[MOORE, Clement Clarke (1779-1863)]. - David M'CLURE."Account of a Visit from St. Nicholas" [Twas the night before Christmas …] as published on p.40 of The United States National Almanac. Philadelphia: R[obert] Desilver, [1824]. Tall 8vo (9 1/8 x 5 3/4 inches; 230 x 145 mm). Stitched as issued within plain wrappers, modern folding cloth case. Condition : lacking a folding table mentioned on the title-page, lightly soiled; split to upper joint, four small sections chipped, old tape repairs.first book appearance of one of the most famous children’s poems ever written, a work which redefined our views of christmas and revealed to a wide audience the existence of santa and his team of reindeer. This delightful work was first printed nine months earlier as an anonymous contribution to the Tuesday, 23 December, 1823, issue of The Troy Sentinel , an upstate New York newspaper. At that time the editor prefaced it with an explanation disclaiming any knowledge of the poet's identity, but justifying its publication on the grounds that "there is a spirit of goodness in it, a playfulness of fancy, and a benevolent alacrity to enter into the feelings and [to] promote the simple pleasures of children, which are altogether charming." Less than one year later the poem together with its preface were reprinted on p. 40 in this almanac. An acknowledgement to the Troy Sentinel is included, and a textual error corrected: the newspaper misspelled the name of the 8th reindeer as "Blixem", but here it has been corrected to "Blixen". The correction and the acknowledgment both suggest that this reprint was sanctioned by Clement Moore, and the copyright date of registration (for the whole almanac) is 27th August 1824. There are only two recorded copies of the original Troy Sentinel printing, located at the American Antiquarian Society (Worcester MA) and Yale (Shirley Collection).There are ten other copies of this almanac: all now in institutions (there are two variant issues) and including a copy from the Stralem sale, sold by Sotheby's NY (1 June 1995, lot 84, sold for $29,900, rebound without wrappers). BAL 14342 details three other 1825 almanacs which include the poem, each issued later than the present work, all edited by Joshua Sharp. M Drake Almanacs 11474; Marshall 6; Shoemaker Checklist of American Imprints 19111.
[Pop-Up] Lot of Christmas Pop-Up, Movable, Noise-Making, and Interactive Books. American, 1940s—50s. An impressive collection, together approximately 40 volumes of twentieth century titles, all but five Christmas themed, with many first editions, many in original pictorial boxes, and generally in fine condition, being in near or full states of completeness including inserts, fold-outs, instruction slips, and other pieces.
Includes:
Pranky’s Christmas (in box) COMPLETE
(No Publisher, No Date)
Charlot Byj
Three pop-ups
Round plastic skill puzzle (silver balls in a clock face) shows through die-cut hole in cover
Peppermint candy (title page)
Die-cut lower half of page with candy cane pipe cleaner (p.9)
Two sheets of gummed stickers in pocket (p.12)
Die-cut hole (p.16)
Christmas in Fairyland (in box) COMPLETE
(No Publisher, No Date, ca. 1950)
No Author, No Illustrator
Cover has die-cut white foam moon and glitter stars
Envelope inside front cover contains:
Sheet of gummed Stickers
Sheet with numbers which key the gummed stickers to the spots on the book
Sheet of punch-out game pieces
Santa crown
Whistle (p.2)
Die-cut Fairy Queen figure (p.4)
Die-cut reindeer (p.7)
Gold star on red pipe cleaner: magic wand (p.11)
Tatoo bubble gum (p.13)
Game on back cover
Santa’s Fun Book (in box) NEAR COMPLETE
(White Plains Greeting Card Corp., 1954)
No Author, No Illustrator
Four pop-ups and moveables
Die-cut hole in cover (p.1)
Yellow metal clicker (p.2)
Silver metal bell (p.4)
Die-cut hole in page in shape of star (p.5)
Embossed silver foil badge (p.6).
Brown honeycomb accordian (pp.8-9)
The Wonderful Window (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Whistle, plastic
Die-cut angel standee (p.12)
Loose in the box:
Four punch-out sheets
Window with tiny celebrant, rabbit, and lamb
Mobile with angels
Red feather (p.11)
LOLLIPOP (P.15)
3D glasses (p.16)
Box of four crayons (p.20)
Coloring book (p.20)
Santa’s Busy Day (in box) COMPLETE
(Polygraphic Company of America, 1953) $1.25
No Author, No Illustrator
Two pop-ups
Gold bell on reindeer’s neck (pp.2-3)
Balloon and metal clicker (p.7)
Seven die-cut reindeer (pp.8-9)
Tinsel strip (pp.16-17)
Die-cut reindeer: Blitzen (p.19)
Brown crayon (p.21)
Santa’s Circus (in box) COMPLETE
(White Plains Greeting Card Corp., 1952)
Pictorial Box
No Author, No Illustrator
Four pop-ups and moveables
Squeaker on clown’s nose (p.7)
Horse flocked (p.9)
Balloon for Elephant’s nose (p.11)
Red Pencil (p.16)
White Life Saver (p.18)
Die-cut hole for hat (p.23)
Paper blowout with feather (i.e., party blower or blow tickler) (p.25)
Santa Claus in Toyland (in box) NEAR COMPLETE
(Doehla Greeting Cards, 1951)
Softcover with red plastic spiral binding
No Author, No Illustrator
Five pop-ups and movables
Cover has styrofoam “snow” on house roof
Die-cut elves (p.7)
Lollipop (p.18)
VARSITY GUM (p.20)
The Shiniest Star (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups and moveables
Gold foil star mounted on cover
Wee-book (p.1)
Metal “shark” whistle (p.8)
Wise man cardboard standup (p.18)
Loose in box:
Instruction sheet for assembling manger
Punch-out manger
Two punch-out sheets of people and animals for Nativity
Christmas Time (in box) COMPLETE
(No Publisher, No Date)
Written and Adapted by Hilda M. Finch
Illustrated by Charlot Byj, Stina Nagel, Cristina F. Christensen, Rene Racette
Four pop-ups and moveables
Envelope inside rear cover has cookie recipe printed on it, and loose inside:
Folded punch-out sheet for “Mrs. Honey Bun’s Helpers”
Folded punch-out sheet, one side for “Billy’s Christmas Visitor,” the other for
“The Night Before Christmas” (Figures fit into slots you cut on the page)
Kerry Kitten’s Christmas Adventures (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Jason Lee
Three pop-ups and moveables
Package squeaker (p.8)
Metal badge (p.13)
Wee coloring book “Brave Cats” (p.21)
Water pistol (p.21) This item is glued to the front of the wee coloring book.
Santa’s Christmas Party (lacking box)
(Polygraphic Company of America, 1951)
Pictures by Mary Stevens, Story by Helen Sterling
Five pop-ups
Die-cut hole in cover
Button (“Santa’s Christmas Party”) (p.3)
Santa’s Christmas Punch-Out Book
(Lowe, No Date)
The Night Before Christmas (animated by Meg Wohlberg)
Crown, 1944
Santa’s Playbook
Whitman, 1964
Christmas Cards (26 of Them)
Saalfield, 1946
Christmas 1955 (Carl Henry Rathjen)
3-D Glasses
Pop-up display rear inside cover
Stevie’s Christmas Concert (in box) COMPLETE
(No Publisher, No Date)
Written by Beth Vardon, Pictures by Charlot Byj
Two pop-ups
Plastic flute (p.18)
Loose in box:
Instruction sheet for assembling Pet Shop Interior
Pet Shot Interior pop-up scene
Punch-out sheet of pieces for pet shop (Christmas tree and three animals)
Santa’s Merry Carnival (in box) COMPLETE
(Polygraphic Company of America, 1955)
By Dorothy N. King, No Illustrator
Green alligator clicker (p.4)
Balloon in clown’s hand (pp.8-9)
Paint tablets (p.14)
Paint brush (p.15)
Monkey on wooden trapeeze stick (pp.18-19)
Davey and the First Christmas (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Inside Front Cover: Paper blowout with feather (i.e., party blower or blow tickler)
Game on back cover
Loose in box:
Die-cut Donkey (Tim)
Die-cut saddle bags (three pieces)
Instruction sheet for assembling donkey and saddle bags
Punch-out sheet with stars and top for game
Instruction sheet for game
Santa’s Cuckoo Clock (in box) COMPLETE
(Polygraphic Company of America, 1954) $1.25
By Dorothy N. King, No Ilustrator
Six pop-ups
Die-cut hole in cover
Paper blowout with feather (i.e., party blower or i.e., party blower or blow tickler) (p.6)
Paper straw (p.12)
Wee-book, Carols for your Christmas (p.14)
Paint tablets and paint brush (p.16)
Balloon (p.19)
The Christmas Story in box
Gospel Trumpet, 1952
Nativity scene pieces loose in box
Santa Visits Mother Goose (in box) COMPLETE
(White Plains Greeting Card Corp., 1953)
No Author, No Illustrator
Five pop-ups and moveables
Die-cut hole (p.5)
Red plastic spoon (p.7)
Band-Aid (pp.8-9)
Cellophane bag of red candy hearts (p.13)
Die-cut window in Mother Hubbard’s dress (p.17)
Paper parachute with fish (p.18)
Die-cut hole for piggy’s head (p.19)
Piggy squeaker (p.21)
Red paper horn (p.23)
Wee-book of Mother Goose rhymes (p.25)
Santa Claus in Storyland (in box) NEAR COMPLETE
(Doehla Greeting Cards, 1950)
Hardcover: casebound
No Author, No Illustrator
Six pop-ups and moveables
Cover has styrofoam “snow” on house roof
Die-cut spider (p.16)
Varsity gum (p.17) (Another copy with Fleer’s Double Bubble gum—a replacement?)
LOLLIPOP (p.20)
Santa’s Tuney Toy (in box) COMPLETE
(Polygraphic Company of America, 1956)
By Dorothy N. King, No Illustrator
Die-cut Carousel on stick (pp.2-3)
Wooden and metal multi-color xylophone and wooden mallet
Inside rear cover is small Tuney Toy Song Book
Christmas on Stage (in window box) COMPLETE
(Polygraphic Company of America, 1950)
By Charlot Byj
Five pop-ups
Visions of St. Nick in Action in Box
Phillips, 1950
My Flower Garden Book
No publisher, No date
Seed packets and pop-outs intact
Blinky Bill “Magic Action”
Whitman, 1935
Bobby Bear “Magic Action”
Whitman, 1935
Christmas Time (in box) COMPLETE
(No Publisher, No Date)
Written and Adapted by Hilda M. Finch
Illustrated by Charlot Byj, Stina Nagel, Cristina F. Christensen, Rene Racette
Four pop-ups and moveables
Envelope inside rear cover has cookie recipe printed on it, and loose inside:
Folded punch-out sheet for “Mrs. Honey Bun’s Helpers”
Folded punch-out sheet, one side for “Billy’s Christmas Visitor,” the other for
“The Night Before Christmas” (Figures fit into slots you cut on the page)
Floppy in Santa Land (in box) Signe COMPLETE
(Polygraphic Company of America, 1957)
Story by J. O’Hara, No Illustrator
Five pop-ups and moveables
Metal button on the cover: “Santa’s Guest * North Pole, N.Y.” (Not in pristine copy)
Cotton-tail (p.5)
Paint tablets and paint brush (p.6)
Dog’s die-cut back foot on a spring (p.13)
Pop-up soft foam bunny ears (p.19)
Santa’s Little Helpers (in box) NEAR COMPLETE
(Polygraphic Company of America, 1952)
Illustrations by William P. Hoest, Story by Ahlene Fitch
Six pop-ups and moveables
Die-cut cover (Santa’s beard)
Round cotton for Snowman (p.2)
FOIL-WRAPPED CANDY (P.7)
Balloon (p.11)
Die-cut Santa’s sleigh (p.18)
Paper blowout with feather (i.e., party blower or blow tickler) (p.22)
Metal clicker (p.25)
Larry’s Little Lamb (in box) COMPLETE
(No Publisher, No Date)
(Regal Stationary Company, Canada?)
Illustrations by Charlot Byj
One pop-up
Cover has small plastic ribbon attached by pin
Silver bell (p.2).
Small Chiclets box (yellow, red, or blue) with two Chiclets inside (p.13)
Loose in box:
Instruction sheet for assembling punch-out “Creche Theater”
Quarter-folded sheet of punch-out pieces: Creche and 8 figures
Poochy the Christmas Pup (in box) COMPLETE
(No Publisher, No Date)
Written by Beth Vardon, Pictures by Charlot Byj
Two pop-ups
Inside Front Cover: Paper blowout with feather (i.e., party blower or blow tickler)
Small compass (p.4)
Plastic toy rifle (p.9)
Magnetic Fishing set (p.18)
Plastic bone (p.20)
Loose in the box: Christmas Carols booklet
André et le Premier Noël
French Canadian Edition of Davey and the First Christmas
(Regal Stationary Company, Ltd., No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Inside Front Cover: No reference to “chicken feather” printed on page. The envelope holds the game pieces for the Voyage en Egypte game on the rear cover.
Punch-out sheet with stars and top for game
Instruction sheet for game
Game on back cover
Santa’s Circus (in variant box) COMPLETE
(White Plains Greeting Card Corp., 1952)
Red and White Box
No Author, No Illustrator
Four pop-ups and moveables
Squeaker on clown’s nose (p.7)
Horse flocked (p.9)
Balloon for Elephant’s nose (p.11)
Red Pencil (p.16)
White Life Saver (p.18)
Die-cut hole for hat (p.23)
Paper blowout with feather (i.e., party blower or blow tickler) (p.25)
Take the Children (in window box) COMPLETE
(Dorothy K. Werblow, 1951)
Written by Dorothy N. King, No Illustrator
Six die-cut dolls in envelope (p.11)
Next six odd-numbered pages (pp.13, 15, 17, 19, 21, 23) each have a slot for a doll
The Jolly Snow Man Christmas Play Book (in box) COMPLETE
(White Plains Greeting Card Corp., 1955)
No Author, No Illustrator
Balloon in Snowman’s nose on cover (p.1)
Bell on reindeer’s nose (p.8-9)
Stand-Up Christmas tree with punch-out ornaments (p.12).
Christmas stocking with three items (p.16)
Magnet in envelope
Santa Picture Puzzle (punchout)
Game Book
Jet Glider in glassine envelope (p.17-18)
Paint brush (p.19)
Santa Claus Magic Paint Book (pp.20-23)
Christmas at the Little Zoo (in box) COMPLETE
(No Publisher, No Date)
(Reader's Digest Children's Publishing, Incorporated, 1955?)
Story by Beth Vardon, Illustrations by Charlot Byj
Inside front cover, envelope contains:
Printed and folded paper ruler
Little Zoo paper penant on candy cane pipe cleaner
Printed Zoo ticket
Press-out Christmas ornaments (five)
Bell (p.7)
Green balloon (p.15)
Gold-covered chocolate coin (p.16)
Four tiny Christmas cards and four matching white envelopes in red band (p.19)
Leon Jason’s Jingle Dingle Christmas Stocking Book (in box)
COMPLETE
(Art Craft Publishers, 1953) $1.25
Story by Lucille Lee Kramer, Pictures by Ruth Ruhman
Five pop-ups and moveables
Jingle Dingle figure die cut with bell on cover (p.1)
Balloon in suitcase (p.5)
Jingle Dingle figure die cut (p.14)
Whistle in Santa’s hand (p.19)
Checkerboard and domino punch-out sheets in Christmas stocking (p.21)
Velvet Eyes: Santa’s Little Helper (in box) COMPLETE
(No Publisher, No Date)
Illustrated by Charlot Byj, Edited by Emil W. Klimack
Front cover has gold-embossed foil star
Inside front cover, envelope contains:
Sheet of gummed stickers (to be placed at numbered spots in book)
Punch-out sheet of game pieces (six children and five stars)
Instruction sheet for game on rear cover
Bell (p.4)
Whistle (p.6)
Small mirror (p.9)
Die-cut Velvet Eyes figure (p.13)
Talking Mama doll figure (pp.16-17)
Gold-printed star (p.21)
Game on back cover
Edward Curtis, The North American Indian Volume IX, 1913: Edward S. Curtis. (1868 - 1952). The North American Indian Volume IX, 1913. Individual volume on Holland Van Gelder etching stock . Salishan Tribes of the Coast, Chimakum, Quilliute, Willapa. . The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Volume IX. Written, Illustrated and Published by Edward S. Curtis. Edited by Fredrick Webb Hodge. Foreward by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass. ], 1913. . . LIMITED EDITION: Quarto-sized (313 x 239 mm): This volume is numbered 48 of an unfulfilled edition of 500, on handmade Holland Van Gelder etching stock, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, raised paneled spines, ribbon bookmarks, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. . . TEXT VOLUME: 75 photogravures, including 1 hand-colored print. Over 220 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. . Provenance:. Edward S. Curtis Studio. Charles Arthur Moore, Jr. By descent to family. The Christopher G. Cardozo Collection 2019. . This set of “The North American Indian, ” number 48, by Edward Sherriff Curtis comes directly from the hands of the photographer, through four generations of the Moore (Close) family, to the hands of the buyer. The books keenly represent that period in American history when industrialization conquered the nation’s wild lands and clashed with its indigenous peoples, and for purposes of provenance it should be known that the man who acquired them from Curtis himself embodied both industry and a deep reverence for nature and the American West. The books were purchased from Edward S. Curtis by the seller’s great grandfather, Charles Arthur Moore, Jr. of Greenwich, Connecticut. Moore was a Greenwich native, a humanist, and an industrialist who became president of his father’s metal products manufacturing company Manning Maxwell & Moore that built parts such as gauges, valves, and hoists for cranes and trains. Moore’s New York City office was in the Chrysler Building just below the gargoyles. Born 23rd of June, 1880, in Lynn, Massachusetts, to Charles A. Moore, Sr. and Mary Campbell Moore, his siblings were Mary Elsie Moore who married Italian prince Don Marino Torlonia, 4th prince of Civitella-Cesi; Eugene Maxwell Moore who married Titanic survivor Margaret Graham; and Jessie Ann Moore who married US Navy Admiral Colby Mitchell Chester. Moore married twice, first to Annette Sperry of Nashville with whom he had three children and divorced in 1919, then to Elizabeth Hyde (1897-1983), daughter of Seymour Jairus Hyde and his wife Elizabeth Worrall. The Hyde’s were also wealthy industrialists whose company, A. G. Hyde & Sons Co. manufactured dry goods such as the Heatherbloom petticoats, and advertised with the first moving sign on Times Square. Charles and Elizabeth, who was known as Betty, had two children: John Campbell Moore (1921-1943), who died in active service with the 853d Engineer Battalion while being transported on the H. M. T. Rohna in World War II; and Bettine Moore, to whom the Curtis books later belonged. Moore was educated at St. Paul’s school and graduated Yale class of ’03. He was with the Montenegrin Army for some months during the Balkan War, then served throughout WWI, commanding in France the Old Twelfth Company of Greenwich attached to the 56th Artillery, A. E. F. He retired at the conclusion of the war with the rank of Major. A life member of American Museum of Natural history, Moore contributed specimens to the institution, like a mountain goat he shot in northern Rockies near the Columbia River in 1904, among others. He was also a member of New York Zoological Society (now the Wildlife Conservation Society) and the National Geographic Society, as well as many manufacturing groups. Moore was a physically imposing man, a great lover of nature, a deeply devoted father, and the owner of a self-sustaining 168-acre farm/estate in Greenwich called Mooreland, on Mooreland Road, at which he hosted the Highland Games every summer. He had a wide and eclectic circle of friends of many ethnicities. An avid photographer, he shot both stills and movies, a collection of which the family retains. Many photographs depict beautiful natural scenes, or holidays to places like Cuba and dude ranches in the west. The reels of black and white film that he shot portray his family life (Johnny and Bettine as children, the Highland games, etc. ), and travels during the 1920’s – 40’s. . EARLY INFLUENCE & LATER EXPEDITIONS:. In the fall of 1883, at the tender age of three, Arthur, as Charles, Jr. was known to his family, made a trans-continental trip by train on the Northern Pacific Railroad from New York City to Portland, Oregon with his parents. This was the very year the tracks were laid. One of his father’s letters from the journey, dated September 29, 1883 reads, "Yesterday Arthur shook hands through the window with an Indian Brave in War paint. ” This telling scene took pace in Billings, Montana, which at the time was still a territory. The Indian man was most likely Cheyenne, Crow, or Lakota Sioux. To put it into perspective, the Battle of the Little Big Horn/Battle of the Greasy Grass, otherwise known as Custer’s Last Stand, which took place just south of Billings, had happened only a few years prior, in 1876. Although the Indians won that battle, it was a symbolic win. In a mind-bogglingly short period of time their world had been forever altered. The last wild herds of buffalo had recently been obliterated from the landscape. Tribes were being force onto reservations. Settlers and miners were staking their claims. Who was he, the mystery “Indian brave”? We wish we knew, because his touch likely sparked in young Arthur a deep admiration for indigenous Americans and the west that eventually inspired him to sign onto the young Edward Curtis’ courageous venture in photography in 1906. Arthur’s early travels—and his father’s international travels and extensive political connections—also inspired him to become an explorer. Besides venturing west, he went north and east. He became dear friends with Captain Bartlett and 1897 journeyed with Commander Robert E. Peary, U. S. N. to find the geographic North Pole. Moore then took charter of the steam whaler Algerine and spent the summer of 1901 in the Hudson’s Straights and Hudson’s Bay. His expedition north and with Peary succeeded in charting new waters and bringing back trophies, like Inuit artifacts and the Cape York meteorite, which is housed in the American Museum of Natural History in New York City. It is likely that befriending Inuit peoples also compelled him to support Curtis’ work. Later, in 1906, Mr. Moore traveled to Arabia, lands then controlled by the Ottoman Empire, including into what is now modern-day Syria, with the day’s most famous political cartoonist, Homer Davenport, whose drawings satirized figures of the Gilded Age and Progressive Era. The purpose of the expedition was to bringing back Arabian horses to the United States. Davenport had fallen in love with the breed at the World’s Fair in Chicago in 1893, the first time Arabian horses were on US soil. Moore, also a keen horseman, photographed and documented their expedition to Arabia, playing a key role in bringing some of the earliest desert-bred Arabian mares and stallions to America. Moore’s love of animals, wild lands, native peoples, art, and the west, he passed on to his daughter Bettine, wife of Dr. William Taliaferro Close, and mother of actress Glenn Close and her three siblings, and, through them, to his great granddaughter who made the difficult decision to sell the books. Dimension Condition This original volume is in very good to excellent condition overall. A formal, detailed condition report is available upon request. . The condition reports for the lots offered by Santa Fe Art Auction (SFAA) are provided as a courtesy and convenience for potential buyers. The reports are not intended to nor do they substitute for physical examination by a buyer or the buyer's advisors. The condition reports are prepared by SFAA staff members who are not art conservators or restorers, nor do they possess the qualifications needed for comprehensive evaluation. Each condition report is an opinion of the staff member and should not be treated as a statement of fact. The absence of a condition report does not imply anything as to the condition of a particular lot. Buyers are reminded that the limited warranties are set forth in the Terms and Conditions of Sale and do not extend to condition. Each lot is sold as-is.
Executive Officer Henry W. Washburn USS Morning Light Civil War Archive War-date archive of five letters one partial letter and three transmittal covers. Written by ill-starred Acting Master Henry W. Washburn executive officer of USS Morning Light he recounts dullard crewmates timid commanders and chasing smugglers along the Florida coastline. Washburn an experienced seaman served on the 937-ton sailing ship USS Morning Light of 8 guns on blockade duty along the Gulf Coast. Son of Captain Noah Washburn his desires of making his own name and career as a naval officer were dashed when he was assigned to the dumpy Morning Light. As a converted merchant ship with no steam engine it was hardly suited to chasing blockade runners. In Washburn??Ts first letter dated April 25 1862 from Ship Island Mississippi the Union base of operations for the attack on New Orleans the Morning Light had delivered supplies to the fleet but was ordered to stay behind on picket duty for the army camp while Farragut??Ts fleet destroyed the forts guarding the entrance to the Mississippi River. Washburn notes: I suppose there will be some hard fighting there and I would like to do some of it just for the fun so as to see if I have any spunk. He adds that things are quiet and boring: ...there is no prospect of us getting into a fight so there is no need of anyone at home worrying about my getting shot. A bit of excitement does present itself when a ship ??|stood in too near the island after being warned not to do so. I was ordered to fire at him... I sent one shot close under his bow upon which he soon put his helm alee and tried another tack. In a 4pp letter from Pensacola dated May 24 and a second one in the same envelope dated June 1 1862 a homesick Washburn sends fond wishes to his children and wife and expounds on the deficiencies of his fellow officers none of whom are experienced sailors or regular officers. The Morning Light??Ts commander who played favorites among the officers and crew resigned and the acting commander had little sea experience and no command experience. The Union had recently recaptured Pensacola after the Confederate army abandoned it and Washburn notes that the houses are still in disrepair after the huge bombardment of the previous November blew the windows out all over town and set fire to some buildings: I have not been on shore yet but it looks bad the houses are all deserted some with windows broke in and some they seemed bent on destroying as much as possible. In a separate letter to his father dated May 24 1862 Washburn tells how the acting executive officer whom he describes as the stupidest jackass I ever saw in in any office a regular thick head besides being a little in want of pluck chickened out halfway across the bay when a rebel schooner was sighted tied up on shore: ...off he goes in our first cutter with 10 men armed to cut her out. He pulled half way to her... then turned around and come back to the ship. On his way back he pulled slow so as to get to the ship after dark. This officer regularly took a ship??Ts boat and some men then hid out in the bay while pretending to hunt smugglers in order to get out of work. Tired of this Washburn asked the commander for permission to hunt coastal smugglers in one of the boats. Heading out that night in a captured fishing smack with an armed crew of eight men Washburn patrolled Santa Rosa Sound for smugglers. They chased three small boats into the shallow bayous where their sailing ship couldn??Tt reach then decided to disguise themselves as fishermen and surprise the next one. Just at daylight I saw a large lugger coming down before the wind and after dodging him a spell I managed to get inshore of him... My Yankee trick seemed to answer and came down most to me when they smelled a mice and hauled in for the beach. The smuggler kept running after being commanded to stop even after Washburn ordered a shot across their bows with the small cannon but a volley of fire from his crew??Ts Sharps rifles convinced the smuggler to heave to. The lugger loaded not only with livestock but also having a noted Secessionist shipowner as passenger was brought back under guard to the Morning Light. Washburn calculated the value of ship and cargo at $1000 and expected some prize money from it but his commander wishing to appear noble hearted gave up the lugger and gave the prisoners a pass to New Orleans. Washburn decided after this that if he can??Tt get off Morning Light and into a regular Man of War with regular Naval officers I do not think I shall stay in the Navy... On July 27 1862 Washburn wrote his wife relating how Lt Commander Moore his commander had resigned and left the ship but not before bilking the crew out of thousands of dollars! Now just before Moore left he made a deal with an owner of a ship to get the Ship off and ready for sea. He was to receive $6000 for it which was to be divided among the Crew. We thought it was all right until he divided the money. Moore had used the crew as labor to pull off a ship which had run aground but kept all but $1450 of the $6000 for himself before taking off. August 9 found the Morning Light back at Ship Island. Washburn composed a letter to his father relating how his former commander Lt Commander Moore was inexperienced and lax in drilling and disciplining the crew. He tells his father about Moore using the crew as labor to make money for himself and that he the ship??Ts doctor and paymaster had filed a formal complaint with the senior commander in the area. Lt. Spear the brown-nosing executive officer became Morning Light??Ts acting commander. He was a tavern keeper in Maine before the war and Washburn described him thusly: Our Executive Officer a Pimp and rum seller who received his appointment though some Politician a man who knows nothing about a Ship and lacks all that goes toward making a Gentleman... Spear agreeing with Moore in all he said had kept in his good graces while the rest of us despising Moore for his meanness and vanity kept a distance. In an August 20th update on the same page Washburn described the Morning Light??Ts shortcomings: This ship is not fit for any other use than as a guard ship. We draw 15 ?? ft and are a sailing ship two bad qualities for Gulf service. Besides we are a very slow ship in stays she sails quite well when she has a leading breeze and would make a good ship for action because a shot striking her would go through without splinters she being very soft and in spots rotten. Noting that he had little chance of being retained in the post-war Navy if he could not distinguish himself in combat he doubted that he would see any at all: ...our Spear will never go into action if he can keep out and as long as I am in this ship I consider myself safe from all sesesh shots or knives. The partial letter is undated but is easily placed as immediately after the November 27-28 1862 actions at Cedar Lake Texas where Morning Light spent two days sending parties ashore to destroy the salt works. Washburn was wounded in the elbow in a heavy firefight with Rebel defenders. We stopped off Galveston today and communicated with the Senior Capt who thinks we done well... I rather be in a Steamer this craft is too unwieldy for a man of War and is not fit for such work as blockading a Coast where you can not see the land in 7 fathoms water. Signed Henry W. Washburn Acting Master & Executive Officer U.S.S. M Light. Washburn??Ts reservations proved to be well-founded as two months later USS Morning Light and USS Velocity were captured off Sabine Pass while on blockade duty by Confederate ?cotton-clad? steamboats filled with soldiers. Stranded by becalmed seas the engineless ships were unable to escape and surrendered after being fired upon by cannon and small arms. The Morning Light??Ts deep draft prevented the Rebels from getting her across the bar of the pass so she was burned two days later to prevent her recovery. Washburn spent 25 months of horrible disease and filth in Confederate POW camps in Texas before finally being released weeks before the war ended. He finally got his wish to serve in the post-war Navy on a real warship when he was assigned to USS Sabine after returning to the North but his health had been ruined by disease and dysentery while a prisoner of war. Declared unfit for duty he was honorably discharged from service on April 3 1866. His health never recovered from his imprisonment and he died 4 years later on October 11 1870 while fighting for a disability pension. His widow and four children were awarded his pension eleven months later.
Lot of 6: Lionel O-Gauge O-27 Santa Fe Cars. Description Post-war. Blue stripe cars including three 2412 Vista Domes, 2416 observation car and two 2414 pullmans. Cars show little play wear. Needs cleaning. Overall condition of lot is very good plus to excellent.
Gorgeous Nazca Redware Panpipes - Matched Pr: **Originally Listed At $1500**. . Pre-Columbian, Peru (south coast), Nazca culture, ca. 100 BCE to 800 CE. A beautiful pair of ceramic panpipes, painted dark red, with ten pipes each. Although they are repaired, most pipes still play well. Panpipes were a crucial part of Nazca ritual, played alongside clay trumpets, drums, and rattles. For example, there are vessels with drawings of musicians/shamans playing this style of instrument, surrounded by cacti (representing hallucinogenic drugs made from the San Pedro cactus), obviously in a ritual procession. Indeed, it seems that panpipes were crucial for a shaman to act as an intermediary between the worlds of the spirit and the everyday. Size: 5. 75" W x 13. 75" H (14. 6 cm x 34. 9 cm); 14. 5" H (36. 8 cm) on included custom stand. . . Provenance: private Houston, Texas, USA collection; ex-Artemis Gallery; ex-private Santa Fe, New Mexico, USA collection. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #132997 Condition Each has been repaired and restored from a few large pieces. Each is still playable.
Inca Conch Shell Musical Trumpet w/ Original Cord: Pre-Columbian, Central Peru, Inca, ca. 1300 to 1500 CE. Conch shell trumpets were revered by the Inca as instruments of war since these shells can emit such grandiose, bellowing tones. For this reason, these instruments known as kepa, khueppa, or qhueppa were highly sought after by the Inca. The Inca would travel great distances by raft from Peru to the warmer waters of Panama to trade gold, silver, and other treasures for Strombus galleatus conch shells. This large example is still playable and has an original llama hide cord attached for suspension. Size: 8. 7" L x 6. 7" W x 6. 7" H (22. 1 cm x 17 cm x 17 cm) . . Provenance: private Santa Fe, New Mexico, USA collection; ex-Kalina collection of musical instruments, Los Angeles, California, USA, before 2000. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #144459 Condition Rich patina on surface. Plays wonderfully!
Edward Curtis, The North American Indian Volume VI, 1911: Edward S. Curtis. (1868 - 1952). The North American Indian Volume VI, 1911. Individual volume on Japanese Vellum etching stock. Piegan, Cheyenne, Arapaho. . The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Volume VI. Written, Illustrated and Published by Edward S. Curtis. Edited by Fredrick Webb Hodge. Foreward by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass. ], 1911. . . LIMITED EDITION: Quarto-sized (313 x 239 mm): This volume is numbered 48 of an unfulfilled edition of 500, on handmade Holland Van Gelder etching stock, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, raised paneled spines, ribbon bookmarks, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. . . TEXT VOLUME: 75 photogravures, including 1 hand-colored print. Over 190 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. . . Provenance:. Edward S. Curtis Studio. Charles Arthur Moore, Jr. By descent to family. The Christopher G. Cardozo Collection, 2019. . This set of “The North American Indian, ” number 48, by Edward Sherriff Curtis comes directly from the hands of the photographer, through four generations of the Moore (Close) family, to the hands of the buyer. The books keenly represent that period in American history when industrialization conquered the nation’s wild lands and clashed with its indigenous peoples, and for purposes of provenance it should be known that the man who acquired them from Curtis himself embodied both industry and a deep reverence for nature and the American West. The books were purchased from Edward S. Curtis by the seller’s great grandfather, Charles Arthur Moore, Jr. of Greenwich, Connecticut. Moore was a Greenwich native, a humanist, and an industrialist who became president of his father’s metal products manufacturing company Manning Maxwell & Moore that built parts such as gauges, valves, and hoists for cranes and trains. Moore’s New York City office was in the Chrysler Building just below the gargoyles. Born 23rd of June, 1880, in Lynn, Massachusetts, to Charles A. Moore, Sr. and Mary Campbell Moore, his siblings were Mary Elsie Moore who married Italian prince Don Marino Torlonia, 4th prince of Civitella-Cesi; Eugene Maxwell Moore who married Titanic survivor Margaret Graham; and Jessie Ann Moore who married US Navy Admiral Colby Mitchell Chester. Moore married twice, first to Annette Sperry of Nashville with whom he had three children and divorced in 1919, then to Elizabeth Hyde (1897-1983), daughter of Seymour Jairus Hyde and his wife Elizabeth Worrall. The Hyde’s were also wealthy industrialists whose company, A. G. Hyde & Sons Co. manufactured dry goods such as the Heatherbloom petticoats, and advertised with the first moving sign on Times Square. Charles and Elizabeth, who was known as Betty, had two children: John Campbell Moore (1921-1943), who died in active service with the 853d Engineer Battalion while being transported on the H. M. T. Rohna in World War II; and Bettine Moore, to whom the Curtis books later belonged. Moore was educated at St. Paul’s school and graduated Yale class of ’03. He was with the Montenegrin Army for some months during the Balkan War, then served throughout WWI, commanding in France the Old Twelfth Company of Greenwich attached to the 56th Artillery, A. E. F. He retired at the conclusion of the war with the rank of Major. A life member of American Museum of Natural history, Moore contributed specimens to the institution, like a mountain goat he shot in northern Rockies near the Columbia River in 1904, among others. He was also a member of New York Zoological Society (now the Wildlife Conservation Society) and the National Geographic Society, as well as many manufacturing groups. Moore was a physically imposing man, a great lover of nature, a deeply devoted father, and the owner of a self-sustaining 168-acre farm/estate in Greenwich called Mooreland, on Mooreland Road, at which he hosted the Highland Games every summer. He had a wide and eclectic circle of friends of many ethnicities. An avid photographer, he shot both stills and movies, a collection of which the family retains. Many photographs depict beautiful natural scenes, or holidays to places like Cuba and dude ranches in the west. The reels of black and white film that he shot portray his family life (Johnny and Bettine as children, the Highland games, etc. ), and travels during the 1920’s – 40’s. . . EARLY INFLUENCE & LATER EXPEDITIONS:. In the fall of 1883, at the tender age of three, Arthur, as Charles, Jr. was known to his family, made a trans-continental trip by train on the Northern Pacific Railroad from New York City to Portland, Oregon with his parents. This was the very year the tracks were laid. One of his father’s letters from the journey, dated September 29, 1883 reads, "Yesterday Arthur shook hands through the window with an Indian Brave in War paint. ” This telling scene took pace in Billings, Montana, which at the time was still a territory. The Indian man was most likely Cheyenne, Crow, or Lakota Sioux. To put it into perspective, the Battle of the Little Big Horn/Battle of the Greasy Grass, otherwise known as Custer’s Last Stand, which took place just south of Billings, had happened only a few years prior, in 1876. Although the Indians won that battle, it was a symbolic win. In a mind-bogglingly short period of time their world had been forever altered. The last wild herds of buffalo had recently been obliterated from the landscape. Tribes were being force onto reservations. Settlers and miners were staking their claims. Who was he, the mystery “Indian brave”? We wish we knew, because his touch likely sparked in young Arthur a deep admiration for indigenous Americans and the west that eventually inspired him to sign onto the young Edward Curtis’ courageous venture in photography in 1906. Arthur’s early travels—and his father’s international travels and extensive political connections—also inspired him to become an explorer. Besides venturing west, he went north and east. He became dear friends with Captain Bartlett and 1897 journeyed with Commander Robert E. Peary, U. S. N. to find the geographic North Pole. Moore then took charter of the steam whaler Algerine and spent the summer of 1901 in the Hudson’s Straights and Hudson’s Bay. His expedition north and with Peary succeeded in charting new waters and bringing back trophies, like Inuit artifacts and the Cape York meteorite, which is housed in the American Museum of Natural History in New York City. It is likely that befriending Inuit peoples also compelled him to support Curtis’ work. Later, in 1906, Mr. Moore traveled to Arabia, lands then controlled by the Ottoman Empire, including into what is now modern-day Syria, with the day’s most famous political cartoonist, Homer Davenport, whose drawings satirized figures of the Gilded Age and Progressive Era. The purpose of the expedition was to bringing back Arabian horses to the United States. Davenport had fallen in love with the breed at the World’s Fair in Chicago in 1893, the first time Arabian horses were on US soil. Moore, also a keen horseman, photographed and documented their expedition to Arabia, playing a key role in bringing some of the earliest desert-bred Arabian mares and stallions to America. Moore’s love of animals, wild lands, native peoples, art, and the west, he passed on to his daughter Bettine, wife of Dr. William Taliaferro Close, and mother of actress Glenn Close and her three siblings, and, through them, to his great granddaughter who made the difficult decision to sell the books. Condition This original volume is in very good condition overall. A formal, detailed condition report is available upon request. . The condition reports for the lots offered by Santa Fe Art Auction (SFAA) are provided as a courtesy and convenience for potential buyers. The reports are not intended to nor do they substitute for physical examination by a buyer or the buyer's advisors. The condition reports are prepared by SFAA staff members who are not art conservators or restorers, nor do they possess the qualifications needed for comprehensive evaluation. Each condition report is an opinion of the staff member and should not be treated as a statement of fact. The absence of a condition report does not imply anything as to the condition of a particular lot. Buyers are reminded that the limited warranties are set forth in the Terms and Conditions of Sale and do not extend to condition. Each lot is sold as-is.
Lot of 2: Lionel Santa Fe F3 B Units. Description Post-war. O-gauge. One has minor scrapes and wear to the silver paint, decals are good and overall very good. The other has minor play wear throughout, nice decals and is very good plus.
VIERTEL SALKA. 1889-1978. 4 Typed Letters Signed (''Salka'') 9 pp recto and verso 4to Santa Monica June 16 1948 to August 26 1949 to George Cukor on personal stationery light creasing and toning. * With Signed Card.In three long letters written in the summer and fall of 1948 Viertel reveals how close the elusive Greta Garbo came to coming out of retirement and making another film. Viertel had written a screenplay about the love affair between George Sand and Alfred de Musset which Garbo was keen to do. The two women had a meeting with producer Walter Wanger who thought a costume picture would be too expensive. Then other producers entered and tried to wrest control of the project and Viertel worried that they would steal her screenplay without paying her. By September Viertel believed the project was back on and Montgomery Clift was eager to play Garbo's love interest: ''Greta is impatient to work and on the other side she is afraid of it. I understand this very well after all these years of idleness. Work is a habit and she lost it.''
Lot of Blown Glass Ornaments.
Description Includes over 20 pieces consisting of man in the moon, two Santas, clown playing mandolin, clown head, and assorted animals.
Condition (Very Good - Excellent).
FIVE VINTAGE WHIMSICAL TIN LITHO WIND-UP AND FRICTION T...Five Vintage Whimsical Tin Litho Wind-Up and Friction Toys. Mid-twentieth century animal and holiday-themed toys, four Japanese, one French, including Puss ‘N Boots; a skiing dog (friction); a hopping rabbit; anthropomorphic Santa Claus helicopter (friction); and tambourine-playing bear. Generally good condition with light signs of play-wear.
1969 NORTHERN CALIFORNIA CAL FOLK ROCK FESTIVAL Linda C. Gull, color concert poster, Santa Clara Fairgrounds, San Jose, CA, 5/23/1969, performers: Jimi Hendrix, Jefferson Airplane, Chuck Berry, Muddy Waters, and Doc Watson, (OP-1) Original Pre-Concert First Printing Poster, 20 1/2 x 14 in., unframed. Glen Trosch says of the work, "This poster from May of 1969 announced a three-day festival to be held at the Santa Clara fairgrounds in San Jose California. This event featured a powerhouse performance by Jimi Hendrix. Led Zeppelin was billed but did not play. Also in attendance were several legendary performers such as Chuck Berry, Muddy Waters and Doc Watson. The image is an illustration by Linda C. Gull that was used for several festival posters in the sixties."
HEMINGWAY, ERNEST. Legal Contract concerning the dramatization of A Farewell to Arms by Lawrence Stallings. Five legal-sized folio sheets of carbon typescript, printed rectos only; laid into typed light blue cover stamped with address of Howard E. Reinheimer, Counsellor at Law, 11 E. 44th St, New York, few rust marks from paper clips; one provision is lined out in ink; with original mailing envelope from Scribner's which is labeled "Contracts Not Approved" in Hemingway's hand. New York, January 1930
Listed in the Marcia & John Goin Collection of The Works of Hemingway as Item number III in Section One of Joseph The Provider catalogue, Santa Barbara, 1992. The contract is between Hemingway and Stallings and addresses the latter''s attempt to tie up all future dramatic rights to A Farewell To Arms, including television rights. His dramatization was a failure, closing just three weeks after it opened in New York in September 1930. The demise of the play did, however, open the way for a movie sale to Hollywood which netted the author $24,000, while the play''s advance royalties had only amounted to $750.
Giovanni di Marco (Giovanni dal Ponte) (Florentine, 1385-1437/38) "Madonna with Child Enthroned, Crowned by Two Angels with Saints Anthony Abbot and James Major", tempera and gold leaf on panel with a gothic-arch carved top, inscribed bottom "Ave Maria Gratia Plen(a)", 33" x 22". Provenance: Private collection, Europe. Literature: Moretti Gallery Dalla Tradizione Gotica al Primo Rinascimento, Edizioni Polistampa, 2009, Moretti Galleries 2007 Exhibition Catalogue Dagli Eredi di Giotto Al Primo Cinquecento. Giovanni di Marco, or dal Ponte, acquired his name dal Ponte due to the location of his studio at Santo Stefano al Ponte. In 1410 he joined the Arte dei Medici and degli Speziali and in 1413, Compagnia di San Luca. In the 1420's, he opened a studio with a partner, Smeraldo di Giovanni, with whom he collaborated on Santa Trinita frescoes. In 1424 his outstanding debts brought him a jail sentence but he was released after accepting a plan in which he paid his debts over a period of five years. His output was prolific, producing varying work, influenced by his contemporaries, such as Masolino, Masaccio, Fra Angelico and Lorenzo Ghiberti. This particular devotional altarpiece, portraying a tender moment between an enthroned solemn Madonna and playful Child, and the elegant linear figures of the Saints below is probably one of his early works, as it is painted in a typical high Gothic style. Some of the artist's most famous works are housed in the the Musee Conde, Chantilly, Museo del Prado, Madrid, Uffizi Gallery, Florence, among many others.
LLADRO PORCELAIN ORNAMENTS: 10 Pieces to include Joan Coderch designer - SNOWMAN #5841 issued 1991 retired 1993 4''; SANTA #5842 issued 1991 retired 1993 4 3/4''; ELF #5938 issued 1992 retired 1993 3 1/4''; Mrs. Claus #5939 issued 1992 retired 1993 4 1/2''. Francisco Polope designer - SURPRISED CHERUB #6253 issued 1995 retired 1997 2''; PLAYING CHERUB #6254 issued 1995 retired 1997 2''; THINKING CHERUB #6255 issued 1995 retired 1997 3''. Design & Decoration Dept designs - CHRISTMAS TREE #6261 issued 1995 5 1/2''. Jose Alvarez designer - ROCKING HORSE #6262 issued 1995 retired 1997 3 1/2''. Marco Nogueron designer - DOLL #6263 issued 1995 retired 1997 3 1/4''. All with boxes sold as a lot.CONDITION: Unless already noted figurines appear to be in fine condition. Having a box does not specify to the condition of either the box the foam inside or the existence of a COA.
FRAMED ELI LEVIN PAINTING - "OLD BAG" 1991Eli Levin (American, b. 1938). "Old Bag" watercolor and/or gouache, 1990. Pencil signed "Eli Levin 1990" at bottom center. A wonderful genre painting - a scene of everyday life - that takes place in a seedy bar of the American West by American artist Eli Levin. Levin presents three people at the bar - the bartender is conversing with a man in a blue suit, and simultaneously gesturing toward a woman sitting at the other end of the bar. Perhaps she is the inspiration for the title of the work, "Old Bag" - dressed in an orange romper over a white blouse, her bosoms resting on the bar top, she holds her head with one hand and smokes a cigarette with the other. All is delineated with vibrant hues and bold forms - set in a custom matte and frame. Size of painting: 9" L x 10.625" W (22.9 cm x 27 cm) Size: 15.75" L x 17.75" W (40 cm x 45.1 cm)
Levin has been dubbed "a narrative genius" and his paintings have been described as "impeccably crafted vignettes" by critics such as Suzanne Deats who also compared him to Honore Daumier and Pieter Breughel. According to Deats, these masters "interpreted scenes of everyday life in the same exuberant fashion" albeit with a difference in locale and time period.
Born and raised in Manhattan, Levin grew up in one of the world's greatest cities, developing an appreciation for art and culture that was figural and realistic during the heyday of Abstract Expressionism. Years later, he would move to Santa Fe and find his muse - "the underworld of the bars where working class people hung out, drank, flirted, danced and fought." Levin would state, "People lose their inhibitions in a bar, in a way that would seem odd elsewhere. A bar is like a theatre in that people act out their drives and compulsions. There is a great deal of anxiety, and of course all that macho garbage." (Source: Suzanne Deats, "The Play of Life: From rowdy and exuberant to tender and subdued, there's a classical quality in Eli Levin's cast of characters" in Focus/Santa Fe/ June/July 1991 pp. 56- 59)
Provenance: ex-William and Jane Frazer, Aspen, Colorado, USA, acquired 1980s
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#166666
Condition:
Painting has not been examined outside the frame but appears to be in excellent condition. Pencil signed "Eli Levin 1990" at bottom center. Frame is wired for suspension and painting is ready to display.
Isherwood, Christopher
Oration at the funeral of Charles Laughton, 19 December 1962, two-sided 1/4 inch reel to reel tape on a three-inch spool, approximately eleven minutes in duration, including Isherwood's testimony on the actor's character ("...you felt about him that he was not only powerful but a vehicle of power...") and three readings from The Tempest, sent to his brother Richard with a preliminary message to him, in a plastic box with autograph address panel and airmail stamps, postmarked 1966
[together with:] related material comprising an autograph postcard signed ("Christopher"), postmarked 5 July 1925, two postcards by Isherwood's mother, and a photograph of Isherwood and W.H. Auden
Note: Laughton and Isherwood were neighbours in Santa Monica in the early 60s, and collaborated together on a projected dramatisation of the Socratic dialogues in which Laughton was to play Socrates.
Lot of 10: Cloth Dolls Souvenir Dolls.
Description England, Ca. 1930-1950. All Cloth with character faces. English lady soldier, gaucho, sailor SS Empress of Scotland, sailor SS Santa Paula, 2 South Seas Islanders one with composition face, one a Merrythought, Spanish girl, Miss Smith, play doll with green check skirt. ...
(TOPICAL) CHILDREN: 85 POSTCARDS EARLY TO LATE 20TH CENTURY(TOPICAL) CHILDREN: 85 POSTCARDS, Early to Late 20th Century, Many real photo: some studio. Includes: child with American flag seated in steer horn chair, perambulators, birthday parties, Halloween costumes including three children dressed as Native Americans, girl with enormous dragon-applied and handled silver trophy, boy as Santa Claus, Santa with child and sleigh, class photographs on school steps, children with bikes, autos and carts, family gatherings, first communion, plays, Mahaney quadruplets (b. 12/25/23 in Saint John) and more. Wonderful time capsule.
Revolving Christmas Tree Stand with Music Box.
Description Plays well, embossed Santa on turner.
Condition (Excellent). Size 9" T.
COLLECTION OF LIONEL TRAINS AND ACCESSORIES: To include 726 Engine 2 2333-20 Santa Fe Engines (one with significant battery acid damage) 2343C with box 2532 passenger car with box 2533 passenger car with box 2426W tender with box 2458 boxcar with box 6456 hopper with box 6457 caboose with box 3464 boxcar with box 2460 crane 3462 milk car 6465 Sunoco tanker 2357 caboose ZW-136 transformer assorted tracks and accessories.CONDITION: Note trains have been well played with and show it. Please call for condition.
CHRISTMAS: Approximately 50 glass and other ornaments with book, Ferrandiz figurine display; ornaments including Olde World Christmas and others, details include: Santa's toy soldiers, nutcrackers, reindeer, camels, White House Historical 3D ornaments, bottle brush trees, glittered pinecones, and more, with "The Glass Christmas Ornament: Old & New", a collector's compendium and price guide; along with display by Anri Ferrandiz (Italy) children playing instruments on wood stand; wear on all consistent with age and use.
Jean De Brunhoff BABAR ET LE PERE NOEL 1941 First Edition Vintage Children's Classic Christmas Santa Claus North Pole Elves French Literature Scarce Dust Jacket Title: Babar et le Pere NoelAuthor: Jean de Brunhoff - Jean de Brunhoff was a French writer and illustrator known for creating the Babar books, the first of which appeared in 1931. He was the fourth and youngest child of Maurice de Brunhoff, a publisher, and his wife Marguerite. He attended Protestant schools, including the prestigious Ecole Alsacienne. Brunhoff joined the army and reached the front lines when World War I was almost over. Afterwards, he decided to be a professional artist and studied painting at the Academie de la Grande Chaumiere in Paris. In 1924 he married Cecile Sabouraud, a talented pianist, and they had two sons Laurent and Mathieu in 1925 and 1926; a third son, Thierry, was born nine years later.The Babar books began as a bedtime story Cecile de Brunhoff (nee Sabouraud) invented for their children, Mathieu and Laurent, when they were four and five years old, respectively. She was trying to comfort Mathieu, who was sick. The boys liked the story of the little elephant who left the jungle for a city resembling Paris so much that they took it to their father, a painter, and asked him to illustrate it.[citation needed] He turned it into a picture book, with text, which was published by a family-run publishing house, "Le jardin des modes." Originally, it was planned that the book's title page would describe the story as told by Jean and Cecile de Brunhoff. However, she had her name removed. Due to the role she played in the genesis of the Babar story, many sources continue to refer to her as the creator of the Babar story.After the first book "Histoire de Babar" ("The Story of Babar"), six more titles followed before Jean de Brunhoff died of tuberculosis at the age of 37. He was buried in Pere Lachaise Cemetery in Paris.After Jean's death, his brother Michel de Brunhoff, who was the editor of French Vogue, oversaw the publication in book form of his two last books, Babar and His Children and Babar and Father Christmas, both of which had been done in black and white for a British newspaper, The Daily Sketch. Michel de Brunhoff arranged for the black and white drawings to be painted in color, drafting the then-thirteen-year-old Laurent to do some of the work. The French publishing house Hachette later bought the rights to the Babar series. The first seven Babar albums were reprinted and millions of copies were sold all around the world.Soon after the end of World War II, Laurent, who had followed in his father's footsteps as a painter and had also studied at the Academie de la Grande Chaumiere, began work on a Babar book of his own. Although his style of painting was different from his father's and he emphasized picture more than text in the creation of his books, he trained himself to draw elephants in strict accord with the style of his father. Consequently many people did not notice any difference in authorship and assumed the six-year gap in the series was because of the war. Laurent has always been careful to emphasize that Babar was his father's creation (and to some extent his mother's) and that he continued the series largely as a way of keeping his father and his own childhood alive. (Courtesy of WikipediaPublisher: Random House, Inc.City: New YorkYear: 1941Printing Information: First EditionBinding Style: HardcoverPagination: 40 unnumbered pagesWidth: 10.25" Height: 14.75"Book Details: Babar, the King of the Elephants, sets out to find Father Christmas and bring him back to visit the children of the elephant's country.Condition / Notes: This volume is bound in pictorial paper-covered boards and a yellow cloth spine. The illustration on the front cover depicts Babar dressed as Santa Claus flying through a starry night sky. The book shows light shelfwear. The binding is firm. This volume has pictorial endpapers featuring lines of elephants. The pages are clean and bright. This work contains numerous color textual drawings and a number of double-page illustrations. The intact dust jacket, the price of $3.00 is stamped at the top edge of the front flap, shows light shelfwear, with darkening to the top edge of the front panel. 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
BAUM, L[yman] Frank (1856-1919).L. Frank Baum’s Juvenile Speaker. Chicago: Reilly & Britton Co., [1910]. 199 pp. 8vo (235 x 175 mm). Illustrated by John R. Neill and Maginel Wright Enright. Publisher’s embossed tan cloth, blank endpapers. Condition: front hinge starting, covers and board edges slightly rubbed with occasional light soiling. Provenance: Fred M. Meyer Collection.first edition. A compendium of selections from the Oz Books, By the Candelabra’s Glare, Mother Goose in Prose, Dot and Tot of Maryland, The Life and Adventures of Santa Claus, The Enchanted Island of Yew, The Magical Monarch of Mo, Queen Zixi of Ix, John Dough and the Cherub and Father Goose, His Book as well as some previously unpublished selections. “Juvenile speakers” were popular anthologies of relatively short pieces that were memorized and recited in elocution classes. Some excerpts were slightly revised to make them self-contained. Dorothy became Doris in “Little Bun Rabbit” from Mother Goose in Prose, so as not to confuse her with Dorothy from Kansas. Baum exposed his cover as “Laura Bancroft” by reprinting “Song of the Fishes” from Policeman Bluejay and “The Corrugated Giant” from Prince Mud Turtle. Some of the poems were lyrics to songs in Baum’s musical comedies including “The Milk-Maid” from the rejected script of The Wizard of Oz. “The Fairy Prince” was a children’s play inspired by The Enchanted Island of Yew that first apeared in the magazine Entertaining (December 1909).
Veracruz Janus-Headed Stone Palma, ex-Messick: **Originally Listed At $2000**. . Pre-Columbian, Gulf Coast Mexico, Veracruz (Vera Cruz) culture, ca. 550 to 950 CE. Hand-carved from volcanic rock palma in the form of a stylized double-headed zoomorphic entity. Their separate chins rest on an integral plinth, but their left and right cheek join together, and they become one conjoined head. The creature or human form that the heads represent is somewhat mysterious; they mirror each other with open mouths, bulbous noses, and small indented eyes. The ears both appear to have large ear plugs, and a singular horn crowns both their brows. A three ridged palma rises up at the back of the heads. Almost gargoyle-like with their leering faces, a fascinating palma once used during Mesoamerican ballgames. Size: 4" W x 7" H (10. 2 cm x 17. 8 cm). . The shape fanning the back of the heads gives this form its name - a palma from the frond shape of palm trees. The athletes from Mesoamerica played a ballgame while wearing a hip yoke with a palma shape fan to protect their chests from the impact of the hard rubber balls. These carved stone statues often have the palma shape incorporated into their design, and were perhaps court markers to determine borders or to keep score during the game. . . Provenance: ex- Tim Misenhimer, Hollywood, California, USA Collection, acquired from Ron Messick Fine Arts, Santa Fe, New Mexico, USA collection formed from 1970 through 2000. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. . Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. . #101890 Condition Small chip on front left side and back left of base. Minor surface wear and softening of details. Old inventory written on back surface.
Milton Bradley Santa Claus Puzzles in Box.
Includes three complete puzzles consisting of Santa driving a fancy early 20th century automobile, Santa playing with kids by tree, and Santa delivery presents. Includes original box showing Santa playing with toys. Box has some damage to side aprons and slight staining to bottom.
Condition ...
KAREN THAYER OIL ON CANVAS (Santa Monica, California, born 1955) Portrait of a young woman playing a tambourine. Image measures 28" x 22", signed "Karen Thayer" lower left and dated 1984. In a wood frame.
(ILLUSTRATION.) Lawser, Mary Louise. Now A Days. 44 original illustrations for an unpublished children's book plus 21 mimeographed sheets of type containing the text of the story. Images vary in size, all inlaid to size in folding 305x250 mm boards, taped on verso edges, each with hand-drawn red and black hairline borders; Lawser's name and address stamp, in blue ink, on verso of each image; all laid into cloth and board folder with her name and address printed on a label mounted to front cover. Drexel Hill, Penn., circa 1940
beautiful finished drawings for an unpublished work. A story of two young country children who board a train to the big city. They discover the excitement of modern city life and the thrill of a large department store full of wonders. The images are brightly-colored and have an Art Deco style, often playing with perspectives of distance and height.
Mary Louise Lawser (1908-1985) began her study of fine art at the Pennsylvania Museum School in Philadelphia. Later she attended the Pennsylvania Academy of the Fine Arts and L''École des Beaux Arts, where she studied sculpture and won a number of prizes for her work. While working for architect Paul Cret in the 1940s, Lawser completed many decorations for streamlined trains of the New York Central, Topeka & Santa Fe, the famed California Zephyr train, and Western Pacific lines, among others. In preparing these decorations, she relied on her skills in painting, sculpture, and linoleum and wood carving. In later years, Mary Lawser produced decorations for the Burlington''s Denver Zephyr. In addition, her work appeared in public works projects in New York City and Philadelphia. Now A Days displays her talents as a muralist and sculptor in its creative use of color, shape, and perspective as well as showing Lawser''s great skill at illustrating modes of transportation like cars, trains, planes, escalators and elevators. An extremely charming work.
A LOT OF FOUR JAPANESE WIND-UP TOYS IN O.B. The lot includes tin toys Naughty Dog, Trickster, Santa Claus, Christmas Eve, and Playful Cat. SIZE: Various. CONDITION: Generally good, with reasonably good boxes. 8-87183
Rufino Tamayo Mixed Media On Canvas Board Rufino Tamayo (New York/Mexico, 1899 - 1991) colorful mixed media abstract portrait on canvas board, signed to upper right "Tamayo 0-81". Unframed, measures 20" in height with width of 16". In overall good condition. Provenance: from the estate of a prominent Texas collector.
Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man withFlower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
LOWELL, ORSON - ORIGINAL ILLUSTRATION ART - 21 WATERCOLORS. (1) a "Boy's Life" Cover - 9/1932 - 14 x 10 1/2 in. - Santa in a gift laden car with a Boy Scout. (2) Santa with Boy Scouts - with 3 small illustrations on 1 sheet. (3) with 2 boys playing football - 13 x 10 3/4 in. (4) depicting a well dressed woman reading a book in a yard - 10 x 7 1/4 in. (5) depicting a couple eating and spooning in a booth; together with 8 others.
1864-Dated SYLVESTER MOWRY Signed: THE MOWRY SILVER MINING COMPANY BOND, ARIZONA: Autographs. "THE MOWRY SILVER MINING COMPANY" BOND "Few men did more for Arizona during its early history than Sylvester Mowry". SYLVESTER MOWRY (1830-1871). (Arizona Statehood & History) 1850s Silver Miner, Womanizer & early Arizona Statehood Advocate, this Controversial Soldier, Miner, Western America "Booster" and Entrepreneur Seduced Brigham Young's Daughter-In-Law! Brigham Young himself took a strong dislike to Mowry. Appointed by President James Buchanan as a Commissioner to establish the Border between California and Nevada. November 2, 1864-Dated Civil War Period, Historic and Extraordinary ARIZONA RARITY, Ornately Engraved Partially-Printed Document Signed, "Sylvester Mowry" as President of "THE MOWRY SILVER MINING COMPANY, " measuring 17. 25" x 13. 75" (430 mm x 350 mm), 1 page, San Francisco, Crisp Fresh Near Mint. This being a $1, 000 Mortgage Bond "No. 277" containing eight original, Signed and fully Attached Coupons at the bottom of the page (two of the coupons detached). Vitually Mint but for being folded for storage, this Bond is bright and fresh with two coupons actually having been clipped for redemption. . This rather spectacular item of Arizona and the colorful life of Sylvester Mowry. He being the controversial soldier, miner, entrepreneur, Arizona booster, and alleged "con artist. " Sylvester Mowry has his own unique story. He was an American best known as a pioneer and the founder of Mowry, Arizona. In 1860, Mowry was appointed by President James Buchanan a Commissioner to establish the border between California and Nevada, but he was removed in 1861 due to politics. During his time as commissioner, Mowry became interested in mining and prospecting and in 1860 he purchased the Patagonia silver mine just southeast of the Santa Rita Mountains in southern Arizona. After renaming it the Mowry Silver Mine, Mowry began constructing a mill and a smelter for extracting precious minerals. His small town was besieged by Apaches and it was virtually destroyed in 1863. His angry response was that they all needed to be unmercifully killed! He served as an officer in the United States Army and was arrested as a traitor during the American Civil War. No actual evidence could be produced and he was released. . This superb $1, 000 Mortgage Bond was issued to William Tell Coleman (1824-1893), a prominent and early resident of San Francisco where he became a successful shipping merchant, running a Steamship Line to New York. Unfortunately for Coleman, the Bond was worthless. The Mowry Mine in Southern Arizona had been only intermittently productive. . From 1861 onwards, the Mine mostly ceased to function due to Mowry's arrest by Union authorities for treason, after letters requesting protection for his mine from Confederate authorities. . Always the fast operator, Mowry sold bonds in his mining operations to unsuspecting investors (who had no understanding of the actual state of the mine) enabling Mowry to lead a lavish lifestyle in San Francisco, New York and Arizona. It is unknown how many of these Mortgage Bonds he actually issued, but it would stand to reason that most of them were thrown out and/or destroyed in disgust following Mowry's death in 1871. . A true ultra-rarity from one of Arizona's most controversial early figures. This historically significant Mortgage Bond of Lt. Sylvester Mowry considered of museum quality. Collectors interested in the Southwest, or the history of Arizona and/or Mormon History should not pass up this unique opportunity. According to the Arizona Republic: "Few men did more for Arizona during its early history than Sylvester Mowry (1833-1871). soldier and pioneer mining man. ". An extensive explanation of this bond, its history and the personal story of Lt. Sylvester Mowry is found on our auction website at: www. EarlyAmerican. com. The Only Example of this Exceedingly Rare Arizona Bond we have ever encountered. The Rhode Island-born Mowry graduated West Point in 1852 and came West under Colonel Edward Steptoe's expedition to explore routes for a Pacific Railroad. They arrived in Salt Lake City in 1854 to investigate the Gunnison Massacre, in which a 10-party expedition was slaughtered by a band of Pahvant Ute Indians in October of 1853. . Brigham Young himself took a strong dislike to Mowry, who etched his reputation as a hard drinking, hard gambling. Unabashedly a womanizing troublemaker, Mowry's place was chiseled in historical "stone" when he brazenly (and successfully, according to Mowry's own personal letters) seduced Mary Young, first wife to Brigham's eldest son, Joseph Angell Young, who was in England on mission at the time! The ensuing scandal convinced Colonel Steptoe to order Mowry from leave Salt Lake, transferring him to Rush Valley, Utah. . Mowry was later stationed in Benecia, California and then Fort Yuma, which made such an indelible impression upon him that in 1857, he resigned his commission from the Army to peruse prospecting opportunities in the Arizona Territory, purchasing the Patagonia Mine that same year. In 1858, Mowry had himself elected as the "Official" Territorial Delegate to Washington, DC in order to lobby for Territorial recognition for Arizona, which was then part of the New Mexico Territory. . From 1857 to 1860 Mowry was, ". Arizona's most active champion of Territorial organization. " However, on the eve of the Civil War, he departed the world of Territorial politics and devoted himself to mining activities. During the Civil War, Mowry played off both sides in order to obtain security against the Apaches, and his letters to Confederate officers tipping them off to Union troop movements landed him in trouble. Mowry lost control of his mine and was jailed in Yuma during his trial for Treason. He was released in August of 1862 after Union military authorities granted a general amnesty for Confederate sympathizers in Arizona. . His mining operations in total disarray, Mowry went to San Francisco to raise funds in order to fund his mine by issuing Mortgage Bonds. Just a month before he issued the present Bond, Mowry the mine for $2. 5 million to Sam F. Butterworth and Milton S. Latham of San Francisco. However, the purchaser was Mowry Silver Mining Company which named Butterworh and Latham as the company's trustees. The company was still controlled by Mowry. This device placed the property out of reach of his wife, Laura A. Mowry, who had sued for divorce only a few days before. . Because Mowrey had sold his mine to his own mining company (no actually money was exchanged), he was still forced to purchase $2, 400 in Official Goverment Revenue Stamps to affix to the deed of sale, demonstrating the "Proof' of the mine's supposed and claimed value. This allowed Mowry to inflate the value of any stock he sold in the mining company, enabling him to continue living a lavish lifestyle. . In particular the present bond was ". for part of the sum of Three hundred Thousand Dollars, authorized to be borrowed by the Board of Trustees of the Company and is one of the Three Hundred Bonds for One Thousand Dollars each, secured by the certain Mortgage of all the lands, mines, minerals, rights of property, improvements, franchises and estate of said Company acquired, or which may hereafter be acquired, bearing even date herewith, made and executed by the said Company and by Sam F. Butterworth and Milton S. Latham, Trustees of the said 'Mowry Silver Mining Company, ' to William T. Coleman of San Francisco, and Samuel L. M. Barlow of New York, Trustees and Mortgages for the security of the holders of the said Three Hundred Bonds of One Thousand Dollars each. . Mowry returned to Arizona in late 1864 and stayed until 1866 taking one more stab at running the mine. After this point, the mine was, but Mowry continued to live high on the hog, likely selling bonds like these to unsuspecting investors. In 1871 Mowry became quite ill and travelled to London to consult a specialist. He died on 17 October 1871. The Mowry mine sold at auction in 1874 for $14, 000 to Nathan B. Appel. . According to historians, Apple did not die a rich man. Constance Altshuler concluded: "Apparently no one acquired wealth from that mine except Sylvester Mowry, but his scale of living could not have been maintained by profits from the irregular periods of mining operation. He was, to put it blunt, aconfidence man, unscrupulous and totally self-centered. ". . References used include:. . B. Sacks "The Creation of the Territory of Arizona, " Journal of the Southwest (Spring, 1963), pages 32-34; . . Constance Wynn Altshuler "The Case of Sylvester Mowry: The Charge of Treason, " Journal of the Southwest (Spring, 1973), pages 63-82; . . Constance Wynn Altshuler "The Case of Sylvester Mowry: The Mowry Mine, " Journal of the Southwest (Summer, 1973, pages 149-174 and Ibid. , page 173).
Texas & New Mexico Military Correspondence of Jonas P. Holliday Lot of 3 ALsS. 1850-1857.Appointed to West Point from New York Jonas P. Holliday graduated 24th in the class of 1850 and remained in the military service for life. As a young officer in the 2nd Dragoons he was stationed initially on the Texas and New Mexico frontier and then after a lengthy sick leave he served at Fort Leavenworth Kansas the Utah Expedition of 1857 and in the Dakota Territory. His later career however was marked by tragedy. As the Civil War began Holliday was commissioned as Colonel of the 1st Vermont Cavalry and rushed into service well before he felt they were ready. Holliday fell apart. Being naturally of a nervous temperament and not very robust according to a newspaper account and troubled by fighting his southern countrymen he shot himself through the forehead in April 1862 while standing on the banks of the Shenandoah River. He had served with his regiment less than a month.This small collection of three letters reveals a great deal about a recent West Point graduate and young officer on his first assignment. The first surviving letter dated at Albuquerque Dec. 24 1850 appears also to be the first written home after traveling west. Holliday explains that mail arrives only once per month and departs for the U. States just as seldom. He offers a classic of early western travel: I was sixty days crossing the plains which would have taken us only forty but for an ox train we had to escort. We stopped at Las Vegas a week; one of the first settlements we come to & about seventy five miles from Santa F? to make the division of recruits & Horses our command being merely a detachment destined to recruit the Dragoon Arm stationed in this Territory... In the city of Santa Fe I saw but one building of wood & that a rather poor affair the buildings have a singular plan but one very well suited to the usages of the country [Holliday sketches a floorplan!]. The Mexicans are nearly all thieves... The people of New Mexico are generally small -- dirty -- lazy -- & worthless! Some however have become considerably Americanized in their dress manners & customs. I have not seen one yet who can speak English with any degree of fluency from which or rather because I am unable to speak or understand Spanish I been in some ridiculous positions. But I am learning. Some of the women are pretty but is not at all common however to see such. The Mexicans are all very fond of Dancing & music; their fiddlers play with an enthusiasm equaled only by that of the Negro. They give Bailes or (Balls) the manner in which the invitation is given I think quite original. The musicians who are engaged for the ball go through the streets playing a regular break-down usually followed by a gang of urchins half clad or with not clothing whatever showing their love for music by their grotesque antics & horrible nasal-twang accompaniments...?Datelined at Fort Worth Texas Sept. 15 1853 Holliday's second letter describes the general movement of troops in Texas to the Rio Grande in anticipation of Mexican troubles whether it will all turn out a false alarm or not I am unable to say.. So far as I am concerned I would rather see a little gunpowder burned than not just to see whether I could stand fire. I have heard there will be one or two new regiments formed this winter... He also discusses his efforts to gain political support for a promotion in one of the new regiments if formed being nearly alone on base and hunting on a grand scale.We had some very cold and stormy weather a number of men were frost bitten and our Horses and mules died from cold & starvation so fast that we had to abandon wagons & saddles in the road. In my company I lost about thirty horses between Laramie and this place.... No Mormons have been seen since the Dragoons came into the country. They seem to have a very wholesome fear of Dragoons. Some of the Valleys here were cultivated by the Mormons last summer but everything was laid waste before our arrival... Some think the Mormons will resist others myself among the number think that Brigham Young will run away before spring and that the Mormons will be very glad to submit to terms. I have hopes of being ordered back as soon as this Mormon war is ended. Much more.Though addressed to his relatives at home it seems likely that the letters were intended for publication in a newspaper -- one is docketed on the verso please return these letters after publication -- however if they were actually published or where has not been determined.A wonderful collection documenting the brief career and too-short life of a tragic West Point graduate. Condition: Good condition with only minor wear and signs of age.
Schoenhut Moving Picture Family Christmas Scene Philadelphia, ca. 1900, clockwork mechanical gilt framed box. Lithographed paper interior features a family gathered for Christmas in a well detailed Victorian room surrounding a decorated tree and children's playthings. Mechanical movements include Santa Claus peering in the window, a boy playing a drum, a girl rocking her doll in her arms, a boy dressed as a soldier riding a rocking horse, and the father bouncing a baby on his knee. Retains the original sliding rear door and instruction label.13.5" H, 17.5" W, 5" D.Excellent
Lionel 5-Piece O-Gauge Passenger Set. Description Post-war. The Super Chief. Includes 2383 Santa Fe AA dual motored diesel with 2562 Regal passenger car, 2563 Indian Falls and 2561 Vista Valley. Vista Valley has replaced red stripes and 2563 Indian Falls and 2562 stripes show wear, folds and play wear. 2383 Santa Fe diesels have minor blemishes and some cracking to the decals. Overall condition of set is very good plus.
Five Vintage Whimsical Tin Litho Wind-Up and Friction Toys. Mid-twentieth century animal and holiday-themed toys, four Japanese, one French, including Puss ‘N Boots; a skiing dog (friction); a hopping rabbit; anthropomorphic Santa Claus helicopter (friction); and tambourine-playing bear. Generally good condition with light signs of play-wear.
Scmid Walt Disney Musical figure of Donald Duck playing Here comes Santa Claus height 32cm
Very Fine Recuay Pottery Jar - Happy Figure & Jaguars: Pre-Columbian, northern highlands of Peru, Recuay culture, ca. 200 to 600 CE. An impressive polychrome single spouted figural vessel depicting a winking, smiling figure wearing a hooded headdress and elaborately decorated ear ornaments as he/she holds a coca bag - or perhaps a musical instrument - that is also decorated with cross and dotted motifs mirroring those on her/his earrings. Flanking the happy visage are twin jaguars who are also smiling with perky ears, wagging tails, and spotted coats reminiscent of the starry sky. The figural imagery is delineated in low and high relief and skillfully painted in shades of russet red, tawny beige, cream, and black. A fabulous and endearingly playful example of Recuay artistry! Size: 8. 5" L x 7. 25" W x 7. 375" H (21. 6 cm x 18. 4 cm x 18. 7 cm). . The Recuay peoples are known for their distinctive pottery, which as we see in this example, traditionally features a polychrome finish in three hues as well as a modeling technique in which human figures, jaguars, llamas, and other animals are affixed to the vessel. In this case, the pair of jaguars, sporting friendly smiles most likely represent playful pets rather than threatening wild felines. . . Provenance: private S. H. collection, Santa Clara, California, USA, purchased from Artemis Gallery, Colorado, USA, prior to 2010; ex-Fort Knox, Scottsdale, Arizona, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #126270 Condition Small repair to spout with loss to break lines. Minute nicks to high-pointed areas that are difficult to discern. Otherwise minor surface wear with scuffs and areas of slight pigment loss. Overall, a delighful example.
PARKER BROS. SANTA CLAUS GAME, EARLY 20TH C.Parker Bros. Santa Claus Game , early 20th c. , with great early graphics on cover, game instructions on underside and inset gameboard, with spinner and wood playing pieces, 15" x 9".
Competitive In-House shipping is available for this lot.
Condition:
excellent (aprons and sides restored)
JOHN SKOLLE, (GERMAN AMERICAN, 1903-1988), GEOMETRIC ABSTRACTION, 1945, OIL ON MASONITE, 16" X 24". STEEL FRAME, 20 1/4" X 26 1/2".John Skolle (German American, 1903-1988) Geometric Abstraction, 1945 oil on masonite signed lower left. Biography from Fred R. Kline & Co JOHN SKOLLE (a sketch by his son Philip Skolle; edited by Fred R. Kline) John (Hanns) Skolle—artist, explorer, teacher, writer—was born in 1903 in Plauen, Germany. He was brought up in a circus in Czech Bohemia and the Sudeten region (his father created a school for acrobats in Prague and eventually became a teacher, a painter and a writer). He studied at the KunstAkademie in Leipzig. When he was barely 20, an uncle unexpectedly appeared in his life and played his destiny by tossing a coin in the air. Heads: New York; tails: Brazil. In May 1923 they arrived in New York. His uncle gave him 120 dollars and a piece of advice: "Now, get a job". In Brooklyn and Manhattan, where he lived, he studied at the Art Students League, and soon made friends, among them: the poet Hart Crane, the screenwriter Ben Hecht, the photographer Walker Evans with whom he shared an apartment and who became one of his closest friends. He married a French bourgeoise, Elisabeth (Lil) and became the father of a daughter, Anita, in 1927. But the couple parted and John started traveling in Europe and North Africa. In Paris, Amsterdam and on the French Riviera he worked for fashion houses, publishers and magazines and met Picabia, Giacometti, Pascin, Noguchi, Van Dongen, Hilaire Hiler, Picasso and the film-score composer Georges Antheil. Back in the U.S. in 1939, he moved west and worked on ranches in charge of horses before becoming an art teacher. In the West, he had encounters with the architect Frank Lloyd Wright. In the 1950s, he went back to the Sahara and crossed part of it with a caravan of Tuareg tribesmen. The account of his trek - Azalaï - was published in 1956, in the U.S., Great Britain and Japan. The book is still available half a century later. In Africa, John Skolle befriended the Hollywood actor Peter Lawford (who was Marilyn Monroe's friend, President Kennedy's brother-in-law and member of Frank Sinatra's Rat Pack). They remained good friends after sharing adventures together. In the 60s and 70s, John Skolle mostly traveled to Africa and Central America, where he found inspiration both in art and ethnography. He eventually became Associate Director of the Department of Art at the University of New Mexico. He published a monography on the Seri Indians of Sonora, Mexico and wrote his autobiography in the 1980s -Biography of a Double. John Skolle's paintings were exhibited and collected by many American museums, including: Dallas Museum of Fine Arts, Museum of New Mexico in Santa Fe, Denver Art Museum, Jonson Gallery at UNM in Albuquerque, Wurlitzer Foundation in Taos, California Palace of the Legion of Honor in San Francisco, Museum of Modern Art in New York, National Gallery in Washington, the Carnegie Institute in Pittsburgh, Santa Barbara Art Museum, Seattle Art Museum, Princeton University Art Gallery, and at the Bonestell Gallery in New York; and many private collections throughout the world. He was awarded a number of prizes in New Mexico and California for his artistic achievements. The Skolle family archives related to Walker Evans are kept at the Metropolitan Museum of Art in New York and at Yale University, and include paintings and photographs of-and-by John Skolle and Walker Evans, and correspondence between Evans and John or Lil Skolle. Many portraits of Skolle (and his wife and child) made by Walker Evans appear in recent publications along with the detailed account of the whole relationship between Skolle and Evans in New York and Connecticut between 1926 and 1934. Walker Evan's biographers note that Skolle exerted a strong encouraging influence on Evans during depressive periods in the photographer's life and inspired the photographer to develop his talent. Among the many anecdotes that colored Skolle's life, he liked to recount once sleeping with a rattlesnake in his tent and being attacked by sea-eagles in the Sonora Desert of Mexico; and barely surviving a dinner during the Mau Mau uprising in South Africa that served him ground glass and poisonous insects. He died of old age on Christmas Day 1988. He was 86. 16" x 24". STEEL Frame, 20 1/4" x 26 1/2". oil on masonite Dimensions: 16" x 24". STEEL Frame, 20 1/4" x 26 1/2".
Lot of 2 Large Articulated Spanish Colonial Wood Santos: Spanish Colonial, probably Mexico, ca. 1890s. A pair of very tall articulated wooden santos, one male and one female, likely intended to represent Mary and Joseph, both with articulated joints at the shoulders, elbows, hips, and knees. Each one is finely carved and painted with blue clothing (though these were likely covered by additional fabric garments), gold sandals, brunette coiffures, a beard and mustache for Joseph, Mary's likely adorned by a veil. Both visages also present glass eyes and naturalistic features. Mary is further embellished with gold-toned earrings, and a rosary is suspended around Joseph's neck. Finally, each figure is attached to a custom stand. Size: Mary measures 10" W x 35" H (25. 4 cm x 88. 9 cm); Joseph is similar in size. . Santos played an important role in bringing the Catholic Church to the New World with the Spanish colonists. These religious figures were hand-carved and often furnished with crowns, jewels, and other accessories, usually funded by religious devotees, and were used as icons to explain the major figures - Mary, Christ, and the saints - to new, indigenous converts. Likewise, they served as a connection to the Old World for Spanish colonists far from home. They became a folk art tradition in the Spanish New World, from modern day Guatemala to as far north as New Mexico and Colorado. Many of them were lovingly cared for over the years, with repairs and paint added as they aged, and played an active part for a long time in the religious life of their communities. . . Provenance: private Glorieta, New Mexico, USA collection; acquired from Gary Hendershott about one year ago who acquired it from Rey Montoya, Sena Plaza, Santa Fe, New Mexico about 20 years ago (1999-2000). . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #152230 Condition Normal surface wear with scuffs and chips to pigmentation commensurate with age. A few stable age cracks to the figures. Both figures are articulated at the shoulders, elbows, hips, and knees. There are perforations to the stands that were likely used for securing to display. Both figures were likely once "dressed" with additional garments and attributes.
RUFINO TAMAYO "ESTUDIO" GRAPHITE ON PAPERRufino Tamayo (New York/Mexico, 1899 -1991) unframed portrait portrayal of two ladies, signed to lower right "R. Tamayo" & measuring 20" in height with width of 16". Comes complete with Certificate of Authenticity (see photographs), & is in overall good condition. All measurements are approximate. Provenance: from the estate of a prominent Texas collector.
Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man with Flower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
1980 BETTY GOLD IRON MAQUETTE FOR MUSEUM OUTDOOR WORKBetty Gold (American, b. 1935). Iron maquette for Holistic Image VIII, 1980. A Betty Gold maquette for her monumental sculpture "Holistic Image VIII" which was originally owned by the Indianapolis Museum of Art and is currently located in front of the Danville, Indiana Town Hall. Gold has been creating such abstract sculptures inspired by geometry, space, order, and form since the 1970's - with her oeuvre ranging from tabletop pieces and maquettes like this example to monumental installations throughout the world. In this maquette, Gold not only masterfully envisioned and modeled the form in space, she also intentionally left the piece in its raw state to oxidize to a rich patina. What's more, the warm russet hues conjure classical references, despite the fact that the form is cutting edge modern. An outstanding work by a prestigious sculptor who has works in more than 75 permanent collections and has exhibited in more than 130 solo and group exhibitions. Size: 16" L x 16.25" W x 15.875" H (40.6 cm x 41.3 cm x 40.3 cm)
The outdoor sculpture entitled "Holistic Image VIII" modeled upon this maquette is a monumental steel geometric abstract public artwork that also consists of a triangle bisected by a pentagon form with a C-shaped negative cutout on the right proper side, and a pronounced curvilinear C-form intersecting the left proper front face. First owned by the Indianapolis Museum of Art and currently gracing the Town Hall of Danville, Indiana, it stands 16 feet tall and 16 feet wide. Of course, this maquette is a much more manageable scale.
Betty Gold studied at the Octavio Medellin Sculpting School in Austin, Texas (1959-1964) and the Texas Trade Welding School in Dallas, Texas (1966-1970). Born in Austin, Texas, Ms. Gold has lived in Mexico City, Dallas, Los Angeles, Aspen, Palma de Mallorca, Spain, Venice, California, and currently has a home in Santa Fe, New Mexico. She has received many honors including: Honorary Degree of Humane Letters from Mary Baldwin College in Staunton, Virginia (2014); XAM's Artist of the Year in Mallorca, Spain (2014) - Betty was the second woman to receive this award; numerous government commissions including Presidential Garden, Bratislava, Slovakia, Gift of the U.S. Embassy, Monumental Sculpture, "Tiron IV" (2002); Universiada '99, Ajuntament de Palma de Mallorca, Spain, "Tiron 1" (1999); Ronald Reagan State Judiciary Courthouse, Los Angeles, California, Monumental Fountain, "Redwood Moonrise" (1989); and International Olympic Workshop, National Museum of Contemporary Art, Olympic Village, Seoul, South Korea, "Kaikoo Series" (1987); Ms. Gold has been granted countless Artist in Residencies and given dozens of lectures throughout the world; and her works are in many elite institutions including Museo Nacional Centro de Arte Reina Sofia – Madrid, Spain; Austin Art Museum – Austin, TX; Es Baluard Museu d'Art Modern i Contemporani de Palma – Palma de Mallorca, Spain; Villas Buenaventura Sculpture Garden – San Juan, Cosala, Mexico; Milwaukee Museum – Milwaukee, WI; National Museum of Contemporary Art – Seoul, South Korea; Oakland Museum of California – Oakland, CA; Phoenix Art Museum – Phoenix, AZ; New Orleans Museum of Art – New Orleans, LA; Indianapolis Museum of Art – Indianapolis, IN; Orange County Museum of Art – Newport Beach, CA; Archer M. Huntington Gallery - University of Texas – Austin, TX; Georgia Museum of Art – University of Georgia – Athens, GA; Birmingham Museum of Art – Birmingham, AL; The Albuquerque Museum of Art and History– Albuquerque, NM; Art Museum of South Texas – Corpus Christi, TX; California Museum of Art Thousand Oaks - Thousand Oaks, CA; just to name a few.
In 2016, an independent, full length feature film entitled "A Year with Betty Gold" - directed and produced by Professor J. McMerty of Elon University - provided a wonderful opportunity to learn more about Gold's body of work. The film was a 2016 Academy Award Nominee. In the film there is a wonderful moment when Gold describes her process, "My whole life is about order, form, and shape, and geometry. The sculptures come from one rectangle of steel, because that's how you sell steel. That's how you buy it, by the rectangles. .. Whenever I get to playing about making models, I have an idea, and then it's like making sisters of that one shape. You know, you can take that shape and then say, oh, I think I'll turn that wrong side out and make something else. I make about 50, and I throw them all away but maybe about 7 or 8 that I really like, and I cull down, and then that is a series." ("A Year with Betty Gold, 2016 - a film)
Betty Gold's Artist Statement: "My inspiration comes from many directions, experiences and channels, but my work always begins with the simple act of folding paper. I create a flat, rectangular structure, deconstruct the parts and reassemble them into the whole, then create a set of drawings and geometric models based on the linear geometry of rotating movement."
"From a basic set of shapes, I design several different models - or maquettes – then build them in steel and choose which piece integrates best into the commissioned landscape. The maquette also provides the visual and architectural reference needed to scale the work to its monumental dimensions. I still continue to personally oversee construction and site preparation for each of my installations to ensure the rigid-quality standards I’ve upheld throughout my 45-year career as a professional artist."
"My continuing goal is to create art that brings a sense of joy and imaginative flight to those who engage with it, and that will endure long into the future. I also hope to motivate, represent, and inspire more women sculptors to assert themselves into the competitive art market, where they’ve yet to become dominant members."
The monumental version of this piece was published in "Betty Gold Retrospectiva." Casal Solleric, Ajuntament de Palma, Spain (2005) p. 20 in addition to "Betty Gold: Permanent Installations Monumental Sculpture" p. 18. A copy of the latter catalogue as well as the artist's impressively extensive resume which opens with a few quotes from the artist. Here is a statement in which Betty Gold discusses her maquettes, "Based on a flat rectangular structure, I deconstruct the whole and reassemble the pieces into one. From a basic set of shapes a small number of models, or maquettes, are constructed in steel. The maquettes provide a visual and architectural reference for what can then be scaled to monumental dimensions."
Media and Catalogues about Betty Gold: "A Year With Betty Gold". Full length Independent Feature film. Produced and Directed by Professor J. McMerty, Elon, NC, 2016; Block, Dick and Henry Breitrose. The Remarkable Journey of Betty Gold. Book and DVD. Los Angeles, CA: Block Communications Group, 2006; Betty Gold: Selected Sculptures 1970 – 2004. DVD. Block Communications Group, Los Angeles, CA, 2004; Serra, Pere A. Betty Gold: Velas de Mar. Soller, Mallorca, Spain: Museu Can Prunera, 2010; Serra, Pere A. Betty Gold: Mirades del Mon. Soller, Mallorca, Spain, 2008. Estacio del Ferrocarril de Soller; Pomar, Jaume, and Gold, Betty. Betty Gold: Retrospectiva. Casal Solleric. Palma de Mallorca, Spain: Ajuntament De Palma, 2005; Gold, Betty. Betty Gold: Acero. Santa Barbara, CA: Sullivan Goss--An American Gallery, 2004; Betty Gold. Nara, Japan: Nishida Gallery, 1989; Betty Gold. Seoul, South Korea: Walker Hill Art Center, 1987; Gold, Betty. Betty Gold: The Kaikoo Series. Venice, CA: Betty Gold Studio, 1985; Gold, Betty. Betty Gold: Venice. Venice, CA: Betty Gold Studio, 1984; Betty Gold: Los Angeles. Los Angeles, CA: Baum-Silverman Gallery, 1981; Gold, Betty. Betty Gold, Holistic Images. Santa Ana, CA: Bowers Museum, 1977. Forward by Suzie Pettit. Essay by Reilly P. Rhodes, Director; Gold, Betty. Betty Gold, Holistic Images: Palm Springs Desert Museum. February 26 through April 26, 1981. Palm Springs Desert Museum, Palm Springs, CA: 1977.
Provenance: Private Santa Fe, New Mexico, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#168267
Condition:
Intact and excellent. Gold intentionally left the piece in its raw state to oxidize to a rich patina. Accompanied by a catalogue entitled, "Betty Gold: Permanent Installations Monumental Sculpture" as well as a copy of the artist's impressively extensive resume; both are in good condition save slight age wear.
J. H. SINGER FAVORITE STEEPLE CHASE BOARD GAMEJ. H. Singer Favorite Steeple Chase board game, colorful cover art with jockeys and Santa Claus, wood framed box bottom with integral game board, spinner, and four stained cast metal figural playing pieces, 17 1/2" x 9 1/2". Provenance: The Collection of Bud & Judy Newman.
Competitive in-house shipping is available for this lot.
Condition:
Damage and losses to apron corner areas, one playing piece missing rider, overall very good condition.
Edward Curtis, The North American Indian Volume XI, 1916: Edward S. Curtis. (1868 - 1952). The North American Indian Volume XI, 1916. Individual volume on Holland Van Gelder etching stock . Nootka, Haida. . The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Volume XI. Written, Illustrated and Published by Edward S. Curtis. Edited by Fredrick Webb Hodge. Foreward by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass. ], 1916. . . LIMITED EDITION: This volume is numbered 48 of an unfulfilled edition of 500, on handmade Holland Van Gelder etching stock, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, raised paneled spines, ribbon bookmarks, with photogravure plates by John Andrew & Son of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan. . . TEXT VOLUME: 75 photogravures, including 1 hand-colored print. Over 230 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. . . Provenance:. Edward S. Curtis Studio. Charles Arthur Moore, Jr. By descent to family. The Christopher G. Cardozo Collection, 2019. . This set of “The North American Indian, ” number 48, by Edward Sherriff Curtis comes directly from the hands of the photographer, through four generations of the Moore (Close) family, to the hands of the buyer. The books keenly represent that period in American history when industrialization conquered the nation’s wild lands and clashed with its indigenous peoples, and for purposes of provenance it should be known that the man who acquired them from Curtis himself embodied both industry and a deep reverence for nature and the American West. The books were purchased from Edward S. Curtis by the seller’s great grandfather, Charles Arthur Moore, Jr. of Greenwich, Connecticut. Moore was a Greenwich native, a humanist, and an industrialist who became president of his father’s metal products manufacturing company Manning Maxwell & Moore that built parts such as gauges, valves, and hoists for cranes and trains. Moore’s New York City office was in the Chrysler Building just below the gargoyles. Born 23rd of June, 1880, in Lynn, Massachusetts, to Charles A. Moore, Sr. and Mary Campbell Moore, his siblings were Mary Elsie Moore who married Italian prince Don Marino Torlonia, 4th prince of Civitella-Cesi; Eugene Maxwell Moore who married Titanic survivor Margaret Graham; and Jessie Ann Moore who married US Navy Admiral Colby Mitchell Chester. Moore married twice, first to Annette Sperry of Nashville with whom he had three children and divorced in 1919, then to Elizabeth Hyde (1897-1983), daughter of Seymour Jairus Hyde and his wife Elizabeth Worrall. The Hyde’s were also wealthy industrialists whose company, A. G. Hyde & Sons Co. manufactured dry goods such as the Heatherbloom petticoats, and advertised with the first moving sign on Times Square. Charles and Elizabeth, who was known as Betty, had two children: John Campbell Moore (1921-1943), who died in active service with the 853d Engineer Battalion while being transported on the H. M. T. Rohna in World War II; and Bettine Moore, to whom the Curtis books later belonged. Moore was educated at St. Paul’s school and graduated Yale class of ’03. He was with the Montenegrin Army for some months during the Balkan War, then served throughout WWI, commanding in France the Old Twelfth Company of Greenwich attached to the 56th Artillery, A. E. F. He retired at the conclusion of the war with the rank of Major. A life member of American Museum of Natural history, Moore contributed specimens to the institution, like a mountain goat he shot in northern Rockies near the Columbia River in 1904, among others. He was also a member of New York Zoological Society (now the Wildlife Conservation Society) and the National Geographic Society, as well as many manufacturing groups. Moore was a physically imposing man, a great lover of nature, a deeply devoted father, and the owner of a self-sustaining 168-acre farm/estate in Greenwich called Mooreland, on Mooreland Road, at which he hosted the Highland Games every summer. He had a wide and eclectic circle of friends of many ethnicities. An avid photographer, he shot both stills and movies, a collection of which the family retains. Many photographs depict beautiful natural scenes, or holidays to places like Cuba and dude ranches in the west. The reels of black and white film that he shot portray his family life (Johnny and Bettine as children, the Highland games, etc. ), and travels during the 1920’s – 40’s. . EARLY INFLUENCE & LATER EXPEDITIONS. In the fall of 1883, at the tender age of three, Arthur, as Charles, Jr. was known to his family, made a trans-continental trip by train on the Northern Pacific Railroad from New York City to Portland, Oregon with his parents. This was the very year the tracks were laid. One of his father’s letters from the journey, dated September 29, 1883 reads, "Yesterday Arthur shook hands through the window with an Indian Brave in War paint. ” This telling scene took pace in Billings, Montana, which at the time was still a territory. The Indian man was most likely Cheyenne, Crow, or Lakota Sioux. To put it into perspective, the Battle of the Little Big Horn/Battle of the Greasy Grass, otherwise known as Custer’s Last Stand, which took place just south of Billings, had happened only a few years prior, in 1876. Although the Indians won that battle, it was a symbolic win. In a mind-bogglingly short period of time their world had been forever altered. The last wild herds of buffalo had recently been obliterated from the landscape. Tribes were being force onto reservations. Settlers and miners were staking their claims. Who was he, the mystery “Indian brave”? We wish we knew, because his touch likely sparked in young Arthur a deep admiration for indigenous Americans and the west that eventually inspired him to sign onto the young Edward Curtis’ courageous venture in photography in 1906. Arthur’s early travels—and his father’s international travels and extensive political connections—also inspired him to become an explorer. Besides venturing west, he went north and east. He became dear friends with Captain Bartlett and 1897 journeyed with Commander Robert E. Peary, U. S. N. to find the geographic North Pole. Moore then took charter of the steam whaler Algerine and spent the summer of 1901 in the Hudson’s Straights and Hudson’s Bay. His expedition north and with Peary succeeded in charting new waters and bringing back trophies, like Inuit artifacts and the Cape York meteorite, which is housed in the American Museum of Natural History in New York City. It is likely that befriending Inuit peoples also compelled him to support Curtis’ work. Later, in 1906, Mr. Moore traveled to Arabia, lands then controlled by the Ottoman Empire, including into what is now modern-day Syria, with the day’s most famous political cartoonist, Homer Davenport, whose drawings satirized figures of the Gilded Age and Progressive Era. The purpose of the expedition was to bringing back Arabian horses to the United States. Davenport had fallen in love with the breed at the World’s Fair in Chicago in 1893, the first time Arabian horses were on US soil. Moore, also a keen horseman, photographed and documented their expedition to Arabia, playing a key role in bringing some of the earliest desert-bred Arabian mares and stallions to America. Moore’s love of animals, wild lands, native peoples, art, and the west, he passed on to his daughter Bettine, wife of Dr. William Taliaferro Close, and mother of actress Glenn Close and her three siblings, and, through them, to his great granddaughter who made the difficult decision to sell the books. Dimension Condition This original volume is in very good to excellent condition overall. A formal, detailed condition report is available upon request. . The condition reports for the lots offered by Santa Fe Art Auction (SFAA) are provided as a courtesy and convenience for potential buyers. The reports are not intended to nor do they substitute for physical examination by a buyer or the buyer's advisors. The condition reports are prepared by SFAA staff members who are not art conservators or restorers, nor do they possess the qualifications needed for comprehensive evaluation. Each condition report is an opinion of the staff member and should not be treated as a statement of fact. The absence of a condition report does not imply anything as to the condition of a particular lot. Buyers are reminded that the limited warranties are set forth in the Terms and Conditions of Sale and do not extend to condition. Each lot is sold as-is.
J. Vanham, Continental 19th c, figures & lamb. J. Vanham, Continental 19th c, figures & lambWoman and a young girl playing with a lamb, signed lower left: J. Vanham, oil on canvas, 19.25'' H x 25'' W. '' H x 25'' W. Provenance: Harbottle Collection, Santa Barbara, CA, obtained 1942. Condition: Visual: Generally good condition. Blacklight: Touch-up upper left and upper center. A few minor spots of touch-up on the woman's face and arm.
Lot of 2: Lionel No. 2243 Santa Fe F3 AB Diesel. Description Post-war. O-gauge. Powered unit missing one number board with considerable play wear and silver mark on front of hood. Power unit is good. B unit has considerable flaking to one decal but overall clean bright silver. B unit condition is very good plus.
Parker Bros. Santa Claus Game, early 20th c. : Parker Bros. Santa Claus Game, early 20th c. , with great early graphics on cover, game instructions on underside and inset gameboard, with spinner and wood playing pieces, 15" x 9". Competitive In-House shipping is available for this lot. Condition excellent (aprons and sides restored)
Arthur C. Begay, Who Wants to Play?: Arthur C. Begay (Navajo, 1931 - 2010) . Who Wants to Play? . casein on paper . signed lower right: Arthur C. Begay . Dimensions: 15 1/2 x 19 1/2 inches . Framed Dimensions: 24 5/8 x 30 1/2 x 1 inches . Provenance: Private Collection, Nebraska Condition 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. Condition reports can be requested via email (curator@santafeartauction. com) or by telephone to 505-954-5858. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Santa Fe Art Auction shall have no responsibility for any error or omission.