Hans Ressdorf, Untitled (Adobe Home with Hollyhocks): Hans Ressdorf. (1918 - 2011). Untitled (Adobe Home with Hollyhocks). oil on cxanvas. signed lower left: H Ressdorf. 23 1/2 x 19 1/2 in. (59. 69 x 49. 53 cm. ), Frame: 34 1/2 x 30 1/2 x 2 1/2 in. (87. 63 x 77. 47 x 6. 35 cm. ) Condition The painting is in overall very good condition. Ultraviolet examination does not reveal any areas of inpainting or restoration. The frame is in good condition. . 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.
UNIQUE 1781 Georgia + SC Payment Certificate Anderson The Price of Liberty US108: American Revolution. 1781 Unique Continental Congress Emergency Loan to South Carolina and Georgia This Loan Certificate is Listed by William Anderson in "The Price of Liberty" as US 108. December 31, 1781 Hand-Dated Revolutionary War Period, Partly-Printed Document Signed, "George Meade, " as Treasurer, Continental Congress Loan Certificate and Interest Guarantee, for Citizens of Georgia and South-Carolina under Duress and Driven away by the British Forces, Anderson US-108, likely Unique Receipt at Philadelphia, Choice Very Fine. . December 31, 1781-Dated Revolutionary War Period, The Anderson reference: "The Price of Liberty" Plate Illustration, page 91, Anderson US 108, authorized July 23, 1781, listed as (1 to 3 known) Rarity-8. No other example is known to this cataloger. This example is most likely Unique being the first and only example we have encountered of this Continental Congress Loan Office Form. This Partly-Printed Fiscal Loan Document to pay Interest Signed, "Geor(ge) Meade Treasurer" and measures about 6. 25" x 4", 1 page, at Philadelphia. This Emergency Loan was to be repaid by South Carolina and Georgia, but it was "Guaranteed by Congress (JCC, 21: 782-83). This exact note is the illustration piece in Anderson as provided then by Earl E. Moore. This being Certificate issued per the Resolves of Congress, (See: Journals of Congress, page 782) Being a receipt that reads, in full:. . "I, the Subscriber, do Certify, that I have received of Mr John Imley Thirty Dollars as a Loan, to the Citizens of South-Carolina and Georgia, which Sum is to be repaid with Interest, agreeable to a Resolve of Congress, of the 23d July, 1781. Phila. Decb 31st 1781". Statement on reverse reads, "Received 9 September 1785 from George Meade Twenty eight and 72/90th Dollars in part of my subscription to the Carolina loan for which I have given true receipts - 28 72/90 Dolls - John Imley". . "Resolved, That [five suitable persons] be appointed and authorised to open a subscription for a loan of [thirty thousand] dollars, for the support of such of the citizens of the states of South Carolina and Georgia, as have been driven from their country and possessions by the enemy, the said states, repsectively, by their delegates in Congress, pledging their faith for the re-payment of the sums [so lent, ] with interest, [in proportion to the sums which shall be received by their repsective citizens, as soon as the legislatures of said states shall severally be in condition to make provision for so doing], and Congress hereby guaranteeing this obligation: That the said [five persons] do also receive voluntary and free donations, to be applied to the [further relief] of said sufferers. . Ordered, That the President (of Congress) send a copy of the above resolution to the executives of the several states not in the power of the enemy, requesting them to promote the success of said loan and donation in such way as they shall think best. " . . George Meade was born February 27, 1741 in Philadelphia and was a noted merchant. In 1765 he was a Signer of the "Non-Importation Agreement. " In 1772 he formed Meade & Co. an import company. In 1775 enrolled in the Third Battalion of Associators. In 1776 Meade was on various relief committees, committees of correspondence, and for citizens food supplies brought into the city. Upon the approach of the British to Philadelphia he abandoned the city, but returned in 1778 and resumed his business. In 1780 George Meade & Co. subscribed 2, 000 to the bank organized for supplying the Continental Army with provisions. It was about this timeframe that this Unique Loan Certificate was issued, "which Sum is to be repaid with Interest, agreeable to the Resolve of Congress, of 23rd July, 1781. ". This Emergency Loan was to be later repaid by South Carolina and Georgia, but it was "Guaranteed by Congress". Accounts of the exodus showed some citizens without a penny for food begging the British intendant to sell some of the furniture from their confiscated homes so they wouldn't starve on their deportation trip. . The banished families were of the Continental and militia soldiers and officers who refused the protection of the Crown. There are accounts of those who accepted protection rejoining the patriot forces at their first opportunity. Many not accepting protection were separated from their families and exiled to St. Augustine. 147 were commited prison ships. . On June 23, 1781 the Commandant, not wanting the burden of caring for the families in Charlestown any longer ordered the families of the men exiled to St. Augustine as well. A prisoner exchange was arranged for Aug. 1, 1781 in Jamestown. Those deported from Charlestown and St. Augustine left on a series of ships hired for their removal. . Many of the men who landed at Jamestown, Va. headed immediately for camp and rejoined the army. Others accompanied their families on to Philadelphia. Many of the prominent exiled families were taken in by like Philadelphia families and created long lasting social ties between Charlestown and Philadelphia. . . When the British were shortly expelled from South Carolina/Georgia Governor Rutledge retaliated against the loyalists banishing them from their homes, creating a wretched existence for them in a refugee colony outside Charlestown called Rawdontown. . . After the British lost the territory the homeowners reclaimed their property and possessions that were locatable. The original congressional resolution provides that once the territory was reclaimed and the patriot government reinstalled, "the said states shall severally be in condition" to guarantee to repay this loan, something they couldn't do since the territory was occupied by the British at the time of the original resolution. . . Congress guaranteed $30, 000. Any amount to help was acceptable, even more as some was freely donated in this case anyway. More than likely George Meade acted as a go between in reimbursing the lenders when the loan was repaid. . The early method of selling limited amounts of stock, lottery tickets, bonds, and loans was to provide each selling agent with a limited amount to sell, all agents together totalling the desired amount. This was the beginning of what is referred to today on Wall Street as Syndication. One firm, or person, George Meade in this case, is responsible for keeping the overall books.
LOIMINCHAY: Door Gods duo fountain pen set 2002 Limited Edition
This duo pen set is painstakingly painted in the Japanese maki-e lacquer style. This ornate and beautiful designs honor the Chinese door gods, which, in Chinese culture, protect the home and are symbols of security and virtue. The illustrations that adorn this pen set were borrowed from the T’ang and Qing dynasties and represent power, prosperity, humbleness and spirituality. This masterpiece set is numbered 12 in a limited run of 18 sets, with original packaging and papers.
SAN FRANCISCO EMBARKING FOR THE VOYAGE HOME IN 1850 BY JOHN STOBART (ENGLISH/AMERICAN 1929-). Limited edition print signed and numbered (53/950) lower right. Couple returning to ship. In a gilt frame 22 1/2''h. 25 1/2''w. John Stobart and Maritime Heritage Prints announced as of January 1 2011 they will no longer sell limited edition prints.
VINTAGE LIMITED EDITION WILLIAM J. DICKSON NANTUCKET WO...Vintage Limited Edition William J. Dickson Nantucket Wood Block Print, "Pier Reflections", pencil signed lower right, "William J. Dickson", numbered lower left, "3/12", original artist's label on reverse, "Artist Patron Show, Aug 6- Aug 17 1973, William J. Dickson, Island- Mass Ave, Madaket, Home-7 East Lake Place, Middletown, Conn, "Pier Reflections", Wood Block Print, $65.00".
15 in. x 21.5 in. Overall 20 in. x 26.75 in.
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
LORENZ SCHWARTZ BOUND COMPLETE WRITINGS OF ELBERT HUBBARD, INDIVIDUAL SET, IN FULL LEVANT, THE ROYCROFT BINDERY, 1908, VOL. 1 11 1/2 X 8 IN. (29.21 X 20.32 CM.)LORENZ SCHWARTZ BOUND COMPLETE WRITINGS OF ELBERT HUBBARD, INDIVIDUAL SET, IN FULL LEVANT, THE ROYCROFT BINDERY, 1908, VOL. 1, [Bindings] Hubbard, Elbert. The Complete Writings of Elbert Hubbard. East Aurora, NY: The Roycroft Press. 1908. 4to. 282 pp. Volume one only of an unknown number. Interior of the boards finely tooled with Art Nouveau border of stylized flowers in gold, green, orange, white and purple by Lorenz Schwartz, with his initials incorporated into the design of the base of the back board, raised bands and gilt lettering to spine. Endpapers in green moire silk, full green French levant, Jansenist style typeface with decorative devices throughout. With 14 portrait engravings by Jules Gaspard, with tissue guards, including a photogravure of Shakespeare's home. Tipped into the chapter on Victor Hugo, pages 19 and 20, are two pages of handwritten pencil manuscript from his article on 'Charlotte Bronte' from 'Little Journeys to the Homes of the Great Women' (1916) pp 108. Custom green leather box with gilt lettering to spine and 'Vol. 1', with green suede and marbled paper to interior. Limitation page states 'This is the Author's Edition of the Complete Writings of Elbert Hubbard. This Book is Volume One of the Individual Set bound in full French Levant, Jansenist style.' Catalogue note: An advertisement in 'The Philistine' from 1908 states that this volume had an accompanying second volume, both with individual designs in "doublure Full levant binding" by Lorenz Schwartz with a retail price of $200. Dimensions: 11 1/2 x 8 in. (29.21 x 20.32 cm.)
A signed coloured print of 'The Wigwam' (home of the Bristol Savages) by Herbert Truman 1947, signed in pencil bottom right, together with a signed limited edition print of Ducks and Ducklings by Ingrid Weiersbye, a coloured print after Doyly-John of a Mediterranean harbour scene, a pair of coloured prints after Beatrix Potter, etc
Literature: R. W. Symonds. The Present State of Old English Furniture, 1921; Masterpieces of English Furniture and Clocks, 1940, Limited Edition of 750; Noel Carrington. Design and Decoration in the Home, 1952. (3)
SUPERB SCRIMSHAW REVOLUTIONARY WAR POWDER HORN OF TIMOTHY BUGBEE DATED 1774 AND CARRIED AT THE BATTLE OF BUNKER HILL. This truly superb and artistic historic Revolutionary War powder horn is embellished with various interesting features. Inscribed within a rectangular panel is, "TIMOTHY BUGBEE HIS HORN MADE A.D. 1774". Another panel depicts a very artistically rendered American Battleship and nearby is a most interesting design depicting a gentleman using a Davis quadrant. Inscribed near the image is the word "QUADRANT". A Davis quadrant was an 18th century navigational item used aboard a ship. Beneath the "Navigator" is an unusual flag on a pole and beneath it is inscribed, "TY POLE". Also engraved are two 18th C. colonial homes and an outline of a fort with cannon placement. Another panel, depicting what is possibly a celestial map, is also engraved with a series of seven identical hex symbols in circles. The tip of the horn carved with a drape inscribed design and the back fitted with an early wooden plug. The entire horn with a wonderful old honey-amber patina. Timothy Bugbee was born oon June 27, 1751 in Woodstock, CT. He married Hannah Wood January 12, 1769. Bugbee was the son of Katharine and Edward Bugbee married February 7, 1725 in Woodstock. There is limited information on Bugbee’s participation at The Battle of Bunker Hill, but it is known that approximately 400 CT troops were present at the engagement. The evening of June 16, 1775 with 1,000 MA men under the immediate command of Col. Prescott, they were ordered to Charlestown Neck to fortify Bunker’s (Breed’s) Hill. Two hundred of the CT men under the command of Capt Knowlton. The following day on June 17th, Knowlton and his CT men were sent to the left where they posted themselves behind a stone wall where they inflicted heavy losses upon the enemy. Timothy Bugbee, is mentioned in the records as being one of the various men having lost their gun in the fight. The horn is outstanding for its scrimshawed aesthetic appeal for its unusual and unique carvings and of course, most notably for the fact that it was used at one of the most historic battles in the history of our country. A truly special opportunity to acquire an item of this significance! SIZE: 15" long (on outside curve), 3" diameter (on butt). CONDITION: Wood stopper missing, otherwise horn is in wonderful condition. 4-57495 (25,000-50,000?)
TN Civil War Broadside, Pamphlet, Letter Three (3) Civil War era documents, including a Tennessee 1865 Franchise Act broadside, Civil War Surgeon letter from Nashville, and an 1858 slavery related pamphlet. 1st item: Broadside copy of "An Act to Limit the Elective Franchise", William Heiskell, Speaker of the Tennessee House of Representatives, Samuel Ramsey Rodgers, Speaker of the Tennessee Senate, passed June 5th, 1865. The act barred ex-Confederates from voting for 15 years, with ex-Confederates defined under Section II as "all persons who are or shall have been civil or diplomatic officers or agents of the so-called Confederate States of America, or who have left judicial stations under the United States or the States of Tennessee, to aid in any way in the existing or recent rebellion against the authority of the United States, or who have been military or naval officers of the so-called Confederate States above the rank of Captain in the army of Lieutenant in the navy, or who have left seats in the United States Congress, or seats in the Legislature of the State of Tennessee to aid said rebellion, or have resigned commissions in the army or navy of the United States and afterwards have voluntarily given aid to said rebellion, or persons who have engaged in any way in treating otherwise than lawfully as prisoners of war persons found in United States service as officers, soldiers, seamen, or in other capacities, or persons who have been or are absentees from the United States for the purpose of aiding the rebellion, or persons who held pretended offices under the government of States in insurrection against the United States, or persons who left their homes within jurisdiction and protection of the United States, or fled before the approach of the National forces and passed beyond the Federal military lines into the so-called Confederate States for the purpose of aiding the rebellion, shall be denied and refused the privilege of the elective franchise in this States, for the term of fifteen years, from and after the passage of this act". Housed in a plastic sleeve. 2nd item: Civil War era letter written by Doctor John G. Brown, a Surgeon in the 4th Regiment Tennessee Volunteer Cavalry, Union Army, written from Head quarters Detach...Edgefield [East Nashville] TN and dated Feb 1st 1865 and addressed to his brothers Charles and William Brown. He writes "Dear brothers, I take this opportunity of writing to you to let you know where I am and how I am...I have only a small detachment of men here of sick and convalescent. The main part of the regiment is at East Port Miss. where our front is at the present. How long I will remain here I do not know [I] have been expecting orders to join the regiment any day. I have not been able to learn anything very definite from upper echelon since General Burnbridge's expedition though from what I am able to guess the Rebels have no regular force nearer than Bristol our front is at Strawberry Plains and the country between is infested with scouting parties and guerrillas killing a good many of the citizens at there [sic] homes...I recon [sic] the Copperheads have all gone into their holes not to return since they see the people have sustained Lincoln and the War. I hope he puts a collar around there [sic] necks before long and bring[s] [them] into the Army...I do not know but think a rigorous campaign with Sherman's destruction of South Carolina will make the Rebels willing to make peace at any terms if they do not they will not only lose their Negros [sic] but their lands and lives for the government is determined to conquer if it become necessary exterminate every rebel in the land...". Housed in a plastic sleeve with typed transcription. 3rd item: Slavery related Pamphlet, "The Kansas Question", Speech of Hon. Thomas S. Bocock of Virginia, House of Representatives, March 8, 1858. Speaking out against the refusal to admit Kansas into the Union under the Lecompton Constitution, the second constitution drafted for Kansas Territory that permitted slavery, excluded free African Americans from living in Kansas, and allowed only male citizens of the United States to vote, Bocock states "I do not know what will be the effect of a refusal to admit Kansas under the Lecompton constitution. I am not authorized to speak the views of Virginia...But I will say this... although hand join in hand to prevent, the destiny of Virginia, for once and for all, for now and forever, is indissolubly united with that of her sister States of the South". Housed in a plastic sleeve. American, mid 19th century. Provenance: all acquired from the estate of Harry Brown of Western Greene County, Tennessee. See other related lots to the Brown family, lots 539 and 570. (Higher-resolution photos are available at www.caseantiques.com)
SILVER. T. H. Marthinsen Assorted Grouping Spoons. : To include 5 bags (6) in each Home for Xmas third annual limited edition. 3 bags (6) in each of Sleighride fourth annual limited edition. 3 bags (6) each Borgund Stave Church first annual limited edition. 2 bags (6) in each Holy Christmas fifth annual limited edition. 1 bag (6) mix of tree, sleigh, church and home. 1 bag (6) mix of Church and Bell. Total 15 bags . Total approx weight is 85. 5 troy oz. Condition Light surface scratches, and minor dings/dents.
DECARAVA, ROY (1919- )
Portfolio entitled "Roy DeCarava." With 12 stunning, dust-grain photogravures, image size approximately 8x11 inches (20.3x28 cm.), and the reverse, sheet size 18x22 inches (45.7x55.9 cm.), with DeCarava's signature, date (on all but one) and edition notation, I/IV, in pencil, on recto. Elephant folio, gilt-lettered black clamshell box; contents loose as issued. 1950-1979; printed 1991
"Lingerie, New York," 1950 * "Billie [Holiday] at Braddocks, New York," 1952 * "Paul Robeson, New York," 1950 * "Four Men, New York," 1956 * "Horace Silver, New York," 1963 * "Couple Dancing, New York," 1956 * "Across the Street, Night, Brooklyn," 1978 (this photogravure is unsigned) * "Night Feeding, Brooklyn," 1973 * "Man in Window, Brooklyn," 1978 * "Fourth of July, Prospect Park, Brooklyn," 1979 * "Dancers, New York," 1956 * "Milt Jackson, New York," 1956.
This edition is limited to 62 sets, of which this portfolio is part of the four Hors Commerce editions. The plates were subsequently destroyed by the artist.
Roy DeCarava began his artistic career as a painter and print-maker. He initially began using a hand-held camera as a tool to aid in his sketches. Yet within only a few years, DeCarava embraced photography with fervor, embarking on a career in the medium in the late 1940s that would take him into the present day.
Born and raised in New York, DeCarava is Harlem's photographer, as his honest and gripping photographs of the vagaries of modern life attest. Showcasing the urban environment in all of its gritty glory, DeCarava accentuates the quotidian activities of the everyday African-American men and women, avoiding sensationalist and outré crafted personas in favor of social realism. DeCarava describes his methodology as, "I want to photograph Harlem through the Negro people. Morning, noon, night, at work, going to work, coming home from work, at play, in the streets, talking, laughing, in the home, in the playgrounds, in the schools, bars, stores, libraries, beauty parlors, churches . . ." While not the first African-American photographer to chronicle Harlem, Decarava quickly became its champion as the neighborhood morphed from the center of artistic and intellectual creativity during the Harlem Renaissance to an essential destination for Civil Rights luminaries and their messages of change.
Imbued with a dark tonal range, DeCarava's photographs provide keen insight to a deft eye intent on discovering visual truths. He illuminates integral components of mid-twentieth century urban life in New York.
Five Titles Related to Henry David Thoreau (1817-1862), Night and Moonlight, New York: Hubert Rutherford Brown, 1921, one of 400, designed by Bruce Rogers, boards, 12mo, (spine lacking, wear); Of Friendship, Cambridge: The Riverside Press, 1901, one of 500, half cloth, small 8vo, (lightly bumped, rear cover soiled, pages uncut); Sanborn, F.B., The Personality of Thoreau, Boston, 1901, limited edition; Jones, S.A., Thoreau: A Glimpse, Concord, 1903; and Little Journeys to the Homes of Great Philosophers: Thoreau, East Aurora: The Roycrofters, 1904.
BOBWHITE ANNE WORSHAM RICHARDSON SIGNED: Framed, Signed Limited Edition "Bobwhite" Color Lithograph by Anne Worsham Richardson (1919-2012). Signed in the plate and signed again and numbered by the artist in pencil lower right. Number 1719 of 2800. In Frame 22. 50x28. 50x1. 50". Weight is 8 pds 4 oz. PROVENANCE: A Historic Charlotte Street Home, Charleston, South Carolina. Born near Turbeville, South Carolina in 1919, Anne Richardson became a specialized painter of birds and received attention from collectors including Presidents Jimmy Carter and Ronald Reagan. Anne Worsham Richardson was South Carolina's official painter of the State Bird and Flower "Carolina Wren and Yellow Jessamine" and the State Butterfly "Yellow Swallow-tailed with Wild Azalea". She was the first woman painter to receive the "Art Print of the Year" award. She was inducted into the S. C. Hall of Fame in 1991. She was a member of the Carolina Art Association, Charleston Artist Guild, Guild of South Carolina Artists, Charleston Natural History Society, National Audubon Society and Carolina Bird Club. She was also a frequent lecturer. Married to Johannes Peter Paszek, she lived on an estate on James Island near Charleston. where they created a bird sanctuary. The Paszeks operated a bird sanctuary at their James Island home to rehabilitate injured birds. As the birds were recovering, she used them as models. She was honored by the U. S. Department of the Interior for her conservation work. Condition good
Arthur Burdett Frost (1851-1928)The Peasant Sportsman, 1911
signed "A.B. Frost" lower right
oil on canvas, 14 1/2 by 17 1/2 in.
together with preliminary pencil sketch, 6 3/4 by 10 1/2 in.
A. B. Frost was born in Philadelphia in 1851, but spent his most prolific years in New Jersey. Considered one of the great illustrators of the Golden Age of Illustration, he illustrated more than ninety books and produced illustrations for Harper's Weekly, Scribner's, and Life magazines. Frost's illustrative work chronicles the mood and details of the daily life of farmers, hunters, and fishermen, as well as barnyards and pastoral motifs.
By 1876, he was on Harper's staff working on many books, including Tom Sawyer, Uncle Remus, and Mr. Dooley. He also illustrated Theodore Roosevelt's sporting book, Hunting Trips of a Ranchman.
Frost was an ardent sportsman who spent his summers and autumns fishing, rowing, and hunting ducks and snipe. He completed hundreds of watercolors and oils of the New Jersey seaside. The artist is best known for his hunting and shooting prints which capture the drama of sport in realistic, detailed settings. Frost lived at his estate, Moneysunk, in Convent Station, New Jersey.
This work, The Peasant Sportsman, is the original oil reproduced by Scribner's Magazine in a 1911 article by Ethel Rose on shooting in Normandy, France. She describes the setting, äóìFields, woods, and meadows stretch unobstructed, sometimes for miles and miles, often without boundaries of any kind except the deeply sunken stones that mark the corners of property limits." Of the dogs involved, she writes, "Besides the setters, retrievers, pointers, and others known and used at home there are many side [breeds] of these dogs as well as the truly national 'griffons' of various sorts, rough-coated intelligent beasts of many types and sizes, adapted to and trained for different purposes."
Rose continues, "There will be wonderful autumn days of golden haze and drifting, pale gold leaves, when faint smoke smells are in the air; and later frosty mornings in what seems a silver world, all of it among such picturesque surrounding as will make the season one hark back to often in memory on future winter evenings 'back home'."
PROVENANCE: Private Collection, Freehold, New Jersey, purchased from the Crossroads of Sport
LITERATURE: Ethel Rose, "Shooting in France (Normandy)," Scribner's Magazine, Vol. XLIX, No. 4, April 1911, pp. 399-409, illustrated.
James Laver A COMPLETE CATALOGUE OF THE ETCHINGS AND DRY Title: A Complete Catalogue of the Etchings and Dry-Points of Arthur Briscoe, A. R. E. Author: James Laver - James Laver, CBE, FRSA was an English author, critic, art historian, and museum curator who acted as Keeper of Prints, Drawings and Paintings for the Victoria and Albert Museum between 1938 and 1959. He was also an important and pioneering fashion historian described as "the man in England who made the study of costume respectable" (Courtesy of Wikipedia)Publisher: Halton & Truscott Smith, Ltd.City: LondonYear: 1930Printing Information: Signed EditionBinding Style: HardcoverPagination: viii/39 pages plus 96 leaves of platesWidth: 9.25" Height: 11.5"Book Details: "A British painter, Briscoe was born at Birkenhead in 1873. He attended Shrewsbury School where he held particular interests in painting and drawing. After traveling to America and Japan with his father, he returned home and enrolled in the Slade School of Fine Art where he studied under Professors Henry Tonks and Frederick Brown. He also attended Julian’s Atelier in Paris for 18 months.Briscoe bought a three ton cutter in 1899 which he used to sail around the Essex coast near his home base, Maldon. His first one-man show which included 35 watercolors took place at the Modern Gallery in Bond Street in 1906. Soon after, he wrote and illustrated a handbook on sailing and created illustrations for the Illustrated London News.Briscoe was invited to join the crew of the Polish sail- training ship, Lwow in 1922 on a journey from Rotherhithe to Genoa. He taught the cadets sailing terms and sketched every aspect of life on the ship. Upon his return home, he was inspired to etch once more, producing plates of sea sketches. With the help of Harold Dickens, a London publisher, Briscoe printed editions of 75 of his etchings. His name became internationally renowned when his works sold to the New York market. By the 1930s, his work was greatly sought after and an exhibition of marine art in Brussels dedicated an entire room to his work." (Courtesy of International Fine Print Dealers Association at https://www.ifpda.org/content/node/372)Condition / Notes: This is a scarce limited edition, one of 250 numbered copies with an original signed frontispiece etching by Briscoe.This antique volume is bound in light blue cloth over beveled boards, with stamped gilt lettering to the spine and front cover. The book shows moderate external wear, with light soiling and some discoloration to the covers. The binding is firm. The text block has a gilt top edge. The pages are clean and without markings. For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $6.50
BSA CYCLES LIMITED
BSA BICYCLES
Home and Export editions, Replacement Parts Seasons 1937-42 and nine other contemporary catalogues by other manufacturers including New Hudson Ltd, The Hercules Cycle & Motor Co, J A Phillips & Co Ltd and Carlton Cycles Limited, all illustrated, some in colour, some oblong format, two of folding poster type, Birmingham & Worksop: 19[25 or] 26-c1940 (12)
309. J. Shirly Bothum (American, 1937 - 2003)
"Home on the Range". Bronze, inscribed and signed, limited edition, this being numbered 8/25, attached to turning wood base, approx. 9" x 16-1/2" x 9-1/2".
800/1,200 Sold: $1,753.75
D.F. BARRY "Chiefs of the Sioux Wars and theBattle of Little Bighorn" Limited Edition Set of 15 Photographs. Number 62 in an edition of 150. Published in 1982 as a limited edition by Paul H. Harbaugh and the Denver Public Library, each image identified and authenticated verso. Printed using the original glass plate negative from the David Francis Barry Negative Collection in the Denver Public Library. From a Stamford, CT home. Dimensions: 8" high x 6" wide to 9.5" high x 7.5" wide mounted and matted to 20" high x 16" wide. Condition: Being sold without the portfolio case. Some of the introductory pages have some very light and minor soiling. Photographs and mats are in very good condition.
C. GEORGE, SPIRIT WINDS STUDIO, WASHINGTON STATE, 'HEADIN HOME' SIGNED AND NUMBERED WESTERN COWBOY SCENE LIMITED EDITION PRINT, 31/1...C. George, Spirit Winds Studio, Washington state, ''Headin Home'' signed and numbered Western Cowboy scene limited edition print, 31/150., 13"H x 19"W (site), 24"H X 30 1/4"W
ROADRUNNER ANNE WORSHAM RICHARDSON SIGNED: Framed, Signed Limited Edition "Roadrunner" Color Lithograph by Anne Worsham Richardson (1919-2012). Signed in the plate and again by the artist in pencil lower left. Number 103 of 3000. In Frame 20. 50x25x1". Weight is 5 pds 10 oz. PROVENANCE: A Historic Charlotte Street Home, Charleston, South Carolina. Born near Turbeville, South Carolina in 1919, Anne Richardson became a specialized painter of birds and received attention from collectors including Presidents Jimmy Carter and Ronald Reagan. Anne Worsham Richardson was South Carolina's official painter of the State Bird and Flower "Carolina Wren and Yellow Jessamine" and the State Butterfly "Yellow Swallow-tailed with Wild Azalea". She was the first woman painter to receive the "Art Print of the Year" award. She was inducted into the S. C. Hall of Fame in 1991. She was a member of the Carolina Art Association, Charleston Artist Guild, Guild of South Carolina Artists, Charleston Natural History Society, National Audubon Society and Carolina Bird Club. She was also a frequent lecturer. Married to Johannes Peter Paszek, she lived on an estate on James Island near Charleston. where they created a bird sanctuary. The Paszeks operated a bird sanctuary at their James Island home to rehabilitate injured birds. As the birds were recovering, she used them as models. She was honored by the U. S. Department of the Interior for her conservation work. Condition good, scuffs to frame
Two Hutschenreuther bird figurines: "Off Season", probably quail, limited edition 21/400, green printed mark and "HK", 7-3/4 x 13 x 6-1/2 in.; "Safe at Home", pintail ducks, limited edition 30/350, 15 x 12 x 10 in.
LEROY NEIMAN (AMERICAN, 1921 - 2012) 36" x 23 ¾" "Sliding Home", 1973. Limited edition color serigraph, signed and dated in pencil lower right, numbered "Artist Proof" lower left, in double sided glass with gilt metal frame, overall 41 ?" x 29".
Geneva Welch Limited Edition Grouse Print Geneva Welch Grouse limited edition print, signed to lower right and numbered 27/30 to lower left; measures approximately 21-3/16" x 21-3/16" with a sight image of approximately 9-1/4" x 9-1/8" Geneva Welch is a nationally known artist, specializing in watercolors and oil paintings of animals and country scenes. She grew up in Alleghany County, Virginia. Wading in the river near her home and hiking the Blue Ridge Mountains built a life-long love for the natural world.As a graduate of Virginia Commonwealth University's Communication Arts and Design Department, Geneva has earned honors and awards as a graphic designer in advertising and graphic agencies throughout Virginia.
WORLD WAR I INTEREST FRAMED COTTON HANDKERCHIEF, CIRCA 1914-15 printed with a map of Great Britain and bearing the inscription IT'S A LONG, LONG WAY TO TIPPERARY,/ MY HEART'S RIGHT THERE, framed, 29.8cm x 31cm; and a WORLD WAR II INTEREST SILK HANDKERCHIEF, CIRCA 1945, printed with the names of the Allies ROOSEVELT/ STALIN/ CHURCHILL/ CHIANG KAI-SHEK, framed, 28.5 x 27cm (2) Estimate £ 150-250 Note: Soldiers constantly on the move were limited to what they could carry. A letter from home might never arrive, thus a sweetheart's handkerchief was one keepsake a soldier treasured. In exchange, soldiers sent remembrance handkerchiefs home.. Sold for £350 (buyer's premium included)
LRG GRP: SCALE TRAIN ELECTRICAL TRACK & CATENARY WIRE -...Marklin, Germany. Large group of electrical tracking and catenary wire, consisting of 689 pieces; including but not limited to 20 model 70360 catenary wires, six Atlas catenary wires, four Tru catenary wires, ten model 70253 catenary wires, two model 24997 track uncouplers, eleven model 70231 catenary wires, 27 model 7018 catenary wires, seventeen model 70142 catenary wires, one model 60883 decoder, two model 7209 distribution strips, one model 6084 k84 decoder, three model 74465 digital install decoders, one model 60055 transformer, one model 76397 color light home signal with distant signal, one model 7215 alarm release, eleven model 74460 digital install decoders, three model 74490 electric turnout mechanisms, one model 74491 electric turnout mechanism, two model 7076 current supply pickup shoes, two model 72720 control boxes, thirteen model 74461 digital install decoders, three model 76371 color light yard signals, one model 7244 universal relay, six model 76493 color light home signals, one model 72600 universal speed measurement tool, one model 72750 signal control box, one model 76497 color light home signal with color light distant signal, one model 7272 control box, one model 7210 switch panel, and one model 7216 running bridge link.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Don Balke (B. 1933) "Eastern Bluebird" Original: Don Balke (North Carolina, B. 1933) "Eastern Bluebird" Signed lower left. Original Watercolor painting on Illustration Board. . . Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . This artwork was originally published on the Fleetwood Commemorative Cover for the limited edition collection of The Songbirds of the Fifty States. . . Each cover was postmarked on the anniversary of statehood in the appropriate state capital. There is no more blue than that of a bluebird returning in the spring. Even before winter has retreated and the first hints of green caress the meadows and forests, the bluebird will make its colorful appearance in northern climates. One cannot help but notice this bright beacon in an otherwise drab late winter landscape, for it is as if a bit of the sky had been plucked out and brought down to earth. In the United States, there are three distinct species of bluebird, all of the genus Sialia. The Eastern bluebird is found in the fields and orchards of the eastern half of the United States. The Western bluebird finds the hills, forests and farms of the Far West to its liking, while the Mountain bluebird makes the crags and prairie of Rocky Mountain states its home. Bluebirds nest in tree cavities, and such places normally make very good homes. However, the cutting of dead trees for firewood or aesthetics as well as the introduction of Old World English sparrows and starlings, has sent the Eastern bluebird in particular into a serious decline. Consequently, some ornithologists and bird enthusiasts have acted to help out the bluebird by constucting bird houses designed especially for the Eastern bluebird. The early results are promising and it appears as if this azure beauty will continue to brighten the drab fields of pre-spring. . . Image Size: 8. 5 x 8. 75 in. . Overall Size: 18 x 18 in. . Unframed. . (B07153) 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, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. 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 multiple 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 outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
JOSEPH HOLIDAY, INDIANAPOLIS (1927 - 1990), FEMALE NUDE ON THE SHORE, OIL ON CANVAS, 11 1/2"H X 39 1/2"W (SIGHT), 16 1/2"H X 44 1/2"W (FRAME)Joseph Holiday, Indianapolis, (1927 - 1990) female nude on the shore, oil on canvas Signed lower right. Biography from Ripley Auctions Biography from the Encyclopedia of Indianapolis: (Nov. 6, 1927-June 30, 1990). Joe Holiday was born in Chicago, Illinois, the seventh of eight children of Joseph and Gussie Hunt Holiday. Holiday's father died when he was two years old, after which the family moved to Indianapolis where Holiday resided until his death. Holiday may have heard stories about his father's creativity that would inspire his artistry much later in life. As a cabinet maker, Holiday's father fashioned ornate designs in wood and painted glass. As an adult, the younger Holdiay would go on to create frames for his own artwork, fashioning some of the more unusual pieces from ornate headboards and rough weathered wooden planks. In Indianapolis, Holiday created his first pencil drawing at age 5 and sold his first pencil sketch at age 6 to neighbors. Later, at CRISPUS ATTUCKS HIGH SCHOOL, Holiday's teachers encouraged his creativity and made it possible for him to attend the JOHN HERRON SCHOOL OF ART in Indianapolis. He also studied at the Art Institute of Chicago. Holiday lived and worked at his home studio on North Illinois Street in Indianapolis. He is known for his facial studies, particularly of African Americans and Africans. Most of his work is in oil where he uses a palette knife and brush, though some of his work shows his skill using pastels. Rather than using live models to guide his painting, Holiday preferred to study slides of photos his brother took from his travels to Africa to channel inspiration for his creations. Holiday said of his work, "I constantly observe people . . . and when I paint, I try to capture the moods and feelings I see." Portraiture did not appeal to Holiday. He viewed it as a reductive task rooted in achieving a likeness of the subject rather than an expression of the subject's mood. Holiday drew inspiration for his combination of realism and mood by studying the art of Andrew and Jamie Wyeth and Norman Rockwell. Though Holiday's subject matter remained constant throughout his career, his artwork continued to mature as he studied the techniques of Michaelangelo and DaVinci from his ample collection of art history books. Holiday participated in many one-man shows partly because Indianapolis had few opportunities and spaces where up-and-coming artists, let alone Black artists could display their work in the 1960s. The limited number of commercial and nonprofit galleries tended to work with established artists. Those galleries that existed were located on Indianapolis' Old Northside and the burgeoning art colony in Broad Ripple (See ART GALLERIES). However, he did find venues to showcase his work. For example, he exhibited and won prizes at the INDIANA STATE FAIR HOOSIER SALON. In the late 1960s, his work was displayed in the lobbies of Indianapolis theatres and businesses. U.S. state senator Rupert Vance Hartke (D-IN) hung a Holiday painting in his Washington, D.C., office as did an unidentified U.S. state representative from Indiana. Limited exposure of Holiday's work combined with the economic price-point of his paintings, most of his oil paintings listed at a starting price of $75 and the pastels at $25, may have made full-time dedication to art untenable. He taught art in the program services department at the Camp Atterbury Job Corps Center in 1970. Later he taught art at Holy Angels Schools. oil on canvas Dimensions: 11 1/2"H x 39 1/2"W (sight), 16 1/2"H x 44 1/2"W (frame)
MAX PAPART (French, 1911-1994) ABSTRACT. Limited edition lithograph 29/45 pencil signed by artist and inscribed “Pour Terry en Toute Ami Fie a Paris XI-VII-LXXVI” and signed “Max Papart”. The paper is embossed A.C.. Scene shows a figure in green standing on a gray and brown horse under a red ball sun. Housed in a modern thin metal frame with green matte. PROVENANCE: A fine Camden Maine home. The artist was a friend to the consignor. IMAGE SIZE: 11-3/4” x 10-1/2”. TOTAL SIZE: 22” x 15”. CONDITION: Very good. 9-25194 (500-800)
6PC STEIFF LIMITED EDITION COLLECTOR'S BEAR GROUP Germany,Post 1980Group includes Steiff Hamley's Limited Edition of 2,000 Charlotte mohair bear in original box with paperwork, The Margaret Woodury Strong Museum Flower Bear-er and Ring Bear-er, 2002 and 2003 Steiff Club miniature bears, and a double-sided retailer hang sign, overall good condition having been displayed in a collector's home, light surface dust from display, cardboard with wear to edges, please refer to photographs.
FLICKER W TULIP POPLAR ANNE WORSHAM RICHARDSON: Framed, Signed Limited Edition "Yellow Shafted Flicker with Tulip Poplar" Color Lithograph by Anne Worsham Richardson (1919-2012). Signed in the plate and signed again and numbered by the artist in pencil lower right. Number 209 of 2500. In Frame 25. 50x31x1. ". Weight is 8 pds 4 oz. PROVENANCE: A Historic Charlotte Street Home, Charleston, South Carolina. Born near Turbeville, South Carolina in 1919, Anne Richardson became a specialized painter of birds and received attention from collectors including Presidents Jimmy Carter and Ronald Reagan. Anne Worsham Richardson was South Carolina's official painter of the State Bird and Flower "Carolina Wren and Yellow Jessamine" and the State Butterfly "Yellow Swallow-tailed with Wild Azalea". She was the first woman painter to receive the "Art Print of the Year" award. She was inducted into the S. C. Hall of Fame in 1991. She was a member of the Carolina Art Association, Charleston Artist Guild, Guild of South Carolina Artists, Charleston Natural History Society, National Audubon Society and Carolina Bird Club. She was also a frequent lecturer. Married to Johannes Peter Paszek, she lived on an estate on James Island near Charleston. where they created a bird sanctuary. The Paszeks operated a bird sanctuary at their James Island home to rehabilitate injured birds. As the birds were recovering, she used them as models. She was honored by the U. S. Department of the Interior for her conservation work. Condition good
Angelo Savelli, Italian, (1911-1995) Abstraction, gouache and ink on paper Signed and dated (1957) upper right. October 30th, 1911 Angelo Savelli was born in Pizzo Calabro (Catanzaro). Since his very childhood, Savelli's interest in art grows thanks to his uncle, the self-taught painter Alfonso Barone. 1930 After attending Filangieri Grammar School in Vibo Valentia, Calabria, he is encouraged by his father Giorgio, an apothecary, to develop his artistic potential; Savelli moves to Rome and attends a high school specializing in arts, and later the Academy of Fine Arts. During this period Savelli is a guest of the Minister of the Royal House of Savoy, Lucifero Falcone, a friend of his father's. 1934 He obtains a pilot's licence from the Ministry of War. The licence also entitles him to a student grant. 1935 He wins the "Mattia Preti" award and later the "Balestra" award for an art contest organized by San Luca Academy in Rome. 1936 He receives his diploma from the Academy of Fine Arts. His decorative painting teacher is Ferruccio Ferrazzi, who ecomes his most important point of reference. Savelli decorates with frescoes the Villa Boimond chapel in Sora (Frosinone), and wins a prize at the Regional Exhibition of Calabria. 1937 He leaves for his military service and enters officer school at the 39th Infantry Regiment. 1939 He serves as an officer in the 81st Infantry Regiment in Frosinone. 1940 He begins teaching at the Academy of Fine Arts in Rome, and keeps up an intense artistic activity. He settles in his studio at 49 Via Margutta, a most popular area among artists such as Guttuso, Franchina, Jarema, Fazzini, Severini. He wins a prize at the Regional Exhibition of Lazio. 1941 He is awarded one of the four 2.500 Lire additional prizes by the Third Bergamo Award, and the following year one of the four 5.000 lire additional prizes by the Fourth Bergamo Award. He reads his first book on Yoga philosophy and meditation, which leads him to discover the spiritual path he will follow all his life. 1943 He is redrafted into the army and assigned to the 82nd Infantry regiment "Torino". After the painful experience of World War II, he returns to Rome where he moves in the milieu of Futurism. In the same year he becomes a member of the Art Club, the independent international artistic association whose members include Jarema (a Polish artist Savelli called "the Viking"), Severini, Guzzi, Montanarini and Tamburi, his close friend Fazzini, and later Dorazio, Mafai, Corpora, Perilli, Consagra and Turcato. This group of artists, active in Rome or having ties with Rome in the Twenties and Thirties, is known as "Scuola Romana" or Roman School. Savelli forms with each one bonds of friendship he will cherish all his life. At the same time he meets Alberto Burri, then at the beginning of his artistic career; unlike many others, Savelli is most available and open-minded to younger artists. 1946-1947 First works where white abstract-figurative patches begin to appear. In several Crucifixions, Christ and Mary Magdalene are painted in white. Savelli needs to experience new emotions; by now he finds the Roman School too limiting, whereas Futurism and Prampolini's latest experiments urge him to search for new techniques. 1947 He stays for several months in Venice. He wins the "Colli Euganei" prize at Abano. 1948 Soggiorna per alcuni mesi a Venezia. Riceve il premio "Colli Euganei" ad Abano. 1948 He gets a one-month scholarship in Paris, and will stay there for a year. This experience is critical for him, and launches him into a wider and more international dimension of art. He declares: "I realized I had to free myself from my divine Italian tradition." During this period he works very intensely and produces many ink and water-colour drawings, with tracts beginning to tend towards a gradual stylization. 1949 Back in Rome, he finds it hard to have his new choices accepted by his friends. After the Expressionist tendencies of his Roman years, he returns from Paris with a different view on modern art, one that cannot be understood by his contemporaries in Rome; only Corpora, Turcato and Santommaso are attuned to it. At Caffè Rosati, patronized by the art world, he meets the young Federico Fellini, who spends hours watching and studying the artists and intellectuals. In the same year in Rome Savelli also meets Theodoros Stamos. 1950 First abstract creations with the two pieces "Oltre l'inquieto". He is present at the XXV Biennale di Venezia. 1953 He marries journalist Elisabeth Fischer. By now a well-known and successful artist, he bravely chooses to leave Italy for good. He settles in New York, a tough, vital city, competitive but international. He also leaves his posts as teacher at the Academy of Fine Arts in Rome. ?In New York he soon gets to know the most important artists of the moment; Fritz Glarner, Marcel Duchamp, Hans Richeter. He is held in high esteem by all the great representatives of abstract painting, from Robert Motherwell to Ad Reinhardt and Barnett Newman, who is very fond of him. He frequents the Art Club on 10th St. and the New York School artists, among whom Philip Pavia and Jack Tworkov. The latter lets him have his studio between 10th St. and 4th Av. Just opposite the studio are Franz Kline's and Wilhelm Dekooning's workshops. But even though he has become a member of this top quality artists' circle, he does not want to be identified with one group or one circle, he does not mix with art dealers just to sell his works, he accepts no compromises. He is a man of free spirit and is loved for his humanity and sensitivity, for the poetry and innocence of his personality. In 1953 he also meets artist Will Barnet at Cooper Union University, and they form a bond of true brotherhood. 1954 He creates the work "Oval Skin". 1955 He begins a series of serigraphs and collages at Chelsea Workshop. 1956 He creates "Bianco su bianco", a monochrome serigraph, his first completely white piece. 1957 Savelli's first exhibition (collective) in New York. The same year, personal exhibition at D'Amecourt Gallery, Washington D.C. 1958 With some Art Club friends he meets in a New York bar the great art dealer Leo Castelli, who offers to set up an exhibition. His first personal exhibition at Leo Castelli Gallery on 77th St. marks the beginning of the most important period of his career in the USA. In the same year he also receives the "Battistoni" international prize for industrial design. 1959 Appointed Director of the art school "La Guardia Memorial House", the illustrious American Academy in Harlem. He will act as supervisor for the art classes held by the institute. 1959 He approaches the white colour through relief printings, changes the materials, rejects colours, modifies the shapes of his works, paints in white with a spatula, and later uses strings, plasters, very light and transparent fabrics, veils and tulle, extolling white as the only pure, bright and absolute colour. He works out a monochrome art, distancing himself from the expressive violence of "action painting", realizing works of extreme lightness and formal purity, from a compelling inner need to reach universal simplicity. Critics define his art as a creation of images free from any figurative reference, aspiring to reach the essential nature of things. 1960 Invited to teach at "Art Workshop", Edna Lewis's American school in Positano (Naples). He also takes part in a workshop on printing techniques in Milan. He invents a lithography process for what he calls "relief prints", an elaborate variation of embossing. 1962 G. Holmes Perkins, president of the University of Pennsylvania, and influential architect Louis Kahn, a University alumnus, decide to modernize the school, appointing as teachers important experts of the new generation. Romoaldo Giurgola, an Italian architect living in America, suggests they invite Angelo Savelli and his old Via Margutta friend Piero Dorazio to reorganize the study programme for the Department of Fine Arts - painting, sculpture and graphics. Savelli accepts and moves to Pennsylvania. He supervises all the activities of the students - who consider him a most charismatic figure - giving them practical help in their working choices. He is a great authority on technique, painting and drawing, and his ability as Maestro is well known among young American artists. In a short time the university becomes the best school of arts in the USA. ?During this period Savelli suffers from serious physical disorders that he manages to overcome thanks to his deeper and deeper knowledge of Zen philosophy. By practising yoga exercises and meditation every day, a life-long discipline, he is able to get over extremely painful experiences. ?A deep everlasting friendship begins between Savelli, Kahn and Giurgola. Savelli lives for ten years in Springtown, without giving up his New York studio. 1961 He receives the "Lissone" award. 1962 He creates his first works using rope, and also eleven embossed lithographic white-on-white pieces, presented by Giulio Carlo Argan (Grattacielo, Milan 1962). 1963.Publication of a book with lithographs by Savelli: "Ten Poems by Ten American Poets" (Romero, Rome 1963). 1964 He wins the "Gran Premio della Grafica" award at the XXXIII Biennale di Venezia for his twenty-seven white-on-white reliefs. 1965-1970 He creates his first meditation hall called "Paradise", in his studio at 186 Bowery St., New York. 1966 He teaches at Columbia University, in New York. 1969-70 Completion of projects "Paradise II" at Corcoran Gallery of Art in Washington, and "Dante's Inferno" at Peale Galleries of Pennsylvania, Academy of Fine Arts in Philadelphia. 1971 Completion of "Illumine one", a project displayed in 1972 at his Everson Museum personal exhibition, in Syracuse (NY), catalogue introduction by Louis Kahn. 1973 Installation of the sculpture "Empedocles" at Lincoln Center, Syracuse. 1974 He teaches at Cornell University in Ithaca (NY). 1975 He starts a two-year teaching job as Visiting Artist at Pennsylvania State University and creates the work "Wall to Wall", displayed at an exhibition at the same University. He is also invited to teach at the Academy of Fine Arts in Philadelphia, Pennsylvania. 1976 He creates his first unframed canvases, applied directly on the wall. He paints the series of canvases called "On the Quantity of the Surface". 1977 He creates a series of forty white-on-white prints. He accepts the post of Visiting Professor at the University of Texas, Arlington, where he spends the winter semesters for five years. 1978 He creates the installation "Tree with 84 Tree Trunks", displayed at Max Hutchinson Gallery, New York. 1980 He receives the Guggenheim Fellowship from Guggenheim Museum, New York, which allows him to live in Europe and organize personal exhibitions in Milan, Zurich and Rome. 1981 He creates the sculpture "Aglaophon", displayed at Aubodon Art Center, New York. 1982 His wife Elisabeth dies tragically. The depression of his beloved Betty had heavily conditioned Savelli's artistic life for many years. Her dramatic death comes as a great shock to him, which he will get over only after a long period of complete solitude. He leaves New York and flies to his brother Carmelo's in Italy. A few months later he goes back to the USA without having found peace. In time the love of a few friends gives him a measure of comfort. From his memories the most outstanding is writer and poet Luigi Ballerini. The book "Angelo Savelli, Opera grafica 1932-1981" by Giuseppe Apella is published by Scheiwiller. Savelli receives a gold medal for artistic merit from the town of Pizzo Calabro. 1983 He receives an award by the illustrious American Academy of Arts and Letters. 1984 PAC, the Milan museum of contemporary art, prepares a personal exhibition, organized by Luigi Sansone. 1984 Savelli creates "Glory of a Broken Wing, to Elisabeth Fischer" dedicated to his wife: a meaningful and extraordinary work measuring 1650 centimetres (54,13 feet). 1986 The book "Libro bianco", with prints by Savelli and poems by Lucini, is published by Scheiwiller. 1988 He moves to 257 Water Street at Sea Port, Pier 17, just a few meters from the banks of the East River, where Brooklyn Bridge rises majestically. It will be his last studio. It is a red brick town house, the second oldest building in New York. Savelli loves this place and spends a lot of time at "Paris Cafè", a meeting place for young Wall Street operators by day, and a sort of refuge for the fish market people by night: they all know and love him. RAI Corporation in New York produces a documentary movie on his life, directed by Luigi Ballerini, and buys some works by Savelli, displayed at the RAI Corporation building on the Avenue of Americas in the MGM building in New York. ?In the same year "SELVAGGINA", with prints by Savelli and poems by Luigi Ballerini, is published by Scheiwiller. 1989 He meets Susanna Argenterio at RAI Corporation in New York and develops a fatherly affection for her. Thanks to this fond sentiment he feels alive again after years of detachment from the world. They spend a great deal of time together in New York and Italy, at the Argenterio family home near Brescia 1991 Opening of "Angelo Savelli Contemporary Art Center" in Lamezia Terme, Calabria. 1993 He begins the creation of a room at the "Atelier sul Mare" hotel in Castel di Tusa, Sicily, which he will not be able to finish. 1994 Through an artist friend from Tuscany, Giuseppe Friscia, Savelli meets in New York Patrizio Bertelli and his wife Miuccia Prada, who visit his studio and are captivated by his work. From the meeting stems a collaboration with Prada Foundation. Savelli is attracted by Bertelli's vitality and an understanding is reached between the two. When Bertelli visits him again in his studio and explains his ideas about Savelli's artistic future, Angelo accepts his guidance and relies on his support and the suggested organization. 1994 The President of the Biennale di Venezia, Gian Luigi Rondi, informs Savelli that the Biennale committee, following a proposal by the director, Professor Jean Clair, have invited him to be present with a personal exhibition in the Italian section at the XLVI Biennale. ?At the beginning of December, Savelli has some health problems. 1995 Antonella Soldaini, administrator of Luigi Pecci Museum of Contemporary Arts in Prato, invites Savelli to organize an anthological exhibition, to run from June to September of the same year. ?Although this is a wonderful period in Savelli's life, it is also a exhausting time for him, as the novelties and the many consequent decisions overburden him. He realizes that he cannot continue living alone, and with Susanna Argenterio's help he decides to close his New York studio and settle in Italy for a while. ?March 10th, 1995. Savelli, his work and many of his memories reach Milan. He wants to oversee personally the organization of the two planned exhibitions.?? April 17th, 1995.Just a few weeks after his arrival in Italy, while spending Easter in Arezzo, Angelo feels very ill. During the return journey to the Argenterio family home in Brescia his condition worsens, and he is taken to Sant'Orsola Hospital. He is very weak and can breathe only with the help of an oxygen mask. 27th Apr., 1995.Savelli dies at Boldeniga Castle, in Dello (Brescia), at eighty-three, surrounded by friends, love and affection. By a few weeks only, he will fail to see the two personal exhibitions that had so much appealed to him: the XLVI Biennale di Venezia and the Pecci Museum exhibition in co-operation with "PradaMilanoArte". Source: www.angelosavelli.it/en/bio gouache and ink on paper 19 1/2" x 26", 26 1/2" x 33" (frame)
A NOTE BY WILLIAM MORRIS ON HIS AIMS IN FOUNDING THE KELMSCOTT PRESS TOGETHER WITH A SHORT DESCRIPTION OF THE PRESS 1898 Title: A Note by William Morris on His Aims in Founding the Kelmscott Press : together with a Short Description of the PressAuthor: William Morris - William Morris was an English textile designer, poet, novelist, translator, and socialist activist. Associated with the British Arts and Crafts Movement, he was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he played a significant role in propagating the early socialist movement in Britain.Born in Walthamstow, Essex, to a wealthy middle-class family, Morris came under the strong influence of medievalism while studying Classics at Oxford University, there joining the Birmingham Set. After university he trained as an architect, married Jane Burden, and developed close friendships with the Pre-Raphaelite artists Edward Burne-Jones and Dante Gabriel Rossetti and with the Neo-Gothic architect Philip Webb. Webb and Morris designed a family home, Red House, then in Kent, where the latter lived from 1859 to 1865, before relocating to Bloomsbury, central London. In 1861, Morris founded a decorative arts firm with Burne-Jones, Rossetti, Webb, and others: the Morris, Marshall, Faulkner & Co. Becoming highly fashionable and much in demand, the firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, Morris assumed total control of the company, which was renamed Morris & Co.Although retaining a main home in London, from 1871 Morris rented the rural retreat of Kelmscott Manor, Oxfordshire. Greatly influenced by visits to Iceland, with Eiríkr Magnússon he produced a series of English-language translations of Icelandic Sagas. He also achieved success with the publication of his epic poems and novels, namely "The Earthly Paradise" (1868–1870), "A Dream of John Ball" (1888), the utopian "News from Nowhere" (1890), and the fantasy romance "The Well at the World's End" (1896). In 1877 he founded the Society for the Protection of Ancient Buildings to campaign against the damage caused by architectural restoration. Embracing Marxism and influenced by anarchism, in the 1880s Morris became a committed revolutionary socialist activist; after an involvement in the Social Democratic Federation (SDF), he founded the Socialist League in 1884, but broke with that organization in 1890. In 1891 he founded the Kelmscott Press to publish limited-edition, illuminated-style print books, a cause to which he devoted his final years.Morris is recognized as one of the most significant cultural figures of Victorian Britain; though best known in his lifetime as a poet, he posthumously became better known for his designs. Founded in 1955, the William Morris Society is devoted to his legacy, while multiple biographies and studies of his work have seen publication. Many of the buildings associated with his life are open to visitors, much of his work can be found in art galleries and museums, and his designs are still in production.(Information courtesy of Wikipedia)Publisher: Kelmscott PressCity: Hammersmith, LondonYear: 1898Binding Style: HardcoverPagination: 70 pagesWidth: 6" Height: 8.5"Book Details: A summation of the aims and achievements of the archetypal private press, and the final book to be printed at the Kelmscott Press.This work is not only beautifully produced, but also includes interesting information relating to the Arts and Crafts movement in general and the way it effected book design in particular: included are Morris's ideas on fine printing and book illustration, Sydney Cockerell's history of the Press and a useful bibliography of all the Kelmscott productions.The Kelmscott Press, now the most famous of the private presses, was established by William Morris at Hammersmith, London, in January 1891 in order to produce examples of improved printing and book design. The books were designed to make reference to the methods and techniques he used, what he saw as traditional methods of printing and craftsmanship, in line with the Arts and Crafts movement as a whole, and in response to the prevalence of lithography, particularly those lithographic prints designed to look like woodcut prints. He designed clear typefaces, such as his Roman 'golden' type, which was inspired by that of the early Venetian printer Nicolaus Jenson, and decorative borders for books that drew their inspiration from the incunabula of the 15th century and their woodcut illustrations. Selection of paper and ink, and concerns for the overall integration of type and decorations on the page made the Kelmscott Press the most famous of the private presses of the Arts and Crafts movement. It operated until 1898, producing 53 works, comprising 69 volumes, and inspired other private presses, notably the Doves Press, Eragny, Ashendene and Vale Presses.Condition / Notes: This is a scarce edition limited to 537 copies, this one of 525 on paper.This antique volume is bound in its original holland-backed blue/grey paper-covered boards by J. & J. Leighton, with letterpress titling to the upper cover. The book shows external wear, with a water stain on the upper cover, minor wear at head of spine. The binding is firm. The antique bookplate of Carl Eillheim can be seen on the front pastedown. The pages are clean and without markings.The text is printed in red and black, in Golden, Troy and Chaucer types. This work contains a large woodcut illustration of "Psyche borne off by Zephyrus" by William Morris after Sir Edward Burne-Jones, and woodcut borders and other floral and foliate ornaments. (Without the loose erratum slip). 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: $4.50
ESTATE COLLECTION OF PLAYWRIGHT/ARTIST TENNESSEE WILLIAMS MEMORABILIA: ''...the greatest playwright in the western world'', Time Magazine, April, 1972. From the estate of long time personal friend and business associate, Professor William Crawford Plumley. This rare collection includes Plumley manuscripts; insider photos by Key West photographer Don Pinder (with receipts of purchase from Pinder); Williams's handwritten letters, autographs, memoirs and more providing insight to the life of Tennessee Williams, twice recipient of the Pulitzer Price and thrice recipient for the coveted New York Drama Critics Circle Award. The collection consists of, but not limited to: 1) Many photographs by Don Pinder, Key West photographer and 20 year friend of Tennessee Williams, Tennessee in front of his Key West home, autographed to Bill (Plumley), Tennessee in his studio (note the old typewriter) in Key West, Tennessee with Truman Capote and James Kirkwood, Tennessee and his mother, many behind the scenes photos some depicting the shooting of ''The Rose Tattoo'' at Williams property in Key West, another a photo of Burt Lancaster, Anna Magani, Tennessee Williams and Frank Merlo(TW's partner for many years) at TW home in key West, many slides and negatives of actual paintings by Tennesse Williams used in lectures by William Plumley and many more; 2) Two signed artist proof photolithographs, ''On ne peau pas comprendre toujours'' ( 3) An eight page manuscript by William Plumley titled ''Kim Hunter Remembers The Delicate World of Tennessee Williams'' and autographed photo of Kim Hunter (Stella in ''A Streetcar Named Desire'') with Bill Plumley; 4) Signed, four page handwritten Tennessee Williams letter to Bill Plumley thanking him for marketing his art and giving permission to get more from his New York Apartment; 5) Typewritten letter with handwritten envelope to Bill Plumley from Tennessee Williams, written on a sheet of ''old, moth eaten, what is it papyrus?'' paper inviting Plumley to Key West for more artwork and an offer for Plumley to stay at his guest house. 6) Most importantly, a hurriedly handwritten note to Alfred (Davis?) apologizing for the disorder and for having to leave in a hurry with a PS, ''A guy named Plumley from Charleston W. VA may contact you about my paintings. Let him take them please''. The note is written on the back side of the cover sheet of the manuscript for ''The Loss of a Tear-Drop Diamond'', a film or teleplay by Tennessee Williams; 7) Handwritten, signed letter talking about his (Williams) bad eyes and inviting Plumley to see more artwork; 8) Articles and manuscripts written by William Plumley (written for publication, Lectures etc, some with handwritten editing) to include Tennessee Williams Graphic Art ''Two on a Party'', The Androgenous Paintings of Tennessee Williams (The Boys of Summer); 9) Sides and negatives depicting Williams paintings, Kim Hunter, Tennessee himself and more; 10) Letters from Jim Adams (Williams cousin who stayed with him at the Duncan Street address) to Plumley with regard to Williams artwork; and Much more not yet listed. A chance of a lifetime find! This is a huge lot to be sold in its entirety. William Crawford Plumley Estate
JACQUES LAGRANGE, SAILING PRINT, GIVEN TO PRESIDENT JOHN F. KENNEDY, LIMITED EDITION 67/500, WOODCUT, FRAME: 20 3/4 X 18 1/2 IN., PRINT: 12 1/4 X 9 3/4 IN.JACQUES LAGRANGE, SAILING PRINT, GIVEN TO PRESIDENT JOHN F. KENNEDY, LIMITED EDITION 67/500, Woodcut Print of sailing ship with a copy of 'Drama and Color in the Americas Cup Races, as Told in Woodcuts' by Jacques La Grange. NJ: The Christie Press, 1934. Number 67 of 250 copies signed by the artist (2) Woodcut Dimensions: Frame: 20 3/4 x 18 1/2 in., Print: 12 1/4 x 9 3/4 in. Provenance: Purchased from Sotheby's 2005 Kennedy Family Homes, Lot 115.
BALCOMB GREENE, NEW YORK, NEW HAMPSHIRE / FRANCE (1904-1990), RECLINING WOMAN, OIL ON CANVAS, 30"H X 48"W, 32"H X 50"W (FRAME)Balcomb Greene, New York, New Hampshire / France, (1904-1990) Reclining Woman, oil on canvas Signed lower right. Provenance: Bertha Schaefer Gallery, NY. Doyle, NY Biography from Spanierman Gallery: Balcomb Greene has been described as "an iconoclast, a painter who has refused to conform to the latest artistic trends." This comment was apt, for Greene was an independent-minded artist who followed his own aesthetic inclinations regardless of what was in vogue among critics and the public. At the outset of his career, he eschewed Depression-era realism in favor of a cutting-edge geometric abstract style that set him apart from the mainstream art establishment and from many of his fellow abstractionists. During the 1940s, when non-representational painting came into fashion, he began to incorporate the human form into his work, creating enigmatic figure paintings in which variations of light and shadow played a vital role in creating mood. Greene was born in Millville, New York, near Niagara Falls, on 22 May 1904. The son of Bertram Greene, a Methodist minister who christened him John Wesley Greene, he grew up in small towns in Iowa, South Dakota and Colorado, where he had little exposure to art. Greene initially intended to follow in his father footsteps and become a preacher. With this pursuit in mind, he enrolled at Syracuse University in 1922, funded by a scholarship for the sons of Methodist ministers. However, finding himself increasingly drawn to philosophy, literature and art, he eventually turned away from religion, graduating in 1926 with a degree in philosophy. While visiting the Metropolitan Museum of Art during his final year at Syracuse, he met the sculptor and painter Gertrude Glass (1904-1956) whom he married shortly thereafter. In 1926, the couple went to Austria, where Greene had won a fellowship in psychology at the University of Vienna. In 1927, Greene moved to New York City and resumed his studies at Columbia University, going on to receive a master's degree in English literature. From 1928 to 1931, he taught at Dartmouth College in Hanover, New Hampshire, while writing fiction in his spare time. A turning point in his career occurred in 1931, when Greene and his wife traveled to Paris to further their understanding of vanguard art and literature. Although Greene intended to write novels in his Montparnasse studio, he soon found himself drawn to the art world and decided to become a painter. He subsequently worked independently at the Académie de la Grande Chaumière and familiarized himself with contemporary European art, especially Cubism and Neo-Plasticism. He was especially inspired by the example of Piet Mondrian, Juan Gris and the Abstraction-Creation painters, who sought to eliminate all references to nature, literature and anecdote by focusing on pure abstraction. Greene returned to the United States in 1932, going on to develop his own hard-edged abstract style, creating what he referred to as "straight line, flat paintings." Indeed, while many of his cohorts, including his wife, explored the biomorphic forms of Surrealism, Greene was more of a purist, focusing on even lines, two-dimensional areas of color and interlocking geometric shapes in which he created a sense of space--a geometric landscape, of sorts. In 1937, he became a founding member and first chairman of Abstract American Artists, established to promote the cause of abstraction in national art circles. Taking advantage of his writing skills, he helped draft the charter of the organization and edit its yearbook. In the 1930s, Greene found employment with the Works Progress Administration's Federal Art Project, under whose auspices he created a mural for the Williamsburg Housing Project. He also designed a stained glass window for a school in the Bronx and created an abstract mural for the Federal Hall of Medicine at the World's Fair of 1939. In 1940, Greene began studying art history at New York University, going on to receive a master's degree in 1943. During this period, his aesthetic approach changed as he abandoned the crisply rendered and brightly colored forms of his geometric work in favor of the figure shown against a backdrop of fragmented planes. He went on to create paintings, often naturalistic depictions of the female nude, that were characterized by an expressionist handling of paint and a limited palette of whites, greys and other muted tones that derived from his interest in photography. In 1947 Greene purchased some land on Montauk Point, Long Island, where he built a home on a high bluff. With the exception of a trip to Paris in 1958-60, he spent most of his time on Long Island, where he was one of the pioneers of the East End art colony. Inspired by the proximity of the ocean, he painted a number of marines, using dynamic brushwork to evoke the energy and spirit of the sea. Greene had his first one-man show at the Dartmouth College Art Gallery in 1931. Retrospective exhibitions of his work were held at the Whitney Museum of American Art in 1961 and at the Guild Hall in East Hampton in 1978. In addition to painting, Greene taught aesthetics and art history at the Carnegie Institute of Technology in Pittsburgh (1942-47), where his students included Andy Warhol and Philip Pearlstein. He was a member of the Artists Union, the Federation of Modern Painters and Sculptors and the International Institute of Arts and Letters. Greene died at his home at Montauk Point on 12 November of 1990 at the age of eighty-six. Examples of his work can be found in many public collections, including the Allentown Art Museum, Pennsylvania; the Brooklyn Museum of Art; the Art Institute of Chicago; the Guild Hall, East Hampton; the Parrish Art Museum, Southampton, New York; the Museum of Fine Arts, Houston; the Walker Art Gallery, Minneapolis; the Newark Museum, New Jersey; the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; the Whitney Museum of American Art, New York; the Pennsylvania Academy of the Fine Arts, Philadelphia; the Carnegie Museum of Art, Pittsburgh; the Corcoran Gallery of Art, Washington, D.C.; the Joseph H. Hirshhorn Museum, Washington, D.C.; and the Smithsonian American Art Museum, Washington, D.C. CL © The essay herein is the property of Spanierman Gallery, LLC and is copyrighted by Spanierman Gallery, LLC, and may not be reproduced in whole or in part without written permission from Spanierman Gallery, LLC, nor shown or communicated to anyone without due credit being given to Spanierman Gallery, LLC. oil on canvas Dimensions: 30"H x 48"W, 32"H x 50"W (frame)
L. Hitchcock Limited Edition Chairs American Connecticut 1970s. A set of four limited edition signed Hitchcock chairs in green with painted horizontal splat depicting four different presidential homes comprising Andrew Jackson's Hermitage George Washington's Mount Vernon Thomas Jefferson's Monticello and John Adam's "Old House" each signed with Hitchcock stencil on back rail and each accompanied with original company tag; oah 35 in. Condition: Minor surface wear.
AMON GILES CARTER SR. COLLECTION OF US WWII HIGH RANKING GENERAL AND ADMIRAL’S HATS. Amon Giles Carter, Sr. was born in 1879 of humble means in a one-room log cabin in Crafton, Texas. By 1923 he had risen to president and publisher of the Fort Worth Star-Telegram, and five years later he was the director and part owner of the Aviation Corporation, later to be a major part of American Airlines. He was highly influential in the development of the discovery of oil in North Texas and persuaded many oilmen to move to his home city of Fort Worth. By 1935 his first successful oil well was drilled in New Mexico. Carter was an avid collector of Western art, among other things, and in 1961 the Amon Carter Museum was opened in Fort Worth. One of his most unusual collections, officer’s hats of prominent generals and admirals of World War II, is now offered by James D. Julia Auction Company. This collection grew to 24 examples from Carter’s habit of exchanging fine quality Stetson hats for the uniform caps of the various commanders, his friends and visitors to his famous “Shady Oaks” ranch and estate near Fort Worth. 1) EISENHOWER, DWIGHT D., FIVE-STAR GENERAL, U.S. ARMY. Olive-drab visor cap labeled “Extra quality Ayres & Smith, London. On label in ink “Eisenhower Gen of A”. Included is a piece of personal notepaper bearing five stars and the initials DDE with the inscription “14 Dec 1945. Here’s my Hat! And proud I am that you will put it with the pile in your Club. Ike Eisenhower.” CONDITION: Slightly crumpled, but generally fine. 2) KENNEY, GEORGE C., GENERAL, U.S. AIR FORCE. Summer-weight gabardine 50-mission-style crush visor cap by Brooks Bros., New York. Initialed “G.C.K.” on sweatband. Signed “Gen. George C. Kenney U.S. Air Force” on the underside of the visor. Kenney commanded the 4th Air Force, the 5th Air Force, and the 5th and 13th Air Forces called the Far East Air Force, or FEAF. CONDITION: Cap is crumpled and stained in places caused by the bleeding of the sweat lining. 3) RICHARDSON, ROBERT E., GENERAL, U.S. ARMY. Summer-weight khaki covered visor cap “Fly-weighter by Lewis”, English manufacture. CONDITION: Excellent, like new. 4) NIMITZ, CHESTER W., FLEET ADMIRAL, U.S. NAVY. Fine quality cap of silk-like material, sterling silver and gold wash insignia with bullion oak leaves and acorns over felt-covered brim. Cap is a “Bancroft Zypher Navy” from the Haas Tailoring Co., Baltimore, MD. Nimitz’s calling card under the sweatshield is signed “Honolulu-Texas Bound, July 1943. To Amon Carter, Greetings to a fellow Texan. C. W. Nimitz, Fleet Admiral, USN, 7 Dec 46”. Nimitz was the overall commander of the combined U.S. and Allied Forces of the Central Pacific area. CONDITION: In fine condition with minor storage staining. 5) ARNOLD, HENRY H. (HAP), GENERAL OF THE AIR FORCE. Summer-weight khaki visor cap by an unknown manufacturer. Signed on the underside of the visor “H. H. Arnold 1942” and on the inside crown “To Amon Carter from H. H. Arnold 1942”. Arnold, 1886-1950, was the commander of the U.S. Army Air Forces in World War II and the only air commander to hold the five-star rank of “General of the Army”. CONDITION: Leather sweatband is partially detached and the top bears some staining from the protective liner; otherwise in very good condition. 6) HALSEY, WILLIAM FREDERICK “BULL”, FLEET ADMIRAL, U.S. NAVY. Summer-weight tan visor cap by N. S. Meyer, Inc., New York. Embroidered Naval cap device, with acorns and oak leaves on a felt visor. The inscription on the inside of the sweat protector reads “To Amon Carter. Thanks for your hospitality. My hat’s off to you. W. F. Halsey – Admiral, U.S. Navy”. Dated “5-26-44”. Halsey commanded the South Pacific area in 1942. Promoted to Commander and Chief of the Third Fleet and Five-Star Admiral in Dec. 1945. CONDITION: Fine condition indicating moderate wear. 7) HIS ROYAL HIGHNESS PRINCE BERNHARD OF THE NETHERLANDS. British-style General’s visor cap, red band and cloth covered visor. Embroidered Netherlands royal lion with legend below “Nederland”. Cap was made by “Walter Barnard & Son, 97 Jermeyn St., St. James’s, London”. A slip of wrapping paper containing a return address states “From H.R.H. The Prince of the Netherlands, c/o Netherlands Embassy, Washington, DC”. The Prince, a staunch anti-Nazi, was a pilot with the RAF from 1942 – 1944. In 1944 he became commander of the Dutch armed forces. CONDITION: Some damage to the left front of the brim either by abrasion or mothing; otherwise in good condition. 8) BROWN, R. GORDON, GENERAL, ROYAL PARACHUTE REGIMENT. Maroon Parachute Regiment beret marked “Kangol Wear Limited 1944”. A post-war, 19 April 48 note in Brown’s handwriting accompanies the beret stating “To Amon Carter of Fort Worth. This beret from North Africa, Normandy, Arnheim and the Rhine – the only respectable hat I have. Gordon Brown”. CONDITION: Moderate moth damage along the edge of the leather binding. 9) ROYCE, RALPH, MAJOR GENERAL, U.S. ARMY AIR CORPS. Crusher-style tan gabardine visor cap, made in Karachi, India. Originally ordered by General Pat Hurley and then given to General Royce in Cairo, Egypt. Royce claims it was his “favorite hat” as indicated in a note pinned to the inside of the hat. The front eagle ornament is woven with gold thread into the cloth. General Royce commanded the 1st Aero Squadron in World War I, all U.S. forces in the Middle East, was Deputy Commander 9th Air Force and Senior Air Officer afloat during the Normandy Invasion. CONDITION: Quite good with one moth nip and some wrinkling from storage. 10) YOUNT, BARTON KYLE, SR., LT. GENERAL, U.S. ARMY AIR CORPS. Summer-weight gabardine 50-mission-style visor cap by Superior Uniform Cap Co., Chicago, Illinois. Signed inside the visor “To Mr. Amon Carter. Good Luck. Barton K. Young, 8 May '46.” General Yount, commander of various Air Corps training centers, became Commanding General, Army Air Forces Training Command in July 1943. CONDITION: In very good condition with a small moth nip on the right front and slight rumpling from storage. 11) EAKER, IRA CLARENCE, LT. GENERAL, U.S. ARMY AIR CORPS. Olive-drab visor cap made by Bancroft Uniform Headwear, Inc. of imported English fur felt. Titled on the headband “The Wales” and Bancroft pak-cap. Written inside the visor “To Amon Carter with every good and admiration for a great Texan. Ira Eaker, Lt. Gen USA. 10-29-45”. General Eaker commanded the 8th Air Force, commanded the Mediterranean Allied Air Forces, and in 1945, was named deputy commander of the Army Air Forces and Chief of the Air Staff. CONDITION: High-grade cap in fine condition with the exception of one moth hole and minor tracking. 12) SPAATZ, CARL “TOOEY”, MAJOR GENERAL, U.S. ARMY AIR CORPS. Summer-weight tan gabardine visor cap. Unidentified maker. Signed on the underside of the visor “To Amon Carter. Forwarded with reluctance since it is my last really good cap. Tooey Spaatz”. Inside the cap is noted: “This belongs to Tooey Spaatz. If lost, return to Amon Carter”. General Spaatz, as a Captain in World War I, commanded the 31st Aero Squadron. In World War II, he was given command of the U.S. Strategic Air Forces – Europe from before the invasion until final victory. CONDITION: Fine with the exception of a hair oil stain in the center of the crown. 13) VANDENBERG, HOYT SANFORD, GENERAL, U.S. AIR FORCE. U.S. Air Force blue general officer’s visor cap. This cap is decorated with clouds and lightning bolts both on the visor and band. The cap was manufactured by Superior Uniform Cap Company, and bears a silk label “Vandenberg USAF”. Holds a signed ink label “To Amon Carter, staunch supporter of Air Power from his friend, Hoyt S. Vandenberg – Aug. 17, 1953”. In World War II, Vandenberg was first assigned to the United Kingdom and assisted in the organization of the Air Forces in North Africa. He commanded the 9th Air Force, and was made assistant chief of air staff. In 1945 he was made Director of the CIA. Back to the Air Force in 1947, Vandenberg became Chief of Staff, U.S. Air Force in April 1948. CONDITION: Excellent in all respects. 14) DOOLITTLE, JAMES HAROLD “JIMMY”, LIEUTENANT GENERAL, U.S. ARMY AIR FORCE. Olive-drab overseas cap with general officer’s gold piping and three embroidered rank stars of Lt. General. The high quality cap was made by Woodrow, Piccadilly, London. Doolittle is well-known for his air racing and his raid with 16 B25 bombers on Japan. He commanded the 12th Air Force, the 15th Air Force, and the 8th Air Force in March 1944. CONDITION: Excellent. 15) ANDREWS, ADOLPHUS, VICE ADMIRAL, U.S. NAVY. A WHITE SUMMER LINER NAVAL VISOR CAP WITH AN EMBROIDERED BADGE AND COPIOUS “SCRAMBLED EGGS” ON THE VISOR. Made by the H. V. Allien Company of New York. A card attached to the inside of the cap indicates “Vice Admiral Adolphus Andrews, U.S. Navy, Commanding Scouting Force, United States Fleet”. CONDITION: Shows use and some storage and wear stains. 16) CLEMENT, WILLIAM TARDY, MAJOR GENERAL, U.S. MARINE CORPS. Summer-weight khaki visor cap with the Marine officer’s quatrafoil design on the cover. Made by Kuenzel Bros, Philadelphia, Pa. The insignia is a fine example of the Eagle, Globe and Anchor design. The inscription states: “To Amon G. Carter with regards of Wm T Clement, Major General of Marines”. Clement was evacuated from Bataan on board the U.S. submarine Snapper in April 1942. He served as assistant division commander at Okinawa and commanding general of the 3rd Marine Brigade. CONDITION: Very fine. 17) HARMON, HUBERT REILLY, LT. GENERAL, U.S. AIR FORCE. Blue U.S. Air Force visor cap made by Christenson, New York. The felt-covered visor is decorated with lightning bolts and clouds. General Harmon’s calling card is attached with the typed message “To Amon Carter in appreciation of much kindness and many courtesies. My first Air Force (rather than U.S. Army Air Force) cap and one of the first made”. General Harmon commanded the 6th Air Force and was promoted to Lt. Gen. on February 19, 1943. In November 1943 he was appointed deputy commander Air Forces South Pacific, then in June 1944, commander Caribbean Air Command. CONDITION: Good, lightly worn condition. 18) STARK, HAROLD RAYNSFORD, ADMIRAL, U.S. NAVY. Navy blue winter service visor cap. High quality cap device with a silver eagle and gold wash anchors, fine embroidered oak leaves and acorns in gold wire on the visor. Manufactured by H. V. Allien & Co., New York. Sweatshield contains Stark’s calling card naming him “Commander, United Stated Naval Forces in Europe”. Stark served as Chief of Naval Operations with the rank of admiral in 1939 and in April he went to England as Commander U.S. Naval Forces Europe. He was commander of the 12th Fleet and supervised the U.S.N. participation in the Normandy landings. CONDITION: Exceptionally fine. 19) HARTLE, RUSSELL. P. (SCRAPPY), MAJOR GENERAL. An overseas cap in olive-drab. General’s gold braid and major general’s rank stars are attached to the cap. It is not maker-marked, but it is named “Gen. Hartle L.R.T.C.” on the silk lining. On the leather sweatband is written “To Amon Carter, a remnant of our United Kingdom Campaign together. R. P. (Scrappy) Hartle”. Commander of the 34th Infantry Division, and a commander of all Army forces in Northern Ireland and responsible for the creation of the U. S. Army Ranger Battalion. CONDITION: Worn with a few snags in the material. 20) WAINWRIGHT, JONATHAN MAYHEW, IV, GENERAL, U.S. ARMY. Most unusual visor cap of soft felt with large gold embroidered eagle as well as oak leaves and acorns on the headband and felt-covered visor. The cap was manufactured by Luxemberg Military and Civilian Tailors, New York. The underside of the visor is printed “To Amon G. Carter, Sincerely, J. M. Wainwright, General U.S.A., 1945”. Additionally, “Wainwright” is written in ink on the tailor’s label. Wainwright was the senior field commander under MacArthur, and was pushed back by the Japanese to the Bataan Peninsula, and ultimately to the fortress of Corregidor where he was forced to surrender. In August 1945 he was liberated by the Russians in Manchuria. CONDITION: There are two moth holes and some separating of the felt, but they are not terribly detracting from the dazzling effect of this cap. 21) WILBY, FRANCIS BOWDITCH, MAJOR GENERAL, U.S. ARMY. Light khaki Model 1942 tropical helmet with officer’s style insignia attached to the front. Handwritten under the brim is “To Amon Carter, in memory of many pleasant visits to Fort Worth. F. B. Wilby, 6-17-43”. Also: “Maj. Gen. F. B. Wilby, Supt., U.S.M.A.”. General Wilby served as Superintendent of West Point from 1942-1945. CONDITION: Headband is loose, but otherwise in good condition. 22) SMITH, CYRUS ROWLET (C.R.), MAJOR GENERAL, U.S. AIR FORCE. Olive-drab gabardine overseas cap with gold general’s braid and two silver general’s rank stars. The cap is marked “The Lee Flight, A Berkshire Product”. Marked in ink on the lining “To Amon, CR Smith, Maj Gen USA, 2/24/45”. General Smith was president of American Airlines, elected to that position in 1934. In World War II Smith joined the Army Air Force as a Colonel assisting in the organization of the Air Transport Command. Promoted to Major General, he served as deputy commander of the Air Transport Command at the end of the war. CONDITION: Fine. 23) FELDWAY, HERMAN, MAJOR GENERAL, QUARTERMASTER GENERAL, U.S. ARMY. Overseas cap in olive-drab wool with the gold braid of a general and two embroidered rank stars. The interior of the cap is pinkish silk lining with a label embroidered with the quartermaster insignia and “Custom Tailored Frankfurt Main”. Professionally printed on the sweatband “To: - Amon Carter for his unusual and outstanding cordiality and hospitality”. Then signed by Herman Feldway, The Quartermaster General. CONDITION: Excellent. 24) LUTES, LEROY, LT. GENERAL, U.S. ARMY. Overseas cap of gabardine wool with gold general’s braid and three general’s rank stars. Attached to the cap is a black leather patch embossed in gold letters “To Amon Carter, the most courteous of hosts. From Roy Lutes, Lieut. General U.S.A. This cap flew 17 overseas flights and 360,000 miles”. General Lutes was Director of Operations, Headquarters, Services of Supply and also Acting Chief of Staff, Headquarters Services of Supply. CONDITION: Excellent, but with no maker’s identification. 4-59025 CW24 (38,000-45,000)
Monuments of Paris wallpaper panels, after Joseph Dufour with 22 panels and extra pieces.
Provenance: Property of a Southern lady.
Other Notes: Brochure reads:
After two and one-half years in the making, the Twigs' reproduction of "Les Monuments de Paris" is now on permanent exhibition at the Metropolitan Museum of Art in New York. As original copies of this document virtually unobtainable today, the Twigs cooperated with the Museum to reproduce in faithful detail one of the most important examples of this genre. The reproduction measures 8 1/2 feet high by 48 feet in length and is printed in full color-depicting a variety of pastoral scenes against a backdrop of architectural monuments.
Documentation was exhaustive throughout its manufacture, and a product of impeccable provenance and outstanding authority is positively assured. A limited number of additional copies were printed and are available for private installation. We are confident that THE MONUMENTS OF PARIS may be recommended without reservation to the most discriminating client.
At the turn of the eighteenth century, colorful and decorative block-printed wallpapers began to enjoy widespread popularity in both Europe and the United States, gaining official recognition with their use at Fontainebleau by Napoleon and at Mount Vernon by Washington. Rival firms vied with one another to create increasingly luxurious block-printed murals and panoramic papers, leading such manufacturers as Joseph Dufour to produce room sized murals which were printed with hundreds of colors and thousands of hand carved wood blocks.
In the United States, France's support of the American Revolution helped promote a sense of fashion and prestige for French-made goods in prominent American homes. The sparse décor of Federal dwellings and the unforgiving tedium of East Coast winters seemed to invite the use of cheerfully colorful and decorative scenic panoramas from France. Les Monuments de Paris was particularly popular in the United States where several partial sets still hang at their original installations.
Les Monuments de Paris provides rare glimpses of important Palaces and monuments of the Parisian landscape, many of which have long since been destroyed. Records from Joseph Dufour's firm indicate that several years of work went into preparing the original edition, with a staff of over two hundred and fifty workers including the master artist-in-charge, several draftsmen, block carvers, colorists, printers and chemists to supervise the mixing of the many pigments required.
This important document was saved from extinction in 1977 when the Twigs was commissioned by the Metropolitan Museum of Art to reproduce the panorama for the Museum's newly renovated American Wing. Original fragments were located and documented in situ, from which a full color, full scale master was constructed and from which the reproduction was traced. A team of artists worked for two years to produce the drawings and more than a thousand silkscreens were engraved to complete the printing-after which the screens themselves were destroyed.
Panels:
1. Palais des Tuileries
2. Arc du Carrousel
3. unnamed
4. Palais Mazarin and Notre Dame
5. Porte Saint-Denis
6. Palais-Royal
7. Saint-Jacques du Haut Pas
8. Le Pantheon
9. Palace Vendome
10. unnamed
11. Hotel de Ville
12. Val-de-Grace
13-14. Colonnade de Louvre
15. Saint Sulpice
16. Chambre des Desputes
17. Les Invalides
18. Saint-Germain-des-Pres
19. Palais Bourbon
20-21. Palais du Luxembourg
22. Jardins des Tuileries
All panels are mounted on canvas-backing and were previously installed. Panels are in good condition unless otherwise noted. Comprised of 20 rolls.
The Entire scene is complete unless noted.
Scene 10 (seems some inches missing on rt).
Scene 12 (some inches missing on rt).
Scene 13 missing (only fragment remains).
Scene 14 with horizontal tear.
Scene 16 (missing some inches on rt).
Scene 20 (missing some inches on rt).
Scene 21 (cut in half).
Rolls to Scene listing:
2-3: mounted together
4-5: mounted together with cut-out for electrical outlet.
6: slight separation at top left corner.
7: good condition for having been previously installed
8-9: mounted together, with doorway, fireplace surround and over-mantle cut-outs; with horizontal tear along center. Panel 8 has been trimmed vertically.
10-11: mounted together, with ten bearing fireplace surround and over-mantle cut-outs along left side. Panel 11 is trimmed.
11-12: mounted together with cut-out along right, horizontal tear near top right, and electrical socket cut-out.
13: fragment; trimmed substantially and painted to appear seamless
14, 15, 16: mounted together with horizontal tear on lower middle section of 14 and small tear at top right portion of 16.
17: good condition for having been previously installed
18, 19, 20, 21 (partial): mounted together.
21(partial): fragment, trimmed.
21 (partial), 22, 1: mounted together.
Extra panels:
4 (partial): with doorway cut-out
5 (double): trimmed slightly along left
8 (double): small horizontal tear along middle left.
9-10 (double): mounted together.
Miscellaneous panels:
A: section of clouds, H28" W45"
B: section of clouds, H28 1/2" W49"
C: section of balustrade, H14 1/2" W53 1/2"
7PC STEIFF LIMITED EDITION BLACK TAG MOHAIR GROUP Germany,1982-1995Group includes 1987 Limited Edition 1,543 of 2,000 Little Red Riding Hood wolf EAN no. 0127/12, 1988 Limited Edition Jumbo Elephant EAN no. 0125/24, 1995 Limited Edition pair of Noah's Ark Lamas EAN no. 038501, and three 1982 Tea Party bears EAN no. 0204/16 with piano music box, all with original tags, overall good condition having been displayed in a collector's home, light surface dust from display, please refer to photographs.
11 VOLUMES, EUDORA WELTY TITLES, PALAEMON PRESS11 volumes total, including: Women!! Make Turban in Own Home! , Winston-Salem, North Carolina: Palaemon Press Limited, 1979, publisher's copy signed by Welty; four copies of Retreat , Winston-Salem, North Carolina: Palaemon Press Limited, 1981, two numbered II and III of 50 with an original aquatint by Ann Carter Pollard and signed by Welty and Pollard, two numbered 2 and 3 of 150, signed by Welty; two copies of Eudora Welty: A Tribute , various authors including Robert Penn Warren, Printed for Stuart Wright, 1984, numbered 2 and 3 of 75; four copies of Bye-Bye Brevoort
Condition:
all fine to near fine, light wear to extremities
David Brookover (1958-) Landscape Art Photograph: Guaranteed Authentic. Signed and numbered limited edition platinum/palladium photographic print by David Brookover (1958- American) "Future Pull" depicts an ancient Native American cliff dweller home foundation in the mountains of Utah. Artist signed limited edition number 2/150 lower right. Unframed measures 25" x 40 3/4". Good to fair condition with bends to edges. Hill Auction Gallery will not ship. We will refer a local third party shipper.
TN CIVIL WAR BROADSIDE, PAMPHLET, LETTERThree (3) Civil War era documents, including a Tennessee 1865 Franchise Act broadside, Civil War Surgeon letter from Nashville, and an 1858 slavery related pamphlet. 1st item: Broadside copy of "An Act to Limit the Elective Franchise", William Heiskell, Speaker of the Tennessee House of Representatives, Samuel Ramsey Rodgers, Speaker of the Tennessee Senate, passed June 5th, 1865. The act barred ex-Confederates from voting for 15 years, with ex-Confederates defined under Section II as "all persons who are or shall have been civil or diplomatic officers or agents of the so-called Confederate States of America, or who have left judicial stations under the United States or the States of Tennessee, to aid in any way in the existing or recent rebellion against the authority of the United States, or who have been military or naval officers of the so-called Confederate States above the rank of Captain in the army of Lieutenant in the navy, or who have left seats in the United States Congress, or seats in the Legislature of the State of Tennessee to aid said rebellion, or have resigned commissions in the army or navy of the United States and afterwards have voluntarily given aid to said rebellion, or persons who have engaged in any way in treating otherwise than lawfully as prisoners of war persons found in United States service as officers, soldiers, seamen, or in other capacities, or persons who have been or are absentees from the United States for the purpose of aiding the rebellion, or persons who held pretended offices under the government of States in insurrection against the United States, or persons who left their homes within jurisdiction and protection of the United States, or fled before the approach of the National forces and passed beyond the Federal military lines into the so-called Confederate States for the purpose of aiding the rebellion, shall be denied and refused the privilege of the elective franchise in this States, for the term of fifteen years, from and after the passage of this act". Housed in a plastic sleeve. 2nd item: Civil War era letter written by Doctor John G. Brown, a Surgeon in the 4th Regiment Tennessee Volunteer Cavalry, Union Army, written from Head quarters Detach...Edgefield [East Nashville] TN and dated Feb 1st 1865 and addressed to his brothers Charles and William Brown. He writes "Dear brothers, I take this opportunity of writing to you to let you know where I am and how I am...I have only a small detachment of men here of sick and convalescent. The main part of the regiment is at East Port Miss. where our front is at the present. How long I will remain here I do not know [I] have been expecting orders to join the regiment any day. I have not been able to learn anything very definite from upper echelon since General Burnbridge's expedition though from what I am able to guess the Rebels have no regular force nearer than Bristol our front is at Strawberry Plains and the country between is infested with scouting parties and guerrillas killing a good many of the citizens at there [sic] homes...I recon [sic] the Copperheads have all gone into their holes not to return since they see the people have sustained Lincoln and the War. I hope he puts a collar around there [sic] necks before long and bring[s] [them] into the Army...I do not know but think a rigorous campaign with Sherman's destruction of South Carolina will make the Rebels willing to make peace at any terms if they do not they will not only lose their Negros [sic] but their lands and lives for the government is determined to conquer if it become necessary exterminate every rebel in the land...". Housed in a plastic sleeve with typed transcription. 3rd item: Slavery related Pamphlet, "The Kansas Question", Speech of Hon. Thomas S. Bocock of Virginia, House of Representatives, March 8, 1858. Speaking out against the refusal to admit Kansas into the Union under the Lecompton Constitution, the second constitution drafted for Kansas Territory that permitted slavery, excluded free African Americans from living in Kansas, and allowed only male citizens of the United States to vote, Bocock states "I do not know what will be the effect of a refusal to admit Kansas under the Lecompton constitution. I am not authorized to speak the views of Virginia...But I will say this... although hand join in hand to prevent, the destiny of Virginia, for once and for all, for now and forever, is indissolubly united with that of her sister States of the South". Housed in a plastic sleeve. American, mid 19th century. Provenance: all acquired from the estate of Harry Brown of Western Greene County, Tennessee. See other related lots to the Brown family, lots 539 and 570. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
1st item: Minute foxing spots, scattered on surface of sheet. Toning lines along sheet creases. Paper tears, largest 3/4", edges of sheet. 2nd item: Areas of toning, largest 3 1/2", surface of sheet. Paper tears, largest 1 3/4", creases and edges of sheet. 3rd item: Areas of water damage, largest 4 1/2", surface of sheet. Areas of insect damage, largest 1 1/8", surface of sheet. 7 1/2" tear along paper crease.
TWO NATIVE AMERICAN ART ITEMSTWO NATIVE AMERICAN ART ITEMS: 1) Dave McGary (American, b. 1958) bronze sculpture, "Home Sweet Home," mouse and Sioux moccasins on round walnut plinth, limited edition #82/250, artist signed, 8.5"D; 2) Montana stone petroglyph plaque, teepees & buffalo, 7.5 x 9 inches.
Elbert Hubbard LITTLE JOURNEYS TO THE HOMES OF EMINENT ARTISTS 1902 Author Title: Little Journeys to the Homes of Eminent Artists: AbbeyAuthor: Elbert Hubbard - Elbert Green Hubbard was an American writer, publisher, artist, and philosopher. Raised in Hudson, Illinois, he met early success as a traveling salesman with the Larkin soap company. Today Hubbard is mostly known as the founder of the Roycroft artisan community in East Aurora, New York, an influential exponent of the Arts and Crafts Movement. Among his many publications were the nine-volume work "Little Journeys to the Homes of the Great" and the short story "A Message to Garcia." He and his second wife, Alice Moore Hubbard, died aboard the RMS Lusitania, which was sunk by a German submarine off the coast of Ireland on May 7, 1915.Publisher: The RoycroftersCity: East Aurora, New YorkYear: 1902Printing Information: Signed EditionBinding Style: Other - see descriptionPagination: pages 109-130, [1] leaf of platesWidth: 6.25" Height: 8.5"Book Details: This work is devoted to Edwin Austin Abbey (April 1, 1852 – August 1, 1911), an American muralist, illustrator, and painter. He flourished at the beginning of what is now referred to as the "golden age" of illustration, and is best known for his drawings and paintings of Shakespearean and Victorian subjects, as well as for his painting of Edward VII's coronation. His most famous set of murals, The Quest of the Holy Grail, adorns the Boston Public Library.Condition / Notes: This is a scarce author-signed limited edition of this work written by Elbert Hubbard, being copy number 626 of 940. The title page, initials and ornaments were designed by Samuel Warner. The inscription on a blank preliminary page reads "Do you work as well / as you can - and be / kind. / Elbert Hubbard / Sep 15th / 1903." An original engraving and a card with a quotation by Robert Louis Stevenson are laid in.This antique volume is bound in suede, with gilt-lettered insets on the front cover. The book shows very light shelfwear. The binding is sound. The interior is clean and bright. This work is adorned with a hand-illumined title page and initial letters. The frontispiece portrait of Edwin A. Abbey has a tissue guard.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: $4.50
JOHN STOBART (ENGLISH, B. 1929), LIMITED EDITION PRINT, "THE CHARLES W. MORGAN AT CHUBB'S WHARF BY MOONLIGHT", CELEBRATING THE 150TH..John Stobart (English, b. 1929), limited edition print, "The Charles W. Morgan at Chubb's Wharf by Moonlight", celebrating the 150th anniversary of the launching of the CHARLES W MORGAN, showing the vessel at center in moonlight, with gaslight illuminating local shops and homes lining the wharf, figures and horse drawn carriages dot the foreground, ©1991, pencil signed and numbered in plate LR, ed. 4116/6141, elegantly matted and framed behind glass, not examined out of frame, framed size: 32" h. x 41 1/2" w.
HISTORY OF HOMES AND GARDENS OF TENNESSEE 1936 Limited Edition Vintage Gardening US South Photographs Plans Decorative Binding Title: History of Homes and Gardens of TennesseeAuthor: uncredited authorEditor: The Garden Study Club of NashvillePublisher: Published for The Garden Study Club of Nashville by the Parthenon PressCity: NashvilleYear: 1936Printing Information: Limited EditionBinding Style: HardcoverPagination: 503 pagesWidth: 10.5" Height: 14.25"Book Details: Condition / Notes: This is a scarce limited edition, being copy number 1096 of 1,500.This volume is bound in pebbled blue cloth, with stamped gilt lettering to the spine and front cover. The book shows light shelfwear. The binding is firm. The volume has map endpapers. The bookplate of The Cleveland Garden Center appears on the verso of the flyleaf. The title page has library markings in pencil. Foxing is visible on the preliminary pages, including frontispiece and title page, as well as the final four pages of text and blank pages at the rear of the volume. The pages are otherwise clean and bright. This work is profusely illustrated with full-page and textual b&w photographs of gardens. A number of plans of gardens are also present.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
Leather Fireman's Belt and a Limited Edition History of Fire Fighting Book, the belt with applied cut-out lettering "NEW BEDFORD," (Massachusetts), together with a book titled ENJINE!-ENJINE! A Story of Fire Protection, by Kenneth Holcomb Dunshee, published by Harold Vincent Smith for the Home Insurance Co., New York, 1939, no. 714 of 1000 editions.
MR. OCTOBER REGGIE JACKSON BY PAUL CALLE 1977 OFFICIAL WORLD SERIES LITHOGRAPHMR. OCTOBER REGGIE JACKSON BY PAUL CALLE 1977 OFFICIAL WORLD SERIES LITHOGRAPH, MR. OCTOBER REGGIE JACKSON BY PAUL CALLE 1977 OFFICIAL WORLD SERIES LITHOGRAPH. "Mr. October" - Reggie Jackson Official 1977 World Series Lithograph Artist - Paul Calle - Signed Limited Ed. (86/600) New York Yankees 24x18 LITHOGRAPH: DESCRIPTION: This limited edition lithograph by Paul Calle is the Official 1977 World Series Lithograph commemorating Reggie Jackson "Mr. October" hitting his 3rd home run in game 6 winning the 1997 World Series. The New York Yankees beat the Los Angeles Dodgers, 8-4 at the original Yankee Stadium, and win Game 6 to take their 21st World Series -- but their 1st in 15 years. The man that Sports Illustrated called a "Superduperstar" in Oakland becomes a legend in New York. He becomes "Mister October." Reggie Jackson is an icon. As Reggie had jokingly predicted, a candy bar was named after him. Oddly enough, it was peanuts and caramel, surrounded by chocolate -- pretty much the same combination as the Baby Ruth bar, which, as we now know, was named after the Bambino, the 1st man to hit 3 homers in a World Series game. Every die-hard Yankee fan knows Reggie and here is your chance to own the official World Series limited edition Lithograph signed by the artist
JOSEPH HOLIDAY, INDIANAPOLIS (1927-1990), MOTHER AND CHILD, OIL ON CANVAS, 29 1/2" X 23", 35" X 29" (FRAME)Joseph Holiday, Indianapolis, (1927-1990) mother and child, oil on canvas signed lower left. Biography from the Encyclopedia of Indianapolis: (Nov. 6, 1927-June 30, 1990). Joe Holiday was born in Chicago, Illinois, the seventh of eight children of Joseph and Gussie Hunt Holiday. Holiday's father died when he was two years old, after which the family moved to Indianapolis where Holiday resided until his death. Holiday may have heard stories about his father's creativity that would inspire his artistry much later in life. As a cabinet maker, Holiday's father fashioned ornate designs in wood and painted glass. As an adult, the younger Holdiay would go on to create frames for his own artwork, fashioning some of the more unusual pieces from ornate headboards and rough weathered wooden planks. In Indianapolis, Holiday created his first pencil drawing at age 5 and sold his first pencil sketch at age 6 to neighbors. Later, at CRISPUS ATTUCKS HIGH SCHOOL, Holiday's teachers encouraged his creativity and made it possible for him to attend the JOHN HERRON SCHOOL OF ART in Indianapolis. He also studied at the Art Institute of Chicago. Holiday lived and worked at his home studio on North Illinois Street in Indianapolis. He is known for his facial studies, particularly of African Americans and Africans. Most of his work is in oil where he uses a palette knife and brush, though some of his work shows his skill using pastels. Rather than using live models to guide his painting, Holiday preferred to study slides of photos his brother took from his travels to Africa to channel inspiration for his creations. Holiday said of his work, "I constantly observe people . . . and when I paint, I try to capture the moods and feelings I see." Portraiture did not appeal to Holiday. He viewed it as a reductive task rooted in achieving a likeness of the subject rather than an expression of the subject's mood. Holiday drew inspiration for his combination of realism and mood by studying the art of Andrew and Jamie Wyeth and Norman Rockwell. Though Holiday's subject matter remained constant throughout his career, his artwork continued to mature as he studied the techniques of Michaelangelo and DaVinci from his ample collection of art history books. Holiday participated in many one-man shows partly because Indianapolis had few opportunities and spaces where up-and-coming artists, let alone Black artists could display their work in the 1960s. The limited number of commercial and nonprofit galleries tended to work with established artists. Those galleries that existed were located on Indianapolis' Old Northside and the burgeoning art colony in Broad Ripple (See ART GALLERIES). However, he did find venues to showcase his work. For example, he exhibited and won prizes at the INDIANA STATE FAIR HOOSIER SALON. In the late 1960s, his work was displayed in the lobbies of Indianapolis theatres and businesses. U.S. state senator Rupert Vance Hartke (D-IN) hung a Holiday painting in his Washington, D.C., office as did an unidentified U.S. state representative from Indiana. Limited exposure of Holiday's work combined with the economic price-point of his paintings, most of his oil paintings listed at a starting price of $75 and the pastels at $25, may have made full-time dedication to art untenable. He taught art in the program services department at the Camp Atterbury Job Corps Center in 1970. Later he taught art at Holy Angels Schools. oil on canvas Dimensions: 29 1/2" x 23", 35" x 29" (frame)