book "The Making the American Thoroughbred" (see book, also offered in this auction), Cryer was born in North Carolina in 1792, married Elizabeth Rice in 1812, was a member of the Tennessee Conference, Methodist Episcopal Church 1813-1816, and served one year on the Nashville district. "After withdrawing from the itinerant ranks, he served as a "local" preacher and continued to exercise the offices of a minister the remainder of his life. His many contributions to The Turf Register and The Spirit of the Times are rich in Biblical and classical allusions, after the style of that day; show much force and originality; and amply support the statement of McFerrin that he was of an ardent temperament and had a brilliant mind. His ardor distinguished him as a breeder no less than as a preacher. He kept more thorougbred stallions than any man of his time, except, perhaps, Thomas Alderson; owned a few blood mares; and took a great interest in turf sports." The book quotes stud books kept by Cryer which show that "Cryer's horses were patronized by practically all the prominent breeders and turfmen named heretofore in this volume, from Andrew Jackson and John Catron, down". Cryer's passion for horses seems to have gotten him into trouble only once with his church; he was charged with horse racing and summoned to a trial before a church tribunal. "The proof was clear and conclusive," wrote J.R. Hubbard in The Spirit of the Times, "but the evidence showed that the horse was raced in the name of Col. George Elliott, and that this gentleman owned one half of him." In Cryer's defense, he told the judge: "I would like for you to let me know how I can arrange it for my half of the horse to stand in the stable while Col. Elliott's half is racing." He was acquitted. Click here to view documents containing Andrew Jackson and Reverend Hardy Murfree Cryer correspondence.
Condition:
Blacklighting of portrait of Rev. Cryer indicates inpainting to perimeter of face including the left edge of forehead, lower right jaw line, spot to lower left edge of mouth and spot to the middle of the chin. Lighter area of fluorescence to forehead and background, possibly a varnish issue. Blacklighting of Mrs. Cryer indicates possible inpainting or varnish issue to a couple areas of forehead and chin. Possible inpainting or varnish issue to a couple areas of the background. Older relining, probably late 19th/early 20th century.
Napoleon I
Letter signed ("N"), 1 page, 4to, Paris, 27 February 1813, to Clarke, Minister of War, giving the order for the Observation Corps in Italy, under General Bertrand, to begin its march to Augsburg, advising Bertrand to ensure that his field ambulances carry enough bandaging for 10,000 casulties; Idem Letter signed ("N), 4 pages, 4to, Paris, 26 March 1813, to Clarke, Minister of War, issuing instructions for a full review of the Grande Armée, to be carried out by five generals, each of whom is to inspect some ten depots each and report to the Emperor on the number of men required to bring them to full strength; they are also to replace all subalterns who have been killed or injured and to report on the number of horses available, the state of the equipment, and the amount of time required before they will be ready to leave from Germany; Idem Two letters signed ("N"), 3 pages, 4to, Paris, 26 and 28 March 1813, to Clarke, Minister of War, concerning Spanish prisoners of war: he orders that they are to be moved from the Rhine fortresses to towns in the interior, and are to be employed on construction work, as previously, for the navy, the highways and bridges and the ordnance; if there are still some without work, he will set up special projects for them; notes pinned at foot with details of dispatch, one signature smudged (4)
3 VANNOY STREETER WIRE SCULPTURES, TINA TURNER, BUGGY, ...Three (3) Vannoy Streeter (Tennessee, 1919-1998) wire sculptures, including one (1) depicting vocalist Tina Turner wearing sunglasses, red earrings, a bikini top, and high heels comprised of multi-colored wire; one (1) depicting a figure wearing a hat driving a horse-drawn cart; and one (1) depicting a motorcycle with headlights and a kickstand. Ranging in size from 4 3/8" H x 6 3/8" W x approx. 3" D to 8 3/4" H x 11" W x 5 5/8" D. Biography: "Self-taught sculptor Vannoy Streeter was known as "Wireman" because of the fanciful creations he fashioned from coat hangers and metal wire. Best known for his depictions of the Tennessee Walking Horse, Streeter also created scores of other images using wrapped and twisted wire. By the time of his death in 1998, Streeter had gained national exposure. He participated in the National Black Arts Festival in 1990, and his work attracted collectors from around the United States. Born in 1919 in Wartrace, Tennessee, Streeter moved with his family to what would later become a Tennessee Walking Horse farm. At the time, owners were still training their mixed thoroughbreds to prance in front of buggies. The oldest of six brothers, he learned the horse grooming and training business from his father. When the first Walking Horse Celebration was held in Wartrace, Streeter was there to observe the high-stepping front legs and sliding, low-slung back legs that created the characteristic rocking gait. After the Walking Horse Celebration moved to its current home in the county seat of Shelbyville, Streeter took special pride in the fact that African American trainers helped develop the Walking Horse style and that champion horse "Strolling Jim" was from Wartrace." (source: The Tennessee Encyclopedia)
The personal collection of former Folk/Outsider Art dealer Jamie Teal, Nashville, Tennessee; acquired directly from the artist.
Condition:
All items in overall good condition with oxidation to wire and minor scattered surface grime. Note that some loose tips (as made) are sharp.
Five Richard Kidder Meade, Jr. Confederate Civil War Letters, Civil War Era Photographs, Paintings, Meade Family Archive Virginia, 1861-1862: letter from Fort Sumter, March 21, 1861, to sister Julia Meade (1830-1906), Petersburg, Virginia, excerpt “…Nothing of importance has transpired…with the exception of that accidental (?) shot fired from one of the batteries on Cummings Point [a battery on the northern tip of Morris Island, south of Charleston, South Carolina]…we consequently accepted their apology & dismissed them with…‘Go & sin no more’…”, signed “Kidder”, letter in brown ink and graphite on cream-colored laid paper, 7-3/4 x 10 in., slight fading to ink, fold lines with slight wear and tiny separations at edges, grime; Letter to a sister, from Yorktown, Virginia, June 14, 1861, excerpt “…Since I have been here, our scouting parties operating between here and Hampton have succeeded in killing two or three of the enemy and taking six or seven firearms, and on last Monday (June 10th) we gained a splendid victory over the Yankees at Bethel Church…. They were evidently marching on this place with the intention of attacking it and did not expect to meet with any resistance between Hampton and Yorktown… the result of which was 1 killed and seven wounded (only) on our side. We buried on the field about 15 or 16 of their dead and took ten or twelve prisoners & wounded…”, “…I wish I could send you some of the many relicts [sic] we are constantly digging up…. Every day a cannon ball fragment…together with the fragments of human bones. Our works are mostly built on the site of the old Revolutionary ones….Yorktown is one of the oldest-looking villages…there is not a house in it but that looks as if it existed at the time of the Revn…”, signed “Kidder”, two-leaf letter in brown ink on cream-colored laid paper, 8 x 10-1/4 in. and 8 x 5-1/8 in., good condition with strong ink color, fold lines with slight wear and minor grime, scattered slight ink smears likely made at time of writing; Letter from Meade to Confederate General J. R. Anderson (Joseph Reid Anderson, 1813-1892), from Fort Fisher, North Carolina, October 19, 1861, discusses possibilities for altering the elevation of the “…Rifled Banded 32-Pdr [pounders]…” at the fort, no signature, copybook letter in brown ink and graphite on pale blue laid paper, 9-1/2 x 7-1/4 in., good condition with strong ink color, fold lines with slight grime; Letter from Fort Fisher, Confederate Point, November 4, 1861, to a sister, excerpt “…We are still looking out for the Yankee fleet but hope it may be delayed for a week longer when we will be better able to give her a warm reception…”, signed “Kidder”, letter in brown ink on pale gray laid paper, 9-1/4 x 14-1/2 in., good ink color, fold lines with minor wear and slight grime, scattered slight ink smears likely made at time of writing, two small stains; Letter, “Head Quarters Engr Dept (in Field) near Richd June 5th 1862”, to his mother, Julia Edmonds Haskins Meade (about 1809-1891), excerpt “…The day I arrived in Richmond the fight [i.e., Seven Days Battles] was going on and after great exertions succeeded in manning a horse & hurried out to the field to join Genl Holmes [Theophilus H. Holmes, 1804-1880]…. The Rifle Comp’y was out in the woods as skirmishers, expecting the advance of the enemy when I came upon them…”, signed “Kidder” (Meade died eight weeks after he penned this letter, on July 31, 1862), letter in brown ink on cream-colored laid paper, 10 x 7-3/4 in., good condition with strong ink color, fold lines with slight grime, slight ink smears likely made at time of writing; With related family papers: Autographed Civil War letter, from Richard’s brother Hugh Everard Meade (1838-1862) to a sister, May 21, 1862, from a camp outside of Petersburg, Virginia; Letter from Richard Kidder Meade, Jr. to a sister, from West Point, December 17, 1854; Carte-de-visite of Meade with eight other officers of Fort Sumter, March 1862, (before the Battle of Fort Sumter, April 12-13, 1861); Book of albumen prints of Richard Kidder Meade, Jr., his parents and siblings; Painting of Richard Kidder Meade, Sr. (1803-1862); Painting of Blandford Church, Petersburg, Virginia (where many members of the Meade family are buried); Newspaper articles, miscellaneous papers, 16 books and three textiles related to the Meade family and descendents; all loose papers in archival sleeves, Detailed Listing: Textiles:Handsewn brown satin-weave silk drawstring bag lined with maroon silk, embroidered with the first national flag of the Confederacy (“Stars and Bars”, 13 stars) and the second national flag of the Confederacy (“the Stainless Banner”) and the motto Pro Aris et Focis (literally, “for our altars and our hearths”), 12 x 8-3/4 in., very good conditionHandsewn silk textile representing the Confederate Army of Northern Virginia’s infantry battle flag, 12-1/2 x 13 in., some deterioration of silk borders at edges, minor substance spatter on red ground, otherwise in fair to good conditionHandsewn linen table cover with self-fringe, embroidered signatures of 12 individuals, very good condition with some staining Here are books and manuscripts: Books:Georgia Society, Colonial Dames of America, 1931 directory.Hogarth, The Works of William Hogarth, vol. 1 (London: 1812), hardcover.Holy Bible (New York: American Bible Society, 1867), copy presented to James Burke, Dec. 18, 1868.John Howard, The Illustrated Scripture History for the Young, 2 vols. (New York: Virtue and Yorston, n.d.), copies belonging to Mary Meade Platt, hardcover.Eliza J. Lines, Marks-Platt Ancestry (Sound Beach, CT: 1902), 2 copies: one in a suede leather cover, one with no covers.Bishop Meade, Old Churches, Ministers and Families of Virginia, 2 vols. (Philadelphia, J. B. Lippincott, 1872) hardcover.Henry, J. Peet, ed., Chaumiere Papers Containing Matters of Interest to the Descendants of David Meade (Chicago: Horace O’Donoghue, 1883), hardcover.Thomas Percy, Reliques of Ancient English Poetry (Philadelphia: Charles Desilver, 1856), copy belonging to W. H. Platt.Horace G. Platt, John Marshall and Other Addresses (San Francisco, Argonaut, n.d.), hardcover.W. H. Platt, Judith Carson; or which Was the Heiress?(Rochester, NY: E. R. Andrews, 1887), softcover.———. The Philosophy of the Supernatural (New York: E. P. Dutton, 1886), hardcover, 2 copies.Robert E. Lee, In Memoriam (Louisville: John P. Morton, 1870), hardcover. Manuscripts:Two diaries of Mazy Platt, 1887 & 1888, together with letters, pressed flowers, miscellaneaEphemera:-framed genealogy of the Latham/Meade family-vellum “Supreme Court of the United States of America” to William H. Platt, February 10, 1846, with wax seal of the Supreme Court-watercolor of Bishop’s Palace in England-two leaves of gravestone rubbings: Hugh/Richard Kidder Meade and Mary Martha/Susan Meade-miscellaneous genealogical papers on the Meade family-letters to William W. Platt from the President of the College of William and Mary, -poem commemorating the death of Richard Kidder Meade from a sister-document from the Supreme Court of the State of Georgia-documents from the Supreme Court of the State of Alabama-papers on Old Blandford Church in Petersburg, Virginia-carte-de-visite of the William Platt home in San Francisco-William Platt’s survivor’s pension from the Mexican-American War-newspaper articles on Richard Kidder Meade from the 19th and 20th centuries- two stereoscopic cards of church interior, Louisville, Ky.-carte-de-visite of Richard Kidder Meade with eight other officers of Fort Sumter, March 1862, with newspaper clipping from 1862
Tang Style Standing Horse and Horse Head: Tang style saddled horse with raised leg in grey white and a nicely formed horse head. . 12" high and 7 1/2" high . . Litchfield Auctions is honored to offer Selections from the Collection of Peter Tillou. Peter has enjoyed wide renown across the United States and Internationally over his seventy-year career as the consummate dealer-collector. While in college in 1956, Peter was already advertising a pair of fine antique flintlock pistols. By 1960, now a resident of historic Litchfield Connecticut, he was cited by the New York Times as a dealer in "great rarities. " With later residences and shops in London, Manhattan, Sun Valley Idaho, and Sanibel Island Florida, Peter continued to consider Litchfield his home. By 2013, Peter was recognized by the Antiques Dealers of America with its highest honor, its Award of Merit, "in recognition of his extensive contributions to the fields of fine art, American decorative arts and antiques. " More recently, a cover story in The Antiques and the Arts Weekly traced "the arc of Tillou’s long career" . (PTIL630)(PR) Available payment options on Bidsquare
Charles J. Belden Photograph of Cowboys Watering Horses in Stream Unmarked but by Charles Belden showing three cowboys watering their horses in front of a Wyoming mountain landscape.? Ca 1910s-1940s 16 x 12 in.Charles J. Belden (1888-1963) was born in San Francisco into a wealthy California family. He developed a life-long passion for photography when he purchased his first camera to record his travels throughout Germany and Russia after graduating from the Massachusetts Institute of Technology in 1909. Upon his return to the U.S. Belden worked as a cowboy on the L.G. Phelps Ranch in Wyoming. He then went to work on and eventually managed the legendary Pitchfork Ranch near Meeteetse Wyoming. During his time at the Pitchfork Ranch between the 1920s and 1930s Belden produced a variety of images that captured life on the dude ranch including livestock activities as well as the surrounding western landscape. Many of his western photographs were taken on horseback aboard his reliable pony Pinky. He thought this gave him the desired perspective he was hoping to achieve. Belden's photographs were featured in various publications including National Geographic and the Saturday Evening Post. Refer to the University of Wyoming American Heritage Center's Digital Collection of Charles J. Belden Photography for comparable examples of his work.Charles Belden gave this group of photographs lots 262-276 to the consignor's grandfather who worked on the Pitchfork Ranch in Wyoming during the 1930s. The photographs have been in the family since that time. Condition: Minor speckling in sky at upper left else very good.?
SAMUEL F. B. MORSE 1869 Lovely High Quality Short Autograph Letter Signed: Autographs. 1869 "Sam. F. B. Morse. " Lovely Autograph Letter Signed. SAMUEL F. B. MORSE (1791-1872). American Portrait Painter, Pioneer of Photography and Inventor of a single-wire Telegraph System and his "Morse Code. ". May 4, 1869-Dated, Autograph Letter Signed, "Sam. F. B. Morse. ", 5" x 8. 25", 1 page, New York, Choice Extremely Fine. Crisply penned short cordial Letter to J. B. Calder in Providence, Rhode Island. It reads, in full: "I cheerfully comply with your request of 3 May. " Typical transmittal folds, bright, fresh clean and well written with a wonderful signature, being excellent in its eye appeal for display. In 1825 New York City had commissioned Morse to paint a portrait of Lafayette in Washington, DC. While Morse was painting, a horse messenger delivered a letter from his father that read, "Your dear wife is convalescent". The next day he received a letter from his father detailing his wife's sudden death. . Morse immediately left Washington for his home at New Haven, leaving the portrait of Lafayette unfinished. By the time he arrived, his wife had already been buried. Heartbroken that for days he was unaware of his wife's failing health and her death, he decided to explore a means of rapid long distance communication. . While returning by ship from Europe in 1832, Morse encountered Charles Thomas Jackson of Boston, a man who was well schooled in electromagnetism. Witnessing various experiments with Jackson's electromagnet, Morse developed the concept of a single-wire telegraph. He set aside his painting, The Gallery of the Louvre. The original Morse telegraph, submitted with his patent application, is part of the collections of the National Museum of American History at the Smithsonian Institution. In time the Morse code, which he developed, would become the primary language of telegraphy in the world. It is still the standard for rhythmic transmission of data. . Meanwhile, William Cooke and Professor Charles Wheatstone had learned of the Wilhelm Weber and Carl Gauss electromagnetic telegraph in 1833. They had reached the stage of launching a commercial telegraph prior to Morse, despite starting later. In England, Cooke became fascinated by electrical telegraphy in 1836, four years after Morse. Aided by his greater financial resources, Cooke abandoned his primary subject of anatomy and built a small electrical telegraph within three weeks. Wheatstone also was experimenting with telegraphy and (most importantly) understood that a single large battery would not carry a telegraphic signal over long distances. . He theorized that numerous small batteries were far more successful and efficient in this task. (Wheatstone was building on the primary research of Joseph Henry, an American physicist. ) Cooke and Wheatstone formed a partnership and patented the electrical telegraph in May 1837, and within a short time had provided the Great Western Railway with a 13-mile (21 km) stretch of telegraph. However, within a few years, Cooke and Wheatstone's multiple-wire signaling method would be overtaken by Morse's cheaper method. . In an 1848 letter to a friend, Morse describes how vigorously he fought to be called the sole inventor of the electromagnetic telegraph despite the previous inventions. . I have been so constantly under the necessity of watching the movements of the most unprincipled set of pirates I have ever known, that all my time has been occupied in defense, in putting evidence into something like legal shape that I am the inventor of the Electro-Magnetic Telegraph! Would you have believed it ten years ago that a question could be raised on that subject?. . - S. Morse.
7 BARBARA VAN CLEVE PHOTOS - RANCH LIFE, 1980SBarbara Van Cleve (American, b. 1935). "Filly Chasing" "Running Before the Storm"; "Noon Break"; "Running Horses"; "Team Roping Motion"; "Tough Hombres" and "Barbara Page VanCleve - Photographer and Horsewoman", 1980s. A fabulous ensemble of 7 black and white photographs - 6 depicting ranch life by Barbara Van Cleve - and one depicting a portrait of Van Cleve holding her camera below an antlered skull. Born and raised in Montana on the Lazy K Bar Ranch beneath the Crazy Mountains, Van Cleve has shot photographs on horseback, traveling from Montana to New Mexico, chronicling the ranchers' way of life she has known since childhood. Van Cleve shot on horseback, because she aimed to give the viewer that privileged vantage point, as if we too are on horseback taking in all the action of ranch life, watching cowboys move cattle toward the corrals as the animals kick up dust from the earth and the sun glows early in the morning. Through her photography, Van Cleve shares the ranchers' commitment to preserve this way of life. Size of each sheet: 10" L x 8" W (25.4 cm x 20.3 cm)
Van Cleve's words capture the beauty that she sees in the Montana landscape, even in simple, oftentimes overlooked details, such as the dust kicked up by the animals. "To see the dust. So many people think of dust as just dirt, you know, airborne dirt, but it isn't. It's a wonderful diffusion screen for the light. It softens things; it outlines things; it indicates a direction of where either horses or cattle are moving in this vast landscape of ours. And that's part of everything that I'd like people to see and that I try to make them see through my photographs." ("Capturing Grace: A Portrait of Barbara Van Cleve," 1993)
Artist Biographical Statement: "Barbara Van Cleve’s heritage is rich with family history and firsthand experience. Her family’s ranch, the Lazy K Bar, was founded in 1880 on the east slopes of the Crazy Mountains near Melville, Montana. As a photographer, she has held a camera since she was 11 years old when her parents gave her a 'Brownie' camera and a home developing kit. Her youthful interest in photography soon grew into a lifelong commitment. Ranch work also began early for Barbara. Barely six, she could be found helping at the corrals or sitting astride a horse. Ever since she has been documenting the 'true grit' and romantic beauty of her experiences on the ranch and on other ranches in the West. Along the way, she earned an MA in English Literature at Northwestern University in Evanston, Illinois; she has been a Dean of Women at DePaul University in Chicago, Illinois; and she taught English Literature, and later photography, for over 25 winters at DePaul University, Loyola University and Mundelein College, all in the Chicago area. At the same time photography continued to be a passionate avocation. In her free time, she worked for Rand McNally as a textbook photographer and also established her own stock photography agency. The long summers were usually spent on the family ranch in Montana. She moved to Santa Fe in late 1980 to concentrate on photography full time and had her first major exhibition in the fall of 1985. Since that time she has had over 60 one-person shows and has been in over 100 group shows. Her work is in public and private collections in the United States as well as internationally. Her photography has been published in Roughstock Sonnets, (with poetry by Paul Zarzyski), Way Out West, and Cowboys: A Horseback Heritage. KOAT-TV, an ABC affiliate in Albuquerque, New Mexico produced and aired a thirty-minute video documentary, 'Barbara Van Cleve: Capturing Grace', in 1993. In the Fall, 1995 her book, 'Hard Twist: Western Ranch Women' was published by Museum of New Mexico Press, and she was inducted into the Cowgirl Museum and Hall of Fame in Fort Worth, Texas. 'All This Way for the Short Ride' (with poet Paul Zarzyski) was published by the Museum of New Mexico Press in 1997. 'Holding the Reins' written by Marc Talbert and illustrated with her photographs about ranch girls was published by Harper Collins in February 2003. She moved back to Big Timber, Montana, her home town, where she has her studio and is close to the family ranch. Her most recent book, 'Pure Quill' published in 2016, encompasses her remarkable photographic career including a generous selection of photographs and the stories behind them." (artist's website)
Provenance: private Idledale, Colorado, USA collection; ex-Ginny Williams collection
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.
#171299
Condition:
Handwritten titles and artist's labels/stamps on the verso of ranch photos. Portrait has "BARBARA PAGE VanCleve - Photographer and horsewoman. 7-86" handwritten at bottom. Notes "CROP OUT" ON "Filly Chasing" and the size of these photos suggest that these photos were used for a publication.
A CIVIL WAR ERA VETERINARY MEDICINE TONIC "RECIPE FOR SPANISH FEVER" REMEDY FOR HORSE, TEXAS, CIRCA 1865, : A CIVIL WAR ERA VETERINARY MEDICINE TONIC "RECIPE FOR SPANISH FEVER" REMEDY FOR HORSE, TEXAS, CIRCA 1865, hand inscribed ink on paper fragment, "Recipe for the Spanish Fever. Ing. = take 3 spoon fulls of pulverised copper, 3 spoon fulls pink salt, one pint of common water. Put all in one pot over a slow fire, simmer the whole to a powder. Stirring then all the time. Then take one pint of old soft soap, and one pint of water & stir all together over a slow fire. Then drench the horse = Twice will cure. Don't feed or any heating aid. Keep the horse in the shade & Feed on Green food. , " signed "Battle, " verso, "Recipe for Spanish Fever. " 7 1/2" x 7 1/2" Note: Attributed to Nicholas William Battle (1820-1905) serving as a Lieutenant Colonel in Edward Jeremiah Gurley's Thirtieth Texas Cavalry. Provenance: Estate of Dr. Paul E. Schutts, Houston, Texas. Condition Some ink bleed, minor tone, edges uneven, creases, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS. " NO REFUNDS will be issued based on condition.
IMPORTANT CLOCK "AUX CHEVAUX" WITH BAROMETER,Louis XIV, the case after designs by A.C. BOULLE (André Charles Boulle, 1642-1732), the horse figures after models by F. GIRARDON (François Girardon, Troyes 1628-1715 Paris) or J. LESCUTE (active circa 1700), the movement signed HOMMET A PARIS (probably Marie-Charles Hommet, maitre 1717), Paris circa 1700/10. Red tortoiseshell finely inlaid with partly engraved brass, depicting birds, masks, tendrils, wave bands, flowers and leaves. The stele-shaped case glazed on three sides, with a figure of Chronos atop and horses to the side. The barometer with 5 enamel plaques for weather information. The finely engraved and relief-decorated dial with 12 enamel cartouches and the clock with later anchor escapement and 4/4 striking on 3 bells. Exceptionally fine matte and polished gilt bronze mounts and applications. 60x25x113 cm. Provenance: - formerly in the collection of the Time Museum, Rockford, Illinois (Inventory number D 1019). - Sotheby's New York 2.12.1999 (lot. 71). - Private collection, USA. - Antiquorum auction Geneva 15.5.2005 (lot. 214). - from a highly important Eurpean collection. A highly important clock of outstanding quality. Illustrated in S.G. Athewood / W. Andrews, The Time Museum - an introduction, Illinois 1983; p. 12.
Peter Barrett (B. 1935) "Thoroughbred": Peter Barrett (B. 1935) "Sporting Horses - Thoroughbred" Signed lower left. Watercolor. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . . This painting was originally published on the Fleetwood First Day Cover for the U. S. 29c Thoroughbred Racing stamp issued May 1, 1993. . . "The sport of kings, " horse racing slowly evolved from a leisure time activity into a massive public entertainment business. The first organized race in North America was credited to Richard Nicolls, governor of the colony of New York. In 1665, he offered a silver cup to the winner of a course race at Hampstead Plain, Long Island, thus introducing the first racing trophy to this continent. Many of the rules and customs of today's races were developed in Britain in the 1840s by Lord George Cavendish-Bentinck. Starting the contest with a flag, parading horses in the paddock before the race and the number-board displaying each horse and rider are all among his contributions. In the U. S. , three of the most famous races comprise the Triple Crown: the Kentucky Derby, the Preakness and the Belmont Stakes. Since 1875, Churchill Downs, in Louisville, Kentucky, has held the prestigious Kentucky Derby which is patterned after the English Derby at Epsom Downs. The second challenging event is the Preakness, run at the venerable Pimlico race track in Baltimore, Maryland. Inaugurated in 1873, this race covers a stretch of almost one-and-one-quarter miles. The final leg of the Triple Crown is the Belmont Stakes, known as "The Test of the Champion. " Run in Belmont Park on Long Island, New York, this race dates back to 1867, making it the oldest of the trio. Just a select few of the nation's finest Thoroughbreds have won all three contests to become Triple Crown champions. . . Image Size: 14 x 12 in. . Overall Size: 19. 5 x 17 in. . Unframed. . (B14208) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com Available payment options on Bidsquare
ESTHER WILLIAMS, NEW YORK, MASSACHUSETTS, IOWA (1907 - 1969), ABOVE PARIS, LITHOGRAPH, 10 1/2"H X 12 1/2"W (SIGHT), 12 1/2"H X 17 1/2"W (MAT)Esther Williams, New York, Massachusetts, Iowa, (1907 - 1969) Above Paris, lithograph Numbered 24/30 and titled lower left. Signed lower right. Biography from the Archives of askART: She was from a Boston family that included numerous painters, among them her mother, Esther Baldwin Williams (1867-1964), with whom she has at times been confused, her mother's cousin Adelaide Cole Chase (1868-1944), and Chase's father, Joseph Foxcroft Cole (1837-1892), who taught art to his daughter and niece. Cole was a prominent proponent in America of the Barbizon landscape school of painting, having studied in France with Charles-Émile Jacque (1813-1894), and he was a co-founder of the School of the Museum of Fine Arts, Boston. Williams enrolled at the Museum of Fine Arts School, Boston, in September 1925. There she studied with Philip L. Hale (1865-1931), who had been a student of American Impressionist Julian Alden Weir (1852-1919) at the Art Students League in New York. In 1927, after having already begun showing her work in national exhibitions, Williams accompanied her older brother Tom, recently graduated from Harvard University's architecture school, on a "grand tour" of Europe that lasted a year and a half. They and two friends traveled around the continent in a rented car, and they were joined for a time by their parents in London and Paris. While abroad, Williams the younger studied, in 1928, with André Lhote (1885-1962), a painter who was very influential as a lecturer, author, and teacher and who had founded his own art school in Montparnasse, Paris in 1922. Williams' experience was thus similar to her mother's some fifty years earlier, when Baldwin Williams followed her cousin Adelaide and her uncle J. Foxcroft Cole to Paris for art studies. Following her return from Europe, Williams moved to New York by 1934 and entered the next stage of her career. She began to gain widespread recognition, and it was evidently around this time that she enrolled at the Art Students League of New York, whose liberal policies encouraged even brief and casual study there. In 1935, Williams was awarded the Lambert Purchase Prize from the Pennsylvania Academy of Fine Arts—where she exhibited regularly from 1927 into the 1950s—for her Circus Horses, a painting of animals backstage in a circus tent. Also in 1935, she was awarded the Worcester (Massachusetts) Art Museum's Second Purchase Prize in their Biennial Exhibition, for her Between the Acts, Downie's Circus. And in 1938, another circus image, Waiting for the Cue, was awarded the Norman Harris Bronze Medal and was purchased by the Art Institute of Chicago during its Annual Exhibition of American Painting. Other museums also acquired Williams' paintings, including the Metropolitan Museum of Art in New York, which bought her Handel Concerto, one of her many works with music or musicians as their subject. Among other honors the artist received was the $1000 award given in 1944 by The American Academy of Arts and Letters in recognition of Williams' "warm sensitive vision of life expressed through the medium of painting." These awards had the purpose of recognizing artists producing distinguished work in fields that offered little in the way of financial reward, to paraphrase the announcement that appeared in the New York Times on April 27, 1944. Earlier, in 1936, Williams had been the subject of a solo exhibition at the Worcester Art Museum. Perry Cott, Curator at Worcester and later Chief Curator at the National Gallery of Art, Washington, D.C., described Williams' work: Esther Williams' pictures are refreshingly imaginative at a time when so many of our painters are absorbingly literal. Many of them betray frankly romantic overtones that create an air of engaging fantasy. Those who seek a message of a new order or theme fraught with "social-consciousness" will not find them here for these paintings are compounded of the elements that delight the senses and beguile the mind. Williams specialized in circus images and portraits, and, above all, paintings dealing with flowers and with music. Sources include: https://gustavus.edu/quarterly/focus/estherwilliams/page2.php Information provided by Professor Julia Williams Robinson, the artist's niece. lithograph Dimensions: 10 1/2"H x 12 1/2"W (sight), 12 1/2"H x 17 1/2"W (mat)
MODEL 1873 WINCHESTER INDIAN RIFLE, .44-40 CAL WCF, BELONGED TO TWO FEATHER, NORTHERN CHEYENNE, PROBABLE LITTLE BIG HORN CARRY Rifle with Togia translated by Grangaard identifying owner, s/n covered by rawhide stock wrap, overstitched hide grips, 23" octagonal barrel, 43 1/2" overall, came out of Northwest Cultural Center in Walla Walla, WA in1979. Owned by Two Feather at the time of Little Big Horn, he was well-recorded as being present.
Letter from Wendell Grangaard, President of The Guns of History: "During my examination of this 1873 Winchester Rifle, I discovered the serial number was covered by leather. However, the name Two Feather is written in togia on the right side of the receiver as part of the messge "hunted buffalo killed eight". On the right side of the stock is the band mark in buttons of Little Wolf's Elk Horn Scraper Society of the Cheyenne. There is also a cross chasing mark of Little Chief's Dog Soldiers. The same Dog Soldier mark is found on the elevator. On the left side of the receiver, Two Feather tells of the time, in togia when he traded with some traders. He says "many buffalo hides for eight sheeps".
I believe the togia on this rifle was written as a tribute to time gone past. Two Feather was a Northern Cheyenne, who rode with Crazy Horse and Two Moon at Rosebud, and with Two Moon at Little Big Horn. While at Little Big Horn, Two Feather's horse was killed, so he continued to fight on foot, running and shooting alongside Beard.
On April 20, 1877, he surrendered with Two Moon at Fort Keough to General Miles. When Wooden Leg was writing the book with Dr. Thomas Marquis, Two Feather gave his testimony about the battle, which was included in the book "Wooden Leg: A Warrior Who Fought Custer".
2 Oil on Canvas Horse Paintings, incl. Gean Smith 1st item: Gean Smith (Texas/New York/Illinois, 1851-1928) oil on canvas horse portrait depicting "Star Pointer", signed lower right plus copyright logo. Inscription en verso reads "Star Pointer/ Time 1.59 3/4/The first harness horse to beat 2 minutes". Housed in giltwood frame. Sight - 19 1/2" H x 15 1/2" W. Framed - 22 3/4" H x 18 3/4" W. Note: Star Pointer was the first Standardbred race horse to complete a mile in less than two minutes in a time of 1.59 3/4 minutes. 2nd item: American School oil on canvas depicting three horses, one black, one white, and one brown, drinking from a trough, brick wall with ivy and running water to the left. Unsigned. Housed in giltwood frame. Late 19th/early 20th century. Sight - 8 5/8" H x 15 1/2" W. Framed - 14 3/4" H x 21 3/4" W. (Higher-resolution photos are available at www.caseantiques.com)
(CHILDREN'S LITERATURE.) Thompson, Ruth Plumly. The Wishing Horse of Oz. Original Typescript. The complete work, in 127 typed pages, of Thompson's 15th Oz book. Included is a typewritten title page (chipped) with a number of suggested titles, including the one which was ultimately used. With the author's penciled corrections and additions throughout. This manuscript is augmented with over 100 original pencil drawings by the book's illustrator, john r. neill. He has drawn these over the relevant passages, illustrating the development of his mental images of the characters and their settings. 4to, loose pages, slightly age-toned, but in fine, complete condition; housed in a custom black full morocco clamshell box. Np, 1935
a rare look into the production of one of the greatest children's series of all time. Eventually published in Chicago by the Reilly and Lee Company in 1935 with illustrations by John R. Neill (the principal illustrator of the Oz books). The first Oz book, The Wonderful Wizard of Oz, by L. Frank Baum, published in 1900, was illustrated by W.W. Denslow. Both Baum and Denslow took credit for the success of the Wizard, and their relationship rapidly deteriorated. As a result, the second Oz book, The Marvelous Land of Oz, published in 1904, was illustrated by Neill, as were all the rest of the Oz books written by Baum (he died in 1919) and all the Oz books written by Ruth Plumly Thompson, who retired from writing in 1939. Neill then wrote and illustrated three Oz books between 1939 and his death in 1943. Original complete manuscripts of Oz books are quite rare. We know of only one other to have been offered for sale in the last thirty years.
Han Meilin (B. 1936) "Horse": Han Meilin (Chinese, B. 1936) "Horse" Signed and dated lower left. Original Watercolor/ Ink painting on Paper. . . Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . The horse has a been a favorite subject of artists for centuries. Man's first attempt to portray the horse in art was probably in prehistoric times when they were drawn on cave walls. As world cultures developed, horses were depicted in pottery, sculpture, painting, mosaics and other art forms. An inspiring symbol of strength, freedom, power and beauty, the horse was vital in agrarian economies before the Industrial Revolution. Farmers used them to clear land and plow fields. Cowboys and shepherds used them to herd cattle and sheep, while city folk depended on them for delivering goods. Artists also portrayed horses in scenes of leisure like horse racing, polo or simply romping in a scenic pasture. . . Image Diameter: 13 in. . Overall Size: 20. 75 x 20. 75 in. . Unframed. . (B08376) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be out bid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. Available payment options on Bidsquare
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.
Cranston Mechanical Cowboy on Riding Horse w/ Box: Cragstan mechanical cowboy on rocking horse wind up toy with original box. Retains Randy Inman Auction tag. 6. 5"h. Working at present time. Processing and shipping within the continental U. S. $25. 00 plus 1. 5% replacement cost insurance. Please note we do not accept credit cards. Condition Good, box has some wear, working at present time. Witherells strives to provide as much information and photographs as possible but encourages in-person inspection by bidders. Condition statements are only for general guidance and should not be relied upon as complete statements of fact and do not constitute a representation, warranty or assumption of liability by Witherells. All lots are sold "AS IS" under the Terms & Conditions.
Charles M. Russell (1864–1926) — Friend Ad Letter (1923): . Charles M. Russell (1864–1926). Friend Ad Letter (1923). watercolor and ink on paper. 10 × 7. 75 inches. signed lower right. . VERSO. Label, Amon Carter Museum, Fort Worth, Texas. . Friend Ad Letter is recorded in the C. M. Russell Catalogue Raisonné as reference number CR. ILU. 154. . An original bill of sale dated 1975, and original typed letter from original owner to new owner regarding information about the Russell letter will accompany the lot. . According to Western art historian Brian W. Dippie, “Ad Day, general manager of the Knight-Watson Ranching Company in southern Alberta, was responsible for the bucking horses that gave the Canadian stampedes their formidable reputation. With Ray Knight, Day ran the show in 1918 at Lethbridge, and his friendship with Russell was solidified there. Charlie and Nancy sat in the grandstand with Day’s family, watching a titanic struggle between men and horses. In one competition, the Day horses scored a clean sweep, throwing every rider they faced and precipitating a near mutiny as contestants protested that the horses were ‘too large and too tough. ’ Needless to say, Russell loved it. The next year in Saskatoon, the paper reported the arrival by train of an iron-grey mare that Day imported ‘especially for the Stampede. ’ The mare could have been a gunslinger hired to mow down the enemy, the way it was described. ‘According to Mr. Day she has ‘some iron-grey disposition. ’ Buck? Well, say. It took Mr. Day all the morning to get her four feet on the ground long enough at one time to detrain her. ‘She’ll do, ’ was all that Mr. Day would say about her. ’. . “When Day asked for a reference in 1925, Russell responded enthusiastically. Ad Day, he wrote, is ‘a friend of mine who I have known many years. ’ His people were cow folks, he was born in cow country, and he had ‘lived all his life on cow ranges?he knows cows from Texas to the Saskatchewan north?for maney years has handled riding and roping contests?he knows that business from start to finish?he baught and owned some of the most famus bucking horses in the northwest … when a bronco twister drew a Day horse he dident scratch much. ”. . PROVENANCE. Pete and Janet Taggares, Washington. . LITERATURE. Brian W. Dippie, Charles M. Russell, Word Painter: Letters 1887?-1926, Amon Carter Museum, 1993, p. 339, illustrated. . View more information Dimension Condition As viewed through glass. Paper is yellowed and creased in corresponding sections where letter was folded to fit into the envelope, but is in good condition overall.
12TH C. KASHAN LUSTERWARE EWER HORSES, RIDERS, LEOPARDS...**First Time At Auction**
Western Asia, Iran, Kashan, ca. 12th to early 13th century CE. A delightful lusterware ewer, elaborately hand-painted with a main register of princely horse riders beneath a band of leopards. Dressed in ornate robes, the horsemen face left, surrounded by intricate decoration of arabesque and vegetal motifs. The vessel itself presents a broad hip that narrows to a sloped shoulder and gently flared rim with a petite spout projecting from one side and a ribbon-form handle at the other. A ring of pseudo-Kufic script encircles the interior of the rim, while a floral motif adorns the basin. Leopards were a symbol of power, strength, and royalty in medieval Islamic culture, making them a perfect motif for this opulent vessel. Size: 6.5" W x 5.3" H (16.5 cm x 13.5 cm)
Luster Ware was produced in Kashan, a major pottery production center from the 11th through the 17th century. This technique required the application of pigments over a glaze after the first firing. Potters then fired the pieces at lower temperatures a second time. The pigments used were silver and copper mixed with an earthy medium, resulting in an earthy color and a mother of pearl effect. This tradition continued into the 14th century.
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Provenance: private Vero Beach, Florida, USA collection, acquired before 2003
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.
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#177617
Condition:
Professionally repaired with restoration and repainting in areas. Some small chips, nicks, and abrasions to surface. Otherwise, excellent with impressive preservation of painted detail and nice areas of iridescence and earthen deposits.
Edward Curtis, The North American Indian Volume XI, 1916: Edward S. Curtis. (1868 - 1952). The North American Indian Volume XI, 1916. Individual volume on Holland Van Gelder etching stock . Nootka, Haida. . The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Volume XI. Written, Illustrated and Published by Edward S. Curtis. Edited by Fredrick Webb Hodge. Foreward by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass. ], 1916. . . LIMITED EDITION: This volume is numbered 48 of an unfulfilled edition of 500, on handmade Holland Van Gelder etching stock, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, raised paneled spines, ribbon bookmarks, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. . . TEXT VOLUME: 75 photogravures, including 1 hand-colored print. Over 230 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. . . Provenance:. Edward S. Curtis Studio. Charles Arthur Moore, Jr. By descent to family. The Christopher G. Cardozo Collection, 2019. . This set of “The North American Indian, ” number 48, by Edward Sherriff Curtis comes directly from the hands of the photographer, through four generations of the Moore (Close) family, to the hands of the buyer. The books keenly represent that period in American history when industrialization conquered the nation’s wild lands and clashed with its indigenous peoples, and for purposes of provenance it should be known that the man who acquired them from Curtis himself embodied both industry and a deep reverence for nature and the American West. The books were purchased from Edward S. Curtis by the seller’s great grandfather, Charles Arthur Moore, Jr. of Greenwich, Connecticut. Moore was a Greenwich native, a humanist, and an industrialist who became president of his father’s metal products manufacturing company Manning Maxwell & Moore that built parts such as gauges, valves, and hoists for cranes and trains. Moore’s New York City office was in the Chrysler Building just below the gargoyles. Born 23rd of June, 1880, in Lynn, Massachusetts, to Charles A. Moore, Sr. and Mary Campbell Moore, his siblings were Mary Elsie Moore who married Italian prince Don Marino Torlonia, 4th prince of Civitella-Cesi; Eugene Maxwell Moore who married Titanic survivor Margaret Graham; and Jessie Ann Moore who married US Navy Admiral Colby Mitchell Chester. Moore married twice, first to Annette Sperry of Nashville with whom he had three children and divorced in 1919, then to Elizabeth Hyde (1897-1983), daughter of Seymour Jairus Hyde and his wife Elizabeth Worrall. The Hyde’s were also wealthy industrialists whose company, A. G. Hyde & Sons Co. manufactured dry goods such as the Heatherbloom petticoats, and advertised with the first moving sign on Times Square. Charles and Elizabeth, who was known as Betty, had two children: John Campbell Moore (1921-1943), who died in active service with the 853d Engineer Battalion while being transported on the H. M. T. Rohna in World War II; and Bettine Moore, to whom the Curtis books later belonged. Moore was educated at St. Paul’s school and graduated Yale class of ’03. He was with the Montenegrin Army for some months during the Balkan War, then served throughout WWI, commanding in France the Old Twelfth Company of Greenwich attached to the 56th Artillery, A. E. F. He retired at the conclusion of the war with the rank of Major. A life member of American Museum of Natural history, Moore contributed specimens to the institution, like a mountain goat he shot in northern Rockies near the Columbia River in 1904, among others. He was also a member of New York Zoological Society (now the Wildlife Conservation Society) and the National Geographic Society, as well as many manufacturing groups. Moore was a physically imposing man, a great lover of nature, a deeply devoted father, and the owner of a self-sustaining 168-acre farm/estate in Greenwich called Mooreland, on Mooreland Road, at which he hosted the Highland Games every summer. He had a wide and eclectic circle of friends of many ethnicities. An avid photographer, he shot both stills and movies, a collection of which the family retains. Many photographs depict beautiful natural scenes, or holidays to places like Cuba and dude ranches in the west. The reels of black and white film that he shot portray his family life (Johnny and Bettine as children, the Highland games, etc. ), and travels during the 1920’s – 40’s. . EARLY INFLUENCE & LATER EXPEDITIONS. In the fall of 1883, at the tender age of three, Arthur, as Charles, Jr. was known to his family, made a trans-continental trip by train on the Northern Pacific Railroad from New York City to Portland, Oregon with his parents. This was the very year the tracks were laid. One of his father’s letters from the journey, dated September 29, 1883 reads, "Yesterday Arthur shook hands through the window with an Indian Brave in War paint. ” This telling scene took pace in Billings, Montana, which at the time was still a territory. The Indian man was most likely Cheyenne, Crow, or Lakota Sioux. To put it into perspective, the Battle of the Little Big Horn/Battle of the Greasy Grass, otherwise known as Custer’s Last Stand, which took place just south of Billings, had happened only a few years prior, in 1876. Although the Indians won that battle, it was a symbolic win. In a mind-bogglingly short period of time their world had been forever altered. The last wild herds of buffalo had recently been obliterated from the landscape. Tribes were being force onto reservations. Settlers and miners were staking their claims. Who was he, the mystery “Indian brave”? We wish we knew, because his touch likely sparked in young Arthur a deep admiration for indigenous Americans and the west that eventually inspired him to sign onto the young Edward Curtis’ courageous venture in photography in 1906. Arthur’s early travels—and his father’s international travels and extensive political connections—also inspired him to become an explorer. Besides venturing west, he went north and east. He became dear friends with Captain Bartlett and 1897 journeyed with Commander Robert E. Peary, U. S. N. to find the geographic North Pole. Moore then took charter of the steam whaler Algerine and spent the summer of 1901 in the Hudson’s Straights and Hudson’s Bay. His expedition north and with Peary succeeded in charting new waters and bringing back trophies, like Inuit artifacts and the Cape York meteorite, which is housed in the American Museum of Natural History in New York City. It is likely that befriending Inuit peoples also compelled him to support Curtis’ work. Later, in 1906, Mr. Moore traveled to Arabia, lands then controlled by the Ottoman Empire, including into what is now modern-day Syria, with the day’s most famous political cartoonist, Homer Davenport, whose drawings satirized figures of the Gilded Age and Progressive Era. The purpose of the expedition was to bringing back Arabian horses to the United States. Davenport had fallen in love with the breed at the World’s Fair in Chicago in 1893, the first time Arabian horses were on US soil. Moore, also a keen horseman, photographed and documented their expedition to Arabia, playing a key role in bringing some of the earliest desert-bred Arabian mares and stallions to America. Moore’s love of animals, wild lands, native peoples, art, and the west, he passed on to his daughter Bettine, wife of Dr. William Taliaferro Close, and mother of actress Glenn Close and her three siblings, and, through them, to his great granddaughter who made the difficult decision to sell the books. Dimension Condition This original volume is in very good to excellent condition overall. A formal, detailed condition report is available upon request. . The condition reports for the lots offered by Santa Fe Art Auction (SFAA) are provided as a courtesy and convenience for potential buyers. The reports are not intended to nor do they substitute for physical examination by a buyer or the buyer's advisors. The condition reports are prepared by SFAA staff members who are not art conservators or restorers, nor do they possess the qualifications needed for comprehensive evaluation. Each condition report is an opinion of the staff member and should not be treated as a statement of fact. The absence of a condition report does not imply anything as to the condition of a particular lot. Buyers are reminded that the limited warranties are set forth in the Terms and Conditions of Sale and do not extend to condition. Each lot is sold as-is.
CUSTER REPRIMANDS THE KEEPER OF HIS HORSES CUSTER, GEORGE ARMSTRONG. Autograph Letter Signed, "G.A. Custer," to Captain W.J. Lough, concerning the alleged poor treatment of Custer's horses Phil and Mack under Lough's care. 4 pages, 4to, written on a single folded sheet; soiling on terminal page, vertical fold through signature, small stain through text on terminal page. Monroe, 30 August 1868
"I do not want him kept from his regular full account of work merely because he shys . . . I certainly do not intend to pay for any time not even a day that my horse does not receive the work and care on the track which I intended he should . . . I distinctly told you that I did not want my horses taken outside the track enclosure and I still desire that except for shoeing."
with--Captain Lough''s Autograph Letter Signed in response to Custer, defending his work. 6 pages, 4to, 4 pages written on a single folded sheet with a two-page signed postscript on a separate sheet. Leavenworth, 5 September 1868.
Pr. Ralph E. Earl Portraits, Hardy Cryer and Wife Pair of Tennessee portraits by Ralph Eleaser Whiteside Earl (1788 - 1838) depicting the Reverend Hardy Murfree Cryer (b. 1792--1846), in dark coat with ruffled collar, and a woman believed to be his first wife Elizabeth Rice Cryer (b. 1793--1832) in black mourning dress with white lace collar and cap. Housed in black and gilt wooden frames. Both portraits measure 26 1/2" H x 21 1/2" W sight; 33" H x 28 1/2" W framed. Circa 1830. Provenance: Descended in subject's family to current consignor. Biography ( Courtesy of James C. Kelly, Virginia Historical Society, Tennessee Encyclopedia of History and Culture, 1998): Ralph E. W. Earl was the son of Connecticut painter Ralph Earl (1751-1801). Earl studied under his father in Northhampton, Massachusetts, before traveling to London in 1809 to study under Benjamin West and John Trumbull. In 1817, Earl arrived in Nashville to paint General Andrew Jackson, the hero of the battle of New Orleans. Later that year, in Natchez, he met and married Jane Caffrey, Rachel Jackson's niece. She died the next year, but Earl moved into the Hermitage would from then on remain in Jackson's circle, accompanying the newly elected president to Washington. During the next eight years, Earl turned out numerous paintings of Jackson. Politicians, especially Democrats, knew it "did not hurt to order a portrait of General Jackson from Earl." He painted many of Jackson's friends and a few of his foes. Earl returned to the Hermitage with Jackson in 1837 and died there in September 1838. Rev. Cryer was a close friend of Andrew Jackson who spent time at the Hermitage. According to the book "The Making the American Thoroughbred" (see book, also offered in this auction), Cryer was born in North Carolina in 1792, married Elizabeth Rice in 1812, was a member of the Tennessee Conference, Methodist Episcopal Church 1813-1816, and served one year on the Nashville district. "After withdrawing from the itinerant ranks, he served as a "local" preacher and continued to exercise the offices of a minister the remainder of his life. His many contributions to The Turf Register and The Spirit of the Times are rich in Biblical and classical allusions, after the style of that day; show much force and originality; and amply support the statement of McFerrin that he was of an ardent temperament and had a brilliant mind. His ardor distinguished him as a breeder no less than as a preacher. He kept more thorougbred stallions than any man of his time, except, perhaps, Thomas Alderson; owned a few blood mares; and took a great interest in turf sports." The book quotes stud books kept by Cryer which show that "Cryer's horses were patronized by practically all the prominent breeders and turfmen named heretofore in this volume, from Andrew Jackson and John Catron, down". Cryer's passion for horses seems to have gotten him into trouble only once with his church; he was charged with horse racing and summoned to a trial before a church tribunal. "The proof was clear and conclusive," wrote J.R. Hubbard in The Spirit of the Times, "but the evidence showed that the horse was raced in the name of Col. George Elliott, and that this gentleman owned one half of him." In Cryer's defense, he told the judge: "I would like for you to let me know how I can arrange it for my half of the horse to stand in the stable while Col. Elliott's half is racing." He was acquitted. Click here to view documents containing Andrew Jackson and Reverend Hardy Murfree Cryer correspondence.
[Pop-Up] Lot of Christmas Pop-Up, Movable, Noise-Making, and Interactive Books. American, 1940s—50s. An impressive collection, together approximately 40 volumes of twentieth century titles, all but five Christmas themed, with many first editions, many in original pictorial boxes, and generally in fine condition, being in near or full states of completeness including inserts, fold-outs, instruction slips, and other pieces.
Includes:
Pranky’s Christmas (in box) COMPLETE
(No Publisher, No Date)
Charlot Byj
Three pop-ups
Round plastic skill puzzle (silver balls in a clock face) shows through die-cut hole in cover
Peppermint candy (title page)
Die-cut lower half of page with candy cane pipe cleaner (p.9)
Two sheets of gummed stickers in pocket (p.12)
Die-cut hole (p.16)
Christmas in Fairyland (in box) COMPLETE
(No Publisher, No Date, ca. 1950)
No Author, No Illustrator
Cover has die-cut white foam moon and glitter stars
Envelope inside front cover contains:
Sheet of gummed Stickers
Sheet with numbers which key the gummed stickers to the spots on the book
Sheet of punch-out game pieces
Santa crown
Whistle (p.2)
Die-cut Fairy Queen figure (p.4)
Die-cut reindeer (p.7)
Gold star on red pipe cleaner: magic wand (p.11)
Tatoo bubble gum (p.13)
Game on back cover
Santa’s Fun Book (in box) NEAR COMPLETE
(White Plains Greeting Card Corp., 1954)
No Author, No Illustrator
Four pop-ups and moveables
Die-cut hole in cover (p.1)
Yellow metal clicker (p.2)
Silver metal bell (p.4)
Die-cut hole in page in shape of star (p.5)
Embossed silver foil badge (p.6).
Brown honeycomb accordian (pp.8-9)
The Wonderful Window (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Whistle, plastic
Die-cut angel standee (p.12)
Loose in the box:
Four punch-out sheets
Window with tiny celebrant, rabbit, and lamb
Mobile with angels
Red feather (p.11)
LOLLIPOP (P.15)
3D glasses (p.16)
Box of four crayons (p.20)
Coloring book (p.20)
Santa’s Busy Day (in box) COMPLETE
(Polygraphic Company of America, 1953) $1.25
No Author, No Illustrator
Two pop-ups
Gold bell on reindeer’s neck (pp.2-3)
Balloon and metal clicker (p.7)
Seven die-cut reindeer (pp.8-9)
Tinsel strip (pp.16-17)
Die-cut reindeer: Blitzen (p.19)
Brown crayon (p.21)
Santa’s Circus (in box) COMPLETE
(White Plains Greeting Card Corp., 1952)
Pictorial Box
No Author, No Illustrator
Four pop-ups and moveables
Squeaker on clown’s nose (p.7)
Horse flocked (p.9)
Balloon for Elephant’s nose (p.11)
Red Pencil (p.16)
White Life Saver (p.18)
Die-cut hole for hat (p.23)
Paper blowout with feather (i.e., party blower or blow tickler) (p.25)
Santa Claus in Toyland (in box) NEAR COMPLETE
(Doehla Greeting Cards, 1951)
Softcover with red plastic spiral binding
No Author, No Illustrator
Five pop-ups and movables
Cover has styrofoam “snow” on house roof
Die-cut elves (p.7)
Lollipop (p.18)
VARSITY GUM (p.20)
The Shiniest Star (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups and moveables
Gold foil star mounted on cover
Wee-book (p.1)
Metal “shark” whistle (p.8)
Wise man cardboard standup (p.18)
Loose in box:
Instruction sheet for assembling manger
Punch-out manger
Two punch-out sheets of people and animals for Nativity
Christmas Time (in box) COMPLETE
(No Publisher, No Date)
Written and Adapted by Hilda M. Finch
Illustrated by Charlot Byj, Stina Nagel, Cristina F. Christensen, Rene Racette
Four pop-ups and moveables
Envelope inside rear cover has cookie recipe printed on it, and loose inside:
Folded punch-out sheet for “Mrs. Honey Bun’s Helpers”
Folded punch-out sheet, one side for “Billy’s Christmas Visitor,” the other for
“The Night Before Christmas” (Figures fit into slots you cut on the page)
Kerry Kitten’s Christmas Adventures (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Jason Lee
Three pop-ups and moveables
Package squeaker (p.8)
Metal badge (p.13)
Wee coloring book “Brave Cats” (p.21)
Water pistol (p.21) This item is glued to the front of the wee coloring book.
Santa’s Christmas Party (lacking box)
(Polygraphic Company of America, 1951)
Pictures by Mary Stevens, Story by Helen Sterling
Five pop-ups
Die-cut hole in cover
Button (“Santa’s Christmas Party”) (p.3)
Santa’s Christmas Punch-Out Book
(Lowe, No Date)
The Night Before Christmas (animated by Meg Wohlberg)
Crown, 1944
Santa’s Playbook
Whitman, 1964
Christmas Cards (26 of Them)
Saalfield, 1946
Christmas 1955 (Carl Henry Rathjen)
3-D Glasses
Pop-up display rear inside cover
Stevie’s Christmas Concert (in box) COMPLETE
(No Publisher, No Date)
Written by Beth Vardon, Pictures by Charlot Byj
Two pop-ups
Plastic flute (p.18)
Loose in box:
Instruction sheet for assembling Pet Shop Interior
Pet Shot Interior pop-up scene
Punch-out sheet of pieces for pet shop (Christmas tree and three animals)
Santa’s Merry Carnival (in box) COMPLETE
(Polygraphic Company of America, 1955)
By Dorothy N. King, No Illustrator
Green alligator clicker (p.4)
Balloon in clown’s hand (pp.8-9)
Paint tablets (p.14)
Paint brush (p.15)
Monkey on wooden trapeeze stick (pp.18-19)
Davey and the First Christmas (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Inside Front Cover: Paper blowout with feather (i.e., party blower or blow tickler)
Game on back cover
Loose in box:
Die-cut Donkey (Tim)
Die-cut saddle bags (three pieces)
Instruction sheet for assembling donkey and saddle bags
Punch-out sheet with stars and top for game
Instruction sheet for game
Santa’s Cuckoo Clock (in box) COMPLETE
(Polygraphic Company of America, 1954) $1.25
By Dorothy N. King, No Ilustrator
Six pop-ups
Die-cut hole in cover
Paper blowout with feather (i.e., party blower or i.e., party blower or blow tickler) (p.6)
Paper straw (p.12)
Wee-book, Carols for your Christmas (p.14)
Paint tablets and paint brush (p.16)
Balloon (p.19)
The Christmas Story in box
Gospel Trumpet, 1952
Nativity scene pieces loose in box
Santa Visits Mother Goose (in box) COMPLETE
(White Plains Greeting Card Corp., 1953)
No Author, No Illustrator
Five pop-ups and moveables
Die-cut hole (p.5)
Red plastic spoon (p.7)
Band-Aid (pp.8-9)
Cellophane bag of red candy hearts (p.13)
Die-cut window in Mother Hubbard’s dress (p.17)
Paper parachute with fish (p.18)
Die-cut hole for piggy’s head (p.19)
Piggy squeaker (p.21)
Red paper horn (p.23)
Wee-book of Mother Goose rhymes (p.25)
Santa Claus in Storyland (in box) NEAR COMPLETE
(Doehla Greeting Cards, 1950)
Hardcover: casebound
No Author, No Illustrator
Six pop-ups and moveables
Cover has styrofoam “snow” on house roof
Die-cut spider (p.16)
Varsity gum (p.17) (Another copy with Fleer’s Double Bubble gum—a replacement?)
LOLLIPOP (p.20)
Santa’s Tuney Toy (in box) COMPLETE
(Polygraphic Company of America, 1956)
By Dorothy N. King, No Illustrator
Die-cut Carousel on stick (pp.2-3)
Wooden and metal multi-color xylophone and wooden mallet
Inside rear cover is small Tuney Toy Song Book
Christmas on Stage (in window box) COMPLETE
(Polygraphic Company of America, 1950)
By Charlot Byj
Five pop-ups
Visions of St. Nick in Action in Box
Phillips, 1950
My Flower Garden Book
No publisher, No date
Seed packets and pop-outs intact
Blinky Bill “Magic Action”
Whitman, 1935
Bobby Bear “Magic Action”
Whitman, 1935
Christmas Time (in box) COMPLETE
(No Publisher, No Date)
Written and Adapted by Hilda M. Finch
Illustrated by Charlot Byj, Stina Nagel, Cristina F. Christensen, Rene Racette
Four pop-ups and moveables
Envelope inside rear cover has cookie recipe printed on it, and loose inside:
Folded punch-out sheet for “Mrs. Honey Bun’s Helpers”
Folded punch-out sheet, one side for “Billy’s Christmas Visitor,” the other for
“The Night Before Christmas” (Figures fit into slots you cut on the page)
Floppy in Santa Land (in box) Signe COMPLETE
(Polygraphic Company of America, 1957)
Story by J. O’Hara, No Illustrator
Five pop-ups and moveables
Metal button on the cover: “Santa’s Guest * North Pole, N.Y.” (Not in pristine copy)
Cotton-tail (p.5)
Paint tablets and paint brush (p.6)
Dog’s die-cut back foot on a spring (p.13)
Pop-up soft foam bunny ears (p.19)
Santa’s Little Helpers (in box) NEAR COMPLETE
(Polygraphic Company of America, 1952)
Illustrations by William P. Hoest, Story by Ahlene Fitch
Six pop-ups and moveables
Die-cut cover (Santa’s beard)
Round cotton for Snowman (p.2)
FOIL-WRAPPED CANDY (P.7)
Balloon (p.11)
Die-cut Santa’s sleigh (p.18)
Paper blowout with feather (i.e., party blower or blow tickler) (p.22)
Metal clicker (p.25)
Larry’s Little Lamb (in box) COMPLETE
(No Publisher, No Date)
(Regal Stationary Company, Canada?)
Illustrations by Charlot Byj
One pop-up
Cover has small plastic ribbon attached by pin
Silver bell (p.2).
Small Chiclets box (yellow, red, or blue) with two Chiclets inside (p.13)
Loose in box:
Instruction sheet for assembling punch-out “Creche Theater”
Quarter-folded sheet of punch-out pieces: Creche and 8 figures
Poochy the Christmas Pup (in box) COMPLETE
(No Publisher, No Date)
Written by Beth Vardon, Pictures by Charlot Byj
Two pop-ups
Inside Front Cover: Paper blowout with feather (i.e., party blower or blow tickler)
Small compass (p.4)
Plastic toy rifle (p.9)
Magnetic Fishing set (p.18)
Plastic bone (p.20)
Loose in the box: Christmas Carols booklet
André et le Premier Noël
French Canadian Edition of Davey and the First Christmas
(Regal Stationary Company, Ltd., No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Inside Front Cover: No reference to “chicken feather” printed on page. The envelope holds the game pieces for the Voyage en Egypte game on the rear cover.
Punch-out sheet with stars and top for game
Instruction sheet for game
Game on back cover
Santa’s Circus (in variant box) COMPLETE
(White Plains Greeting Card Corp., 1952)
Red and White Box
No Author, No Illustrator
Four pop-ups and moveables
Squeaker on clown’s nose (p.7)
Horse flocked (p.9)
Balloon for Elephant’s nose (p.11)
Red Pencil (p.16)
White Life Saver (p.18)
Die-cut hole for hat (p.23)
Paper blowout with feather (i.e., party blower or blow tickler) (p.25)
Take the Children (in window box) COMPLETE
(Dorothy K. Werblow, 1951)
Written by Dorothy N. King, No Illustrator
Six die-cut dolls in envelope (p.11)
Next six odd-numbered pages (pp.13, 15, 17, 19, 21, 23) each have a slot for a doll
The Jolly Snow Man Christmas Play Book (in box) COMPLETE
(White Plains Greeting Card Corp., 1955)
No Author, No Illustrator
Balloon in Snowman’s nose on cover (p.1)
Bell on reindeer’s nose (p.8-9)
Stand-Up Christmas tree with punch-out ornaments (p.12).
Christmas stocking with three items (p.16)
Magnet in envelope
Santa Picture Puzzle (punchout)
Game Book
Jet Glider in glassine envelope (p.17-18)
Paint brush (p.19)
Santa Claus Magic Paint Book (pp.20-23)
Christmas at the Little Zoo (in box) COMPLETE
(No Publisher, No Date)
(Reader's Digest Children's Publishing, Incorporated, 1955?)
Story by Beth Vardon, Illustrations by Charlot Byj
Inside front cover, envelope contains:
Printed and folded paper ruler
Little Zoo paper penant on candy cane pipe cleaner
Printed Zoo ticket
Press-out Christmas ornaments (five)
Bell (p.7)
Green balloon (p.15)
Gold-covered chocolate coin (p.16)
Four tiny Christmas cards and four matching white envelopes in red band (p.19)
Leon Jason’s Jingle Dingle Christmas Stocking Book (in box)
COMPLETE
(Art Craft Publishers, 1953) $1.25
Story by Lucille Lee Kramer, Pictures by Ruth Ruhman
Five pop-ups and moveables
Jingle Dingle figure die cut with bell on cover (p.1)
Balloon in suitcase (p.5)
Jingle Dingle figure die cut (p.14)
Whistle in Santa’s hand (p.19)
Checkerboard and domino punch-out sheets in Christmas stocking (p.21)
Velvet Eyes: Santa’s Little Helper (in box) COMPLETE
(No Publisher, No Date)
Illustrated by Charlot Byj, Edited by Emil W. Klimack
Front cover has gold-embossed foil star
Inside front cover, envelope contains:
Sheet of gummed stickers (to be placed at numbered spots in book)
Punch-out sheet of game pieces (six children and five stars)
Instruction sheet for game on rear cover
Bell (p.4)
Whistle (p.6)
Small mirror (p.9)
Die-cut Velvet Eyes figure (p.13)
Talking Mama doll figure (pp.16-17)
Gold-printed star (p.21)
Game on back cover
Historic Guthrie Oklahoma/Chickamauga Presentation Gavel to First Major D.B. Dyer With associated newspaper clipping and printed pamphlet relating to the opening of the Oklahoma Territory in 1889. The symbolic gavel measures 10? long made from a piece of souvenir wood embedded with a lead minie ball from the Chickamauga battlefield. The front of the simple mallet head bears a jeweler inscribed gold plate (not tested) that reads: ?PRESENTED TO/Hon D.B. Dyer/ FIRST MAYOR OF/Guthrie I.T./BY HIS FRIEND C.C.S./June 4 1889.? The presentation is flanked by CHICKAMAUGA and TENNESSEE on either side. The identity of ?C.C.S ? presumably a local Indian Territory inhabitant and former soldier-friend of Dyer is unknown. Additionally the lot includes a small archive of nine files containing Dyer manuscript correspondence to/from the Quapaw Indian Agency in the O.T. 1880-1884. Also three sundry files the first being a printed inventory booklet with annotations of ?Colonel Dyers Collection of Indian Curiosities? exhibited at the 1893 Columbia Exposition with a later article discussing the same collection then on loan to the Kansas City Public Library. The other files contain a typed letter dated February 1911 acknowledging Dyer??Ts the newspaper man cancellation of his Associated Press Membership. Last is a damaged manuscript letter to Dyer dated March 1911 on the letterhead of ?Pawnee??Ts Bill??Ts Buffalo Ranch.? D. B. Dyer??Ts time as Indian Agent ??" documented by Mrs. Dyer in the ?Frontier Classic Series? Fort Reno ??" came to a sudden end in July 1885 when the visiting government inspector concluded that ?his conflict with the Cheyenne prevented him from effectively carrying out his duties.? Mr. and Mrs. Dyer then moved to Kansas City Missouri where he engaged in the real estate business for the next few years with a partner from the Indian Agency days. In 1887 the Dyers also organized an exhibition of their ?large collection of Indian artifacts and relics? from the Quapaw Agency and this served as a catalyst for their lifelong friendship with ?Buffalo Bill? Cody. Dyer then found himself at the forefront of one of the most noteworthy events of the later 19th century. Leaders of Kansas City requested that D.B. Dyer go to Washington to lobby Congress to obtain support for what would become the two million acre ''Land Run'' of 1889. With the help of friendly Congressmen after a lengthy and sometimes factious debate President Harrison was pressured to open the Oklahoma District to a wave of homesteaders--Boomers--on April 22 1889. On that one frenzied day thousands of would-be settlers from across the country poured into the District staking claims and erecting tent cities. Overnight the small way station previously known as Deer Creek on the Atchison Topeka and Santa Fe line mushroomed into a boomtown of 10 000 people soon to be renamed Guthrie Oklahoma. When the Oklahoma Territory was formally organized on May 2 1889 Guthrie became the first capital quickly transforming itself into the ?Queen of the Prairie? complete with modern brick and stone structures in the Victorian style a municipal water and electrical works underwritten with bonds a horse drawn mass transit system and underground carriage parking in the central business district. At the forefront of this unprecedented development were ?hundreds of men who contributed time and money to bring about this result ? including D. B. Dyer who was elected first Mayor of Guthrie. Recalling those bygone days in 1904 Dyer wrote ?Everything was confusion and bedlam but on the morning of the 23rd a mass meeting was called where thousands assembled on the highest point of land in the town and proceeded to organize a regular old fashioned town meeting.? Of immediate concern was the multitude of conflicting and haphazard claims in and around Guthrie coupled with the fact that there was ?no law or precedent? for organizing the city policing the newcomers or arbitrating their claims. Dyer added that ?having been stationed in the territory for many years previous to this time and having represented Kansas City before Congress to secure the opening of this Territory I was probably at that time better known than any other individual on the ground.? An executive committee was formed and from this exercise ?of starting a government by the people ? D.B. Dyer was nominated to be Mayor. At first Dyer wrote that he ?steadfastly refused??|as I did not expect to remain in the territory permanently.? Dyer soon availed himself persuaded by his close friends and associates ?to accept the responsibility? as ?I could no longer decline??|given what seemed an impending crisis.? The committee made its report to the ?assembled mass? and ?when my name was presented to the people I was unanimously elected.? A city council was then elected and the two United States Marshals on the scene together with deputies and a small military detachment temporarily provided public safety. The burden of the early administrative work dealt with arbitrating overlapping claims and establishing property boundaries. The public right of way took precedence over individual claims and mayor himself was forced to cede at least one potentially valuable property to make way for a city street. The symbolic gavel offered here was presented to D.B. Dyer on June 4 1889 ??" the occasion is not recorded ??" and it clearly reflects a sense of steady fair-mindedness that he demonstrated to the citizens of Guthrie. Faced with the overwhelming task of constructing a city from the prairie Dyer wrote humbly ?Thousands of arbitrary decisions for the want of any law were forced upon those in authority??|? The mayor recalled that his ?own personal work was unremitting ? but after just three months on the job during which time Guthrie??Ts ?streets had been laid out ? he suddenly returned to his wife in Kansas City in July 1889 to pursue a more grandiose business scheme back east in Augusta Georgia. Dyer??Ts 1904 pamphlet recounting Early Oklahoma Days ??" published by his Augusta Chronicle newspaper ??" is fondly imbued with the lofty principle of Manifest Destiny. Oklahoma he waxes was the ?promised land and it is the same spirit that has reclaimed the vast solitude to civilization.? The popular American ethos of inevitability ??" our national self image on late 19th century stage ??" had already crystallized into a retrospective: ?They were genuine pioneers full of push and enterprise not satisfied with any half-hearted efforts to achieve their ambition and realize their dreams.? In 1910 Dyer reminisced about ?the cruel days of the opening of Oklahoma and rejoiced that the city of Guthrie itself was established without bloodshed through the cooperation of its brand new but stalwart citizens.? The small archive of letters that accompany the presentation gavel contain nothing of extraordinary significance but offer some interesting insight into the day-to-day workings of the Quapaw Indian Agency. In March 1880 D.B. Dyer wrote his parents (three lengthy letters) suggesting that they come to teach the Indian children at the agency school. Dyer matter-of-factly describes the arrangement as an ideal business opportunity as the teacher tends the agency farm rent free and is compensated ?$3.75 per month on each pupil? while the Indian children labor in exchange for food and lodging. Two more deeply personal letters from March 1881 from Daniel to his wife Ida are extremely revealing given their often rocky relationship documented in the forward of Mrs. Dyer??Ts Fort Reno account. In these letters Daniel writes passionately his words driven by a hitherto unknown religious zeal. Opting for the third person he engages Ida by invoking God: ???|and today he (meaning Daniel) is striving to repay his Lord with good deeds by working in the vineyard as a Missionary among the Indians ??" trying faithfully to atone for past offences??|? The letter pleads for reconciliation without begging. Written the next year an indenture in long-hand from August 1882 stipulating the division of real estate and property in advance of George and Ida??Ts ultimate divorce. Another exchange of letters dating from March 1884 between Dyer and Henry M. Lawson of Texas discusses the details of the Lawson??Ts transition ?as my successor to this Agency!? Lawson explains that he is unable to secure legal signatures for the required bond required by the government and until the matter is resolved he can only offer ?that I will be with you at or before the time indicated.? Still another file contains a typed copy of an 1886 lawsuit brought by one Rachael Silverheels in defense of her property in the Indian Territory illustrating the extent to which Indians were manipulated and ??~legally??T cheated out of land ostensibly deeded by right of treaty. The file containing the inventory booklet of D.B. Dyers collection of Indian artifacts from the 1893 Columbia Exposition includes a description of Captain Jack's coat: ?Modoc. Buckskin beaded made by Princess Mary sister of Captain Jack of Lava Bed fame and who was hung by the Government. Mary made this coat the same as the one Captain Jack had on when he was hung and presented it to Col Dyer at that time agent of the Modocs.? Collectively a fine historic artifact together with supporting archive relating to the early territorial history of Oklahoma of immeasurable importance to the Shangra-la-like city of Guthrie. Finally there are 67 empty covers with stamps dating to the 1880's mostly addressed to Col. Dyer at the Quapaw and Darlington Indian Agencies. The majority of the envelopes have printed return addresses such as ''House of Representatives '' ''Senate Chamber '' or ''Department of the Interior.'' Sadly the whereabout of the letters are unknown presumed lost. Descended Directly in the Dyer Family Condition: Gavel is complete and undamaged; all letters/paper complete and intact showing age with usual folds etc.
2 Oil on Canvas Horse Paintings, incl. Gean Smith: 1st item: Gean Smith (Texas/New York/Illinois, 1851-1928) oil on canvas horse portrait depicting "Star Pointer", signed lower right plus copyright logo. Inscription en verso reads "Star Pointer/ Time 1. 59 3/4/The first harness horse to beat 2 minutes". Housed in giltwood frame. Sight - 19 1/2" H x 15 1/2" W. Framed - 22 3/4" H x 18 3/4" W. Note: Star Pointer was the first Standardbred race horse to complete a mile in less than two minutes in a time of 1. 59 3/4 minutes. 2nd item: American School oil on canvas depicting three horses, one black, one white, and one brown, drinking from a trough, brick wall with ivy and running water to the left. Unsigned. Housed in giltwood frame. Late 19th/early 20th century. Sight - 8 5/8" H x 15 1/2" W. Framed - 14 3/4" H x 21 3/4" W. (Higher-resolution photos are available at www. caseantiques. com) Condition Both paintings overall good condition. 2nd painting with areas of loss to frame.
CONTEMPORARY CARL DAHL SCULPTURE - "WINGED EQUESTRIAN"Carl Dahl (American, active XX-XXI). "Winged Equestrian" porcelain and iron on wood base, n.d. A breathtaking sculpture by Carl Dahl depicting a winged equestrian - part human, part angel - riding a noble horse with his signature classical aesthetic. Dahl intentionally creates figures that are white and appear to be fragmentary, akin to the remains of ancient sculptures, suggesting age and history. Dahl describes them as "bleached" and "bone-like" reflecting not only the Classical World but also his personal experience of the severe desert landscape where he was raised. Size: 11.75" L x 13.875" W x 21.125" H (29.8 cm x 35.2 cm x 53.7 cm)
In addition to being a brilliant sculptor, Carl Dahl is also impressively eloquent when he describes his art, inspirations, and process as evident in the following statement, "In sculpture, I prefer to work on an intimate scale. This immediacy lets me work fast and with simple tools. My materials are moist clay, steel wire, time and heat. The emerging clay figures bleached, bone-like and suffused with rusting iron capture elemental parts of my desert experience. The wood bases reflect an instance of life grounding this entropy."
Horses and human figures are favorite subjects of Dahl's, and he has received international recognition for his horse sculptures. About horses, he states, "In horses, I find beauty, power and freedom; their legs, that seemed overly long to me as a child, rise to complete the perfect form. They remain one of life's great joys. There is nothing I would rather smell than a horse's neck - no greater feeling than sitting a horse. They recall the boy in me and have made me a better man." About humans, Dahl writes, "In the human figure I find fragments of perfection ... part Angel, part Beast. This paradox is a metaphor for the struggle to find meaning in the face of a world that, like the desert, is often unforgiving."
Provenance: ex-private Bishop Family Trust collection, the Trust of the late Bill Bishop, a noted antiquarian with shops in Scottsdale, Arizona and Allenspark, Colorado, USA, acquired before 2010
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.
#172978
Condition:
Intentional cracks, losses, and oxidation - Dahl's aesthetic involves the suggestion of age to reference antiquity. Please note that some of the iron pieces protrude through the form; again, this was likely intended by Dahl.
Philip R. Goodwin (1881–1935) — Hitting the Trail: . Philip R. Goodwin (1881–1935). Hitting the Trail. oil on canvas. 24 × 33 inches. signed lower right. . VERSO. Label, Midwestern Galleries, Cincinnati, Ohio. Label, The University Club, Cincinnati, Ohio. . According to Dr. Larry Len Peterson, “Montana’s Glacier National Park has the type of views that keep postcard companies and artists in business. Philip R. Goodwin traveled there in 1907 and in 1910 to visit Charles M. Russell and his wife Nancy at Bull Head Lodge, their summer retreat on Lake McDonald. During the first decade of the twentieth century, the wunderkind illustrated two of the most famous books of the era, Jack London’s Call of the Wild (1903) and Theodore Roosevelt’s African Game Trails (1909) – along with dozens of other books, magazines, and sporting illustrations – before he was thirty years old. No artist had a greater impact on the art of Russell than his young friend from back East. While Russell savored his time with his mentor, Goodwin also greatly benefitted by photographing and sketching the park’s stunning, jagged mountains and pristine waters. They supplied inspiration and source material for art such as Hitting the Trail completed back in his studio in Mamaroneck, New York. . “One of the quintessential subjects of the sporting artist was the pack train that Goodwin knew intimately as he traveled the wilderness trails of Maine, Eastern Canada, and Banff with Carl Rungius, and especially, Glacier Country. For almost thirty years, many of his finest paintings appeared first on Brown & Bigelow calendars – the largest calendar company in the nation. At the apex of his career between 1910 and 1920, Goodwin created Hitting the Trail, which was selected for their 1916 offering. A year later, five of his pieces, including Hitting the Trail, were reproduced in portfolio form. In 1919 the image was published in yet another portfolio titled ‘Out In the West’ along with three of his most famous oils: Blazing the Trail, In Silent Places, and A Timely Catch. That same year, Goodwin’s most recognized illustration, The Horse and Rider, for Winchester Repeating Arms was completed, which became recognized throughout the world. In 1922 Marble Arms & Manufacturing Company of Gladstone, Michigan—makers of axes, gun sights, and knives—through Brown & Bigelow widely distributed a calendar that once again featured Hitting the Trail. It seemed as if the image was everywhere in America. One of the finest paintings he ever completed, this gem is a tribute to the genius of Philip R. Goodwin, rightly titled, ‘America’s Sporting and Wildlife artist. ’”. . PROVENANCE. The artist. Brown & Bigelow, St. Paul, Minnesota, 1916. William P. Healey, Jackson, Wyoming. . EXHIBITED. Annual Art Exhibition, The University Club, Cincinnati, Ohio, 1989. . LITERATURE. Larry Len Peterson, Philip R. Goodwin: America’s Sporting & Wildlife Artist, Coeur d’Alene Art Auction and Settlers West Galleries, 2001, p. 320, illustrated. . View more information Dimension Condition Surface condition is very good. Canvas is lined. Spot (approximately one-and-three-quarters inches) of inpainting to left of the horse that is drinking.
Lot of five western-themed horse/cowboy sculptures. Two are cast in a resin material two in mixed media and the last is a small pewter figure. Four feature horses and largest depicts hunters on horseback hunting a buffalo ''Encounter at Teton River'' by Jim Ponter. Second is a medium-sized resin cast sculpture after Lanford Monroe titled ''Foaling Time'' and depicting two horses. Third is a small pewter sculpture of two horses titled ''To the Meadow'' after Lorn McKean. Fourth is a mixed media and marble recast after Remington titled ''The Norther'' by Legends and the fifth is a Legends recast after Pardell. All except the Ponter and Remington are marked on base with production information. Ponter and Remington are marked on small plaque at the front of base. Sold along with a ''Trail of Painted Ponies'' ''Dynasty Pony'' painted figurine. Condition: ''Foaling Time'' has a loss to horse's left ear on largest resin sculpture one horse has crack to leg where it meets the base see images. Largest measures 9.75'' tall x 18.5'' long. Smallest (pewter) measures 3.25'' tall x 6.5'' long. Shipping weight 24 lbs.
TWO FORE EDGE PAINTED BOOKS WITH CITYSCAPES, Pollock, Robert. The Course of Time: A Poem. Edinburgh: William Blackwood and Sons, 1860. 16mo, leather with gilt spine, front, back page edges and inner borders. Fore edge painting with city including cathedral, classical building, obelisk, houses, and people riding horses, engaging in conversations, and more. Together with Gilfillan, George (ed.) Young's Thoughts. Edinburgh: James Nichol, 1853. Small 8vo with leather, 5 raised bands on spine, small gilt grape leaves between bands and in corners of covers, gilt page edges, and inner edge with gilt border. Ffep inscribed to John Nott from Mrs. Bagshaw, 1862 in elaborate calligraphy. Fore edge painting of London with Tower in background, several sailing vessels in foreground.
Sulky Driver's Statistical Occupational Shaving Mug A fine porcelain mug with polychrome painted sulky racer and horse in profile. The painted scene is labeled throughout with data. These include name of rider Charley Gibson the date of October 17th 1889 and finally a block containing race times; Time/ 2.31/ 2.22 1/4. There is also a date underneath the horse of 1888 and what appears to be a previous record time of 2.21 1/2. A newspaper article accompanying the mug lists the above stated information and speaks at length about the rider and condition of the horse. Gilt name of the horse owner W.R. Cook. Marked D & C. Condition: Ca 60% gilt.
Tom Lovell (1909–1997) — Horse Raid (1978): . Tom Lovell (1909–1997). Horse Raid (1978). oil on canvas. 40 × 30 inches. signed and dated lower left. . VERSO. Artist label with signature, title, and date. Typed artist’s description of painting. Label, Trailside Galleries, Jackson, Wyoming. . The artist wrote, “Horse raiding was an important part of the Plains Indians culture. The idea was to cut the picket ropes and lead the best horses away by stealth. But a dog barks and the camp is aroused; the raiders leave without ceremony, with a few captured animals and no dignity. ”. . As noted by Richard Conn in Circles of the World: Traditional Art of the Plains Indians, “While stealing any horse earned some merit for the thief, valuable animals brought greatest honor. Most prized by the Plains people were their ‘buffalo runners. ’ Trained to run unflinchingly beside a thundering bison so that their riders could have both hands free to shoot, these hunting mounts were so precious that they were herded apart and kept under guard at all times; at night they were picketed by their owners’ tipis. There are even accounts of men sleeping with hackamore ropes tied to their arms or legs as a further deterrent to prowling horse stealers. The greater the risk, the sweeter the prize, however, and some Plains warriors became specialists in stealing livestock. Novices began with the least valuable animals grazing outside camp in herds guarded only by one or two adolescents. In this situation a group of horses could quickly be driven off while a friend stampeded the others to delay pursuit. Experienced thieves could creep into sleeping camps and take better animals with tactics that were proof against harness bells, wakeful owners, and even hackamore ropes. The skill of Plains horse thieves was documented in 1872 when, under the very nose of army sentries, a group of Comanches ‘requisitioned’ fifty-one government animals from a stone-walled corral at Fort Sill, Oklahoma. ”. . PROVENANCE . Trailside Galleries, Jackson, Wyoming. Oklahoma Publishing Company, Oklahoma City, Oklahoma. Private collection, Texas, 2013. . View more information Dimension Condition Surface condition is excellent. No signs of restoration.
GREEK CAMPANIAN POTTERY HYDRIA W/ SATYR, TL TESTEDAncient Greece, Magna Graecia, Southern Italy, Campania, near present-day Ignazia, ca. 340 to 320 BCE. A spectacular pottery hydria from the Greek territories of ancient Italy, meticulously hand-painted with red-figure decoration of a dancing satyr. Boasting a lustrous coat of black glaze, the elegant vessel presents a sophisticated silhouette with a bulbous body, a round shoulder, a slender neck, and a flared rim, all sitting upon a tiered, discoid foot. A pair of horizontal handles flank the wide shoulder, each gracefully curving upwards, while a vertical handle of tubular form connects neck to shoulder edge in an elegant arch. The side opposite the vertical handle boasts a lovely decoration of a satyr posed dynamically as he steps left while looking right and stretches out both arms to hold a hand drum known as a tympanum on one side of his body and a large ball painted with a cross motif in the other. Size: 5" Diameter x 7.4" H (12.7 cm x 18.8 cm)
Shown nude, the mythical figure displays a muscular body with delineated genitalia and a horse-like tail that extends from his posterior. A shaggy beard and coiffure frame his face, which presents an expressive visage of sizeable eyes beneath a thin brow, a bulbous nose, and a down-turned mouth. Fugitive white pigments have been carefully applied to add further detail to the scene, such as in the tassels of the tympanum, the floral crown atop the satyr's head, and the beaded sash that diagonally crosses his broad chest. The celebratory scene is flanked by swirling palmettes on either side, as well as horizontal rows of tongue motif above and below, while the same tongued pattern also decorates the area of the rim just above the scene.
Characterized by their ribaldry, satyrs are known for their lascivious and inebriated behaviors, as well as their loves of wine, music, dancing, and women. As such, they were frequent companions of Dionysus (Roman Bacchus), the god of wine, fertility, and religious ecstasy, as well as the perfect decorative motif for drinking vessels, like this example.
Hydria frequently appear in scenes of women carrying water from fountains, which was one of the duties of women during this time period. The two handles at the sides were used for lifting, while the handle at the back was used to dip and pour. However, scholars posit that bronze examples were not intended to be utilitarian, but rather were used solely in a funerary setting. Please note that while the term "kalpis" is used rather frequently as an interchangeable term for "hydria," a hydria can only be a kalpis if it lacks the vertical handle on the verso.
This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated.
Provenance: private Dodge collection, Superior, Colorado, USA; ex-Arte Primitivo Gallery, New York City, USA, September 14th, 2017, lot 298; ex-collection of Mr. and Mrs. Dalen Bayes; ex-Fragments of Time, Medfield, Massachusetts; ex-Ariadne Gallery, New York, USA
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.
#170593
Condition:
Vertical handle reattached with light restoration and repainting over break lines. Chip to rim. Some minor areas of repainting. A few expected nicks. Otherwise, excellent with impressive remaining pigments and detail. TL holes to underside of foot and rim.
MASSIVE MILITARY PHOTOGRAPHIC ARCHIVE, MOSTLY WWI-WWII, AMERICAN, ALLIED, GERMAN, JAPANESE.This archive is a lifelong collection of the consignor who has a publishing company and had hoped to publish photo history books utilizing images from this incredible archive. This dream never came to fruition and a change in life has instead led to the consignment of this treasured photoarchive. Archive consists of about 33,000 vintage and first generation photographic prints and 18,900 negatives, over 500 slides. Also included are five 8mm newsreel films, one 16mm newsreel film (original German newsreel footage of Fallshirmjager troops parachuting into Holland), 25 stereo-cards and miscellaneous ephemera belonging to photographers whose work is now preserved in this photoarchive including letters, correspondence and military service records. A large percentage of this archive is dedicated to WWI and WWII Air Corps and aviation. Many of the groupings are from professional American military photographers, German military photographers and soldiers in the field. A small percentage of this archive is made up of other content including trains, ships, cars (including 1919 Indy Race winners Ralph DePalma & Howdy Wilcox at a race on the Sheepshead Bay, NY track in their winning Indy car), Gar Wood & his co-pilot in executing an Oct. 1930 speed record run in the Harlem River as they ran the incredible speed boat, Miss America VIII, powered by twin Miller V16 supercharged engines, the 1939 World's Fair showing the Lifesaver parachute tower ride later used for paratrooper training at Ft. Benning and many portraits and landscapes of 19teens-1940s that would be perfect for publishers as well as movie costume and movie set designers. The images are concentrated in WWI-WWII era, but there are earlier photos and more military photos from Korean War and even Vietnam War. Many negatives included in this archive are large format and glass plates. Virtually all of the archive has been researched for the historical content, placed in acid free archival sleeves and boxes and labeled. All the 8x10 custom-made, wet-process prints were made by the consignor who has had fifty years of experience working in photo darkrooms. A partial summary of contents includes: WWI Aces Eddie Rickenbacker, Raoul Lufberry and photo positive of his death certificate; Douglas Campbell, Albert Ball-Victoria Cross (V.C.) (in his aircraft and with his squadron), William 'Billy' Bishop-V.C., Georges Guynemer, Irish Ace Edward 'Mick' Mannock-V.C., James McCudden-V.C., Frank Luke (known as the "Balloon Buster") ,WW1 German aces including Hermann Goering, Baron Manfred vonRichtofen (the Red Baron and photo of his death certificate), photos of the Lafayette Escadrille and other historically important WWI squadrons, photo of Quentin Roosevelt's terrible end and his death certificate , 9th AERO, dead WWI tankers, 7 WWI airplane postcards and 5 boxes of Vietnam War color slides. Vintage photos and negatives all taken by Marine tanker John Quas on Iwo Jima, vintage battleships, Bombardier Squadron 97, vintage prints of Spanish-American War era Illinois National Guardsmen also a Spanish-American War era Cavite coastal gun vintage photo. P-39 Airacobra 8x10 1st generation photos, 3175th Signal Service (pre-war or early WWII with shots of General Claire Lee Chenault, Flying Tiger's leader), B-29s, 1936 Olympics, war-time and post-war Europe, Generals, Franklin Delano Roosevelt, 82nd Airborne, 507th Parachute Infantry Regiment (Raff's Ruffians) negatives (no proofs or prints) showing Generals Jim Gavin, Matthew Ridgeway, Dwight D. Eisenhower and others just before D-Day, truly amazing photo negatives of an 82nd A.B., 507th P.I.R squad in full combat gear training prior to D-Day, very young and very old German soldiers surrendering, Guam Photos, 8x10 1st generation enlargements of 8th AAF, 303rd Bomb Group "Hell's Angels" photographed by Milton "Chic" Cantor. Included in this lot of original 4x5 negatives are several shots of 82nd A.B. parachutists watching over German civilians that they made to disinter civilian victims of a Nazi slaughter. The incident is described in "Jumpin" Jim Gavin's autobiography "On To Berlin" but the photo negatives of this incident have never been published. Custom made 8x10 prints from copy negatives of Eastern Front (Operation Barbarossa), WWI glass plate negatives, photo positives and prints of 94th Aero Squadron including Ace Reed Chambers, German & Italian leaders including Hitler looking at bomb damage and Mussolini with the Italian king photos. Pre-WWI & WWII aircraft, aviators, Polish soldiers, European theater and Italy vintage photos of Mussolini death and WWI aircraft. Quad 50 AA crew, guns, battle shots, B-26, 9th AAF 387th BG, 558th BS B26s, scenes, bases, soldiers, Paris (one showing Notre Dame cathedral sandbagged against bomb damage), 3rd Army in Europe, 9th AAF, Generals Hap Arnold, George C. Marshall, P-38s in the Pacific and North Africa and B29s, GIs in Europe, rail guns, Liege Belgium turrets in forts ruined in WWI and WWI monument, P-47 Thunderbolt Tallahassee Lassie 510th FS, 5th AAF crewman burial Okinawa 1945 and DC3s "The Scout" and others. Scenes from India, Burma, Suez Canal taken by WWII Signal corps photographer Robert W. Lavelle with two books of his negatives, truly excellent photographs and 200 1st generation 8x10 custom prints. Very rare Finland combat negatives with custom made, 1st generation B&W prints of the Finnish War of Continuation. The negatives in this amazing and rare lot with original Finnish language-descriptions of each film negative's contents, also English translation of same and over 200 custom 8x10 black and white prints (no negative count, but many rolls of 35mm). The works of WWI photographer L.R. Dold, Co. B, 314 Engineers 89th Div. from Trinidad, Colorado which contains negatives and photos of the Western Front, aerials of trenches, views of Verdun and the cavelike tunnel system, the Meuse River, camouflage roads, barbed wire entanglements on the Western front and much, much more. There are G. Warden Clark's AAF negatives of B-24 noseart and bombing missions over Europe. Some of the most incredible shots in the archive were taken by a Signal Corps photographer attached to the 82nd A.B. 507th P.I.R. and shows scenes such as Generals James (Jumpin' Jim) Gavin, Matthew Ridgeway and Gen. Eisenhower right before D-Day. Over 1,000 photos (most 4x5 and 8x10) The works of WWII photographer of Charles P. Carter 168th Signal Photo Co; the works of A.M. Berkson, Far Eastern Air Force photographer in WWII with the 5th AAF, 38th B.G. original negatives and a three-ring binder of vintage aerial photos showing Japanese bases on New Guinea and New Britain being pounded by U.S. Army Force B25 medium bombers. There are vintage photos in this 38th B.G. archive showing Japanese Navy vessels being destroyed, Japanese air bases demolished, the Japanese stronghold at Rabaul, New Britain being pulverized and Cape Gloucester being gloucesterized. Also great vintage photos of legendary aircraft in this bombing group and their aircrews as well as amazing photos of the natives and their villages. The works of WWII U.S. Navy Photographer, Daniel G. Reiber are in the photoarchive, WWII multiple photo groups: Marine aerial recon, old news photos, Yokosuka Naval Air Base, Army base (possibly Camps Shanks), Japanese surrender on Missouri. Pelileu Andrew Felbinger bombardier 133rd anti-aircraft, Bushmaster "Jake" Jacobsen photos and negatives, vintage photos of a Navy S.W. Pacific P.T. Boat Base; Guadalcanal, 870 Chemical Co., P-40, P-47, B-25s aircrews, B-26s, B-17s and 5th Service Command. WWII Navy and WWI Schuerz negatives and prints, 21 WWII photo albums, two WWI photo albums, Burma China album has negatives (several show Eddie Rickenbacker addressing pilots in the 14th AAF) and 500 South Pacific Coast, 16 negatives. Five WWII Castle newsreel films (news and parades), WWII China B-24 bombers, 14th AAF 308th BG and Chinese evacuating. Negatives and proofs of Luke, William & Ajo AAFB, plus Okinawa and Japan Army Base photos by George Kiener. European theater Battle of the Bulge, unknown photographer, European photos (France Maginot Line), 158th Regimental Combat Team Jake Jacobsen, 8th AAF 389th GB, 566th BS and Tobi and Fana Islands, Japanese surrender, 660 photos. Sino-Japanese War 1930s, air crashes at U.S. Naval Air Station, Japanese Gun in the Admiralty Islands, 5th and 13th AAF, PB4Y1 Tidewater Tiller and 660 vintage photos. Spanish-American War, WWI aircraft 1920s, Coast Guard station in Florida in the late 1930s, German spy ship Schwabenland in an American harbor and album labeled "1939-1940 World's Fair". Gar Wood in Miss America VIII in the Harlem River, Oct., 1930 and Florida Military school. Incredible photographic record of an WWII German Luftwaffe flak unit, photographer unkown, (about 300 negatives, 55mm and 3-1/2"x 2-1/2") in Germany and at the Pas de Calais. The works of a very talented U.S. Navy photographer Billie Greer Smoak from Georgia, WWWII U.S. Navy South Pacific photos, negatives and ephemera (564 photos, 316 negatives). Five 8mm WWII news films by Castle Films News Parade. 795 4x5 vintage negatives from the 1920s-1940s by New Yorker Mr. Elam (his works encompass the time period from the 19teens until the mid 1940s and include the Gar Wood negatives and the Indy winner negatives), WWI, Spanish-American War, WWI ANZAC 112 glass plates, 278 negatives WWII U.S. Army, 1940-1950's, Pvt. Herman Doll, 109th Inf., 46 negatives, WWII 8a8th MP 46 negatives, WWI Rainbow Div., E.H. Brown, 9th AAF C.J. Ginther negatives (some of the best in the archive), Marine Aircraft Group MAG 32, Marine Aircraft Group 13 (both in the South Pacific, some photo negatives of PBY Ctalina known as a "Black Cat") 276 negatives, Pacific WWII, WWII German B&W negatives, Luftwaffe, AA searchlight and 370 negatives MG unit, Europe and war generals and Victory Expo in Paris. Alsolso vintage prints of the liberation of a concentration camp. 351st BG (Heavy) 8th U.S.A.A.F., WWII, 197-4"x5" B&W acetate negatives. All prints and negatives in archival storage sleeves. All negatives are proofed, 49 half proof sheets. Shots include missions, personnel, aircraft, barracks and vehicles. U.S. Navy Photographer S. A. Szabo WWII _ 52 custom made 8"x10" B&W prints (some are vintage), 1 vintage 5"x7" print _ 72-4"x5" acetate negatives 12 of which are accompanied by 4"x5" contact proofs. Most photos are of Navy personnel, especially photo branch, some shots are of Navy aircraft and personnel. S/Sgt. Bob Lavelle, China/Burma/India WWII _ 161 custom made 8"x10" B&W prints with two 4"x5" vintage prints and five 8"x10" vintage prints. 166 2-1/2 x 3-1/2" negatives in two folios, each negative in a numbered glassine sleeve and identified in inventory at front of folio. Shots of people, personnel, RAF PBY, wrecked Japanese aircraft, captured Japanese aircraft spare parts, Gurkhas, temples, scenery, Suez Canal, British AC carrier, newspaper headlines about the war and more. Warren Boyen, European Theater _ 16 custom made 8"x10" 1st generation B&W prints, 78 small vintage prints. 558-35mm B&W negatives, 12 2-1/4" x 3-1/2" B&W negatives. Also an analog, German made photo exposure calculator. Photos include subjects such as convoy to Europe leaving from New York, scenes from England, France, Germany, armored vehicles, men, women, men with women, the Paris Expo under the Eiffel tower after the war with shots of an A 20 Havoc and Hub Zemke's P47, camp life and clubs. 1935 Military Exercises, Pine Camp, N.Y. _ 33 -4"x5" B&W negatives all with proofs (contact prints), men in formation, war game, men in camp, officer's and horses. 35 _ 2-1/4" x 2-1/2" B&W negatives with proofs. German Army, WW1, scenery, soldiers, trenches, trains, Krupp manufactured Big Bertha howitzer in place with crew and with burst barrell and destroyed villages. 7 _ 2-1/4" x 3-1/4" B&W negatives with proofs. U.S. Navy submarine Division 9 rafted up at North river, New York City in May 1920. R & S boats along with Navy ships. Includes 7, 8"x10" custom made 1st generation B&W prints. 89 -35mm B&W negatives with proofs. Family photos of houses, vintage autos, Navy personnel on leave. One custom made 8"x 10" 1st generation B&W print of a new, 1954 2-door Pontiac Chieftan. 16 B&W negatives with proofs, Korean War, U.S. Army, men, camp and helicopters. 6 _ 3"x2" B&W copy negatives with proofs of high ranking Nazi officers like Field Marshall Rommel, General Major Ringel and more. 6 _ vintage WWII prints B-29 Superfortress "Better 'N' Nuttin'" 2 - 4"x5" prints, 3 _ 3 1/8" x 2 1/8" prints. Crew members, aircraft on ground and in flight. Vintage 8"x10" B&W AP Wire photo from U.S. Army Signal Corps Radio Photo of B-25 Mitchell medium bomber "Jeanette" shot up in a raid on Sicily. Unknown Pennsylvania photographer who served in the Army in 1950s and in the Merchant Marine. 52 rolls of 35mm B&W film containing a total of 839 negatives. There are also 93-2-1/2" x 1-5/8" B&W negatives. Images on negatives range from early 1950s to 1961. Subject matter includes airshow at Philadelphia airport in 1955, tanks and half-tracks in Germany 1955, Merchant Marine ships at sea and in port, G.I.'s in Europe on maneuvers, European cities in France, Belgium, Germany, Greece, old cars, gas station in the 1950s, family and babies. 27 - 8"x10" custom made 1st generation prints of Philadelphia air show in 1955. Includes shots a B36 and a B56. 39 B&W 4"x5" negatives. 14th AAF, 308th BG (H) in B24 Liberators. Images are of bombing missions, aircraft in flight, bomb damage to Japanese held targets in China (8-4"x5" negatives with data written on them). 31-4"x5" negatives, also with information, of evacuation of Chinese from Japanese held parts of China. Some damage to a few of the negatives, but very poignant images, excellent focus and exposures show good contrast. Truly a magnificent record of a difficult time in Chinese history. 2 custom made, 1st generation 8"x10", B&W prints. All 31 of the evac negs have been proofed and 2 of the 8 combat mission negs have been proofed. Photos/photo negatives taken by Major Barnett, USAAF who served in the 12th AAF, 321st BG flying in a North American B25D Mitchell Medium bomber. Flew missions and photo recon. Grouping consists of 47-4"x5" B&W negatives with excellent subject matter such as large numbers of captured German troops, some no older than high school age, and gear in Italy. All 47 come with a proof sheet. There are a total of 516 35mm x 25mm B&W negatives, 374 have been proofed and many of these have multiple proofs, 145 have no proof sheets at all. Subject matter includes aircraft in the 12th AAF, wrecked and abandoned German and Italian aircraft and machinery at Bizerte, Tunisia, air recon missions, some personnel, the bombed ruins of Monte Casino, lots of aerials showing the Italian countryside. 36 first generation, custom made B&W 8"x10" prints from some of the 519-35mm x 25mm negatives. 7 vintage B&W aerials of Randolf Field in Texas (1930s), 14 vintage B&W aerial recon photos of target sites in Italy like Milan and Naples. Also some paper ephemera like magazines, military issue pamphlets, post cards and booklets. 1st Marine Division, 7th Marine Regiment, 81mm mortar platoon. Includes 53 8"x10" custom made, 1st generation, B&W prints. 257-35mm B&W negatives showing scenes from Marine basic training, Marines in full gear, Marines graduating from boot camp, small aircraft carrier, aircraft on carrier, jungle camp in Pacific, Okinawa scenes and combat, US Fletcher class destroyer. There are 15 proof sheets showing 221 images so not all the negs are proofed. Pfc. John Quas Jr., photographer was in the 4th Marine Division, 25th Regiment Tank Battalion. He served on Roi-Namur, Saipan, Tinian and Iwo Jima. Includes a photo album with 86 vintage B&W prints of various sizes. Subject matter includes Oahu, Hawaii, troops along with tanks, self propelled guns and artillery on revue; Marines on landing craft heading into the beach at Iwo, Iwo scenes, destroyed Japanese positions, captured Japanese weaponry, Marine tanks ashore, disabled Marine Sherman, Marine Sherman ashore with the landing fleet in the background. Very dramatic
after battle scenes, lots of casualties. There are also 58-30mm x 40mm B&W negatives and 52 custom made, 1st generation 8"x10" B&W prints made from the negatives. 4 vintage B&W 8"x10" prints, one marked on back "Official U.S. Navy Photograph" all in rough shape, fold lines and foxing evident. 1.)photo labeled "Giving first aid to wounded 10th Army man at Okinawa May 30, 1945. 2.) photo labeled "Carrier based planes of third fleet strike Kushiro on Hokkaido _ buildings set on fire plus locomotive _ July 14, 1945 _ The attack occurred during the Third Fleet's daring sweep of the Jap's home islands." 3.) The "Duke of York" pulling into Apra Habor, Guam Admiral Fraser on board to see Nimitz." 4.) Combat Marines on a break gathered around an older man in Marine uniform who appears to be signing autographs. 86 vintage B&W prints, photographer unknown, maybe a Sea Bee, most of the prints are 4"x5" , some are 2"x3 1/8". Most are of Guam, wreckage of battle, destroyed Japanese defenses, destroyed Japanese tanks, U.S. invasion fleet, B-29 bombers, cemetery, bivouacs, Guam scenery, Japanese staff at Guam hospital, also shots of Okinawa invasion wreckage and after battle scenes and sailing back into San Francisco harbor Golden Gate bridge ahead. 15 vintage 4"x 2-3/8" B&W prints of B17s in the 306th Bomb Group "The Reich Wreckers" on Gibralter and in flight. Photos taken by Joseph W. Long of Milford, Michigan. (116 negatives). 5 vintage 3 1/4" x 2" B&W prints of "Joey at Camp Bowie, Texas, 1943." Also 15 2-1/4" x 3-1/4" B&W negatives, all proofed. 77 B&W negatives, all proofed, unknown Army photographer, scenes show camp training, bivouacs, some scenes in Germany, troops on ship heading home. 49 B&W negatives 3 1/8" x 2-1/4" in size with 1 B&W negative 4-1/4" x 2-1/4" in size, all proofed on 16 custom made proof sheets. Photographer unknown, U.S. Army, most show G.I.s in Europe, post war. Scenes in Holland, Germany and France. A number of photos of troops on revue. Several shots of an airfield with numerous aircraft, one is a B-29, plus shots taken from cockpit of B-29 in flight showing inside of cockpit also aerials of Paris. 3 B&W glass negatives 3-1/2" x 2-3/8" in size all proofed on 2 custom proof sheets. Photographer unknown. U.S. Army, WWII era. Locations unknown. G.I. with fuel truck, G.I. in class A uniform, view of equipment storage yard on Marston Mat and bivouac in background. 22 B&W negatives all proofed on 3 custom made proof sheets, photographer unknown, ANZAC troops, scenes of ANZACs in what appears to be North Africa. 37-B&W 4"x5" professional negatives, all custom proofed on 9-8"x10" sheets and two on 4"x5" sheets. 69-4"x5" B&W vintage prints. All by Navy photographer Ensign G.W. Hollenbeck, photographic officer, Utility Squadron VJ 19. Subject matter includes aerial shots of atolls in the South Pacific, the U.S. Fleet at Ulithi atoll, The Battleship North Carolina underway seen from the air, Navy personnel, USO party, P-51D-20 Mustang tail number 44-72558 in the 458th Fighter Squadron/506th Fighter Group "A Neat Package", Beechcraft SN B-2 in flight over the Pacific, Grumman F6F-3 Hellcat on an aircraft carrier, Navy aircraft, Navy aircraft on aircraft carrier, Navy base, life on the base etc. 20-8"x10" vintage prints of aircraft (mostly in flight over the pacific) included in these are several excellent prints of Navy North American PBJ medium bombers in flight with some Chance-Vought F4U Corsairs, great shot of F4-U in flight, great shot of a Navy SBD Douglas Dauntless in flight, Douglas A-26 (Navy target tug designation JD-1) on Marston mat runway. One 5"x7" print of superstructure on an Australian aircraft carrier. 12-3"x2" vintage B&W prints showing Navy life on base in Pacific. 17-3"x 2-1/2" vintage B&W prints of VJ 19 personnel, 3-3 _" _ 2 _" vintage B&W prints showing VJ 19 personnel. Vintage B&W prints of VJ 19 personnel on deck of an aircraft carrier. 10-4"x5" B&W negatives, all proofed on 3-8"x10" sheets. Unknown photographer, U.S. Army basic training. Great shots, all sharp focus, good contrast. One favorite is of soldiers lined up in front of tent with girls smiling and looking out from tent. 139-2-1/4" x 2- 1/4" B&W negatives, all proofed, unknown photographer in either the 45th or the 96th EVAC Hospital. Scenes in Germany and Yugoslavia including U.S. personnel, hospital, wrecked German aircraft, death camp photos, buildings, ovens, etc. 20-4-1/2" x 2-1/2" B&W negatives all proofed, 20-3-1/4" x 2-1/4" B&W negatives all proofed. Photos taken by Lt. S.W. Sloane in the 925 Engineer Aviation Battalion showing scenes in England and North Africa. This unit landed on Omaha Beach in July 1944 and paved the way across Europe for the 9th AAF by building landing fields. Army Air Force personnel, bivouacs, English buildings, a wrecked searchlight on a beach, Army medics and a hospital. From Eastern Europe after the fall of the Iron Curtain, 598-3-1/4" x 2-1/4" B&W negatives, about 100 additional negatives of larger size, custom made 495 8"x10" B&W wet process, continuous tone B&W prints from these negatives. Most likely the combined works of multiple photographers. Subject matter includes ships in Norway port and in ocean, scenes from Holland with Fallshirmjager, Fallshirmjager in jump uniform with weapons, Operation Barbarossa (Eastern Front) scenes of battles, destroyed Russian tanks and after battle scenes, occupied Paris, portraits of Wehrmacht and Luftwaffe ground combat troops on eastern front, some members of a Cossack unit, POWs in a camp, outer perimeter and guard tower of a POW camp, Wehrmacht troops with newly awarded combat badges, scenes from Lithuania, Estonia, Latvia, Feldgendarmerie unit, Luftwaffe radio-teletype communication mobile unit on the eastern front, Wehrmacht troops in captured Bren gun carriers at Dunkirk, German graves in Russia, Russian POWs, Wehrmacht driving school in Germany, destroyed German city, blown bridges, wrecked BF109 on a beach, scenes from a French beach (Le Pilat Plage, De La Cote d'Argent, Wehrmacht troops at a seafood restaurant on the beach), Wehrmacht troops at Nice, France, Wehrmacht troops in Denmark, Luftwaffe funeral ceremony, wreckage of Bf109 and grave of pilot on eastern front (probably the son of General Julius 'Papa' Ringel who commanded the 3rd Mountain Division, 5th Mountain Division, LXIX Corps, Wehrkreis XI and the Army Corps Ringel), Werhmacht life in trenches on the Eastern Front, Wehrmacht target practice, Dornier Do 17Z unit, wrecked and destroyed Russian aircraft, trainloads of Soviet Polikarpov I-16s captured and disassembled, Wehrmacht troops being welcomed in Eastern European towns, JU52M 3M Medical Transport in flight, on ground and unloading "commissbrot" commissary bread, FLAK tower being built, trucks delivering food to troops, troops preparing chickens and cooking chickens, horse drawn covered wagons moving through forest on dirt road, German field artillery with blown barrels, German field artillery in emplacements, German medium field gun _ K.39 149mm being serviced, smoke from combat with soldiers marching toward the battle, Wehrmacht soldiers on the barrel of a Soviet heavy tank that is out of commission and more, More Operation Barbarossa. 275-35mm B&W negatives still in old film containers. 13-35mm color slides making for a total of 288 images. None are proofed. No prints made, unknown photographer. Subject matter includes Eastern Front scenes; Wehrmacht troops in bivouac, blown bridges, family scenes, Wehrmacht officers at a party, stunning portraits of a Soviet P.O.W., Wehrmacht officers in a trench on the Eastern Front, soldiers with horse drawn sled in snow, Wehrmacht in Niewport, Belgium, port scenes, portraits of soldiers, buildings on East Front, after combat scenes, lots of destroyed Soviet tanks, German town, target practice, bridge building, mail delivery to troops, horses, hay delivery and more. The 13 color slides are of a Wehrmacht soldier at home in the country with horses and his lady friend/wife. 281-35mm B&W negatives still in old film containers. None are proofed, no custom made B&W prints. Unknown photographer(s). Subject matter includes: Eastern Front scenes, after battles, blown bridges, wrecked Soviet tanks, oceans of mud and vehicles stuck in same, partisan danger sign, bodies, German graves, Oct. 1941-June 1942, Wehrmacht soldiers in Paris (Eiffel Tower _ Arc de Triomph _ marching on the Champs Elysee), Wehrmacht at Joan of Arc monument, blown artillery pieces, artillery pieces, truck soldiers, soldiers marching, vehicles traveling, villages, horse mounted Wehrmacht soldiers, horse care, scenery. Interestingly there are two rolls of German Agfa 35mm film in this lot which show what appears to be U.S. G.I.s in Germany with St. Bernard dog and puppy, Sherman tank, playing baseball, wrecked industrial plant, wrecked German city and several photos of a flow chart showing Brig. Gen. William R. Woodward. 304 total B&W negatives of German FLAK unit, 168-3-1/2" x 2- 1/4" negatives and 136 55mm x 43mm negatives all in archival sleeves. Accompanied by 285 custom made, wet process, 1st generation 8" x 10" B&W prints. The photo negatives are of a Luftwaffe FLAK unit assigned to a 2 cm FLAK 30. The crew's deployments are shown. They were deployed by a city on a river (Rhine?), then an industrial area, then Pas des Calais. There are shots of English soldier's graves (Dunkirk?), sea mines that washed ashore, life in their quarters, soldiers goofing around (alcohol was almost certainly involved), General inspecting the facilities, bunkers and gun emplacements on the Atlantic wall at the Pas de Calais. A number of negatives are shots of bombs exploding during an Allied bomb raid on the Pas de Calais and then shots of the aftermath, blown trains and buildings. Also shots of a mass burial of German soldiers, date on one of the crosses shows July 1, 1940 as the date of demise. Amazing photos, some of the best in the archive. 26-5"x7" B&W copy negatives of the WWII battles on Saipan. Good, sharp copy negatives depicting the horrors of combat, battlefield deaths and destruction. 500 total WWII East Front/Operation Barbarossa/Norway B&W negatives. Includes 197-3 3/8" x 2-1/4" B&W negatives, 48-2-1/4" x 2-1/4" B&W negative, 302-35mm B&W negatives. 39-8" x 10" custom made, wet process, continuous tone 1st generation B&W prints made from the negatives. Negatives document Wehrmacht-Combat Unit IR 489 with their commander H.H. Behrend. Subject matter is of Wehrmacht and SS troops moving to encircle Leningrad. Army group north sector. 4th Politzei Panzergrendier Division which was fighting with the 269th Infantry Division at the Battle of Luga, 1941. Photos of SS graveyard includes several showing the grave of SS Gruppenfuhrer und Generalleutnant der Schutzpolizei & Commander of the 4th SS Politzei Division Artur Ferdinand Mulverstadt. Also shown are wrecked German aircraft, German STUKA bombing Russian positions, Wehrmacht soldiers advancing into Russia, Wehrmacht assaults on Russian positions, lots of destroyed Russian tanks, German armored columns, German truck convoys, bivouacks, Wehrmacht soldiers with MG 32s in position, blown trains, 70Km from Petersburg, dead Russian soldiers, destroyed Russian equipment, lots and lots of German graves. Also shots of occupied Bergen, Norway (Ole Bulls Plass) ships in Norwegian harbor and underway with German troops on board. Pastoral scenery, German soccer match, troops unloading weapons and more. Incredible lot of photos. 303rd BG (Heavy) 8th U.S.A.A.F. "Hell's Angels" WWII. All shots taken by squadron's official photographer, Milton "Chic" Cantor. 36 custom made 8"x10" B&W prints. 152 WWII German negatives all proofed. Scenes include guest houses, restaurants in Austria, Wehrmacht soldiers with horses, caring for horses, captured African soldiers in French uniform, artillery unit in Russia, Wehrmacht in earthworks, captured French soldiers, wrecked buildings in Russia, soldier's portraits, battle scenes, Catherine the Great's Palace at St. Petersburg/ Leningrad, wrecked Russian tanks, wounded soldiers on train, Russian buildings, camouflaged artillery, Germans sitting on the barrel of a huge Russian artillery piece 1 negative & 1 print WWII 10/24/44 U.S.S. Darter, SS 227 aground on Bombay shoal, S.W. of Palawan, her crew was taken off and she was shelled extensively by the sub Nautilus to prevent the Japanese from salvaging the boat, in this photo she is being used for target practice by U.S.N. aircraft. WWII German, soldier on guard duty, soldier riding horses, soldiers physical training, Bivouac, crossing river on ferry, hospital, Christmas, scenes in Germany, Hermann (otherwise known as Arminius) Monument, Teutoberg Forest, Germany, 95 negatives no proofs WWII German Operation Barbarossa, 82-35mm copy negatives of German advance across Russia destroyed tanks, German armored columns, tank battles, lots of combat photos, 77 B&W 8"x10" prints. WWII U.S. Army, 14" x11", brown embossed leatherette. Album contains 434 vintage photos, 5 photo post cards of Australia, 3 maps, pages from AAF magazine article on Biak Island near New Guinea: start at March 1943 training at Camp Barkley, TX for Medical Reserve Training Corps, then to Australia Camp Perry Park-Brisbane, then to Biak Island, then Philippines; included in this album is a vintage prints of Joe Rosenthal's iconic photo of Marines on Iwo raising U.S. Flag; native women; combat shots on Saipan & New Guinea, combat shots in the Philippines, Iwo Jima; casualty shots; General Yamashita surrender to General Wainright & General Wainright is refusing to shake Yamashita's hand. WWII German Photo Album 8.8 cm flak unit+ (66 photos); German "Eighty-Eight" unit, camouflaged artillery, battery of 8.8s towed by half tracks, high ranking officer, ski troop, LW plane postcard photos, aerials, portraits, 2 death notices, 2 pics of N. Africa or Greece. WWII German, 1427 35mm negatives, 34 custom made 8"x10" B&W prints, covering time period Oct. 1940 to June 1942. Contains shots of Dresden, Germany before it was bombed on some strips; Dresden 1941; family photos; German Judge; tank columns; lots of graves; unit photos; East Front; artillery position; artillery spotters; German officers in field; Paris Eiffel Tower great shots; Germans take France; wrecked French tanks; towns & defenses; big cannons in train yard; shots of Croatia (Zagreb), Austria. Hitler's Operation Barbarossa is well covered in this archive, from the Black Sea to the Baltic. Especially of interest are the Finnish negatives and custom-made, 1st generation wet-process B&W prints made from them showing the part that Finland played in the operation and its War of Continuation against the Soviet military. Over 1,000 sample images and a brief description of the contents are shown in our on-line catalog. Prospective bidders should examine this archive in person. CONDITION: Very good to fine overall. There are images that have damage, though vast majority are fine. Interested parties should examine lot in person. 52429-1
“BOY’S EXPRESS” WAGON. Manufactured by Pratt & Letchworth. A red work cart with a high seat has simulated wood paneling and stenciled words “BOY’S EXPRESS CO.” on either side and yellow spoke wheels. Driver is enameled with blue coat and hat, brown pants, black shoes, and flesh toned face and hands, and is driving two Clydesdale work horses of cream color trimmed in black and red with gray manes and tails. As this wagon is a realistic depiction of farm life, this toy was enjoyed by children of this era and amuses adults of all time periods. SIZE: 17”. CONDITION: Overall condition is excellent with some chipping to paint. MC 1-4309 (4,000-5,000)
Frank Tenney Johnson (1874–1939) — The Horse Thief (1925): . Frank Tenney Johnson (1874–1939). The Horse Thief (1925). oil on canvas. 26 × 38 inches. signed and dated lower right. . VERSO. Label, Biltmore Galleries, Scottsdale, Arizona. Tag, Christie’s, Los Angeles, California. . According to Harold McCracken, “The ranchers and cowboys made a practice of hunting down the rustlers as they would predatory animals. … Furthermore, among the most active rustlers and horse thieves were some of the roughest, toughest, and most dastardly men who ever rode the range in a saddle. Their whole purpose was based on plans to outsmart the most expert of the legitimate old-time cowboys; and this added considerable zest and determination to apprehend the rustlers and eliminate them from the scene. ” . . PROVENANCE. Chicago Athletic Association, Chicago, Illinois. Christie’s, Los Angeles, California, 2001. Private collection, Arizona. Santa Fe Art Auction, Santa Fe, New Mexico, 2005. Private collection, Texas. . View more information Dimension Condition Surface condition is very good. Canvas is lined. Four spots (approximately one inch in diameter) of inpainting to left of thief’s horse, in sky.
19TH C. NATIVE AMERICAN SIOUX WOOD HORSE DANCE CLUB**First Time At Auction**
Native American, Western United States, Plains Tribes, Sioux (Lakota), ca. 19th century CE. A hand carved wooden dance club in the shape of a horse, made from a single piece of tiger maple with iron rivets for eyes. Men would carve staffs such as this to honor the horses that fell in battle and as aids for storytelling and remembering deeds during battle - even sitting astride the carving like a hobby horse. Sioux people came to depend heavily on horses after European introduction, and immortalizing their horses in ceremonial dances and ceremonies became a natural part of celebrating their steed and deep bond. Size: 3.5" L x 1.5" W x 26" H (8.9 cm x 3.8 cm x 66 cm)
IMPORTANT NOTE: This item falls under the Safeguard Tribal Objects of Patrimony Act and is not eligible for international shipping. Native American, Alaska Native, & Native Hawaiian objects are only eligible to ship within the United States.
Provenance: private Glorieta, New Mexico, USA collection
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#160492
Condition:
Chips and abrasions across wood. Old inactive insect bore holes. Areas of discoloration to wood and russet patina on iron eyes. Intact and no repairs. Lustrous and smooth patina to wood.
Large and Impressive Chinese Sancai-Glazed Pottery Figure of a Tian Ma (Heavenly Horse), Tang Dynasty (618-907 A.D.), the muscular beast standing fore square on a rectangular base, its head slightly turned, mouth open, clad in a painted unglazed saddle, glazed saddle blanket, glazed bridle and tasseled trappings, with unusual glazed trapping under the chin, the head with expressive wide eyes and pricked ears, glazed in a chestnut glaze with yellow and green details, presented on a custom wooden stand, h. 21", l. 22". Tian Ma (Heavenly Horses) were highly prized by the Chinese from the time of the Han Dynasty. These strong, muscular horses can supposedly gallop easily for thousands of miles and the Emperor Wu believed this horse could carry him to heaven. Obtaining these horses led to a war between the Chinese and the King of Ferghana, who refused all offers to purchase some of the horses and insulted the Chinese by refusing their offer of a thousand gold pieces and the figure of a gold horse. They murdered the Chinese envoys and had their bodies stripped. It took two military campaigns, the second of over 100,000 men, to defeat the Ferghana and the Chinese finally won an annual tribute of three thousand of these fabulous beasts.
Charles J. Belden Photograph of Horses Grazing on a Hillside Silver gelatin photograph unmarked but by Charles Belden showing horses grazing on a hillside against a Western mountain landscape. Ca 1910s-1940s 20 x 16 in.Charles J. Belden (1888-1963) was born in San Francisco into a wealthy California family. He developed a life-long passion for photography when he purchased his first camera to record his travels throughout Germany and Russia after graduating from the Massachusetts Institute of Technology in 1909. Upon his return to the U.S. Belden worked as a cowboy on the L.G. Phelps Ranch in Wyoming. He then went to work on and eventually managed the legendary Pitchfork Ranch near Meeteetse Wyoming. During his time at the Pitchfork Ranch between the 1920s and 1930s Belden produced a variety of images that captured life on the dude ranch including livestock activities as well as the surrounding western landscape. Many of his western photographs were taken on horseback aboard his reliable pony Pinky. He thought this gave him the desired perspective he was hoping to achieve. Belden's photographs were featured in various publications including National Geographic and the Saturday Evening Post. Refer to the University of Wyoming American Heritage Center's Digital Collection of Charles J. Belden Photography for comparable examples of his work.Charles Belden gave this group of photographs lots 262-276 to the consignor's grandfather who worked on the Pitchfork Ranch in Wyoming during the 1930s. The photographs have been in the family since that time. Condition: Minor chipping and small tears along edges which are bent slightly upward. Imperfection along the horizon at right is in the print.