Rosebud Agency Sketchbook, by "Jack"
9 x 5 1/2 inch sketchbook containing 72 illustrations on unlined paper, in color pencil, ca 1880s-1890s. Paper cover featuring blue pencil inscription "Capt McCauley for Indian Pictures" with additional inscriptions on reverse, "Jack - Rosebud Agency / South Dakota" and "Louis Richard." The artist is again identified on the first page which bears the pencil header "Draw [sic] by Jack" above the illustration.
Provenance: By descent directly through the family of Captain (later Colonel) Charles A.H. McCauley to the present owner, Col. McCauley's great-grandson.
The sketchbook illustrations are typical of Plains ledger art originating in the last quarter of the nineteenth-century, particularly in subject matter. Stylistically, the drawings are in a mannerist-romantic style, possessing a three-dimensionality and sense of movement that is somewhat atypical of earlier ledger drawings and is notably striking in appearance. Engaging vignettes depict warriors in graphic battle exploits, horse theft, buffalo hunts, courtship, and, in one instance, portray a European-American on horseback.
By the 1880s Native American artists across the Great Plains were making ledger art specifically for sale to the European-American middle class. Several pencil notations indicating prices such as "$1.25 a piece" and "$1.00 a.[?] p." seem to indicate that the illustrations in this sketchbook may have been intended for individual sale on behalf of the artist "Jack," perhaps by Captain Charles A.H. McCauley, the U.S. Army officer identified on the sketchbook cover. McCauley may also have provided the sketchbook and drawing utensils to "Jack" (and possibly "Louis Richard") for the express purpose of creating these drawings, as was common for military officers, traders, missionaries, and government agents to do during this period. McCauley's personal relationship to the artist "Jack" and to "Louis Richard" is not documented, though it may stem from McCauley's military service in the Wyoming Territory.
Charles Adam Hoke McCauley (1847-1913) graduated West Point in 1870 and embarked upon a lengthy military career which included extensive service in the American West. McCauley was with the Survey of the Red River in Texas (1876); was in charge of San Juan Reconnaissance, Southwest Colorado and New Mexico (1877); and was with the Ute Indian Commission in Colorado and Utah (1878). From 1879-1882 McCauley was on frontier duty at Fort Steele, Wyoming, a remote army outpost in the southeast corner of the state, before taking charge of the supply depot at Rawlins, Wyoming Territory, just a short distance from Fort Steele and less than 100 miles from Fort Laramie. It was while serving in Wyoming that McCauley was appointed Captain and Assistant Quartermaster in the Quartermaster's Department in February 1881, a rank which he retained until his appointment as Lieutenant Colonel in 1895, thereby roughly dating the sketchbook to within this fourteen-year timeframe.
Though the exact identities of "Jack" and "Louis Richard" cannot be determined with absolute certainty, a search of the U.S. Indian Census Rolls and additional research seem to indicate two Sioux men as potentially having a connection to the ledger offered here. U.S. Indian Census Rolls locate both a "Jack" (no last name and no "Indian Name" included in the roll just as on the ledger) and a "Louis Richard," as residents of the Rosebud Indian Agency in 1891. "Jack" (ca 1847 - ca 1920) appears on Indian Census rolls at Rosebud Agency well into the 1900s, and is identified as "Lower Band of Brule Sioux" as well as "Yankton" and "Rosebud" Sioux. He is identified as husband to "Good White Buffalo Cow." Following the 1891 Census, "Louis Richard" (ca 1843 - ca 1897) is located instead at Pine Ridge Agency from 1892 through 1897. He is identified as "Sioux and Cheyenne" and of "Mixed Band of Brule Sioux," and husband to "Jennie Richard."
Though additional details on "Jack" are elusive, "Louis Richard" may well be Louis Francis Richard (Reshaw), a mixed-race U.S. Army Scout and interpreter with longstanding connections to southeast Wyoming and the U.S. military. Richard's mother was Marie Gardinear (ca 1827-?), the mixed-race daughter of a trapper and White Thunder Woman, a relative of Red Cloud. Richard's father was John (Jean) Baptiste Richard (ca 1810-1875), a trapper, trader, and entrepreneur of French ancestry. John Richard established multiple toll bridges over the North Platte River, and one across the Laramie River within the Fort Laramie military reservation. During the decades leading up to the 1870s, John Richard and his family were well-known to the U.S. Army. Louis Richard may have been in charge of affairs at his father's old trading post at the "Old North Platte Bridge, or California Crossing, 120 miles west of Fort Laramie" in 1866, but by 1868 he was already employed by the government as an interpreter during the Fort Laramie Treaty ("Indian Peace Commission") proceedings. A veteran scout, in 1876 he is documented as a United States Quartermaster Department Scout serving under General George R. Crook. Louis Richard's tombstone states that he was "a trader like [his father] and operated bridges in Wyoming as an Oglala speaker. The Army hired Louis to tell hostile members to surrender in 1876. He was a scout for General George Crook during the Rosebud Mt. battle and Power River Expedition." Col. William F. "Buffalo Bill" Cody's autobiography references Richard, noting that in 1876 the two scouts were "selected to accompany General Miles on a reconnaissance" during the U.S. Army's campaigns against the American Indian tribes of the Great Plains. Not only was Louis Richard a contemporary of Cody, but of other famed U.S. Army Scouts including Frank Grouard and Baptiste "Big Bat" Pourier, who was Louis Richard's brother-in-law. In the years following the Great Sioux War of 1876, Louis Richard appears to have remained in the service of the U.S. government as an interpreter, including on 1880 negotiations between the Sioux at Pine Ridge and Rosebud Agencies and the Chicago, Milwaukee and St. Paul Railway Company. It is during this post-war time period that Richard's service with the U.S. military may have overlapped with Captain McCauley who was stationed in Wyoming from 1879-1882. McCauley's position in the Quartermaster's Department may have served as an introduction to Louis Richard, as at the time Army quartermasters hired individuals for jobs such as scouts, guides, and interpreters.
A 6 November 1882 agreement related to the receipt of rations and annuities at Rosebud Agency in the Territory of Dakota bears the name of "Louis Richard" indicating that the scout had departed Wyoming Territory at that time. It is uncertain how or if he returned to Wyoming once he had assumed residence at Rosebud Agency. This same agreement was witnessed and signed at Rosebud Agency by "Jack Stead," perhaps the same Jack Stead who served as a U.S. Army Scout in Wyoming and was an associate of both Louis Richard and William F. Cody while in the service of the U.S. military. Though Jack Stead seems to be a less likely candidate for the artist "Jack," the army scout connections between Jack Stead and Louis Richard solidify the need to explore other potential individuals who may in fact be the creator of the drawings in this ledger. Additional research will necessarily shed light on these associations, and open avenues of inquiry towards identifying "Jack" and "Louis Richard" with certainty.
Regardless of the identities of the artists, the illustrations themselves represent an important and historic visual record which memorializes bravery, battle, and a receding way of life. Bound with two fasteners, the drawings offer a glimpse into pre-reservation Plains Native culture. Drawings illustrate a time when warriors hunted buffalo instead of receiving rations, when tipis were home instead of Anglo-American cabins, and when warriors proudly fought and subdued their enemies. The ledger features more than 30 illustrations of warriors actively engaged in battle, with the remaining illustrations featuring scenes of braves hunting buffalo, capturing horses, engaged in courtship, and other scenes of life on the Plains. Only one image portrays a European-American. The individual pictured, with his military-style pants, jacket, and distinctive facial hair, bears a remarkable likeness to William F. Cody. The potential for the image to be Cody is strong, as Cody and Louis Richard served as scouts together under General Crook (the two were photographed together ca 1870, see Smithsonian Institution, NAA INV.01600906, James E. Taylor scrapbook of the American West). By the 1880s Cody was well-known to the inhabitants of both Rosebud and Pine Ridge Agencies where he actively recruited for his "Wild West Show." At the time Cody's show travelled to London for the first time in 1887, Cody was almost exclusively hiring Lakota, predominantly from these same two reservations in the Dakota Territory.
With fully dimensional depictions and dynamic figures, the drawings by "Jack" demonstrate meticulous attention to detail. Even more, the ledger art found in McCauley's sketchbook represents a long tradition of Native peoples of the Great Plains preserving histories pictorially. While 19th-century ledger art is rare in any form, an intact sketchbook which presumably retains the narrative order of the drawings is exceedingly scarce. A rare and significant piece of Native American Art, with important connections to the embattled history of the Great Plains Indian tribes.
Overall good condition. 2 5/8 in. vertical tear near bottom left corner on sketchbook cover, also creasing and light soil to cover. Approximately half of back paper board cover missing. Fasteners intact and drawings remain securely bound together. Drawings generally very clean and without losses or tears. Light toning and scattered spots and/or smudges throughout. One drawing with approx. 5 3/4 in. oval dampstain not affecting image.
Neolithic African Flint Knife / Skinner: **Holiday Shipping Deadlines**. USA Domestic: 12/14 for Standard; 12/23 for Express; International: 12/7 for Standard; 12/19 for Express. . Northern Africa, Sahara Desert, Neolithic period, ca. 6000 to 3500 BCE. A fine example of a hand-knapped flint tool used for skinning, slicing, and cutting. The ovoid tool features a pleasing smoothness across both faces, and the peripheries exhibit a uniform sharpness. During this time period, weather conditions called the Neolithic Subpluvial meant that the Sahara was a green, fertile landscape; cultures that produced rock art flourished during this time. The people who lived here had plentiful game to hunt and lived in a place with savannahs and woodlands in which they could have a sustainable hunter-gatherer lifestyle. These people produced some of the oldest pottery in the world and, from about 5000 BCE, had domesticated sheep, cattle, and goats. Size: 3. 1" W x 3. 7" H (7. 9 cm x 9. 4 cm); 5. 3" H (13. 5 cm) on included custom stand. . . Provenance: private Hawaii, USA collection; ex-private German 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. . #150925 Condition Minor nicks to edges, otherwise intact and excellent. Nice surface smoothness throughout. Old inventory label on verso.
FRANCISCO TOLEDO, (1940-2019, MEXICAN), "UNTITLED", ETCHING ON PAPER UNDER GLASS, PLATE: 7.625" H X 9.75" W; SIGHT: 8.25" H X 10.25" WFrancisco Toledo, (1940-2019, Mexican) "Untitled" Etching on paper under glass An artist's proof aside from the edition of unknown size Signed and inscribed in pencil in the lower margin: Toledo; titled from a gallery label affixed to the frame's backboard Plate: 7.625" H x 9.75" W; Sight: 8.25" H x 10.25" W Provenance: Jack Misrachi Gallery, New York, NY Notes: Born in Juchitán, Oaxaca in 1940, Francisco Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, Francisco Toledo followed his father into the jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the trade of lithography from the engraving workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo exhibited his works at Antonio Souza's gallery in Mexico and at the Forth Worth Art Center in Texas. These early years informed the artist he would become. "Toledo's is the art of shamanism," Christopher Goodwin ofThe Guardianwrote in 2000, "in which people are transformed into beasts and animals and may take on human characteristics." President Andrés Manuel López Obrador of Mexico announced the death on Twitter, calling Mr. Toledo "a true defender of nature, customs, and traditions of our people." While he preferred anonymity, his service to cultural preservation and celebration of traditional imagery gained him national acclaim. His first one-man show at 19 years set the stage for his travels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. Toledo's fascination with the metaphors of indigenous animals as symbols of Mexican history and mythology abound in his art. He settled definitively in Mexico in 1967. Etching on paper under glass Dimensions: Plate: 7.625" H x 9.75" W; Sight: 8.25" H x 10.25" W Provenance: Jack Misrachi Gallery, New York, NY
HE DOG OGLALA - CA. 1878 WINCHESTER MODEL 1873 SRCThis is a rare Winchester Model 1873 Saddle Ring Carbine serial number 16399 ordered by He Dog, marked “Crazy Horse rode with He Dog” and B.F. Flower 1879. The piece comes accompanied by a signed document from Wendell Grangaard from The Guns of History, Inc. Sioux Falls, South Dakota. The firearm was examined by Wendell Grangaard, author and historian on Custer, the Battle of the Little Bighorn as well as the Togia language. Wendell noted the firearm being marked as such in Togia and English: On the left side of the receiver cover is marked He Dog with an illustration of a dog, below this is “B.F. Flower 1879” and in front of the dog, Crazy Horse rode with He Dog (illustration 1); On the left side of the stock is marked son of He Dog – Eagle Hawk (illustration 2); On the right side of the stock is the signature mark of Standing Bear (illustration 3). It is noted in the signed document that in July 1877, General Crook told Crazy Horse he could have one last buffalo hunt, with the date set for August 15, 1877. Crooks notified the trading post and traders that they were permitted to sell weapons to anyone participating in the buffalo hunt. He Dog ordered and purchased a Winchester from Long Joe Larrabee a French trader from St. Cloud on the Missouri River who had a trading post at Fort Robinson. The hunt was delayed when Crazy Horse was arrested and killed at the Fort on September 5, 1877. After returning from Washington in October 1877, He Dog formed a breakout of Soreback band members and they fled into Canada to join Sitting Bull. He Dog brought his first wife, and left behind his 13-year old son Joseph Eagle Hawk with his second wife, Rock mother to He Dog’s daughter They Keep Her Horse. She stayed with her people the Soreback Hunkpapa Lakota Sioux in the White Clay District on the Pine Ridge Reservation. The gun was delivered to Long Joe Larrabee at his trading post Fort Robinson in the spring of 1878 to He Dog’s wife, Rock. Rock knew the way of the Togia and that “lemita” (my possession) must be placed on the new Winchester carbine, so she asked Standing Bear to inscribe the rifle with her husbands name. The winter of 1878-1879 was long, cold and turbulent causing Rock to need to sell the firearm for necessary supplies for her family. She sold it to a teamster who was hailing supplies to the new Pine Ridge Agency. As part of trading the Winchester , Rock told B.F. Flowers, the teamster, to put his name below her husbands in the tradition of Togia. So he marked the gun B.F. Flowers 1879 below He Dog’s name. B.F. Flowers or B. Franklin Flowers was born on August 2, 1819, and was employed by the Department of the Platte for General Crooks. Flowers hauled supplies out of Fort Omaha, Nebraska. He died on December 21, 1889, and is buried on Lot 079 Pacific Cemetery, Pacific Township, Columbia County, Wisconsin. It is believe He Dog’s son, Joseph Eagle Hawk used the carbine before it was sold to Flowers, as his name is written on the stock in Togia. The Winchester is accompanied with a Winchester Factory Letter noting that this firearm, serial number 16399 as a Carbine shipped May 2, 1878 in Order Number 11740. The firearm is accompanied by the Cody Letter, Signed Provenance Document from Guns of History, and illustrations. The carbine exhibits the saddle ring on the left side, marked on the bottom of the straight grip, “16399”, on the top of the barrel in a two line address “WINCHESTER’S – REPEATING - ARMS. NEW HAVEN, CT / KING’S – IMPROVED – PATENTED – MARCH 29, 1866, OCTOBER 16, 1866” and on the back of the frame tang “MODEL 1873”. Has a tilt up site on the barrel and front barrel band site. Hammer exhibits some case hardening and the receiver some original color. Has a 20 inch long round barrel with full length loading tube. Butte plate is a crescent metal with sliding brass window exposing the metal and brass three piece cleaning rod. The lever lock tab functions. The lever works correctly, rolling down pushing the brass ejector up which loads the next round while also cocking back the hammer. The hammer independently will also click back twice holding into place. The trigger releases the hammer appearing to work correctly. The dust cover is present with oblong oval checkered thumb spot. This is an Antique Firearm that does not require an FFL.
Early 20th C. Tlingit Polychrome Wood Canoe Paddle: **First Time At Auction**. . Native American, Pacific Northwest Coast, United States and Canada, Tlingit people ca. early 20th century CE. An elegant ceremonial canoe paddle, hand-carved from chocolate brown-hued wood and hand-painted in hues of yellow, red, blue, white, and black. The paddle is composed of an elongated petaloid blade which gradually tapers to a point and a flat shaft with an elevated central rib. The lengthy shaft flares to a handle at the top, displaying an arched grip. The blade is incised on one side with an abstract, petaloid motif, while a decorative openwork triangle adorns the top of the shaft. The Tlingit people relied on boats for fishing and hunting, and similar paddles would have helped steer their boats, while finely carved pieces such as this, may have been used during ceremonial dances. A fine example of high-quality Tlingit craftsmanship! Size: 42. 25" L x 5. 25" W (107. 3 cm x 13. 3 cm) . . Provenance: private Newport Beach, California, 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. . #135731 Condition Some nicks and chips, as well as scratches and fading to pigments, commensurate with age and use. Otherwise, intact and excellent with lovely patina throughout.
A photograph album of hunting scenes taken by Lt. Col. John 'Tiger Jack' Considine, circa 1925-35
Comprising over 200 candid black and white photographs depicting Lt. Col. Considine in Southeast Asia and in South America. Approximately two-thirds of the photographs depict hunting and village life in Southeast Asia with many images of game taken, including tigers, elephants, sladang, etc. Others images depict Lt. Considine and other officer's hunting and the famous guide M. Defosse and his son Louis, as well as many images of the Moi and Negrito peoples. Photos are laid down on black album paper, most with inked labels below. The other third of the photographs are of South America, where Lt. Col. Considine served as a military advisor in Guatemala and Paraguay. Also included is a copy of Tiger Trails in Southern Asia by Richard L. Sutton, C.V. Mosby & Co. 1926, the title page with dedication to Lt. Col. (then Major) Considine, from the author.
Condition: Photographs generally in fine. shape. Book with some staining to cover and wear to spine.
Saharan Neolithic Skinning Tool / Flint Knife: Northern Africa, Sahara Desert, Neolithic period, ca. 6000 to 3500 BCE. A handsome, wonderfully proportioned dark green chert stone tool used for skinning and slicing, hand-knapped into a thin ovoid with uniformly sharp edges. During this time period, weather conditions called the Neolithic Subpluvial meant that the Sahara was a green, fertile landscape; cultures that produced rock art flourished during this time period. The people who lived here had plentiful game to hunt and lived in a place with savannahs and woodlands in which they could have a sustainable hunter-gatherer lifestyle. These people also produced some of the oldest pottery in the world and, from about 5000 BCE, had domesticated cattle, sheep, and goats. Size: 2. 7" W x 3. 25" H (6. 9 cm x 8. 3 cm); 5. 95" H (15. 1 cm) on included custom stand. . . Provenance: ex-private Schmidt collection, Germany, 2004. . 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. . #150926 Condition Excellent condition. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
George Catlin (1796 - 1872) "Buffalo Hunt": George Catlin (1796 - 1872) "Buffalo Hunt on Snow Shoes" [Pl. 15] London: 1844. Hand-coloured lithograph by Day & Haghe. A fine image from Catlin's 'North American Indian Portfolio', one of the most important accounts of Native American life. "In this plate is illustrated the mode. of the Indians hunting in the depth of the winter, running on their snow-shoes, which support them on the surface of the snow, whilst the great weight of the buffalo and other animals sinks them down and fastens them in the drifts of the snow. " [From Catlin's text, North American Indian Portfolio. ] Catlin summarized the Native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, -- yet honourable, contemplative and religious being". In a famous passage from the preface of his North American Indian Portfolio, Catlin describes how the sight of several tribal chiefs in Philadelphia led to his resolution to record their way of life: "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian". He saw no future for either their way of life or their very existence, and with these thoughts always at the back of his mind he worked, against time, setting himself a truly punishing schedule, to record what he saw. From 1832 to 1837 he spent the summer months sketching the tribes and then finished his pictures in oils during the winter. The record he left is unique, both in its breadth and also in the sympathetic understanding that his images constantly demonstrate. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life. . . Image Size: 12 x 17. 75 in. . Overall Framed Size: 21 x 25. 5 in. . Framed behind glass. Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
19th C. Indian Naga Wood & Iron Sema Dao w/ Hair Tassel: South Asia/Southeast Asia, India/Burma (present day Myanmar) border, Nagaland, Sumi Naga people, ca. late 19th to early 20th century CE. An intimidating axe known as a sema dao comprised of a large steel blade and a long wooden handle with tassels of coarse hair, possibly horse or goat, dyed red and yellow. The handle is painted with a lustrous black pigment. A cloth and rattan strip are woven around the neck of the axe head. The tufts of hair are inserted into drilled holes along the upper half of the handle and several tufts at the top are cut into short bristles. Dao were both ceremonial and utilitarian tools that symbolized manhood, and wives often gave husbands daos as gifts to symbolize his responsibilities to protect, hunt, and farm. Size: 32" L x 4" W (81. 3 cm x 10. 2 cm) . . The name Naga is given to a series of hill tribes in southeastern Asia. Scholars posit that the name of these people's may in part derive from their worship of snakes; Naga was the Hindu cobra deity. Naga may also stem from the Hindustan word "nag" which means mountain. For more information about the Naga people please reference J. H. Hutton's "The Sema Nagas" (1921). . . Provenance: private East Coast, 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. . #161262 Dimension Condition Black pigment is chipping from handle. Abrasions, nicks, and chips to wood. Stable hairline crack on wood near rattan strip. Blade has heavy patina.
FRANCISCO TOLEDO, (1940-2019, MEXICAN), "SAPOS Y CHAPULINES," 1977, ETCHING, ROULETTE AND SOFT-GROUND IN COLORS ON PAPER UNDER GLASS, PFrancisco Toledo, (1940-2019, Mexican) "Sapos y Chapulines," 1977 Etching, roulette and soft-ground in colors on paper under glass Edition: 12/30 Signed and numbered in pencil in the lower margin: Toledo; titled and dated on a gallery label affixed to the frame's backing paper Plate: 8" H x 11.5" W; Sheet: 13.75" H x 22.25" W Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 1978 Notes: Born in Juchitán, Oaxaca in 1940, Francisco Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, Francisco Toledo followed his father into the jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the trade of lithography from the engraving workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo exhibited his works at Antonio Souza's gallery in Mexico and at the Forth Worth Art Center in Texas. These early years informed the artist he would become. "Toledo's is the art of shamanism," Christopher Goodwin ofThe Guardianwrote in 2000, "in which people are transformed into beasts and animals and may take on human characteristics." President Andrés Manuel López Obrador of Mexico announced the death on Twitter, calling Mr. Toledo "a true defender of nature, customs, and traditions of our people." While he preferred anonymity, his service to cultural preservation and celebration of traditional imagery gained him national acclaim. His first one-man show at 19 years set the stage for his travels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. Toledo's fascination with the metaphors of indigenous animals as symbols of Mexican history and mythology abound in his art. He settled definitively in Mexico in 1967. Etching, roulette and soft-ground in colors on paper under glass Dimensions: Plate: 8" H x 11.5" W; Sheet: 13.75" H x 22.25" W Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 1978
Francisco Toledo, (1940-2019, Mexican) "Sapos y Chapulines," 1977 Etching, roulette and soft-ground in colors on paper under glass Edition: 12/30 Signed and numbered in pencil in the lower margin: Toledo; titled and dated on a gallery label affixed to the frame's backing paper Plate: 8" H x 11.5" W; Sheet: 13.75" H x 22.25" W Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 1978 Notes: Born in Juchitán, Oaxaca in 1940, Francisco Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, Francisco Toledo followed his father into the jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the trade of lithography from the engraving workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo exhibited his works at Antonio Souza's gallery in Mexico and at the Forth Worth Art Center in Texas. These early years informed the artist he would become. "Toledo's is the art of shamanism," Christopher Goodwin ofThe Guardianwrote in 2000, "in which people are transformed into beasts and animals and may take on human characteristics." President Andrés Manuel López Obrador of Mexico announced the death on Twitter, calling Mr. Toledo "a true defender of nature, customs, and traditions of our people." While he preferred anonymity, his service to cultural preservation and celebration of traditional imagery gained him national acclaim. His first one-man show at 19 years set the stage for his travels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. Toledo's fascination with the metaphors of indigenous animals as symbols of Mexican history and mythology abound in his art. He settled definitively in Mexico in 1967. Etching, roulette and soft-ground in colors on paper under glass Dimensions: Plate: 8" H x 11.5" W; Sheet: 13.75" H x 22.25" W Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 1978
Kwakwaka'wakw Wood Mask by Tony Hunt Jr. , 1980, Bonhams: Tony Hunt Jr. (Kwakwaka'wakw (Kwakiutl / Kwagiulth), 1961-2017), "Northern Style Portrait Mask", 1980. An incredibly striking, hand-carved wooden mask made by a master carver from a long family line of mask carvers. The face has strong features including large, deepset eyes, and a jutting lower lip with a thick black labret. Black, red, and teal paint decorate the face, while blonde horse hair inserts frame the forehead. On the back, the artist has signed the piece and written the title "Northern Style Portrait Mask". Size: 7" W x 9" H (17. 8 cm x 22. 9 cm). . Tony Hunt Jr. 's obituary in the Victoria, BC, Times Colonist (October 15, 2017) discusses his distinguished heritage and impressive artistic skill: "Tony Hunt Jr. was. part of a renowned family of carvers and artists that includes his grandfather Henry Hunt and his great-grandfather Mungo Martin. His father, Tony Hunt Sr. , hereditary chief of the Kwakwaka’wakw people of Fort Rupert, is also an artist, as are his uncles Richard Hunt and Stan Hunt. Hunt’s work is sought around the world and was part of the exhibition Chiefly Feasts that was shown at the Royal B. C. Museum and the Burke museum in Seattle. " . . Provenance: Tambaran Gallery, New York, New York, USA, purchased from Bonhams San Francisco, USA, June 19, 2017, Lot 160. . 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. . #149109 Condition The facial surface is slightly weathered, with a shallow fissure on the forehead and one nostril; there is also very light scratching commensurate with age. Overall in very good condition. Signature and title are handwritten in pencil on the back and are easy to read.
Francisco Toledo, (1940-2019, Mexican) "Untitled" Etching on paper under glass An artist's proof aside from the edition of unknown size Signed and inscribed in pencil in the lower margin: Toledo; titled from a gallery label affixed to the frame's backboard Plate: 7.625" H x 9.75" W; Sight: 8.25" H x 10.25" W Provenance: Jack Misrachi Gallery, New York, NY Notes: Born in Juchitán, Oaxaca in 1940, Francisco Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, Francisco Toledo followed his father into the jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the trade of lithography from the engraving workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo exhibited his works at Antonio Souza's gallery in Mexico and at the Forth Worth Art Center in Texas. These early years informed the artist he would become. "Toledo's is the art of shamanism," Christopher Goodwin ofThe Guardianwrote in 2000, "in which people are transformed into beasts and animals and may take on human characteristics." President Andrés Manuel López Obrador of Mexico announced the death on Twitter, calling Mr. Toledo "a true defender of nature, customs, and traditions of our people." While he preferred anonymity, his service to cultural preservation and celebration of traditional imagery gained him national acclaim. His first one-man show at 19 years set the stage for his travels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. Toledo's fascination with the metaphors of indigenous animals as symbols of Mexican history and mythology abound in his art. He settled definitively in Mexico in 1967. Etching on paper under glass Dimensions: Plate: 7.625" H x 9.75" W; Sight: 8.25" H x 10.25" W Provenance: Jack Misrachi Gallery, New York, NY
4V Harry T Peters CURRIER & IVES / AMERICA ON STONE / CALIFORNIA ON STONE 1976 Vintage American Art & Lithography Set In Slipcase With Illustrations & Plates Title: Currier & Ives: Printmakers to the American People, 2 vols.; America on Stone: The Other Printmakers to the American People...; California on Stone; 4 vol. setAuthor: Harry T. Peters - A chance encounter with an old print of the famous Long Island trotting horse Lady Suffolk led Harry T. Peters to become a collector of American lithographs and one of the leading authorities in his day on the firm of Currier & Ives. Peters' early collecting focused on English color-plate books, but as Master of Fox Hounds at the Meadow Brook Hunt on Long Island for many years, he also had strong interests in horses, dogs, and hunting. At first he collected prints of those subjects, but later he developed a more comprehensive group of historical graphic works.In the early 20th century these images were not in fashion, and Peters' advocacy of their content and charm helped interest a new generation of collectors. He was presented with the New-York Historical Society's gold medal for achievement in history for his contributions to the field of graphic arts in 1947.Peters appreciated the historical importance and visual appeal of American lithographs at a time when few others recognized their value. He began collecting before World War I, and he amassed several groups of prints later donated to museums. His books document the importance of this democratic medium that offered "cheap, popular pictures" serving both art and commerce. Smithsonian exhibitions and publications have included prints from the Peters Collection, and his books have been reprinted in several editions. Peters also published California on Stone (1935) to document lithography's coverage of the Gold Rush period. His research identified many early prints and printmakers from across the U.S. [Information courtesy the Smithsonian Institution.]Publisher: Arno PressCity: New YorkYear: 1976Binding Style: HardcoverNumber of Volumes: 4 Full Set: YesWidth: 9.5" Height: 12.5"Book Details: "[Peters's] first book, Currier & Ives, Printmakers to the American People (1929), covered the country's best-known firm, but Peters also gathered prints representing the work of other lithographers, and he published 'America on Stone: the Other Printmakers to the American People' in 1931.The collection donated to the Smithsonian in 1960 includes examples of the prints and printmakers identified in that book." [Courtesy the Smithsonian Institution.]Condition / Notes: These four vintage volumes on American lithography are bound in the publisher's cream cloth covers with gilt stamped lettering on the spine and front covers. These books feature well-preserved exteriors with some light rubbing and soiling to the edges on volume I of "Currier & Ives." The bindings are firm. The interiors are clean and bright and feature numerous plates and textual illustrations. These works are housed in a thick cardboard slipcase with light age toning.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: $20.50
Thule Bone Harpoon Fore Shaft w/ Slate Blade: Arctic Region from Alaska to Greenland, Thule culture, ca. 1200 to 1700 CE. A fossilized bone harpoon point with a knapped slate blade. The bone is from a marine mammal, based on similar known examples. The bone handle is long, with a drilled hole where it widens. This created a socket, that allowed the harpoon to be rigid when thrown, and then bend when it struck the prey. This type of tool was a crucial technological development on the part of the Thule, who subsisted on marine mammals. The slate blade is triangular and thin, set into a carved groove in the narrow end of the bone. A nice example that would have been used to hunt seals and walruses. Size: 2. 4" W x 10. 5" H (6. 1 cm x 26. 7 cm). . The Thule people were the ancestors of the modern Inuit whose advanced culture and technology made them a part of the global economy during what those in the West call the medieval period. This piece was carved during a dynamic time in Thule history; recent research indicates that sometime after ca. 1200 CE, perhaps in a span of just a few years, the Thule people spread from their Bering Strait homeland all the way to Greenland, likely driven by the search for iron, both from meteoric deposits they may have heard about from the Dorset people to their east and from trade. They traded with the Chinese to their west - metal beads and a belt buckle of Chinese manufacture and dating to 1100 to 1300 CE have been found in in the Seward Peninsula - and interacted with the Vikings to their east, who describe them in the Vinland Saga as the Skraelings. . . Provenance: private Newport Beach, California, 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. . #145249 Condition Small chips to peripheries of slate blade, with a few stable hairline fissures on wooden haft, otherwise intact and very good. Great patina to haft and stone blade. Find site of "St. Lawrence Island" written in gold ink on one side of blade.
FINE COLLECTION OF DESERT NEOLITHIC "FOX EARS" POINTS 6,000-10,000 years old Mauritania, North Africa The Sahara Desert wasn't always desert. Several thousand years ago it was a series of vast lakes. Our ancestors lived and hunted these shorelines and estuaries, which teamed with wildlife. The people prospered well during this time as is evidenced by the many artifacts left behind. Now the water is gone and winds sweep sand across the ancient lake bottoms covering and uncovering the rocks and artifacts left behind. Today's intense summer sun beats down and sunburns these remains. This sanding and burning has created a beautiful rich patina on what survives as is evidenced on these artifacts. This collection of 29 fox ears represents nearly all the varied styles found, from no serrations to multiple ones. 90% of all of the fox ears that were recovered are small, ranging in size from ½ to ¾ inch and were probably made for bird hunting. The 29 specimens in this lot are of exceptional size, ranging from 1 to 2 ½ inches in length and were undoubtedly used for much larger animals such as antelopes. This has been evidenced from large bones with points imbedded in them, the large serrations giving a better cutting edge allowing for deeper and more damaging penetration. This complete collection comes in a 12 ½ x 9 ½ inches glass covered frame.
Nazca Clam Shell - Sea Lion w/ Inlaid Shell Eyes: Pre-Columbian, South Coast Peru, Nazca or Huari/Wari, ca. 300 to 1000 CE. An endearing sculptural piece depicting a sea lion or sea otter - comprised of a single piece of white shell with inlaid eyes comprised of dark blue shells. The head of the animal delightfully projects forward in high relief and wonderful detailing of his coat is finely incised. Drill marks through the surrounding periphery were created for attachment. Size: 3. 125" W x 2. 25" H (7. 9 cm x 5. 7 cm); 3. 25" H (8. 3 cm) on included custom stand. . Sea lions are a fascinating motif in ancient Peru. The people of this culture and others along in area - notably the later Moche - would have seen sea lions along the coast. Scholars believe that these animals were associated with human sacrifices, and we know from Moche art that they were ritually hunted (not just as a resource). Excavations of the site of Huaca de la Luna uncovered a tomb with a clay effigy of a sea lion and a sea lion canine tooth resting on the body's sternum. Some researchers have suggested that sea lions were associated symbolically with humans because of the animals' ability to live both on land and in the sea, placing them in a liminal space in the minds of people whose cosmology was ordered around the natural world. Whatever its meaning, this whimsical representation of the animal is a delight to behold. . . Provenance: private Hawaii, USA collection; ex-private Hans Juergen Westermann collection, Germany, collected from the 1950 to the 1960s. . 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. . #143628 Dimension Condition Old chips above left eye - perhaps integral to the shell. Nice deposits here and there. Intentional perforations around the periphery for attachment. Inlays present and intact. Overall excellent.
20TH C. FIRST NATIONS KWAKIUTL WOOD MASK, TONY HUNT JR....Canada, British Columbia, First Nations. Tony Hunt Jr. (Kwakwaka'wakw / Kwakiutl / Kwagiulth, 1961-2017), ca. late 20th to early 21st century CE. An impressive mask, skillfully hand-carved from brown cedarwood to present an expressive visage of drilled, annular eyes beneath huge, incised brows, a broad nose with delineated flared nostrils, prominent cheekbones, sunken cheeks, and full projecting lips held open as though mid-chant or song. This fascinating face all sits between a large, curved brow and a pointed chin. An intriguing example! Size: 5.4" W x 6.5" H (13.7 cm x 16.5 cm)
Tony Hunt Jr.'s obituary in the Victoria, BC, Times Colonist (October 15, 2017) discusses his distinguished heritage and impressive artistic skill: "Tony Hunt Jr. was... part of a renowned family of carvers and artists that includes his grandfather Henry Hunt and his great-grandfather Mungo Martin. His father, Tony Hunt Sr., hereditary chief of the Kwakwaka'wakw people of Fort Rupert, is also an artist, as are his uncles Richard Hunt and Stan Hunt... Hunt's work is sought around the world and was part of the exhibition Chiefly Feasts that was shown at the Royal B.C. Museum and the Burke museum in Seattle."
Provenance: private Arlington, Virginia, 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.
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.
#167597
Condition:
Signed "Tony Hunt" in pencil on verso. Some light nicks and minor abrasions, as shown. A few perforations to verso, likely from previous wear or display. Otherwise, intact and excellent with rich patina.
20th C. Alaska Inuit Walrus Bladder for Hunting: Native American, Northwestern United States, Alaska, Inuit, ca. early to mid-20th century CE. An interesting part of an animal that has been preserved - an inflated walrus bladder with a thin cotton cord on the tip for suspension. The texture is papery like parchment, a result of drying. Bladders and intestines were surprisingly robust and served many purposes for Arctic peoples such as floating devices for hunting or fishing on the water, waterproof clothing, and even as canteens with a bone or wood mouthpiece attached! Size: 7" L x 8" W (17. 8 cm x 20. 3 cm). . The winter solstice is marked by a Bladder Festival, a long period of several days that honors the souls of animals that were taken in hunts. It is believed that the spirit resides in the bladder, thus when the animal is killed, the bladder is collected and inflated to use or stored for later use in the festival. Once the ceremonies are over, the bladder is returned to the sea, reuniting the soul with the seal or walrus it came from. . . Provenance: private Littleton, Colorado, USA collection, received as a gift from Chester Lampe, Barrow, Alaska, USA in 1962. . 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. . #166440 Dimension Condition Creases and wrinkles as shown. Old repair with cotton thread to sew a small hole. Cotton cord around one end for suspension.
"THE PEOPLE WISH ONLY TO SEE YOU RIDE" (CUSTER, GEORGE ARMSTRONG.) Archive of 19 letters to General Custer concerning his famous horses and hunting dogs. Various sizes, in generally excellent condition. Vp, 1864-1875
In addition to his military exploits, Custer was renowned for his race horses and the dozens of hounds which accompanied him on his frequent hunting expeditions. Many of these letters relate to the race horse Don Juan, perhaps the most famous of Custer''s horses before Little Bighorn. Some letters concern Custer''s claim against the U.S. government for his personal horses lost during the Civil War. Correspondents include Norton Parker Chipman, P.T. Barnum (an 1875 telegram), and many others. One letter, from horse breeder Elliot Gray in 1866, offers a business proposition that appeals to Custer''s desires: "I will make you worth $10,000 & you can keep on hunting Indians buffaloes ... as much as you like & I will come & help you occasionly kill buffaloes." In another letter, he adds: "The people are anxious to see the General ride Don Juan at the fair (or any other horse). They wish only to see you ride."
Francisco Toledo, (1940-2019, Mexican) "Demetrio Vallejo, Nino," 1984 Woodcut in colors with gold leaf on paper under glass Edition: 49/50 Signed and numbered in pencil in the lower margin: Toledo Image: 10.5" H x 14.5" W; Sheet: 15.25" H x 22.5" W Provenance: Museum of Latin American Art (MOLAA), Contemporary Latin American Art Auction, October 2007, Lot 292 The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Born in Juchitán, Oaxaca in 1940, Francisco Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, Francisco Toledo followed his father into the jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the trade of lithography from the engraving workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo exhibited his works at Antonio Souza's gallery in Mexico and at the Forth Worth Art Center in Texas. These early years informed the artist he would become. "Toledo's is the art of shamanism," Christopher Goodwin ofThe Guardianwrote in 2000, "in which people are transformed into beasts and animals and may take on human characteristics." President Andrés Manuel López Obrador of Mexico announced the death on Twitter, calling Mr. Toledo "a true defender of nature, customs, and traditions of our people." While he preferred anonymity, his service to cultural preservation and celebration of traditional imagery gained him national acclaim. His first one-man show at 19 years set the stage for his travels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. Toledo's fascination with the metaphors of indigenous animals as symbols of Mexican history and mythology abound in his art. He settled definitively in Mexico in 1967. This work is accompanied by a certificate of authenticity from the Latin American Masters Gallery, as well as a Sales Receipt from the Museum of Latin American Art Auction, 2007. Woodcut in colors with gold leaf on paper under glass Dimensions: Image: 10.5" H x 14.5" W; Sheet: 15.25" H x 22.5" W Provenance: Museum of Latin American Art (MOLAA), Contemporary Latin American Art Auction, October 2007, Lot 292 The Carolyn J. Adrian Collection, South Pasadena, CA
9/11 Newspaper & Magazine Group, Thirty (30) Includes:
1) Two copies of People Weekly, September 24, 2001 "Sept. 11, 2001: The Day that Shook America".
2) Newsweek, October 1, 2001 "Trail of Terror: Inside the 10-Year Hunt for Osama Bin Laden".
3) Time, September 24, 2001 "One Nation, Indivisible".
4) Newsweek, September 24, 2001 "God Bless America".
5) People Weekly, October 1, 2001 "America Unites: Extraordinary stories of heroism, heartbreak and hope".
6) Time, "September 11 2001" Special Issue.
7) "September 11, 2001: The Day That Changed America" Special Issue by unknown publication.
8) "Standing Strong: The Spirit of New York" Special Issue by unknown publication.
9) Two copies of The Progress-Index, Saturday 15, 2001 "Day of Remembrance".
10) Two copies of Richmond Times-Dispatch, September 12, 2001 "America's Darkest Day".
11) Three copies of The Progress-Index, September 11, 2001 "America Under Attack".
12) Two copies of The Progress-Index, September 13, 2001 "Americans Unite".
13) Three issues of The Progress-Index from September 16, 18, and 21 2001.
14) An Extra edition of the Richmond Times-Dispatch, September 11, 2001 "Acts of War".
15) Four issues of the Richmond Times-Dispatch from September 13 and 16, 2001, as well as October 9, 2001 and September 11, 2002.
16) Two issues of The New York Times, September 12 & 13, 2001.
17) The Washington Post, September 12, 2001.
18) The Washington Times, September 12, 2001.
All items are in good overall condition with exception of the Washington Times, which has a torn cover.
9/11 NEWSPAPER & MAGAZINE GROUP, THIRTY (30)Includes:
1) Two copies of People Weekly, September 24, 2001 "Sept. 11, 2001: The Day that Shook America".
2) Newsweek, October 1, 2001 "Trail of Terror: Inside the 10-Year Hunt for Osama Bin Laden".
3) Time, September 24, 2001 "One Nation, Indivisible".
4) Newsweek, September 24, 2001 "God Bless America".
5) People Weekly, October 1, 2001 "America Unites: Extraordinary stories of heroism, heartbreak and hope".
6) Time, "September 11 2001" Special Issue.
7) "September 11, 2001: The Day That Changed America" Special Issue by unknown publication.
8) "Standing Strong: The Spirit of New York" Special Issue by unknown publication.
9) Two copies of The Progress-Index, Saturday 15, 2001 "Day of Remembrance".
10) Two copies of Richmond Times-Dispatch, September 12, 2001 "America's Darkest Day".
11) Three copies of The Progress-Index, September 11, 2001 "America Under Attack".
12) Two copies of The Progress-Index, September 13, 2001 "Americans Unite".
13) Three issues of The Progress-Index from September 16, 18, and 21 2001.
14) An Extra edition of the Richmond Times-Dispatch, September 11, 2001 "Acts of War".
15) Four issues of the Richmond Times-Dispatch from September 13 and 16, 2001, as well as October 9, 2001 and September 11, 2002.
16) Two issues of The New York Times, September 12 & 13, 2001.
17) The Washington Post, September 12, 2001.
18) The Washington Times, September 12, 2001.
All items are in good overall condition with exception of the Washington Times, which has a torn cover.
LOT OF 20 EUROPEAN PRINTS AND ETCHINGS SPANNINGFROM THE 16TH CENTURY TO THE 18TH CENTURY. TO INCLUDE: JOHN BROWNE (1742-1801, ENGLAND) ENGRAVING PUBLISHED BY JOHN BOYDELL (1719-1804) “THE CASCADE" PRINTED IN 1786, AFTER GASPARD DUGHET, DEPICTS A VERDANT LANDSCAPE WITH MERCURY STEALING A COW, APOLLO PLAYING A PIPE, AND ANOTHER FIGURE CLIMBING OVER THE ROCKS (SIGHT SIZE 19 1/2" X 11 1/2", HAS BEEN LAID DOWN ON CARDBOARD, SHOWS CHIPPING AND LOSS TO BORDER, 6 1/2" TEAR AND A 4" TEAR, FOXING AND DISCOLORATION). JOHANN BALZER (1738-1799, CZECH AND BOHEMIAN) ENGRAVING OF A EUROPEAN VILLAGE SCENE WITH A RIVER, WATERFALL, BRIDGE, AND PEOPLE MILLING ABOUT (SIGHT SIZE 13" X 20", NOT LAID DOWN, SHOWS SEVERAL TEARS ON THE EDGES INTO THE BORDER WITH TWO INTO THE PRINT ITSELF, STAINING AND FOXING. THE IMAGE, HOWEVER, IS IN GOOD CONDITION). JOHANN BALZER (1738-1799, CZECH AND BOHEMIAN) ENGRAVING DEPICTING A PASTORAL FARMING SCENE WITH CATTLE AND MAIDEN (9 1/2" X 15", FOLDS AND CREASES, NOT LAID DOWN, FOXING). ENGRAVER GERARD HOETE (1648-1733, DUTCH) AND PUBLISHER GILLIAN VAN DER GOUWEN (1657-1716, FLEMISH) ENGRAVING DEPICTING ABRAHAM SAVING LOT, HIS DAUGHTERS, AND WIFE, DESCRIPTIONS AT BASE IN A VARIETY OF LANGUAGES (15" X 9 1/2", UNBACKED, SOME PAPER LOSS TO THE EDGES, CREASES, FOXING). 18TH C. ENGRAVING BY RENALDI, DRAWN BY BOCOUET, PRINTED IN PARIS, DEPICTS A RURAL SCENE WITH THATCHED ROOF COTTAGE WITH FIGURE IN THE FOREGROUND (8 1/2" X 10 1/2", SHOWS SOME TEARS AND LOSSES INTO BORDER, STAINING AND FOXING). MICHEL LASNE (1590-1667, FRENCH) L’ASTREE, PARIS, A. DE SOMMOVILLE, ENGRAVING DEPICTING DUELING A SCENE FROM THE BOOK BY HONORE D’URFE L’ASTREE (6 1/2" X 8 1/4", SHOWS CREASING AND FOLDING TO CORNERS, OTHERWISE GOOD SHAPE). ELIAS BÄCK (1679-1747, AUGSBURG, GERMANY) ENGRAVING DEPICTING A CLASSICAL LANDSCAPE WITH FIGURES IN THE FOREGROUND AND PALACE IN THE BACKGROUND (SIGHT SIZE 8 1/2" X 12", CREASE DOWN THE MIDDLE, SOME PAPER LOSS AT BORDER, FOXING). MICHEL LASNE (1590-1667, FRENCH) ENGRAVING DEPICTING OF A SCENE FROM L’ASTREE (7" X 8 1/2", SOME FOXING, SOME PAPER LOSS). 1755 ETCHING BY JEAN PILLEMENT (1728-1808, FRENCH) THE NEW BOOK ON CHINESE ORNAMENTS", ETCHING PRINTED BY ROBERT SAYER OF LONDON (16" X 11", SOME CREASING, FOXING, AND PAPER LOSS). ENGRAVING BY FILIPPO MORGHEN (1730-1807, NAPLES) DONE AFTER 1783, PLATE NO. 7 FROM THE COLLECTION OF THE MOST NOTABLE THINGS SEEN BY JOHN WILKINS, ERUDITE ENGLISH BISHOP ON HIS FAMOUS TRIP FROM THE EARTH TO THE MOON, “PUMPKINS USED AS DWELLINGS TO SECURE AGAINST WILD BEASTS" (13" X 17 1/2", SMALL TEARS, STAINING AND FOXING). ANOTHER ENGRAVING BY FILIPPO MORGHEN (1730-1807, NAPLES) DONE AFTER 1783, PLATE NO. 2 FROM THE COLLECTION OF THE MOST NOTABLE THINGS SEEN BY JOHN WILKINS, ERUDITE ENGLISH BISHOP ON HIS FAMOUS TRIP FROM THE EARTH TO THE MOON, “A NEW DEVICE TO CLEAVE WILD BEASTS FROM HEAD TO TAIL" (12 1/2" X 17 1/2", CREASING, STAINING, AND FOXING). JOHN ELIAS RIDINGER (1698-1767, GERMAN) ENGRAVING CA 1745, DEPICTING A HUNTING SCENE (20 1/4" X 14", SOME STAINING AND CREASING, MINOR TEARS). COLORED LITHOGRAPH PRINTED BY E. G. MAY IN FRANKFURT (1845-1914), DEPICTING “THE CONFESSION" (20" X 14", SOME FOXING, MINOR TEARS). JOHN ELIAS RIDINGER (1698-1767, GERMAN) ENGRAVING CA. 1731 DEPICTING A HUNTING SCENE (20" X 14", SOME STAINING, CHIPS TO BORDER, CREASING). ENGRAVING BY AEGIDUS BICHEL, PUBLISHED BY JOSEPH FRIEDRICH LEOPOLD (1668-1726, AUGSBURG) PLATE FROM A SUITE OF 9 DESIGNS FOR FRENCH FOLIATE SCROLLS, TITLED ALLERHAND INVENTIONES VON FREANZÖSISCHEN LAUB-WRECKH (15" X 10", FOXING, STAINING, TEARS, CREASES, CHIPPING TO EDGES). UNKNOWN ARTIST AFTER MAERTEN DE VOS (1532-1603, ANTWERP) PRINTED BY GERARD DE JODE (1509/17-1591, NETHERLANDS) PRINTED BETWEEN 1579 AND 1585, “THE TEMPTATION IN THE WILDERNESS FROM THE LIFE OF ST JOHN THE BAPTIST AND CHRIST, ALSO CALLED DEVIL TEMPTING CHRIST" (8" X 11", SOME FOXING, CREASING). LE VEAU AFTER WEIROTTER (CA. 1780) COPPER ETCHING PUBLISHED IN PARIS, VIEW OF ROTTERDAM (11" X 14", CHIPPING TO EDGES, FOXED, CREASED). 18TH CENTURY ITALIAN, POSSIBLY VENETIAN, MARITIME ETCHING, UNKNOWN ARTIST, DEPICTING AN ENGLISH MERCHANT SHIP, A SPANISH WARSHIP, A SWEDISH MERCHANT SHIP, AND A SWEDISH WARSHIP (10" X 14", STAINING, CREASING, AND CHIPPING TO EDGE). SMALL ENGRAVING DEPICTING A EUROPEAN HUNTING SCENE, CATHEDRAL IN BACKGROUND (4" X 5 3/4", SMALL TEAR, SOME DISCOLORATION). ENGRAVING PUBLISHED IN THE GENUINE AND COMPLETE WORKS OF FLAVIUS JOSEPHUS, CA. 1785-86, PLATE 26, DEPICTING “MANASSEH, KING OF JUDAH, LOADED WITH CHAINS, AND CONFINED IN PRISEN AT BABYLON BY ORDER OF KING ESARHADDEON" (17" X 10 1/2" (AT WIDEST WIDTH) PAPER LOSS, CHIPPING TO EDGES, FOXING).
LOT OF FOUR FRAMED ARTIST INSCRIBED LYNN BOGUE HUNT PRINTS. These four prints are from the popular Hunt series copyrighted in 1944 for Field and Stream magazine. Three of the prints are of a variety of ducks and geese and the fourth is of dove and quail. All four are identically artist inscribed "To M. Hartley Dodge from Lynn Bogue Hunt and Zeli….. Warner". Marcellus Hartley Dodge was the President of Remington Arms Company at age 22. Mr. Dodge was born into wealth and American royalty as the son of Norman Dodge, an heir to the Hartley fortune. In 1907 he married Ethel Rockefeller, the niece of John D. Rockefeller, and at the time of the marriage they were worth an estimated $161 million. He was also the Director of a life insurance company, a railroad, Union Metallic Cartridge Company and President of the Bridgeport Gun Implement Co. and the M. Hartley Co. Lynn Bogue Hunt (1878-1960) was one of the world's most famous wildlife artist who painted innumerable scenes of people, animals and wildlife, but is best known for his bird paintings. Hunt and Dodge were reported to have been friends or, at least, working acquaintances. CONDITION: All the prints are yellowed and slightly faded, frames are fine. 4-53361, 4-53362, 4-53363, 4-53364 JR939 (1,000-1,500)
19TH C. TLINGIT / HAIDA BONE EAGLE & FISH AMULETNative American, Pacific Northwest Coast, United States or Canada, Tlingit or Haida people, ca. late 19th to mid-20th century CE. A wonderful example of a hand-carved marine mammal bone eagle effigy to use as a protective amulet. The stylized eagle points his head forward his wings folded to his sides and lightly incised with circular and linear motifs. Clasped in his talons is a fish, symbolizing a successful hunt and imbuing the owner of the amulet with this fierce hunter vitality. Carvings without suspension holes were often tucked into clothing of shamans or other tribal people to ensure protection and promote healing. Size: 3.75" L x 1.75" W (9.5 cm x 4.4 cm)
Provenance: private Brevard, North Carolina, 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.
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.
#171024
Condition:
Minor surface pitting and surface abrasions, overall great condition and intact. Dark patina throughout.
Curlew A. Elmer Crowell (1862-1952), East Harwich, MAc. 1930A life-size shorebird mantle carving with a slightly turned head. This decorative exhibits Crowell's mastery of the carved wooden bird and his finest blended painted surface representing the plumage. Mounted on a carved clam-shell base with the maker's rectangular stamp on the bottom. The underside also displays the inscription "A. H. Dempsey to J. Ashley Dempsey," and "CR" for Carolyn Rowland.Anthony Elmer Crowell was born in 1862 in the town of East Harwich, Massachusetts, the son of a Cape Cod mariner and cranberry grower. According to Crowell in his memoires, Anthony S. Crowell, Elmer’s father, though not a hunter, gave his son his first shotgun at the age of twelve. Of the relevance of receiving the new shotgun Crowell wrote, “Then, I was some boy!” The legend of A.E. Crowell and his famous carvings has many of the common threads of the typical artist’s tale. It is the story of a boy of modest means, born at the right time, and befriended by encouraging patrons. Crowell started out in his teens as a market hunter and a pioneering keeper of live waterfowl. These passions helped Crowell to develop an intrinsic knowledge of both waterfowl and other birds. His familiarity with bird anatomy enabled Crowell to create carved wood sculptures that bear exceptional likeness to their species.Young Elmer wasted no time immersing himself into the life of a market hunter. His father owned a small piece of property on nearby Pleasant Lake in East Harwich. By 1876, at the age of fourteen, Elmer had set up his own gunning stand along the lake’s southern shore. Crowell describes the site as having, “a fine sand beach which was ideal for my ducks. I had only six live decoys the first season. I made nine block decoys and put them off about thirty yards in the lake.” Crowell’s description reveals two important aspects regarding his career. The first being his preferred use of live birds as decoys, and the second is the documentation that he began to carve decoys by the age of fourteen.It is often the confidence and enthusiasm of youth that brings forth great experimental breakthroughs. Crowell’s immersion into waterfowl hunting was no different. At a time when market hunters could earn a respectable living if they were able to secure enough game, necessity became the mother of invention. Crowell’s flair for handling live decoys was most certainly born of this mindset. Crowell recounted in his memoir that by 1878, less than two years after starting to hunt, he had increased his flock to, “forty live decoys and tried a new way of handling my ducks. I sank a pole with a ring in the top and ran a line through it back to the blind, which made an endless line. I tied four live ducks to it and pulled them off the pond about thirty five yards. It was about two weeks before they were broken in so I could pull them out without their making a flutter. After that they were all right.”In the third quarter of the 19th century, Cape Cod was a major stop-over for migratory birds and sparsely populated by people. However, with increased access by train and the advent of the automobile, Cape Cod was quickly becoming a destination for sportsmen in pursuit of outdoor recreation. The concept of the American shooting sportsman was beginning to take root. The gunning stands and camps that had once been primarily operated by local market gunners were becoming increasingly sought after by sportsmen from Boston.These newer club owners would often invite their influential and wealthy friends down as guests and they needed managers to run the camps. It was Charles Ashley Hardy of Chatham and Wayland, Massachusetts, along with his partners, G. Herbert Windeler and Loring Underwood, who first approached the enthusiastic young bird handler. It is no small coincidence that they established their camp “The Three Bears Club” on Pleasant Lake, one half mile from Crowell’s gunning stand.The tremendous advantages that Crowell’s inventions and practices provided to the “Three Bears” cannot be overstated. Crowell’s trapdoor invention most closely resembled an automatic garage door. A domesticated flock of honking Canada geese would fly out, circle the pond, and draw the wild geese straight back to the beach like magnets. Crowell stated, “It was a success and we had good shooting for a number of years. At that time we began to bait the small ponds with corn, and two years later we baited in front of our blinds at the lake. It stopped the black ducks from going south, so the ponds were full of ducks; the shooting was great.” Crowell’s own words speak volumes and provide insight into the looming decimation of the migratory bird populations which began to occur at the turn of the century. The refined use of live decoys coupled with baiting waterfowl halted the wild birds from their natural migration patterns. Hunters were quickly becoming so adept at attracting their quarry that wild ducks and geese stood virtually no chance.Federal regulations shortly thereafter banned the use of live decoys and forced Crowell into the world famous carver so revered today. Unable to use live domesticated birds to lure in the flocks, Crowell did the next best thing, creating exceptional sculptures of likeness in wood.The quality of the carvings that Crowell created for his earliest patrons, including this whimbrel for the Hardy family, was often exceptional. Through experimentation he developed and mastered his “wet-on-wet” dry brush feathering technique. While the darker brown feather paint was still wet Crowell applied the lighter feather delineations. Once the two different colored paints became tacky, he took a clean dry brush and gently feathered the two colors together, producing a nicely blended affect. One has the sense that Crowell was either looking right at a real curlew as he painted this carving or he had handled so many that their shapes and feather patterns were etched in his memory.The special relationships forged through hunting, beginning with Charles Hardy, Dr. Phillips, Harry V. Long and others, opened the world to Crowell’s workshop, and the customers came knocking. Crowell specifically credits Mrs. Alexis Felix DuPont for introducing his work to many of the affluent summer residents of Chatham and other important patrons including Joseph B. Chace, Stuart Crocker, Dr. Mac Cunningham, Henry Ford, Arthur Gould, John D. Rockefeller Jr., and Abby Aldrich Rockefeller.Provenance: Alison Hardy Dempsey CollectionJane Ashley Dempsey CollectionCarolyn Rowland CollectionPrivate CollectionLiterature: Copley Fine Art Auctions, LLC, "The Harry V. Long Collection of A. Elmer Crowell Decoys", The Sporting Sale, Boston, MA, 2009.Brian Cullity, "The Songless Aviary," Sandwich, MA, 1992, p. 26, similar example illustrated.
Large 16th C. Madagascar Elephant Bird Egg: Africa, Madagascar, ca. 16th century CE or earlier. An amazing elephant bird (Aepyornis maximus) egg, ovoid in form and roughly 200 times larger than a typical chicken egg. It has been reassembled from its cracked pieces into a complete egg. An egg like this can hold roughly two imperial gallons (9 liters) of liquid, and a single egg could feed over one hundred people. The birds went extinct sometime before the 17th century, either through over-hunting (particularly of the eggs) or through disease. This is a reminder of a mysterious, lost creature! Size: 9. 2" Diameter x 12. 2" H (23. 4 cm x 31 cm). . Elephant birds are the largest bird to have ever lived; they grew to 10 feet tall and weight around 1, 000 pounds. They were ratites (flightless birds), related to cassowaries, ostriches, and emus. Their name originates with a description of them written by Marco Polo, who had never seen the birds but had certainly heard of them. He wrote, "The people of the island [Madagascar] report that at a certain season of the year, an extraordinary kind of bird, which they call a rukh, makes its appearance from the southern region. In form is said to resemble the eagle, but it is incomparably greater in size; being so large and strong as to seize an elephant with its talons, and to lift it into the air, in order to drop it on the ground and in this way kill it. " Of course, elephant birds did no such thing - they were flightless and herbivores - but their size was clearly a legend!. . Elephant bird eggs were a food source in Madagascar for natives, and their shells were used to carry water and rum (natives of Madagascar brought the shells to Mauritius as containers for the alcohol they intended to purchase). When one of the shells came to Paris in 1851, it sparked a craze amongst Europeans to own them. . . Provenance: private California, USA collection; from gem and fossil show in Tuscon, Arizona, USA in 2003. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #159678 Condition Repaired from multiple pieces with some fill and adhesive residue along break lines. Minor abrasions to some surfaces and expected age-commensurate yellowing to some fragments. Smooth surface textures throughout.
Huge 16th C. Madagascar Elephant Bird Egg: Africa, Madagascar, ca. 16th century CE or earlier. An amazing elephant bird (Aepyornis maximus) egg, ovoid in form and roughly 200 times larger than a typical chicken egg. It has been reassembled from its cracked pieces into a complete egg. An egg like this can hold roughly two imperial gallons (9 liters) of liquid, and a single egg could feed over one hundred people. The birds went extinct sometime before the 17th century, either through over-hunting (particularly of the eggs) or through disease. This is a reminder of a mysterious, lost creature! Size: 9. 5" in diameter x 12. 5" H (24. 1 cm x 31. 8 cm). . Elephant birds are the largest bird to have ever lived; they grew to 10 feet tall and weight around 1, 000 pounds. They were ratites (flightless birds), related to cassowaries, ostriches, and emus. Their name originates with a description of them written by Marco Polo, who had never seen the birds but had certainly heard of them. He wrote, "The people of the island [Madagascar] report that at a certain season of the year, an extraordinary kind of bird, which they call a rukh, makes its appearance from the southern region. In form is said to resemble the eagle, but it is incomparably greater in size; being so large and strong as to seize an elephant with its talons, and to lift it into the air, in order to drop it on the ground and in this way kill it. " Of course, elephant birds did no such thing - they were flightless and herbivores - but their size was clearly a legend!. . Elephant bird eggs were a food source in Madagascar for natives, and their shells were used to carry water and rum (natives of Madagascar brought the shells to Mauritius as containers for the alcohol they intended to purchase). When one of the shells came to Paris in 1851, it sparked a craze amongst Europeans to own them. . . Provenance: private California, 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. . #147286 Condition Repaired from multiple pieces with some fill and adhesive residue along break lines. Minor surface wear and light abrasions, with expected age-related yellowing to some fragments.
Joseph Hubert Diss Debar Sketchbook Joseph Hubert Diss Debar (American born France 1820-1905). A sketchbook with brown hardcover binding embossed gold title ?SKETCHES / J. H. D. D. including 61 total pages 59 of which include over 250 sketches in pencil pen and ink and watercolors tipped in to front and back of most pages with the majority labeled with descriptive titles all on sheets measuring 11.5 x 14.25 in. The images include original work by Debar and copies after other artists. Some of the images are loose within the sketchbook. Also included are several photographic reproductions of Debar's work. An article about Debar in the December 1931 issue of?The West Virginia Review?is bound inside the front cover of sketchbook.Debar was an accomplished artist author builder pioneer and social leader. He was born in Strasbourg Alsace then a province of France in 1820 into a prosperous family. He received a classical education in Strasbourg and Paris and was fluent in the French German and English languages and he trained as an artist under masters in Paris. Always the adventurer Debar was not content to remain in his homeland. Instead he set sail for America in hopes of shaping and guiding the untamed frontier. Sailing on the Cunard steamer Britannia from Liverpool England to Boston Massachusetts in the early 1840s Debar was delighted to find himself in the company of fellow traveler Charles Dickens the British literary genius. The two developed a friendship on the journey and as documented in Dickens' American Notes the author came to the young Frenchman's aid during an unfortunate gambling episode. Holding Dickens in the greatest esteem Debar painted an oil portrait of the author which was acquired by the West Virginia Division of Culture and History Department of Archives and History. Debar's additional images of Dickens are wonderfully accurate depictions of the confident young author.?Once in America Debar moved from one major city to another before settling in what is now West Virginia. There he set up business did surveying acted as a land agent and eventually became involved in the political fabric of the state. Ever the idealist Debar sought to transform what would become the state of West Virginia from its exclusive and conservative aristocratic traditions to a booming center of commerce and trade. In 1863 the legislature appointed Debar to make drawings for a state seal and coat-of-arms. These designs became the official seal and coat-of-arms for the state when West Virginia came into the union.?In addition to his political and business contributions to the state Debar through his writings and sketches became an important documentarian for West Virginia. He created countless sketches of the state's noteworthy political figures and its rapidly developing landscape. In 1870 Debar wrote and illustrated?The West Virginia Handbook and Immigrant's Guide: A Sketch of the State of West Virginia. He remained in West Virginia until about 1875 when he left for Philadelphia remaining there until his death in 1905.?Debar's sketchbook is an exquisite documentation of American history. It provides a visual record of a growing nation at a pivotal point in history. The sketchbook is organized chronologically and is divided into sections based on geography. The sections are labeled?Alsace / 1832-5 ?Paris 1835-40 ?In America / 1840 ?In West Virginia / 1846-75 ?The Civil War / 1861-65 ?Kansas / 1880 Visit to Europe / 1881-2 ?Supplementary / of various dates and places?all in pencil. The Alsace section includes quaint landscape scenes depictions of rural life and prominent citizens such as military officers. The Paris section title page is adorned with a tranquil landscape watercolor. The images from Paris include sketches of Alexandre Dumas the French writer and Adolphe Thiers the author of?The History of the French Revolution.?Debar's journey to America on the Britannia is illustrated in the American section. This section includes the two images of Charles Dickens several watercolors of Niagara Falls with one notated Sketched from nature and finished on the spot with three poor watercolors borrowed from Mif Whitne daughter of the proprietor of the Cataract House Niaga [sic] Village July 1840 and images of people of political and military importance such as General Almonte and Professor Maroncelli the Italian Patriot and fellow prisoner of Silvio Pellico.?During his many years in West Virginia Debar recorded the landscape and its people. Rural and picturesque images are abundant in the West Virginia section. The sketch titled?Going deer hunting on Tanner's Fork Henry Schmitt The Artist Pioneer Bill Patton July 1846?is beautifully rendered and intricately detailed. This section includes images of the Honorable John S. Duncan and Major James M. Jackson both of Clarksburg in 1846 tipped in with additional sketches of political figures and a horse. (The West Virginia Division of Culture and History Department of Archives and History has a similar Debar sketch of Duncan and Jackson also dated 1846). From life Debar sketched Alexander Scott Withers the author of?Chronicles of Border Warfare or A History of the Settlement by the Whites of north-western Virginia: and of the Indian wars and massacres in that section of the state; with reflections anecdotes &c.?(For a similar example see the collection of Debar sketches in the West Virginia Archives and History). This image is set amongst other small sketches including that of a Miami Indian copied from Withers' collection.?The Civil War section includes a depiction of Abraham Lincoln at the Willard Hotel in Washington in June of 1864 (also in the collection of the West Virginia Archives and History). Debar's Lincoln is similar to an image of Lincoln by Pierre Morand. Also in this section is an image of the first military rebel prisoners at Grafton West Virginia in June of 1864 and one titled?Members of the W.Va Legislature receiving doubtful news pending / The Battle of Gettysburg 3rd July 1863.?The final sections of the sketchbook include additional images of Alsace sketches of Albert Bierstadt Charles Dickens and his wife and Ephraim Bee and a Centennial show card from the Philadelphia Centennial Exhibition of 1876. Cowan's is pleased to offer this sketchbook a prize relic of the American past. For additional information see Boyd B. Stutler "Joseph H. Diss Debar-Prophet Colonizer" in The West Virginia Review (December 1931): 154-56 171.? Condition: Wear to cover binding is slightly loose toning and foxing to some images minor tears on some pages. Not all images are tipped in.
Francisco Toledo, (1940-2019, Mexican) "Iguana Rehilete," 1976 Etching and aquatint in colors on BFK Rives paper under glass Edition XXVII/L Signed and numbered in pencil in the lower margin: Toledo Plate: 15.5" H x 15.25" W; Sight: 26.5" H x 18.75" W Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 1978 Notes: Born in Juchitán, Oaxaca in 1940, Francisco Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, Francisco Toledo followed his father into the jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the trade of lithography from the engraving workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo exhibited his works at Antonio Souza's gallery in Mexico and at the Forth Worth Art Center in Texas. These early years informed the artist he would become. "Toledo's is the art of shamanism," Christopher Goodwin ofThe Guardianwrote in 2000, "in which people are transformed into beasts and animals and may take on human characteristics." President Andrés Manuel López Obrador of Mexico announced the death on Twitter, calling Mr. Toledo "a true defender of nature, customs, and traditions of our people." While he preferred anonymity, his service to cultural preservation and celebration of traditional imagery gained him national acclaim. His first one-man show at 19 years set the stage for his travels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. Toledo's fascination with the metaphors of indigenous animals as symbols of Mexican history and mythology abound in his art. He settled definitively in Mexico in 1967. Etching and aquatint in colors on BFK Rives paper under glass Dimensions: Plate: 15.5" H x 15.25" W; Sight: 26.5" H x 18.75" W Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 1978
*HISTORIC REMINGTON MODEL 8 RIFLE USED TO KILL BONNIE & CLYDE. Cal. 35 Rem. SN 48990. Standard rifle with 22" shrouded bbl, silver bead front sight & semi-buckhorn rear sight. Mounted with nicely figured American walnut with uncheckered semi-schnable tipped forearm & semi-pistol grip stock with serrated steel buttplate. This is the actual rifle used by Bienville Parish, Louisiana Deputy Sheriff Prentis Oakley to kill Clyde Barrow & possibly Bonnie Parker also. On morning of May 23, 1934, Bonnie & Clyde were traveling down Ringgold Road in the Parish, allegedly headed for Arcadia, Louisiana to rob the bank there. Bienville Parish Sheriff Henderson Jordan had received a tip of the pair's planned activities & had contacted Capt. Frank Hamer & Manny Gault from Texas who had warrants for their arrests for murder. Both these men traveled to Bienville Parish & brought along Deputies Bob Alcorn & Ted Hinton of the Dallas County (TX) Sheriff's Dept. to participate in the arrests. Sheriff Henderson & Deputy Oakley wanted to try to capture the pair but the Texas law enforcement people dissuaded them, stating that Clyde would never surrender. They set up an ambush on the Ringgold Road where they waited continuously for a day & a half until about mid-morning on the 23rd when one of the Texas Deputies spotted the gray Ford that the pair had stolen several days before up in Kansas. He notified the other posse members who were concealed near a truck they had commandeered to partially block the road. When Bonnie & Clyde stopped to ask if they could help the truck driver the posse opened fire & killed them instantly. Bienville Parish Deputy Oakley inadvertently fired before the signal stating that he had a bead on Clyde's head & fired the first two rounds before the rest of posse opened up. It is well documented that Clyde was shot in left side of the head, as was Bonnie. It is almost certain that Deputy Oakley killed Clyde & may have also killed Bonnie. Deputy Oakley was using this rifle that he had borrowed from his friend, a local doctor by the name of Shehee. Oakley had apparently previously borrowed this rifle for hunting in previous years & when he was notified he was to participate in the posse, not having a high powered rifle of his own, he borrowed this one from Dr. Shehee. This rifle remained in the Sheriff's vault for many years afterward, apparently being taken out o occasionally for display & hunting. It was purchased by the consignor in late 1960's. Accompanied by several 1960's pulp renditions of the story of Bonnie & Clyde, copies of numerous newspaper articles of their deaths, a paperback book, Bonnie and Clyde a Twenty-First-Century Update, Knight & Davis, published in 2003, a 33 rpm record titled, The Truth About Bonnie & Clyde, a hardback book, On the Trail of Bonnie & Clyde Then and Now, Ramsey, published in 2003. Also accompanied by a copy of a notarized statement by Reves Jordan, brother of Sheriff Jordan, telling of Deputy Oakley borrowing the rifle from Dr. Shehee; a notarized letter also from Reves Jordan identifying this rifle, by model & serial number, as the one owned by Dr. Shehee & used by Deputy Oakley when Bonnie & Clyde were killed. There is another identical statement by someone named Williams, who was the brother-in-law of Dr. Shehee. The evidence affirms that this is the exact rifle which Deputy Oakley used during the ambush of Bonnie & Clyde & almost assuredly is the rifle that killed Clyde Barrow & probably killed Bonnie Parker. This rifle has been displayed a number of times but most importantly was part of the Remington exhibit at The Cody Firearms Museum in 1997 & is pictured on p. 278 in the book, The Guns of Remington, Madaus. Two pieces of museum label copy for this rifle are also included. JUST DISCOVERED: This lot also incl. an affidavit by Reves Jordan, brother of Sheriff Henderson Jordan, who was in charge of the ambush. Jordan states that this is the gun that was used by Prentis Oakley in the shootout. This notarized document was executed Sept. 21, 1980. Another notarized document, executed Dec. 18, 1967, is signed by HN Davis, Sheriff of Bienville Parish following the retirement of Prentis Oakley, attesting that this is the gun by which they were killed. CONDITION: Good. Very little orig finish remains, only in sheltered areas with most of surfaces being a blue/gray patina. Stock has numerous light nicks & scratches & a crack in wrist and retains a hand rubbed patina. Mechanics are fine, bright shiny bore. 4-57943 (50,000-150,000)
LOT OF TWO FRAMED HERCULES POWDER ADVERTISING POSTERS. 1923 & 1924 "F.M. Spiegle" prints for Hercules Powder Company, both are 15" x 20" vertical images of what appear to be the same African American man & boy. The 1923 print depicts the two individuals in a snowy winter field scene with their hunting dog with the man having his hand through the bottom of his shoulder bag titled "I'se done lost de lunch". CONDITION: Yellowed with light soil, a few chips in the edges, otherwise image and frame are fine. 1924 print depicts two similar people also in a winter scene, apparently out rabbit hunting with the man reloading a muzzle loader and the young man pointing with the title "Dah he goes!". CONDITION: One or two very small chips in the edges, yellowed with light soil, frame is fine. 4-53768 JR734 (500-1,000)
G. HUNT (English, 19th Century) “TROLLING FOR PIKE” AND “FLY FISHING”. Pair of colored aquatints engraved by G. Hunt after a painting by J. Pollard. Published London by J. Moore. Each print shows men fishing, one next to small dam, the other down from a bridge. Both have fish on with other people beside. Good coloring, identically framed and matted. Black painted wood frame with line highlighted matte. Both have M. Knoedler & Co., Inc. New York labels. SIGHT SIZE: 14-1/2” x 18”. CONDITION: Both have some nicks, which have been filled on the edges and some light browning. Not examined out of frame. Restorations. 12-317 (750-1,250)
Lakota Sioux Beaded War Shirt Cheri Cappello: Available in this lot is a Lakota Sioux Native American Indian tanned hide war shirt, crafted by the famous Cheri Cappello. The war shirt shows tanned elk hide construction, and utilizes a fox pelt shawl, and skull. Additionally, the shirt is adorned with long cut hide fringe, geometric pattern trade seed bead work, and feather drops. The seed and pony beads include greasy yellow, brass toned, chalk white, semi-transparent corn yellow, orange, and semi-transparent crimson. The connection and deep reverence that Cheri feels for our Native people began as a child. Cheri was born and raised on a large cattle and sheep ranch in the Colorado high country. Many hours were spent exploring the ancient encampments and burial grounds on the familyó»s ranch. She collected artifacts and arrowheads while working the ranch. Her respect and kinship grew through the years and were fueled with education and involvement with the Native people. At the same time Cheri learned the art of running trap lines and tanning and preparing skins and furs from her grandfather. Her early years also found her hunting, fishing and living the western ranch lifestyle. This taught her the value of nature, animal life and the bond that runs between man and the land. She learned the importance of balance between these two. It seemed only natural that Cheri would create art that would demonstrate her love for the Native Americans, the land, and a lost way of life. Each one of her pieces is a one-of-a-kind museum quality work. They are historically true to the 1800ó»s circa warshirts, wedding dresses, and childó»s ceremonial works of art. These striking works are created by hand using elk and buckskin. They are painstakingly brought to life with fine beadwork and authentic adornments originally found on period pieces. The result is a powerful statement of our Native American culture. You can find Cherió»s work in public and private collections across the country and in Europe, Africa, and Australia. She is represented by many fine galleries, and has won numerous awards at prestigious national and international shows. Cheri currently owns and operates a ranch in the mountains of Colorado with her husband and children. Cherió»s artwork is her way of honoring and demonstrating her respect for our Native American heritage. Some of her most recent accolades include Peppertree Art Show 2004, 2005, 2006, 2007, 2008. 30th Anniversary participant. Santa Ynez, California Women Artists of the West 2003 and 2004 and 2005 International Invitational Show. Artists Choice Award and Mixed Media 1st Place Award. Peopleó»s Choice Manhattan Arts International Award of Excellence. Peopleó»s Choice Award Jackson Hole Fine Arts Festival Featured Horizon Artist 2004, 2005, 2006, 2008. Featured artist for Former Texas Ranger Foundation Gala 2005 , 2006, 2007. and 2008. The war shirt measures 63 1/2" wide from the tips of each sleeve, 35 3/4" long from the seam on the back of the neck to the waist, and 21" across the chest, underneath each armpit. Condition For a complete representation of condition and for additional images please call 800-686-4216. It is the buyer?s responsibility to view each image and preview the item to determine condition.
Carbine Williams gold cufflinks by Bohlin circa 1951
custom made horseshoe design in bi-color gold, studded with rubies and applied name CARBINE WILLIAMS; marked: Bohlin Made, Hollywood, Calif., 14K and 18K.
H1 1/8" W1 1/8", and 42.2 grams all in (pr)
Provenance: David Marshall Williams, Jr.
David Marshall "Carbine" Williams, Sr.
Bohlin special order, 1953.
Literature: Beard, Jr., Ross E. CARBINE, THE STORY OF DAVID MARSHALL WILLIAMS. Lexington, SC: Sandlapper, 1977.
Other Notes: David Marshal "Carbine" Williams
Godwin, North Carolina
A North Carolinian, universally known as "Carbine", was born in 1900, Marsh Williams. Declining higher education and in 1921, he chose to operate a whiskey still around the Godwin area in the lowlands near Fayetteville, NC. Deputy Sheriff Al Pate led a raid on Williams' still and was slain during the gun battle that raged at the still. Williams was tried and the jury was hung. He was tried a second time and was sentenced to 30 years of hard labor and to wear a felon's stripes. The State took his citizenship so he could be hunted "Dead or Alive".
Marsh was not a model prisoner. His conduct called for punishment and he was ordered by Captain H. T. Peoples to remain in solitary confined in a metal box in the middle of a field in the boiling sun until he apologized to the warden. He refused and remained there for longer than any man had ever survived. He was on bread and water, lost over 80 pounds and he was finally ordered to be released by the chaplain.
While in this box, to retain his sanity, he mentally assembled, disassembled and mentally fired guns that he had owned. In his mind he saw, in color, the explosion of the cartridges and the gases created. He devised an idea in his mind to use this wasted energy to operate the mechanism of pistols and rifles using a smaller and cheaper cartridge. This invention saved the U.S. Government $50,000 in its first year of use and completely revolutionized automatic weapons. He converted the .30 cal machine gun to a .22 cal and the Colt .45 cal automatic to .22 cal.
Once he recovered and while still a prisoner, he worked in the machine shop of the prison. He collected old ball bearings, truck springs, a Fordson tractor axle and a wooden fence post. He also made most of his tools and built a rifle that looked like a guard's rifle (which he was allowed to clean) but included his now world famous "floating chamber". He was caught making this gun but the very warden that put him in solitary realized Marsh had found his place in life. He was not trying to use it to escape, but that he was a genius. The warden convinced the prison board to let Marsh complete his project and test it. He subsequently built three rifles in prison.
He was, after "ten Christmases", granted a full pardon by the Governor and went on to invent, make, and patent some 59 weapons for Colt, Winchester and Remington. While he was most famous for the .30 cal M-1 Army carbine he made a remarkable machine gun that fired a sustained rate of fire of 2,000 rounds a minute.
A movie was made about his life. Jimmy Stewart played "Carbine" Williams and Wendell Cory played warden Capt. H. T. Peoples.
He is recognized as not only one of the world's greatest weapons inventors, but also was one of the few great inventors that physically made the guns he had invented. He was proud to be known as a "gun maker".
Ross E. Beard, Jr
Biographer to "Carbine" Williams
Colonel, SC Military Dept - Joint Services Detachment
Camden, SC
Condition: Very good original condition with hardly any evidence of wear. One ruby missing from each cufflink.
Early 20th C. Inuit Seal Pelvis, Whisker & Feather Mask: Native American, United States, Alaska, Inuit people, ca. early 20th century. A very interesting mask utilizing parts from animals hunted and considered sacred by the Inuit people, including a seal pelvis bone, seal whiskers, and duck feathers. The pelvis is shaped with anatomical openings that naturally form areas for the wearer to see through, and the curved bottom would rest on the wearer's nose; an ingenious use of the pelvis! Large seal whiskers are set into the "nasal ridge" area. Whole sections of wings and tail feathers likely from waterfowl in brown and white are attached to piercings at the top of the pelvis. The bone surface is carved with shallow circles; the centers are painted with teal blue highlights, and additional red pigments detail the rest of the mask. This mask probably had a ceremonial or ritualistic purpose, and a leather cord is tied through four piercings on the back to attach to a face. Size to feather tips: 12. 675" L x 11. 5" W (32. 2 cm x 29. 2 cm); 12. 875" H (32. 7 cm) on included custom stand. . . Provenance: private Newport Beach, California, 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. . #148555 Condition Bending, fraying, and losses to feathers. Bending and cracking to tips of whiskers. Natural ossification of the bone. A rare form of mask.
Neolithic African Sahara Flint Knife / Skinner: Northern Africa, Sahara Desert, Neolithic period, ca. 6000 to 3500 BCE. A wonderful stone tool of an ovoid form used for slicing and skinning, hand-knapped from olive-green flint with sharpened edges around the periphery and smooth, lustrous faces. During this time period, weather conditions called the Neolithic Subpluvial meant that the Sahara was a green, fertile landscape; cultures that produced rock art flourished during this time period. The people who lived here had plentiful game to hunt and lived in a place with savannahs and woodlands in which they could have a sustainable hunter-gatherer lifestyle. These people produced some of the oldest pottery in the world and, from about 5000 BCE, had domesticated sheep, goats, and cattle. Size: 2. 9" W x 3. 3" H (7. 4 cm x 8. 4 cm); 4. 7" H (11. 9 cm) on included custom stand. . . Provenance: private Hawaii, USA collection; ex-private Hirsch German collection formed between 1950 and 1970. . 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. . #150922 Condition Minor nicks to faces and edges commensurate with knapping, otherwise intact and excellent. Nice smooth surfaces throughout. Old inventory label on verso.
Native American Transformation Mask, "Pook-Ubs Rescue", signed verso Tsa-qwa-supp (traditional name of Art Thompson, Ditidaht People, Nuu-Chah-Nulth People, village of Whyac, British Columbia, Canada, 1948-2003), further signed Yaamithla, Stewart Thomas MacNutt (cousin and apprentice to Art Thompson, c. 1981- 2004),dated July 13, 1999, polychrome with horsehair accents, reflective discs string, restoration, split to wood at lower mouth, approx. 39"h, 46"w, 18.5"d *Provenance and further information: Purchased at Inuit Gallery of Vancouver Ltd. *Note: "This mask reflects a Ditidaht Whaler who has the great honor of hunting the Killer Whale from his canoe. If the hunt is unsuccessful, the shamed Whaler, jumps to his death to follow the whale. The outer mask depicts the Killer Whale at center flanked by the mythical Thunderbird. The inner mask reflects the face of Pook-Ups, the keeper of drowned souls ."*
Tom McNeely (B. 1935) "North American Indians": Tom McNeely (Canadian, B. 1935) "North American Indians" Signed lower right. Original Mixed Media painting on Paper. . . Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . This painting was originally published on the Fleetwood First Day Cover for the Canadian 34c North American Indian stamp issued August 29, 1986. . . During the great Ice Age, when Asia and North America were joined by a land bridge, men and animals moved freely between the continents. These ancient people were Indians from Asia, and were cut off from returning there as the huge sheets of ice gradually melted away, submerging the natural bridge. The Indian population then moved into the northern forest regions of Canada and became known as the people of the Snowshoe. This population could have possibly been as large as 50, 000 people although the northern people did not think of themselves as part of this enormous group. They lived primarily in little bands of a few families, except for the rare occasions when a few hundred or perhaps a thousand gathered at one time for a dance or feast. Almost all of the Indians of Northern Canada spoke the same dialect, and practiced many of the same customs. Since they were new to the land, the Indians adopted ways of life that insured their survival. Some roamed the grasslands hunting the ample game, while others settled into small agricultural communities. For thousands of years their customs have served them well, and still today some of these ancient ways of life remain in Northern Canada. The Indians from Asia were the first real explorers of what is today called Canada, for they ventured across the Bering Strait 40, 000 years ago to begin a new life in North America. . . Image Size: 21 x 17 in. . Overall Size: 28. 75 x 22 in. . Unframed. . (B10278) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be out bid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live.
FRANCISCO TOLEDO, (1940-2019, MEXICAN), "DEMETRIO VALLEJO, NINO," 1984, WOODCUT IN COLORS WITH GOLD LEAF ON PAPER UNDER GLASS, IMAGE: 1Francisco Toledo, (1940-2019, Mexican) "Demetrio Vallejo, Nino," 1984 Woodcut in colors with gold leaf on paper under glass Edition: 49/50 Signed and numbered in pencil in the lower margin: Toledo Image: 10.5" H x 14.5" W; Sheet: 15.25" H x 22.5" W Provenance: Museum of Latin American Art (MOLAA), Contemporary Latin American Art Auction, October 2007, Lot 292 The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Born in Juchitán, Oaxaca in 1940, Francisco Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, Francisco Toledo followed his father into the jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the trade of lithography from the engraving workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo exhibited his works at Antonio Souza's gallery in Mexico and at the Forth Worth Art Center in Texas. These early years informed the artist he would become. "Toledo's is the art of shamanism," Christopher Goodwin ofThe Guardianwrote in 2000, "in which people are transformed into beasts and animals and may take on human characteristics." President Andrés Manuel López Obrador of Mexico announced the death on Twitter, calling Mr. Toledo "a true defender of nature, customs, and traditions of our people." While he preferred anonymity, his service to cultural preservation and celebration of traditional imagery gained him national acclaim. His first one-man show at 19 years set the stage for his travels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. Toledo's fascination with the metaphors of indigenous animals as symbols of Mexican history and mythology abound in his art. He settled definitively in Mexico in 1967. This work is accompanied by a certificate of authenticity from the Latin American Masters Gallery, as well as a Sales Receipt from the Museum of Latin American Art Auction, 2007. Woodcut in colors with gold leaf on paper under glass Dimensions: Image: 10.5" H x 14.5" W; Sheet: 15.25" H x 22.5" W Provenance: Museum of Latin American Art (MOLAA), Contemporary Latin American Art Auction, October 2007, Lot 292 The Carolyn J. Adrian Collection, South Pasadena, CA
FRANCISCO TOLEDO, (1940-2019), "LA CUADRADA," 1976, ETCHING AND SOFT-GROUND IN COLORS ON PAPER UNDER GLASS, PLATE: 6" H X 7" W; SIGHT:Francisco Toledo, (1940-2019) "La Cuadrada," 1976 Etching and soft-ground in colors on paper under glass Edition: 10/15 Signed and numbered in pencil in the lower margin; titled and dated on a gallery label affixed to the frame's backboard Plate: 6" H x 7" W; Sight: 12.5" H x 9.25" W Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Born in Juchitan, Oaxaca in 1940, Francisco Toledo spent his childhood between Juchitan and Minatitlan, Veracruz. As a young man, Francisco Toledo followed his father into the jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the trade of lithography from the engraving workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo exhibited his works at Antonio Souza's gallery in Mexico and at the Fort Worth Art Center in Texas. These early years informed the artist he would become. "Toledo's is the art of shamanism," Christopher Goodwin ofThe Guardianwrote in 2000, "in which people are transformed into beasts and animals and may take on human characteristics." President Andres Manuel Lopez Obrador of Mexico announced the death on Twitter, calling Mr. Toledo "a true defender of nature, customs, and traditions of our people." While he preferred anonymity, his service to cultural preservation and celebration of traditional imagery gained him national acclaim. His first one-man show at 19 years set the stage for his travels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. Toledo's fascination with the metaphors of indigenous animals as symbols of Mexican history and mythology abound in his art. He settled definitively in Mexico in 1967. Etching and soft-ground in colors on paper under glass Dimensions: Plate: 6" H x 7" W; Sight: 12.5" H x 9.25" W Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA
AFTER DEAN WOLSTENHOLME THE JUNIOR/ELDER (British, 1757-1837/1798-1882) PAIR OF ESSEX HUNT PRINTS. Identically framed colored prints titled “The Essex Hunt” “Painted and engraved by D. Wolstenholme”. The large prints depict a fox hunting scene with many people, horses and dogs in a panoramic countryside. An outstanding decorative pair of hunt prints. Each housed in a fine 20th Century frame with watercolor highlighted mattes. PROVENANCE: From a Camden, Maine Estate. SIGHT SIZE: 21” x 26-1/2”. CONDITION: Very good. 9-72274 ($300.00-$500.00)
Neolithic African Flint Knife / Skinning Tool: Northern Africa, Sahara Desert, Neolithic period, ca. 6000 to 3500 BCE. An elegant and well-proportioned dark-green flint stone used for skinning and slicing, hand-knapped into a thin ovoid form with uniformly sharp edges. During this time period, weather conditions called the Neolithic Subpluvial meant that the Sahara was a green, fertile landscape; cultures that produced rock art flourished during this time period. The people who lived here had plentiful game to hunt and lived in a place with savannahs and woodlands in which they could have a sustainable hunter-gatherer lifestyle. These people produced some of the oldest pottery in the world and, from about 5000 BCE, had domesticated sheep, goats, and cattle. Size: 3" W x 3. 375" H (7. 6 cm x 8. 6 cm); 6" H (15. 2 cm) on included custom stand. . . Provenance: ex-private Schmidt collection, Germany, 2004. . 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. . #150921 Condition Minor nicks to faces and edges commensurate with age and knapping, otherwise intact and excellent. Smooth patina throughout. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Early 20th C. Inuit Wood & Iron Seal Retrieval Hook: Native American/First Nations, Canada and Greenland, Inuit people, ca. early 20th century CE. A fascinating wooden object embedded with three sharp iron hooks, sometimes known as an "ingeelok", used for retrieving seals. It is comprised of four pieces of wood fit together in a tadpole shape, with a rope attached to one end. This item is kept close at hand in the boat, ready to be used at a moment's notice, during the open water hunting of ringed seals, an important component of the traditional subsistence lifestyle of the Inuit and other indigenous Arctic people. Size: 3. 45" W x 11. 2" H (8. 8 cm x 28. 4 cm); 12. 35" H (31. 4 cm) on included custom stand. . . Provenance: private Newport Beach, California, USA collection; ex-Randal Cunningham collection, Vancouver, British Colombia, Canada. . 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. . #148630 Condition Rich patina on surface from use. Most of the rope is now lost but a nub remains at the end.
Carbine Williams gold tie clip by Bohlin circa 1951
custom made horseshoe design in bi-color gold, studded with rubies and applied name CARBINE WILLIAMS; marked: Bohlin Made, Hollywood, Calif., 14K and 18K.
H1 1/8" W3", and 33.9 grams all in
Provenance: David Marshall Williams, Jr.
David Marshall "Carbine" Williams, Sr.
Bohlin special order, 1953.
Literature: Beard, Jr., Ross E. CARBINE, THE STORY OF DAVID MARSHALL WILLIAMS. Lexington, SC: Sandlapper, 1977.
Other Notes: David Marshal "Carbine" Williams
Godwin, North Carolina
A North Carolinian, universally known as "Carbine", was born in 1900, Marsh Williams. Declining higher education and in 1921, he chose to operate a whiskey still around the Godwin area in the lowlands near Fayetteville, NC. Deputy Sheriff Al Pate led a raid on Williams' still and was slain during the gun battle that raged at the still. Williams was tried and the jury was hung. He was tried a second time and was sentenced to 30 years of hard labor and to wear a felon's stripes. The State took his citizenship so he could be hunted "Dead or Alive".
Marsh was not a model prisoner. His conduct called for punishment and he was ordered by Captain H. T. Peoples to remain in solitary confined in a metal box in the middle of a field in the boiling sun until he apologized to the warden. He refused and remained there for longer than any man had ever survived. He was on bread and water, lost over 80 pounds and he was finally ordered to be released by the chaplain.
While in this box, to retain his sanity, he mentally assembled, disassembled and mentally fired guns that he had owned. In his mind he saw, in color, the explosion of the cartridges and the gases created. He devised an idea in his mind to use this wasted energy to operate the mechanism of pistols and rifles using a smaller and cheaper cartridge. This invention saved the U.S. Government $50,000 in its first year of use and completely revolutionized automatic weapons. He converted the .30 cal machine gun to a .22 cal and the Colt .45 cal automatic to .22 cal.
Once he recovered and while still a prisoner, he worked in the machine shop of the prison. He collected old ball bearings, truck springs, a Fordson tractor axle and a wooden fence post. He also made most of his tools and built a rifle that looked like a guard's rifle (which he was allowed to clean) but included his now world famous "floating chamber". He was caught making this gun but the very warden that put him in solitary realized Marsh had found his place in life. He was not trying to use it to escape, but that he was a genius. The warden convinced the prison board to let Marsh complete his project and test it. He subsequently built three rifles in prison.
He was, after "ten Christmases", granted a full pardon by the Governor and went on to invent, make, and patent some 59 weapons for Colt, Winchester and Remington. While he was most famous for the .30 cal M-1 Army carbine he made a remarkable machine gun that fired a sustained rate of fire of 2,000 rounds a minute.
A movie was made about his life. Jimmy Stewart played "Carbine" Williams and Wendell Cory played warden Capt. H. T. Peoples.
He is recognized as not only one of the world's greatest weapons inventors, but also was one of the few great inventors that physically made the guns he had invented. He was proud to be known as a "gun maker".
Ross E. Beard, Jr
Biographer to "Carbine" Williams
Colonel, SC Military Dept - Joint Services Detachment
Camden, SC
Condition: Very good original condition with hardly any evidence of wear.
FRANCISCO TOLEDO, (1940-2019, MEXICAN), "CONEJO," 1974, ETCHING AND AQUATINT IN COLORS ON PAPER UNDER GLASS, PLATE: 3.25" H X 5.75" WFrancisco Toledo, (1940-2019, Mexican) "Conejo," 1974 Etching and aquatint in colors on paper under glass Edition A/P (aside from the edition of unknown size) Signed and inscribed in pencil in the lower margin: Toledo; titled and dated on the gallery label affixed to the frame's backboard Plate: 3.25" H x 5.75" W Provenance: Casa de la Cultura de Sonora, Hermosillo, Mexico Galeria Avril, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 1981 Notes: Born in Juchitán, Oaxaca in 1940, Francisco Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, Francisco Toledo followed his father into the jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the trade of lithography from the engraving workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo exhibited his works at Antonio Souza's gallery in Mexico and at the Forth Worth Art Center in Texas. These early years informed the artist he would become. "Toledo's is the art of shamanism," Christopher Goodwin ofThe Guardianwrote in 2000, "in which people are transformed into beasts and animals and may take on human characteristics." President Andrés Manuel López Obrador of Mexico announced the death on Twitter, calling Mr. Toledo "a true defender of nature, customs, and traditions of our people." While he preferred anonymity, his service to cultural preservation and celebration of traditional imagery gained him national acclaim. His first one-man show at 19 years set the stage for his travels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. Toledo's fascination with the metaphors of indigenous animals as symbols of Mexican history and mythology abound in his art. He settled definitively in Mexico in 1967. Etching and aquatint in colors on paper under glass Dimensions: Plate: 3.25" H x 5.75" W Provenance: Casa de la Cultura de Sonora, Hermosillo, Mexico Galeria Avril, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 1981
FRANCISCO TOLEDO, (1940-2019, MEXICAN), "IGUANA REHILETE," 1976, ETCHING AND AQUATINT IN COLORS ON BFK RIVES PAPER UNDER GLASS, PLATE:Francisco Toledo, (1940-2019, Mexican) "Iguana Rehilete," 1976 Etching and aquatint in colors on BFK Rives paper under glass Edition XXVII/L Signed and numbered in pencil in the lower margin: Toledo Plate: 15.5" H x 15.25" W; Sight: 26.5" H x 18.75" W Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 1978 Notes: Born in Juchitán, Oaxaca in 1940, Francisco Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, Francisco Toledo followed his father into the jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the trade of lithography from the engraving workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo exhibited his works at Antonio Souza's gallery in Mexico and at the Forth Worth Art Center in Texas. These early years informed the artist he would become. "Toledo's is the art of shamanism," Christopher Goodwin ofThe Guardianwrote in 2000, "in which people are transformed into beasts and animals and may take on human characteristics." President Andrés Manuel López Obrador of Mexico announced the death on Twitter, calling Mr. Toledo "a true defender of nature, customs, and traditions of our people." While he preferred anonymity, his service to cultural preservation and celebration of traditional imagery gained him national acclaim. His first one-man show at 19 years set the stage for his travels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. Toledo's fascination with the metaphors of indigenous animals as symbols of Mexican history and mythology abound in his art. He settled definitively in Mexico in 1967. Etching and aquatint in colors on BFK Rives paper under glass Dimensions: Plate: 15.5" H x 15.25" W; Sight: 26.5" H x 18.75" W Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 1978
2 JAMES KIVETORUK MOSES MIXED MEDIA - "HOME ALASKA"James Kivetoruk (Kivitauraq) Moses (Inupiat/Inupiak, ca. 1899-1982). Two mixed media works on paper, ca. 1960s. Both signed and inscribed "Home Alaska" on lower left. A pair of sophisticated mixed media (pen and ink with watercolor) compositions by Alaskan self-taught artist James Kivetoruk Moses. The work on the left depicts an Inuit fisherman navigating the ice floes of Alaska, and the work on the right depicts an Inuit seal hunter (with his catch) heading back home. Both are delineated with Moses' signature rigid postures, pleasing color palette which set him apart from his contemporaries who generally worked in an achromatic manner, and observant eye for detail. A special pair of works by James Kivetoruk Moses, mounted in a custom frame. Prior to becoming an artist, Kivetoruk Moses was a hunter and a trapper in Alaska; however, an airplane crash resulted in serious injuries to his legs that ended this chapter of his life. While recuperating, Kivetoruk Moses took up drawing, an activity he had enjoyed as a child. His art honored the life he knew - people, places, and events that he either experienced directly or observed; hence, he has been praised for his work as both an artist and a documentarian. Size (sight view of art on right): 7.6" L x 11.4" W (19.3 cm x 29 cm) Size (sight view of art on left): 7.6" L x 10.875" W (19.3 cm x 27.6 cm) Size (frame): 14.125" L x 30.255" W (35.9 cm x 76.8 cm)
About the artist: Alaskan native James Kivetoruk Moses was an Outsider Artist whose art career began late in life following injuries due to a plane crash. During his youth and middle years, Moses was a hunter, trapper, and reindeer herder in Siberia and his native Cape Espenberg on the Seward Peninsula. However, in 1954, due to his injuries from a plane crash, Moses' hunting days came to an end, and he decided to teach himself to paint. Dubbed an Arctic Henri Rousseau, Moses is known for honoring his ethnic heritage with his art, depicting hunts, polar bears, walrus, maritime voyages, shamans, the arrival of white men in northern Alaska, Inuit legends, and the ceremonial Wolf Dance.
According to Michael Engelhard, "Moses' hunter-naturalist eye for detail matched a knack for narrative angles. His colored-pencil, watercolor, and India ink landscapes and seascapes deftly rendered clothing, subsistence and social activities, ice, weather, even light and shadows typical of the seasons or hour of day. Species-specific fur, wood grain in boards, tan lines, chin tattoos, lip plugs, tonsure hairdos, and ashen cloud-bellies brushing horizons segueing from powder-blue to peach reflect skills he kept honing. Seal blood spatters onto snow, shorthand for the brusque northern existence." (Michael Engelhard - "The Life and Paintings of Alaska Native Artist James Kivetoruk Moses" ? Alaska Magazine - October 1, 2021)
James Kivetoruk Moses' art has been collected by esteemed museums such as the California Academy of Sciences, the Anchorage Museum of History and Art, the University of Alaska Museum in Fairbanks, the Alaska State Museum in Juneau, and the National Cowboy and Western Heritage Museum in Oklahoma City."
On the verso is an obituary for James Kivetoruk Moses that reads, "Honored Eskimo Artist Passes Away / NOME (AP)-Artist James "Kivetoruk" Moses has died after a long illness. He was 82. / Raised in Cape Estenberg, at the northern tip of Seward Peninsula Moses was a subsistence hunter and trader. Injuries sustained in a 1954 plane crash ended his hunting career, and Moses taught himself to paint. / His works, done primarily in pen and ink and watercolors, depicted Eskimo legends and Native life in the early part of this century. / Those works were featured in American Heritage Magazine and other national publication. / He is survived by wife, Bessie; and a brother." (source unknown - handwritten date "10-15-82" above)
Provenance: private Hood River, Oregon, 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.
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#178599
Condition:
Both artworks are signed and inscribed "Home Alaska" on lower left. Both are mounted in a custom frame and have not been examined outside the frame but appear to be in very nice condition as is the framing. There is an obituary clipped from a newspaper and hand dated "10-15-82" on the verso. Suspension hardware on verso.
Kwakiutl Mask Rattle by Tony Hunt Jr. 1982: Tony Hunt Jr. (Kwakwaka'wakw / Kwakiutl / Kwagiulth), 1961-2017), 1982. An incredibly striking, hand-carved wooden mask rattle made by Tony Hunt Jr. , a master carver from a long family line of Kwakiutl mask carvers of British Columbia, Canada – between Vancouver Island and mainland. The face has strong features including bold crossed eyes , a protruding nose with delineated nostrils, thick brows, and an open mouth that doubles as the rattle's handle. Black, white, red, and grey paint were used to decorate the face, accentuating and delineating the features as well as embellishing the visage with motifs that may indicate face paint or tattoos, while brown raffia hair was attached to the top of the head. Size: 4. 25" L x 6. 25" W x 11. 625" H (10. 8 cm x 15. 9 cm x 29. 5 cm); 13. 875" H (35. 2 cm) on included custom stand. . Tony Hunt Jr. 's obituary in the Victoria, BC, Times Colonist (October 15, 2017) discusses his distinguished heritage and impressive artistic skill: "Tony Hunt Jr. was. part of a renowned family of carvers and artists that includes his grandfather Henry Hunt and his great-grandfather Mungo Martin. His father, Tony Hunt Sr. , hereditary chief of the Kwakwaka’wakw people of Fort Rupert, is also an artist, as are his uncles Richard Hunt and Stan Hunt. Hunt’s work is sought around the world and was part of the exhibition Chiefly Feasts that was shown at the Royal B. C. Museum and the Burke museum in Seattle. ". . Accompanied by collection label that reads, "1982 North West Coast Kwakiutl Indian Rattle by the Master Carver Tony Hunt. The mouth is the handle, one-of-a-kind. " . . Provenance: private Newport Beach, California, USA collection; ex-Watts collection, Chicago, Illinois, 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. . #162780 Condition Slight surface wear with a few areas of abrasion to pigmentation. Indentation on verso occurred prior to being painted, likely created during the carving process. Otherwise, intact and very nice. Collection label on verso. Still contains rattles and creates a lovely percussive sound.