Exhibited 1967 W. Draper Painting Fields Bridgehampton: William Draper (American, 1912-2003). "Fields - Bridgehampton, Long Island" oil on canvas, 1967. Signed "Wm. F. Draper" in black on lower right. A large painting presenting a sweeping view of the natural landscape of Long Island's Hamptons on the southern fork of eastern Long Island by American artist William Draper. Bridgehampton is home to the famous Hampton Classic horse show as well as designer boutiques and high-end restaurants; however, Draper has elected to capture the natural beauty of its farms and fields, a place that was once home to the Shinnecock Indians. Draper's skill is undeniable; note how he captures both the vibrant grasses and hay bales of the foreground and the more ethereal quality of the horizon line and blue skies above in this dramatic composition that invites us in with Draper's seductive brushstrokes and palette knife work, and simultaneously beckons our eyes to sweep through the field to the distant horizon line. All is delineated in a brilliant palette of buttery yellows, golden beige, spring green, forest green, sky blue, and whispery white hues. Size: 32" W x 28" H (81. 3 cm x 71. 1 cm) Size: 33. 375" W x 29. 5" H (84. 8 cm x 74. 9 cm). . William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D. C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc. , the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D. C. ), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999. . More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D. C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan. '' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano. . . Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003), an accomplished American artist whose career spanned seven decades. Known as the "Dean of American Portraiture, " William Draper was the only artist to paint President John F. Kennedy from life, and his oeuvre includes marvelous landscapes from his world travels, military paintings as he was one of only seventeen Combat Artists in WWII, and portraits of illustrious individuals. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #152536 Condition Painting is in excellent condition. Signed "Wm. F. Draper" in black on lower right. Gallery exhibition label on upper stretcher, left side - one can make out Madison Avenue, N. Y. on the left side of the label. "Draper Estate stamp on verso. Canvas has darkened a bit on the verso. "Property of Maggie Draper Wm. F. Draper" handwritten on verso. Frame is good save slight age wear. Wired for suspension and ready to hang.
19TH C. AMERICAN SAMUEL FOWLER LEATHER FIRE BUCKET American brown leather fire bucket, 19th century, having a single handle, rolled rim, and paint decoration reading "Sam L Fowler/Always/Ready", otherwise unmarked. Note: A possible attribution of ownership is that of Samuel Fowler, Jr. (1776-1859) of Danvers (Essex Co.), Massachusetts who served as an officer or "fire-ward" in the early 19th century. Fowler also had a large milling and leather tanning business. Approx. of the body h. 11.5", dia. 8".
Framed Mid 20th C. Bill Freeman Landscape Painting: William Joseph "Bill" Freeman (American, 1927-2012). Oil on canvas, ca. mid 20th century CE. A stunning, framed Bill Freeman landscape painting, depicting a picturesque sunlit view of the American Southwest, likely a scene in Arizona given the statuesque cacti and desert plants beside the creek. In the distance are sunkissed mountains boasting brilliant peachy pink hues. Freeman is known for his soothing palette, and this painting does not disappoint with sage green, azure blue, mauve, russet red, and creamy white hues. In addition, his technique demonstrates free brushwork and a sophisticated command of the palette knife. Freeman presents us with a tranquil view of this mystical mountain range from the cactus filled landscape below, set in an attractive custom frame. Size of painting: 15. 625" W x 11. 625" H (39. 7 cm x 29. 5 cm) Size of frame: 23. 75" W x 19. 75" H (60. 3 cm x 50. 2 cm). . Bill Freeman grew up in West Texas on a farm just outside of El Paso. Interestingly, he worked as a horse wrangler, fought forest fires for the U. S. Forest Service, and was a field researcher and guide for the Arizona Game and Fish Department for twelve years in Arizona, Wyoming, and New Mexico prior to becoming an artist. It was not until the age of 30 that Freeman decided to become an artist specializing in Western landscapes. Today he is considered a pioneer of Western art centered on such storied locales as Scottsdale, Arizona and Jackson Hole, Wyoming. . . Provenance: private Glorieta, New Mexico, USA collection. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #163391 Condition Minor surface wear to frame. Otherwise, painting and frame are in very nice condition. Wired for suspension and ready to display.
Mid 20th C. Bill Freeman Painting - Western Landscape: William Joseph "Bill" Freeman (American, 1927-2012), oil on canvas, ca. mid 20th century CE. A stunning landscape painting depicting a picturesque western mountain range at either dawn or dusk. Freeman captured the glow of sunrise or sunset, with an ethereal glow emanating from the sky, replete with pink clouds above purple mountains. Freeman is known for his soothing palette, and this painting does not disappoint with pastel peach, sky blue, violet, lavender, sage, and olive hues. In addition, his style demonstrates influences of Impressionism and Expressionism achieved via a sophisticated use of palette knife and brush. Freeman presents us with an optimal view of this tranquil scene of a mystical mountain range from the pastoral land below, all set in a custom wooden frame with gold tone and creamy white painted canvas moldings. Size of painting: 11. 5" L x 15. 5" W (29. 2 cm x 39. 4 cm) Size of frame: 22. 25" L x 26" W (56. 5 cm x 66 cm). . Bill Freeman grew up in West Texas on a farm just outside of El Paso. Interestingly, he worked as a horse wrangler, fought forest fires for the U. S. Forest Service, and was a field researcher and guide for the Arizona Game and Fish Department for twelve years in Arizona, Wyoming, and New Mexico prior to becoming an artist. It was not until the age of 30 that Freeman decided to become an artist specializing in Western landscapes, and for nearly 50 years, Freeman created awe inspiring paintings. Today he is considered a pioneer of Western art centered on such storied locales as Scottsdale, Arizona and Jackson Hole, Wyoming. . . Provenance: private Los Angeles County, 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. . 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, please contact us directly or work with your local customs brokerage firm. . #160123 Condition Painting is generally in excellent condition. Areas of charming craquelure as shown. Set in a custom frame and wired for suspension, so ready to display. A few minor scuffs to the frame.
A collection of items to include 8 oak dining chairs, Ever ready sky queen radio (untested), tapestry fire guard, modern jardinieres and boxed iridescent punch set (15 pieces)
EXTRAORDINARILY RARE AND IMPORTANT CONFEDERATE RAINS BARREL TORPEDO. One of two known examples in existence and the only one in private hands. This is a Rains barrel torpedo that was recovered during the Civil War in Mobile Bay, AL. and was developed by Gabriel James Rains, Chief of the Confederate Torpedo Service. Gabriel James Rains was born in Craven County, NC in 1803. Rains entered West Point and graduated 13th in the class of 1827. He was a Lt. in the 5th U.S. Inf. serving in FL. and LA. He fought in the Second Seminole War and recruited troops for the Mexican War. In early 1861 Rains had risen to the rank of Lt. Col. and after NC seceded he resigned his commission and entered the Confederate army as a Col. by September of 1861 Gabriel Rains was promoted to Brig. Gen. The authentic mushroom anchor was recovered from Charleston, SC. Accompanying are two reproduction Rains sensitive primer fuses that are exact copies made by Michael Kochan co-author of the book TORPEDOES Another Look at the Infernal Machines of the Civil War and this torpedo is pictured on page 42, bottom right, of this book. There are two iron fuse plates that held the Rains torpedo fuses. The Confederates made the torpedo from locally available materials with the main body consisting of a wooden barrel or keg. At each end is a solid pc of a pine log that was hand shaped into a cone and affixed to the ends of the bbl. At the end of each cone are loops that were used to secure the torpedo to the mushroom anchor. It was found that the bbl alone would roll in the current or tide and possibly dislodge from the anchor. Later the cones were added to streamline the bbl torpedo. Both the inside and outer surface of the bbl was coated with tar to make it watertight. After the bbl was watertight, it was filled with black powder with a small air pocket left for buoyancy. The first warship sank by a torpedo (we call them mines today) was the U.S.S. Cairo at 11:55 AM on December 12, 1862 in the Yazoo River, Mississippi. George Yost, a fifteen year old crew member of the U.S.S. Cairo, wrote "...just as we were training on the battery we were struck by a torpedo, which exploded under our starboard bow, a few feet from the center and some 35 or 40 feet from the bow proper just under our provision store room, which crushed in the bottom of the boat so that the water rushed in like the roar of Niagara. In five minutes, the hold was full of water and the forward part of the gunboat was flooded...One of our heaviest bow guns had been dismounted by the force of the explosion injuring three men…" "…Executive Officer Hiram K. Hazlett and the writer were the last two persons to leave the sinking vessel which we did by jumping into the "dingey" which was manned by two sailors, and awaited us at the stern...We moved off just in time to escape being swallowed up in the seething caldron of foaming water... Nothing of the CAIRO could be seen 12 minutes after the first explosion, expecting the smoke stacks, and the flag staff from which still floated the flag above the troubled waters…". In 1877 General Rains wrote in the Southern Historical Society Papers, Vol. III. Richmond, VA., Nos. 5 and 6, that "…Ironclads are said to master the world, but torpedoes master the ironclads, and must so continue on account of the almost total incompressibility of water and the developed gasses of the fired gunpowder of the torpedo under the vessel's bottom passing through it, as the direction of least resistance…." "…During the war with the Confederacy, there were 123 torpedoes planted in Charleston harbor and Stono River, which prevented the capture of that city and its conflagration. There were 101 torpedoes planted in Roanoke River, NC, by which, of twelve vessels sent with troops and means to capture Fort Branch, but five returned. One was sunk by the fire from the fort, and the rest by torpedoes. Of the five ironclads sent with other vessels to take Mobile, AL (one was tin clad), three were destroyed by torpedoes. There were fifty-eight vessels sunk by torpedoes in the war, and some of them of no small celebrity, as Admiral Farragut's flagship the Harvest Moon, the Thorn, the Commodore Jones, the Monitor Patapsco, Ram Osage, Monitor Milwaukee, Housatonic and others. (Cairo in Yazoo River). Peace societies we must acknowledge a failure in settling national differences by arbitration, since enlightened nations go to war for a mere political abstraction, and vast armies in Europe are kept ready for action, to be frustrated, however, by this torpedo system of mining, carried out according to views…". The destruction of Union ships during the Mobile Bay campaign was severe. On August 5, 1864 the U.S.S. Tecumseh led the 18-ship Union squadron into the Mobile Bay, which included the monitors U.S.S. Chickasaw, U.S.S. Manhattan, and U.S.S. Winnebago. Just after 7 A.M., Tecumseh opened fire on Fort Morgan. When the U.S.S. Tecumseh veered left to engage the Confederate ram C.S.S. Tennessee, the Union monitor hit a torpedo. A tremendous explosion occurred sinking the U.S.S. Tecumseh rapidly with its captain and 92 crewmen. Rear Admiral David Farragut is famous for shouting the order "Damn the torpedoes! Full speed ahead!" after the sinking of the U.S.S. Tecumseh. After the naval attack of August 5, 1864, at total of nine U.S. warships and a launch were sunk as a result of these infernal machines with around 200 seamen killed or wounded. These devices may seem to be crude but they played a prominent role in the Civil War damaging or destroying more U.S. Navy ships than all of the other Confederate weapons or ships combined. The photograph is a wartime image of the Charleston Arsenal in South Carolina (courtesy Library of Congress). Several Rains bbl torpedoes can be seen in the center of the photograph. The torpedo drawings are from the Official Records of the Union and Confederate Navies in the War of the Rebellion. DIMENSIONS: Overall length 43-1/2", Diameter 44". Accompanying this lot is a photocopied letter from Jack Tripp to Cdr. Owens of the naval base in Charleston, SC in which Mr. Tripp confirms his desire to have the mine transferred to the Fleet Mine Warfare Training Center to be placed on display as part of the Charleston Harbor Exhibit at Patriots Point. Anchor chain display created by Historical Ordnance Works, Woodstock, GA. CONDITION: Fine condition with most of the tar remaining on the outer surface and most of the bands intact with a few loose but secure bands. Wood has some shrinkage. Bbl has most of the orig coating and is the only one with most of the orig coating that exists. 4-55991 (25,000-100,000)
JONAS.The White Turtle & The Red Crab of Philadelphia. Philadelphia: Published and printed by Priff, c. 1852. Lithograph, hand-colored (305 x 450 mm). Framed. Condition: expertly restored, with repaired tears and overcoloring. Provenance: Martin P. Snyder. "In response to an alarm given by the United States Engine Company, located at the intersection of Old York Road, 4th and Callowhill Streets, the Northern Liberty Hose Company 'White Turtle' and the Lafayette Hose Company 'Red Crab' met at the corner of Dillwyn and Noble Streets, whence they began a fierce race, which was finally won by the 'White Turtle.' This rare picture presents an excellent illustration of the rivalry existing between companies in all fire departments in the days of hand-drawn apparatus, and also the ready willingness and spirit of firemen in the days of the volunteer, when their pay consisted chiefly of 'crackers and cheese' and an occasional tin dipper of coffee" (Jennes).Jennes, Bucket Brigade to Flying Squandron, p. 88. Not in Wainwright.
1865 Civil War Letter Regarding a Murder Charge Appeal to President Lincoln: Abraham Lincoln Related. U. S. Senator Preston King Regarding His Murder Charge Appeal to President Lincoln . PRESTON KING (1806-1865). United States Representative and Senator from New York, considered for Republican Vice-Presidential nomination in 1860, a presidential elector on the Abraham Lincoln ticket in 1864, served as effective White House Chief of Staff for Andrew Johnson. January 3, 1865-Dated Civil War Period, Manuscript Letter Signed, "Preston King, " former Senator from New York, to Colonel Nelson Green regarding his Attempted Murder Charge Appeal to President Abraham Lincoln, Fine. This Manuscript Letter has 4 pages, measuring 5. 75" x 7", at Ogdensburgh (sic), New York. Written by former U. S. Senator Preston King to Colonel Nelson Green, formerly of the 76th NY State Volunteers. Mailing folds, light soiling and spotting to the white wove period paper. In 1861, Colonel Green shot a Captain in his regiment for disobeying an order. Green was subsequently arrested and charged with attempted murder, known as "The Green-McNett Shooting Affair. " Here, former U. S. Senator Preston King writes to the War Department to appeal on Col. Green's behalf. This Civil War dated Letter deals with what appears to be a failed appeal to Secretary Stanton and President Lincoln. This Letter reads, in part;. . ". in my letters to Mr. Doolittle with whom as an old friend & correspond & occasionally mentioned you with the note that he could aid you. " (It continues), ". he sent me in a letter a communication from the War Department addressed to him stating that your application had been laid before the President who affirmed the action of the War Department and declined to reconsider it. " (Preston King suggests that Green's) ". It was my opinion that in your own ernest personal appeal and statements of your case to the President in Person furnishes the best if not only, hope for you. ". . After a somewhat protracted hearing, Colonel Green was ordered to Washington, and thence to his home in Cortland, N. Y. where he was afterwards, by order of the Secretary of War, dismissed from the service. The controversy growing out of the trial of Colonel Green for a time nearly paralyzed the Regiment, destroying its usefulness. Good men found themselves differing with equally good men, upon the merits and demerits of the prosecution, and skillful tacticians confessed that the only way to harmonize the feeling was a to bring the Regiment into action. " A rather lengthy, extensive full description regarding "The Green-McNett Shooting Affair" is also available regarding this lot in our Online Auction description. On August 14, 1865, former U. S. Senator Preston King was Appointed by President Andrew Johnson as Collector of the Port of New York. The Appointment was made in an effort to eliminate corruption in the Port of New York and to heal divisions within the Republican Party. Despairing of success, King committed suicide by tying a bag of bullets around his neck and leaping from a ferryboat in New York Harbor on November 13, 1865, and was buried at the City Cemetery in Ogdensburg, NY. . NEW YORK SEVENTY-SIXTH REGIMENT OF INFANTRY. . Cortland Regiment; Cherry Valley Regiment; Otsego County . . Regiment; Cromwellian Regiment. By Richard F. Palmer. . Colonel Nelson W. Green of Cortland received authority to . . recruit a regiment of infantry in Cortland county, and . . commenced recruiting September 2, 1861, receiving some men from . . the counties of Allegany and Yates. About the same time Gen. . . George E. Danforth received authority to recruit a regiment in . . the counties of Otsego and Schoharie, with headquarters at . . Cherry Valley, to which regiment the 39th Militia furnished a . . large number of men. These regiments were moved to Albany, and . . being below the minimum number, consolidated into one, the 76th . . Regiment, with N. W. Green as Colonel, January 14, 1862. . . Captain McNett's company of the Cortland Regiment . . was transferred to the 93d Infantry, December 28, 1861. The newly formed regiment was mustered in the service of the United States for three years January 16, 1862. . . The Green-McNett Shooting Affair: . . In the latter part of November, 1861, Captain McNett secured a leave of absence under the pretense he was going to go to Syracuse to purchase his uniform, and then to Allegany county to procure more men. On his return, Col. Green charged him with having used his leave of absence to go to Albany, where he preferred a series of charges against Green. According to A. P. Smith, the unit's historian, McNett stirred up strife because he expected to be the regiment's major, an appointment that went to Charles E. Livingston. . When McNett returned to Cortland , Col. Green charged him with violating the intent of the leave of absence and ordered him to give up the paper as fraudulently obtained. McNett refused to give up the paper and Green ordered Captain Grover to take it from him. McNett formally resisted, but unbuttoned his coat and Grover took the document from McNett's pocket. . Green then ordered McNett in close arrest in the officers' quarters, with orders he be permitted to communicate with no one, except by permission from the post commandant. A guard was placed over him. This created hard feelings within McNett's company, giving rise to much angry discussion in camp. . On Dec. 6, 1861, Col. Green had been to Captain McNett's company to settle some difficulty and on his return, while riding past the officers' quarters, saw McNett standing in the doorway. . Green ordered him back inside, but McNett refused to obey. According to Green, McNett was standing outside conversing and shaking hands with his men. McNett said he was actually just inside the door and had stepped near the entrance to get some fresh air. Exactly who was telling the truth is not known. One contemporary newspaper account states Green and McNett were personal friends - at least at one time. This seems logical since they both came from the same region of western New York. At the time, Green was 42 and McNett was 39. . The dialogue leading to the shooting went something like this:. . Green. - "The prisoner should not leave his quarters. Retire to your quarters. ". . McNett. - "I shall not, sir. ". . Green - "Do you refuse to obey my orders, sir?". . McNett . - "I do, such orders. ". . Green. - (Dismounting and drawing a small Smith & Wesson pistol), "Will you retire to your quarters?". . McNett. - "I will not, sir!". . At this point, Col. Green fired a warning shot over McNett's head, the ball lodging in the roof of the quarters. . Green. - "Retire to your quarters, sir!". . McNett. - (Straightening up), "I will not sir! Shoot me if you dare!'. . The colonel then lowered his pistol and fired, the ball striking McNett's chin and lodging in his neck. He immediately turned around and sat down in a chair. Dr. Judson C. Nelson, the surgeon, was called, the wound was dressed. McNett was then taken to the Eagle Tavern in Cortland to recover. . "There is a good deal of excitement over this matter, " reported the Syracuse Journal the following day, adding "the public feeling is so strong that nearly all business has been suspended since the unfortunate affair took place. The citizens mostly deprecate the Colonel's conduct, while the officers and men of the regiment unanimously uphold him. It was this morning reported at Cortland that Col. Green expected an attack from the incensed citizens, and had prepared himself therefore, having stationed two cannon so as to command the approaches to the camp, and defied the citizens to take him. This is doubtless an exaggeration, growing out of an application of the sheriff of the county, for the arrest of the Colonel. At noon today, although the public feeling at Cortland was exasperated, there was no fear of any serious disturbance. ". . The Cortland Gazette & Banner report of Dec. 12, 1861 noted:. . "The affair has created a considerable excitement. There are various opinions in regard to the transaction. Some justify Col. Green, in the matter, and think he done right, while others condemn the course he took. Our own opinion is - and we think the right one - that inasmuch as the matter is to undergo a legal investigation, by the proper authorities, the community should wait for the decision of such tribunal. There the facts in the case will be brought under oath, and we have no doubt but that a fair and impartial decision will be rendered. . "If Col. Green has done right, the law will sustain him, and the community should acquiesce in such decision. If on the contrary, Col. Green has done wrong, and violated the laws of the land - either civil or military - the law will condemn him for it, and the people should in like manner acquiesce. ". . Still another newspaper editor noted "The general impression is in justification of the Colonel, viewing it as a military necessity. ". . Excitement continued to run high and the governor sent General James Wood, commander of the New York State Militia, to Cortland to ascertain the facts and, for the time being, take command of the regiment. At the time, the officers were quite unanimous in supporting Col. Green. On Dec. 9, General Wood met with the officers and the next day visited the camp to obtain the facts. On Dec. 13, he again met with the officers at the home of Col. Green in Cortland where the matter was fully discussed. . But apparently the evidence incriminated Green more than McNett as on the following day, Green was arrested by the sheriff on a criminal warrant for the shooting, and McNett was released. Green posted bail before the County Judge who put the case on the calendar for the Court of Oyer and Terminer, to be held the following January. He was indicted for assault with intent to kill on a civilian charge, and also faced a military court martial in Albany. For a time it appeared Green's military career would be cut short. The regiment was temporarily put under the command of Capt. J. C. Carmichael. . On Dec. 14th General Wood accompanied Green by train to Albany to confer with Governor Edwin D. Morgan on the matter. They returned to Cortland the following day. . There was no court martial held, and Green was ultimately restored as regimental commander. But the governor decided it was in the best interests of the regiment if Green and McNett were separated. So he transferred McNett and his company to the 93rd Regiment, New York Volunteers, then stationed at Albany, and restored Green as commander of the 76th. Meanwhile, the civilian court case against McNett was left pending until after the war and was not settled until 1866. . McNett went on to become a very distinguished officer, continuing his military career another five years after the Civil War. His highest field grade was brevet brigadier general of volunteers following the Battle of Atlanta. . It was becoming close to the time when the 76th was to leave Cortland. The day before Green left for Albany, the 76th Regiment, under his command, consisting of more than 700 men, marched through the streets of Homer, which must have been an inspiring sight. An eyewitness account published in the Syracuse Journal on June 14, 1861 stated:. . "For the first time since 1812 we have seen in our streets a regiment of soldiers, organized for actual service; and every man is ready and almost 'spoiling' for a chance to strike a decisive blow in favor of sustaining our glorious flag, and putting down the unholy rebellion. As the regiment was passing the Barber Block, the order was given to halt, and while directly under a large American flag, suspended from the store of George J. J. Barber, the boys gave three rousing cheers and a tiger for that emblem they are bound to protect. After marching through the main streets of the village, the regiment returned to Camp Campbell. ". . One of the last acts of kindness on the part the citizenry was a formal presentation of a sword to Captain William Lansing of Truxton, commander of Co. G, at Truxton Presbyterian Church on Dec. 14th. Co. G consisted of men mostly from that community. The sword was presented to Lansing by Stephen Patrick. Details of this event as well as the departure of the 76th on Dec. 18th were published in the Gazette & Banner the following day. . Originally the unit was to leave Cortland on Dec. 17, but these orders got countermanded for some unknown reason. Following the initial announcement, however, people from miles around came to see the men off. So as not to disappoint the assembled multitudes the regiment was formed and marched from Camp Campbell through the principal streets of Cortland where they cheered enthusiastically. Flags were displayed, the ladies waved their handkerchiefs and clapped their hands from the balconies and windows. Men heartily cheered them in the streets. A cannon salute was fired from Court House Hill. . On arriving at the center of Main Street the Regiment was invited into the garden and grounds of William R. Randall where a reception was held and patriotic speeches voiced. Chaplain Richardson sung the war song, "Take Your Gun and Go, John, " and the Union version of "Dixie. " The regiment then marched back to camp. . The following day the streets began to fill up early. At about 8 a. m. the troops reached the north end of Main Street, enroute to the Syracuse & Binghamton Railroad depot. Each soldier carried his blanket, some a satchel, containing such wearing apparel they were allowed, as well as little tokens of remembrance given to them by their loved ones. . The scene at the depot would not be soon forgotten. "The immense throng could be measured by acres, and numerated by thousands. The enthusiasm was unbounded, ' wrote Gazette & Banner Editor Charles P. Cole. He continued:. . "Yet grief was depicted upon the countenance of many - In the vast concourse of people, were many who were about to part - perhaps forever - with some one of their kindred. " There were the usual tearful goodbyes, embraces and handshaking. . "Farewell soldiers of the Seventy-Sixth, " Cole wrote. "Go, and bravely defend your country's flag. Go, with our blessing! and come not back, until you come to announce the rebellion crushed, and the traitors punished. ". . Internal Problems Continue. . Months after the 76th had left Cortland, the regiment continued to experience internal problems, said to have been chiefly created by Col. Green. Apparently not the most affable person, Green had a way of irritating his fellow officers, as did Quartermaster A. P. Smith. These problems are only touched upon by Smith in his regimental history for obvious reasons. Eventually he and Green were dismissed from the service before the 76th saw any action. Some of the problems seem also to have been a carry over from the Green-McNett shooting affair that occurred at Camp Campbell. . The 76th was at Camp DeRussey when matters reached such a boiling point that 28 field, staff and line officers signed a petition asking Green to resign his command, which he refused to do. . They complained that Green was abusive, insolent and ungentlemanly, and frequently had unit officers arrested on trumped-up charges. At one point he had Captain Andrew J. Grover, commander of Company A, arrested and put in the guardhouse. The charges proved false and he was released. Often, Green's sanity was brought into question. He frequently referred to his superiors as "traitors, secessionists and damned fools. ". . It was also claimed he had made a secret arrangement with the sutler to split the profits of the sale of provisions to the troops. The officers complained:. . "So peculiar and unusually often is his conduct and appearance, that after three months' acquaintance with him, we are thoroughly convinced of the unsoundness of his mind; so much so, we dare not trust ourselves under his command, believing that the result would be if called into action, disaster and defeat. ". . Green failed to command the respect of his men, who laughed at him, mimicked him in his manners, and gave him ludicrous titles. In short, he was an inept commander. . Eventually the case reached a military tribunal in the form of a court of inquiry. Green was not court-martialed, although the case was reviewed by the highest ranking officers in the Army of the Potomac, including General George McClellan. It then went to the Secretary of War. Eventually, the 42-year-old Green was discharged on June 3, 1862 and returned to Cortland, out of the service more than two and a half years short of his three-year enlistment. . Obviously, knowing that this was one of the major sore points of the unit's early history, Smith glossed it over by writing :. . "A serious difficulty had arisen in the Regiment, and it was considered by the military authorities to be in an unfit condition to take the field. The officers, with very few exceptions, had preferred charges against Colonel Green, and those charges were being investigated by a military commission then convened in Washington. This placed Lieutenant-Colonel Shaul in command of the Regiment. . After a somewhat protracted hearing, Colonel Green was ordered to Washington, and thence to his home in Cortland, N. Y. where he was afterwards, by order of the Secretary of War, dismissed from the service. The controversy growing out of the trial of Colonel Green for a time nearly paralyzed the Regiment, destroying its usefulness. Good men found themselves differing with equally good men, upon the merits and demerits of the prosecution, and skillful tacticians confessed that the only way to harmonize the feeling was a to bring the Regiment into action. ". . What Smith does not mention is that before the war, Green had been his law partner, and that he himself had left the unit as much under a cloud of controversy as his friend and commanding officer. Thus the history of the unit after his date of discharge on March 3, 1862 was not from first-hand knowledge but came from the lips of, or through correspondence with, other unit members. . Although Smith claimed he left the service because of "sickness in the family, " evidence shows he found himself in an equally uncomfortable position as Green had. A war of words ensued between Smith and Grover, through the medium of the hometown newspapers - the Cortland Gazette & Banner and the Cortland Republican. This went on for several weeks in May, 1862. Smith implicated Grover in the shooting of McNett so he could be promoted to major. . .
BRASS FIRE FENDERA late 19th century brass fire fender, in nice condition, probably French, a good polish and it's ready to go, 48"x12"
ARTILLERY MECHANICAL BANK. With a man standing by a cannon ready to fire into a building. 6" h.
Texas & New Mexico Military Correspondence of Jonas P. Holliday Lot of 3 ALsS. 1850-1857.Appointed to West Point from New York Jonas P. Holliday graduated 24th in the class of 1850 and remained in the military service for life. As a young officer in the 2nd Dragoons he was stationed initially on the Texas and New Mexico frontier and then after a lengthy sick leave he served at Fort Leavenworth Kansas the Utah Expedition of 1857 and in the Dakota Territory. His later career however was marked by tragedy. As the Civil War began Holliday was commissioned as Colonel of the 1st Vermont Cavalry and rushed into service well before he felt they were ready. Holliday fell apart. Being naturally of a nervous temperament and not very robust according to a newspaper account and troubled by fighting his southern countrymen he shot himself through the forehead in April 1862 while standing on the banks of the Shenandoah River. He had served with his regiment less than a month.This small collection of three letters reveals a great deal about a recent West Point graduate and young officer on his first assignment. The first surviving letter dated at Albuquerque Dec. 24 1850 appears also to be the first written home after traveling west. Holliday explains that mail arrives only once per month and departs for the U. States just as seldom. He offers a classic of early western travel: I was sixty days crossing the plains which would have taken us only forty but for an ox train we had to escort. We stopped at Las Vegas a week; one of the first settlements we come to & about seventy five miles from Santa F? to make the division of recruits & Horses our command being merely a detachment destined to recruit the Dragoon Arm stationed in this Territory... In the city of Santa Fe I saw but one building of wood & that a rather poor affair the buildings have a singular plan but one very well suited to the usages of the country [Holliday sketches a floorplan!]. The Mexicans are nearly all thieves... The people of New Mexico are generally small -- dirty -- lazy -- & worthless! Some however have become considerably Americanized in their dress manners & customs. I have not seen one yet who can speak English with any degree of fluency from which or rather because I am unable to speak or understand Spanish I been in some ridiculous positions. But I am learning. Some of the women are pretty but is not at all common however to see such. The Mexicans are all very fond of Dancing & music; their fiddlers play with an enthusiasm equaled only by that of the Negro. They give Bailes or (Balls) the manner in which the invitation is given I think quite original. The musicians who are engaged for the ball go through the streets playing a regular break-down usually followed by a gang of urchins half clad or with not clothing whatever showing their love for music by their grotesque antics & horrible nasal-twang accompaniments...?Datelined at Fort Worth Texas Sept. 15 1853 Holliday's second letter describes the general movement of troops in Texas to the Rio Grande in anticipation of Mexican troubles whether it will all turn out a false alarm or not I am unable to say.. So far as I am concerned I would rather see a little gunpowder burned than not just to see whether I could stand fire. I have heard there will be one or two new regiments formed this winter... He also discusses his efforts to gain political support for a promotion in one of the new regiments if formed being nearly alone on base and hunting on a grand scale.We had some very cold and stormy weather a number of men were frost bitten and our Horses and mules died from cold & starvation so fast that we had to abandon wagons & saddles in the road. In my company I lost about thirty horses between Laramie and this place.... No Mormons have been seen since the Dragoons came into the country. They seem to have a very wholesome fear of Dragoons. Some of the Valleys here were cultivated by the Mormons last summer but everything was laid waste before our arrival... Some think the Mormons will resist others myself among the number think that Brigham Young will run away before spring and that the Mormons will be very glad to submit to terms. I have hopes of being ordered back as soon as this Mormon war is ended. Much more.Though addressed to his relatives at home it seems likely that the letters were intended for publication in a newspaper -- one is docketed on the verso please return these letters after publication -- however if they were actually published or where has not been determined.A wonderful collection documenting the brief career and too-short life of a tragic West Point graduate. Condition: Good condition with only minor wear and signs of age.
"FOR GOD SAKE, WHEN WILL THIS CRUEL WAR BE ENDED?" (CIVIL WAR--MAINE.) Chapin, Arthur T. Group of 4 autograph diaries by a Maine artilleryman. 4 volumes. 16mo, leather covers, quite worn; some interior dampstaining, first volume is detached from its cover and one page is loose, but all pages are quite legible. Vp, 1862-1864
a soldier''s hard service in virginia. Before the war, Arthur Thomas Chapin (1843-1925) was a resident of Augusta, ME. He enlisted in the 4th Battery of the Maine Light Artillery and served for three years as a private, most of it in Virginia. After the war, he was an early settler in Nebraska. Chapin Creek and Chapin Precinct in rural Wayne County are both named after him.
These diaries begin with Chapin''s enlistment on 4 January 1862, with only sporadic entries through 13 June. From that point he kept almost daily entries through his discharge in January 1865. At the Battle of Cedar Mountain: "We had to go into Battery under fire, then we were ordered to give it to them. This is the first time we have ben under fire. The shot and shell flew thick and fast. One shell struck our gun and broke the axe and knocked down two men . . . We were under fire three hours and a half. We had to leave the field at the double quick. We went into park a short distance from the field and jest getting ready to lay down when the rebs got range on us and we had to leave again in a hurry. I never was so tired in my life and I am on guard tonight" (9 August 1862). Two days after Antietam, where his battery had been in reserve: "Marched acrossed the battle field. It was a horrible sight. They are burying the dead as fast as possible. 27 men lay dead where a battery had ben firing" (19 September 1862). Chapin also has a good description of the Battle of Cold Harbor and the siege of Petersburg in 1864. In front of Petersburg, he reported that "Jerry Keene was all blowed to pieces today, a shell burst jest as it struck him" (21 June 1864).
Other entries relate to camp life: "Paid today. The P.M. (paymaster) was so drunk he couldent walk straight" (26 April 1863); "The boys are having a concert tonight in Jones tent, all quiet in camp except the fiddle" (29 April 1864). He refrained from complaining much until shortly before his muster-out: "For God sake, when will this cruel war be ended" (10 January 1865).
with--complete typed transcripts of all four diaries * Chapin''s discharge (worn, cello tape repairs) * and a 2-page typescript memoir of Chapin''s life, which states that he was a witness to Lincoln''s assassination at Ford''s Theatre and discusses his adventures as a deputy sheriff in frontier Nebraska.
Framed Bill Freeman Painting - Snow Capped Mountains: William E. Freeman - also known as Bill Freeman (American, 1927-2012). Oil on canvas, ca. mid 20th century CE. A beautiful landscape painting depicting the foothills of a majestic snowcapped mountain range beyond. Pink and lavender clouds billow in the blue skies above, casting a glow that suggests it is either dawn or dusk, and in the foreground is a wide stretch of land dotted with plants and autumnal orange flora. Freeman's painting is executed with his signature sophisticated impasto and brushwork techniques. A wonderful scene of the American West. Size of painting: 11. 5" L x 15. 5" W (29. 2 cm x 39. 4 cm) Size of frame: 19. 75" L x 23. 5" W (50. 2 cm x 59. 7 cm). . Bill Freeman grew up in West Texas on a farm just outside of El Paso. Interestingly, he worked as a horse wrangler, fought forest fires for the U. S. Forest Service, and was a field researcher and guide for the Arizona Game and Fish Department for twelve years in Arizona, Wyoming, and New Mexico prior to becoming an artist. It was not until the age of 30 that Freeman decided to become an artist specializing in Western landscapes, and for nearly 50 years, Freeman created awe inspiring paintings. Today he is considered a pioneer of Western art centered on such storied locales as Scottsdale, Arizona and Jackson Hole, Wyoming. . . Provenance: private Los Angeles County, 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. . 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, please contact us directly or work with your local customs brokerage firm. . #160122 Condition The painting shows a few areas of craquelure. Otherwise, it is in excellent condition. The frame has a few scuffs and chips with slight separation of mitered corners, but frame is still serviceable. Wired for suspension and ready to display.
YOSHIMITSU (Japanese, Meiji Period) BRONZE OKIMONO OF STANDING ARCHER. Japan, Meiji Period. The impressive sculpture depicting a Samurai archer with arm extended holding a bow and ready to fire. Gilt highlights throughout the piece and signature plate on front leg. Comes with six arrows, standing on a carved wood base. SIZE: Bronze 36" t. Overall 47-1/2" t. CONDITION: Very good, base having some knee losses and separation. 49941-46
Whistler, James Abbot McNeill - Sheridan Ford The gentle art of making enemies. Edited by Sheridan Ford. "New York: Frederick Stokes & Brother" [but Antwerp], 1890. Rare piratical edition, 8vo, original grey wrappers bound in, modern green morocco gilt, gilt border to covers, red and brown morocco lettering pieces, t.e.g. Estimate £ 1,000-1,500 Note: The publishing history of "The gentle art of making enemies" is complex. Sheridan Ford was initially commissioned by Whistler to edit and publish the work, but before the book was quite ready for publication Whistler changed his mind, paid off Ford, and proceeded to do his own editing and publishing, producing a signed limited edition and a standard trade edition published by Heinemann. Ford departed with his own copy, determined to publish the book under his own responsibility. Knowing that what he was about to do was illegal he gave the manuscript to a printer in Antwerp, Belgium, and had an edition printed in Paris. At least some of the copies printed at Antwerp were published with the imprint of Frederick Stokes and Brother and were sent to the United States. The present copy is one of the few such pirated copies. The Paris edition was suppressed by Sir George Lewis, Whistler's lawyer, who prevented the importation of the book into the UK, Messrs. Stokes cabled to London that their name was used without permission and "the balance of the edition is stated to have been destroyed by fire". [Pennell, E.R. & J. The life of James McNeill Whistler, 1911, p. 290; the book being included in the lot] . Sold for £1,063 (buyer's premium included)
GILBERT JOSEPH HOLIDAY (1879-1937)A set of four world war one coloured prints to include ' The D.A.C Mile' 'The Wagon Line' 'Salvo- Ready- Fire' all signed in pencil and numbered 18 coloured lithographs Published by George Pulmans & Sons each 8 1/4" x 12" (4)
Framed William Draper Painting - Tropical View, 1970s: William Franklin Draper (American, 1912-2003). Oil on canvas, ca. 1970s. Painted in William Draper's characteristic expressive style, an idyllic view of a tropical landscape, likely an island in the Caribbean, with palm trees lining the coastline, pristine waters of lavender, cobalt, and turquoise blue hues, rolling hills in the distance, and skies of sunny yellow and azure blue beyond. Draper enjoyed capturing the vibrant colors and stunning seaside views of this part of the world! Size of painting: 14" L x 18" W (35. 6 cm x 45. 7 cm) Size of frame: 15" L x 19" W (38. 1 cm x 48. 3 cm). . William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D. C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc. , the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D. C. ), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999. . More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D. C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan. '' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano. . . Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003). . 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. . 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. . #151550 Dimension Condition Painting is in excellent condition. There is a Draper Estate stamp on the verso. It is wired for suspension and ready to display.
c. 1860-1876 BENJAMIN FRANKLIN Staffordshire Polychrome Ceramic Figure: Glass and Porcelain. Benjamin Franklin Victorian Era Staffordshire Arman AI. 21. c. 1860 to 1876 Victorian Era Staffordshire BENJAMIN FRANKLIN Figure in Depiction, Earthenware titled, "The Old English Gentleman" in Hand-Painted and fired Gold Script on its white base, Design type Arman AI. 21, Choice Extremely Fine. This English Staffordshire Figure depicts Benjamin Franklin, produced for likely export to America. This example measures about 15. 5" tall including its 5. 75" diameter oval base. Franklin is shown in a standing pose, this figure is titled, "The Old English Gentleman" in Gold Script on the base, some of the gold paint having flaked fro the central text, carrying his Colonial Tri-corner hat under left arm, and holding a document in right hand. He is shown wearing a vivid violet neckpiece or scarf, white waistcoat with gold painted fancy decorations and britches, with Colonial period black shoes. Similar to other Ben Franklin ceramic depictions we have seen, this example having rich rosy cheeks, deep red lips, light charcoal-gray hair and black highlighted facial features. A wonderful unusual Benjamin Franklin design, not specifically identified as either "Franklin" or "Washington" as we have previously offered. Ready for display. Similar in its look to Arman AI. 21 shown illustrated on page 233 of ANGLO-AMERICAN CERAMICS, Part 1, by authors David and Linda Arman, published 1998, listed and valued at that time between $1, 000 - $1, 500.
Graham Clarke (b. 1941) thirteen coloured etchings with aquatint History of England Edition A signed in pencil and numbered 73/200 17 x 13.5in. Estimate ?1 000-1 500 13 prints are in the lot representing the set as catalogued these comprise: Going West 87/200 Men of Kent 175/200 Jolly Good Robin Hood 38/200 Steamers 45/200 Fire Works 83/200 Ready Sir 73/200 Albert All 145/200 Waterloo Volunteers 76/200 Romans Do 93/200 Rufus Spratling Chronicle 101/200 Good Lord 88/200 The Wooden O AP Canters Chaucebury 53/200 All in very good clean condition with cream mounts and silvered frames. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?1 250
Three Important Confederate Autograph Books From UNC-Chapel Hill
compiled in the early 1860s by brothers John Grant Rencher (1840-1909) and William Conway Rencher (1842-1901). The Rencher brothers, both of whom served as Confederate officers, were the sons of Abraham Rencher (1798-1883), a distinguished public figure and owner of Greenbrook Plantation near Pittsboro, North Carolina. The elder Rencher served in the U.S. House of Representatives for many years, was appointed Charge d'Affaires at the U.S. Embassy in Portugal and finished his political career as Governor of New Mexico, 1857-1861. His sons, though North Carolinians by birth and upbringing, both name Santa Fe�´, New Mexico as their residence in these autograph albums, two of which are John's with the third one belonging to William. All three volumes are blank page octavo books such as were all the rage during the third quarter of the 19th century. The pages are inscribed by approximately 300 students, most of whom were members of UNC's Dialectic and Philanthropic Societies between the years 1859 and 1863. The entries often contain a wealth of information about the signatory, including their hometown, birth date, course of study, and, often, their sweetheart's name. North Carolina's leading families of the day are well-represented in these pages. Prose, sometimes sentimental and often bellicose, is mixed with verse throughout the books. Military rank and unit affiliation, if any, are given once the war begins in earnest. States represented by signatories include Alabama, Arkansas, Florida, Georgia, Illinois, Louisiana, Mississippi, Missouri, North Carolina, South Carolina, Tennessee, Texas and Virginia. Of particular interest are a later researcher's discreet pencil notations associated with many of the entries. These often mention a given student's fate during the Civil War. Sample entries are as follows: George B. Johnston of Edenton, NC is noted as having been a Captain in the 28th North Carolina and an A.A.G. in Lane's Brigade. He died of consumption in 1864; David W. Simmons of Paradise Point, NC believes in "Law and fighting Yankeys; Richardson Mallett of Chapel Hill, NC studied medicine, became a 2nd Lieutenant in the 1st North Carolina and was killed by deserters in 1863; T. G. Skinner of Hertford, NC writes, "War now. Law or Sailor after the war."; medical student R. A. Stancill of Carrolton, MS "died in hospital in Goldsboro"; William B. Whitfield of Jefferson County, FL was a regular fire- eater, writing,"Down with the Black Republicans The South now & forever."; James B. Moore of Granville County, NC lists his course of study as "war only to promptly die of camp fever before 1861 was through. He was a member of the Orange Light Infantry; William Kenan of Kenansville, NC declares his course of study to be "Law & war" and puts forth "Fight bravely for the South" as his personal motto; Edward A. J. Nicholson of Halifax County, NC simply wanted to study law, but was killed at Petersburg in 1865 as a captain in Lane's Brigade; Angus Shaw of Richmond County, NC vows to "Be ever ready to defend the Southern Confederacy right or wrong."; David Barrett of Carthage, NC advises William Rencher to "...immortalize yourself by killing Yankees...." And so it went while war fever ran hot among a student body anxious to get into the fray.
The covers of all three books lack outer spines while showing heavy wear and chipping; the front cover of the William Rencher book is disbound; internally the endpapers are somewhat browned with some foxing; internally, however, the pages are much brighter, being lightly toned and largely free of the environmental damage that so often plagues Southern paper. This set is worthy of being professionally rebound with archival materials.
J Stevens Gallery No 80 Slide Action Rifle 1906-10: The lot features a J. Stevens Model Gallery No. 80 (Number 80) slide action rifle chambered in . 22 short, long, and long rifle calibers. The rifle shows a fine blue finish along the metal surfaces with much of the bright color still retained. The wood shows a good condition with handling wear solid walnut stock and eleven grove slide foregrip. The rifle has a 24 inch round blue finish barrel with fixed front and adjustable rear sights. The barrel is marked on the top, "MANUFACTURED BY THE J. STEVENS ARMS & TOOL CO. / CHICOPEE FALLS, MASS, U. S. A. PATENTED JAN. 23. 06. AUG. 7. 06. " The rifle has a serial number of 17833, marked at the receiver cap under the slide rail, and was manufactured in circa 1906 to 1910. The rifle functions by the pump or slide rail forcing the the bolt to be pushed back and up at a 45 degree angle pivoting at the rear of the receiver causing the firing pin to be set while also pushing the next round into place pulling from the tube fed magazine, then once the pump is pulled forward the round is chambered and ready to fire. The rifle functions without flaw and shows fine condition for its antique age with signs of use. The rifle requires a Curio and Relic, FFL Transfer or NICS Background check. 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.
Executive Officer Henry W. Washburn USS Morning Light Civil War Archive War-date archive of five letters one partial letter and three transmittal covers. Written by ill-starred Acting Master Henry W. Washburn executive officer of USS Morning Light he recounts dullard crewmates timid commanders and chasing smugglers along the Florida coastline. Washburn an experienced seaman served on the 937-ton sailing ship USS Morning Light of 8 guns on blockade duty along the Gulf Coast. Son of Captain Noah Washburn his desires of making his own name and career as a naval officer were dashed when he was assigned to the dumpy Morning Light. As a converted merchant ship with no steam engine it was hardly suited to chasing blockade runners. In Washburn??Ts first letter dated April 25 1862 from Ship Island Mississippi the Union base of operations for the attack on New Orleans the Morning Light had delivered supplies to the fleet but was ordered to stay behind on picket duty for the army camp while Farragut??Ts fleet destroyed the forts guarding the entrance to the Mississippi River. Washburn notes: I suppose there will be some hard fighting there and I would like to do some of it just for the fun so as to see if I have any spunk. He adds that things are quiet and boring: ...there is no prospect of us getting into a fight so there is no need of anyone at home worrying about my getting shot. A bit of excitement does present itself when a ship ??|stood in too near the island after being warned not to do so. I was ordered to fire at him... I sent one shot close under his bow upon which he soon put his helm alee and tried another tack. In a 4pp letter from Pensacola dated May 24 and a second one in the same envelope dated June 1 1862 a homesick Washburn sends fond wishes to his children and wife and expounds on the deficiencies of his fellow officers none of whom are experienced sailors or regular officers. The Morning Light??Ts commander who played favorites among the officers and crew resigned and the acting commander had little sea experience and no command experience. The Union had recently recaptured Pensacola after the Confederate army abandoned it and Washburn notes that the houses are still in disrepair after the huge bombardment of the previous November blew the windows out all over town and set fire to some buildings: I have not been on shore yet but it looks bad the houses are all deserted some with windows broke in and some they seemed bent on destroying as much as possible. In a separate letter to his father dated May 24 1862 Washburn tells how the acting executive officer whom he describes as the stupidest jackass I ever saw in in any office a regular thick head besides being a little in want of pluck chickened out halfway across the bay when a rebel schooner was sighted tied up on shore: ...off he goes in our first cutter with 10 men armed to cut her out. He pulled half way to her... then turned around and come back to the ship. On his way back he pulled slow so as to get to the ship after dark. This officer regularly took a ship??Ts boat and some men then hid out in the bay while pretending to hunt smugglers in order to get out of work. Tired of this Washburn asked the commander for permission to hunt coastal smugglers in one of the boats. Heading out that night in a captured fishing smack with an armed crew of eight men Washburn patrolled Santa Rosa Sound for smugglers. They chased three small boats into the shallow bayous where their sailing ship couldn??Tt reach then decided to disguise themselves as fishermen and surprise the next one. Just at daylight I saw a large lugger coming down before the wind and after dodging him a spell I managed to get inshore of him... My Yankee trick seemed to answer and came down most to me when they smelled a mice and hauled in for the beach. The smuggler kept running after being commanded to stop even after Washburn ordered a shot across their bows with the small cannon but a volley of fire from his crew??Ts Sharps rifles convinced the smuggler to heave to. The lugger loaded not only with livestock but also having a noted Secessionist shipowner as passenger was brought back under guard to the Morning Light. Washburn calculated the value of ship and cargo at $1000 and expected some prize money from it but his commander wishing to appear noble hearted gave up the lugger and gave the prisoners a pass to New Orleans. Washburn decided after this that if he can??Tt get off Morning Light and into a regular Man of War with regular Naval officers I do not think I shall stay in the Navy... On July 27 1862 Washburn wrote his wife relating how Lt Commander Moore his commander had resigned and left the ship but not before bilking the crew out of thousands of dollars! Now just before Moore left he made a deal with an owner of a ship to get the Ship off and ready for sea. He was to receive $6000 for it which was to be divided among the Crew. We thought it was all right until he divided the money. Moore had used the crew as labor to pull off a ship which had run aground but kept all but $1450 of the $6000 for himself before taking off. August 9 found the Morning Light back at Ship Island. Washburn composed a letter to his father relating how his former commander Lt Commander Moore was inexperienced and lax in drilling and disciplining the crew. He tells his father about Moore using the crew as labor to make money for himself and that he the ship??Ts doctor and paymaster had filed a formal complaint with the senior commander in the area. Lt. Spear the brown-nosing executive officer became Morning Light??Ts acting commander. He was a tavern keeper in Maine before the war and Washburn described him thusly: Our Executive Officer a Pimp and rum seller who received his appointment though some Politician a man who knows nothing about a Ship and lacks all that goes toward making a Gentleman... Spear agreeing with Moore in all he said had kept in his good graces while the rest of us despising Moore for his meanness and vanity kept a distance. In an August 20th update on the same page Washburn described the Morning Light??Ts shortcomings: This ship is not fit for any other use than as a guard ship. We draw 15 ?? ft and are a sailing ship two bad qualities for Gulf service. Besides we are a very slow ship in stays she sails quite well when she has a leading breeze and would make a good ship for action because a shot striking her would go through without splinters she being very soft and in spots rotten. Noting that he had little chance of being retained in the post-war Navy if he could not distinguish himself in combat he doubted that he would see any at all: ...our Spear will never go into action if he can keep out and as long as I am in this ship I consider myself safe from all sesesh shots or knives. The partial letter is undated but is easily placed as immediately after the November 27-28 1862 actions at Cedar Lake Texas where Morning Light spent two days sending parties ashore to destroy the salt works. Washburn was wounded in the elbow in a heavy firefight with Rebel defenders. We stopped off Galveston today and communicated with the Senior Capt who thinks we done well... I rather be in a Steamer this craft is too unwieldy for a man of War and is not fit for such work as blockading a Coast where you can not see the land in 7 fathoms water. Signed Henry W. Washburn Acting Master & Executive Officer U.S.S. M Light. Washburn??Ts reservations proved to be well-founded as two months later USS Morning Light and USS Velocity were captured off Sabine Pass while on blockade duty by Confederate ?cotton-clad? steamboats filled with soldiers. Stranded by becalmed seas the engineless ships were unable to escape and surrendered after being fired upon by cannon and small arms. The Morning Light??Ts deep draft prevented the Rebels from getting her across the bar of the pass so she was burned two days later to prevent her recovery. Washburn spent 25 months of horrible disease and filth in Confederate POW camps in Texas before finally being released weeks before the war ended. He finally got his wish to serve in the post-war Navy on a real warship when he was assigned to USS Sabine after returning to the North but his health had been ruined by disease and dysentery while a prisoner of war. Declared unfit for duty he was honorably discharged from service on April 3 1866. His health never recovered from his imprisonment and he died 4 years later on October 11 1870 while fighting for a disability pension. His widow and four children were awarded his pension eleven months later.
Navy COMMODORE JOHN ROGERS War of 1812 Era Autograph Letter Signed: Autographs. War of 1812 Era Naval Officer John Rogers Letter to Benjamin Crowninshield Regarding Naval Provisions. COMMODORE JOHN ROGERS (1772-1838). Senior Naval Officer in the United States Navy who served under six Presidents in the Quasi-War with France, both Barbary Wars in North Africa, and the War of 1812 with Britain as Rodgers fired the first shot of the War aboard his flagship, the USS President, and played a leading role in the recapture of Washington, DC after the capital was burned by the British, served as Secretary of the Navy in 1823. February 3, 1816-Dated War of 1812 Era, Autograph Letter Signed, "Jno Rogers" as head of the Board of Navy Commissioners, with Integral Mailing Address Cover, to Benjamin W. Crowninshield (1772 - February 3, 1851), who served as the United States Secretary of the Navy between 1815 and 1818, during the administrations of Presidents James Madison and James Monroe, regarding Naval provisions. In 1815, after the War of 1812 had ended, Congress established the Board of Navy Commissioners. Rodgers was a prolific political writer whose thoughts appealed to President Madison, leading him, with the consent of the Senate, to appoint Rodgers to the Board of Navy Commissioners, along with Isaac Hull and David Porter. Rodgers headed the Board from 1815 through 1824 and again from 1827 until he retired in May 1837. Rodgers also served briefly as Secretary of the Navy in 1823. The Board gave it authority over procurement of naval stores, supplies and material as these related to the construction of naval vessels, outfitting of ships, armament and equipment plus oversight authority over naval shipyards, stations and dry-docks as related to the current Letter. With complete docket and boldly written on clean wove period paper in bold rich brown ink. Some archival reinforcement to fold splits and attractive in eye appeal. This Letter reads, if full:. . "Navy Comm Off. - 3 Feby 1816 --- Sir, - It appearing to the Board of navy commissioners, the Mr. James Foyles has ready for delivery, one thousand barrels of provisions, under his contract - the board think it best just that the sum of twelve thousand dollars should be advanced to Mr. Foyles - & they accordingly request that that sum be advanced to him. -- I have the honor to be with great respect Sir your most Obt. - (Signed) John Rogers". John Rodgers (July 11, 1772 - August 1, 1838) was a senior naval officer in the United States Navy who served under six Presidents for nearly four decades during its formative years in the 1790s through the late 1830s, committing the bulk of his adult life to his country. . His service took him through many operations in the Quasi-War with France, both Barbary Wars in North Africa and the War of 1812 with Britain. As a senior officer in the young American navy he played a major role in the development of the standards, customs and traditions that emerged during this time. Rodgers was, among other things, noted for commanding the largest American squadron in his day to sail the Mediterranean Sea. . After serving with distinction as a lieutenant he was soon promoted directly to the rank of captain (the rank of Master Commandant did not exist at that time). . During his naval career he commanded a number of warships, including the USS John Adams, the flagship of the fleet that defeated the Barbary states of North Africa. During the War of 1812 Rodgers fired the first shot of the war aboard his next flagship, the USS President, and also played a leading role in the recapture of Washington after the capital was burned by the British, while also having to endure his own hometown and house burned and his family displaced. Later in his career he headed the Navy Board of Commissioners and served briefly as Secretary of the Navy. . Following in his footsteps, Rodgers' son and several grandsons and great-grandsons also became commodores and admirals in the United States Navy. . Benjamin W. Crowninshield (1772 - February 3, 1851), served as the United States Secretary of the Navy between 1815 and 1818, during the administrations of Presidents James Madison and James Monroe. Crowninshield became Secretary of the Navy in January 1815, a position almost held by his brother Jacob Crowninshield ten years earlier, and managed the transition to a peacetime force in the years following the War of 1812. This included implementation of the new Board of Commissioners administrative system and the building of several ships of the line, the backbone of a much enhanced Navy. He also oversaw strategy and naval policy for the Second Barbary War in 1815. . After leaving Navy office in 1818, Crowninshield returned to business and political affairs in Massachusetts, prospering in both. In addition to serving two more terms in the Massachusetts House, he was also elected to four terms the United States Congress from 1823 to 1831.
Confederate Order Book 1st Virginia Regiment Pre-First Bull Run 8 x 10 in. hardbound order copy book with gilt title ADJUTANTS REPORTS. /1ST. REGIMENT. This book is a record of the orders received by the 1st Virginia Volunteer Infantry beginning April 29 1861 through the Battle of First Bull Run and ending August 1 1861.The 1st (Richmond) Regiment a pre-war militia regiment was one of the first groups of infantry to arrive for training at the Hermitage Fairgrounds in Richmond (later Camp Lee) in April 1861. The early orders in this book chronicle the day to day problems of forging various mobs of spirited civilians into an army for the newborn nation. The entire army structure above the regimental level had to be made from scratch and these pages of recorded orders give an unparalleled insight into that evolving process.The first combat orders for the 1st Virginia dated May 29 1861 sent them to Manassas Junction to join Bonham's Brigade Department of Alexandria. June 1 finds the regiment at Camp Pickens Virginia where all forces are ordered to cheerfully join in the necessary labors however hard and unusual for them and immediately begin entrenching fortifications at Manassas Junction. The next day Beauregard is announced as the new commander of the Department of Alexandria.On June 16 Beauregard orders troops be supplied with 40 rounds ammo and held constantly in light marching order ready to advance on short notice with 10 days' rations (3-5 in haversacks the rest in wagons.)June 20 orders are issued forming the Army of the Potomac arranging the various regiments into six brigades and assigning brigade commanders. The 1st Virginia is assigned to the 4th Brigade Colonel G.H. Terret Provisional Army of Virginia commanding.Beauregard's HQ June 23rd: So great is the obstruction of the most important public business by the personal presentations at these HdQrs of applications for leaves of absence (generally on the certificate of a medical officer for the benefit of the applicant's health ) that it is ordered that all applications for leaves of absence hereafter shall be made through the commanding officer of the Regiment Corps or unattached company to which such applicant may belong.4th Brigade HQ Camp Pickens June 27 ...The Colonel also directs that the whooping and yelling in camp be stopped and that the men who insist on continuing this unmilitary habit be punished...July 4 1861: Camp PickensThe colonels of the Regiments comprising the 4th Brigade will at once see that their Regiments are provided with three days provisions in their haversacks and forty rounds of ammunition in their cartridge boxes and be held in readiness ?to march forthwith to the front. The alert was canceled July 5th.On July 7 Longstreet assumes command of the 4th Brigade. The next day orders are issued designating a winged badge for the brigade to be worn yellow side out on the left shoulder". Pickets are told to learn the insignia of surrounding brigades and small parties are not to be fired upon unless it is well ascertained that they are of the enemy and there is no probability of capturing them.Beauregard issues a long order on July 11 haranguing the army for grievous breaches in security. Newspapers as far away as South Carolina have published detailed dispositions of Confederate troops along the Potomac with troop strengths and regiment names and examples are provided in these orders.JULY 16 CONFEDERATE BATTLE PLANS FOR MANASSAS: Beauregard issues detailed seven-part battle plans to his command for the attack on the Federal army which that day has begun its march from Washington DC towards Manassas. In part:Head Quarters Army of the PotomacManassas Junction ?July 16th 1861Special Orders}No. 120 ???????????}The following will be observed and executed by all concerned in the special exigencies indicatedI??? Brig Genl Longstreet will hold his Brigade in readiness to march at a moment's notice and take position at Blackburn's ford one regiment to be placed with two pieces of Walton's battery in position in advance of that ford carefully concealed from the view of the enemy the other two regiments remaining on this side of the ford concealed from sight as far as practicable but ready to be thrown across at any moment and when Genl Longstreet shall hear the enemy engaged on his left at Mitchell's ford he will move and attack him in the flank and rear as already instructed keeping communications open with Bonham's brigade on the left and Jones' brigade on the right.II??? Brig Genl Jones will be prepared to move his Brigade from Camp Walker simultaneously with the 4th Brigade to positions at McLean's ford corresponding to those to be occupied by Longstreet at Blackburn's ford; as already instructed he will advance thence to the attack of the enemy's flank on the Centerville Road about halfway between Centerville and Mitchell's ford maintaining communication with Genl Longstreet on his left and Genl Ewell on his right...??? ???The next day Beauregard announced to his army that the Federal invasion of Virginia had begun:General OrdersNo. 41 ?I.??? The General Commanding the army of the Potomac announces to his command that at length the enemy have advanced to subjugate a sovereign state and impose upon a free people an odious government; notwithstanding their numerical superiority they can be repelled and the general commanding relies confidently on his command to do it...By the 18th Union General Tyler's advance division had reached Centerville. As the enemy approaches General Longstreet addresses his men:Head Quarters 4th BrigadeBull Run July 18th 1861General Orders No. 1Virginians you are now fighting for your own soil your homes and your liberties! Let it not be said that any Virginia Brigade gave way one foot before the vile invaders! We have taken our stand; let us show the enemy that we can and will repel them hence.Beauregard correctly expects McDowell's main attack to be from Centerville towards his right flank. Tyler spoils the Union plans by advancing early on Blackburns Ford and escalating his scouting mission into a battle with Longstreet's brigade. The Confederates repulse his attack prompting McDowell to change his plans and attack the alerted Confederates on the opposite flank once the main body of the Union army arrives. Colonel Patrick T. Moore of the 1st Virginia was severely wounded in the head during this battle an injury that would remove him from field service for most of the war.July 21 1861: BATTLE OF FIRST MANASSASSpecial Order No. 136 the morning of the battle informs the brigade commanders that:Lt Col Richard Snowdon is placed on duty with this army and is authorized to join any brigade engaged and opposed to artillery in which event he will be furnished with a detachment of picked riflemen to shoot fused balls into caissons and ammunition wagons.The next order entered into the book is dated June 22 1861 the day after the battle: Beauregard orders Longstreet to detail Lieut John G Meem 17th Regt Va Volunteers to proceed to the front with a strong escort and abundant means of transportation for the purpose of collecting arms munitions subsistance etc abandoned by the enemy...Also on this day Beauregard's Special Orders No. 146 advances his army into the Centerville area:1st Brigade Brig Genl M.L. Bonham at Centerville. 2nd Brigade Brig Genl Ewell at or about Union Mills in advance. 3rd Brigade Genl D.R. Jones at a position on Union and Centerville Road about half way between Braddock's Road and Union Mills ford. 4th Brigade Brig Genl Longstreet at or about the crossing of the Centerville and Union Mill road and the Braddock road. 5th Brigade Genl Cocke at or about suspension bridge over Cub Run. 6th Brigade Col Early in a position on Bull Run one mile above Stone Bridge. Evans command at or about Stone Bridge except Hunter's Regt Va Vols which will remain at these Hd Qrs for present...On July 24 1861 Beauregard orders Captain E.P. Alexander to choose from the captured Union artillery 1 large rifled gun two 6 pounder rifled guns and two 12 pounder rifled guns with proper caissons mobile forge and battery wagon and send them to Brigadier General T. H. Holmes.On July 29 in order to absorb the huge numbers of new soldiers Beauregard reorganizes the Army of the Potomac into 8 brigades of 4 regiments each plus artillery and cavalry.The last entry is a request for a Court of Inquiry by Captain F.B. Schaeffer Virginia Volunteers to examine into certain imputations and allegations made against his conduct as a soldier on the 21st July 1861..." ?Schaeffer was rumored to have in a panic ordered his men three times to retreat during the battle.1st Regiment Virginia Infantry (Williams Rifles) ??? ????1st Infantry Regiment completed its organization at Richmond Virginia in May 1861. At the outbreak of the war it had ten companies but in April three were detached. Thus the unit contained seven companies from Richmond and in mid-July a company from Washington D.C. was added. It fought at First Manassas under General Longstreet and in August totaled 570 men. During April 1862 when the regiment was reorganized it contained only six companies. The 1st was assigned to A.P. Hill's Kemper's and W.R. Terry's Brigade Army of Northern Virginia. It was active from Williamsburg to Gettysburg except when it was with Longstreet at Suffolk. Later the unit was involved in the capture of Plymouth the conflicts at Drewry's Bluff and Cold Harbor the Petersburg siege south and north of the James River and the Appomattox Campaign. This regiment lost twenty-two percent of the 140 engaged at Second Manassas had 9 wounded at Fredericksburg and had more than half of the 209 at Gettysburg disabled. Its casualties were 12 killed and 25 wounded at Drewry's Bluff 1 killed and 77 wounded at Five Forks and 40 captured at Sayler's Creek. Only 17 surrendered on April 9 1865. The field officers were Colonels Patrick T. Moore F.G. Skinner and Lewis B. Williams; Lieutenant Colonels William H. Fry and Frank H. Langley; and Majors John Dooley William P. Mumford George F. Norton and William H. Palmer.?(National Park Service Civil War Soldiers and Sailors System) Condition: Front cover detached some leaves clipped or loose.
William Draper Landscape Painting, Mexico, ca. 1980s: William Franklin Draper (American, 1912-2003), oil on canvas, ca. 1980s. A beautiful William Draper landscape painting, created en plein air when he was traveling in Mexico and Ecuador. The composition features two charming red-roofed houses in the foreground that are nestled behind a grove of trees with rolling sage green and lavender hills beyond. The time of day, either sunrise or sunset, is suggested by rays of sunlight casting a golden glow from the bright blue skies above. Size of painting: 18. 25" W x 11. 3" H (46. 4 cm x 28. 7 cm) Size of frame: 21. 25" W x 14. 625" H (54 cm x 37. 1 cm). . William Draper's career spanned five decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D. C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc. , the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D. C. ), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999. . More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D. C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan. '' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano. . . Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003). . 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. . #152718 Condition Draper Estate stamp on gallery paper on verso. "Estate of W. F. Draper / Early William F. Draper ca. 1930" handwritten on gallery paper on verso; however, according to the Draper family, this painting dates ca. 1980s. Slight waviness to the canvas. A few scratches/abrasions on the right side of the composition as shown. Nicks to peripheries/corners of the frame. Some stains to the frame. Wired for suspension and ready to display.
c 1860-76 BENJAMIN FRANKLIN Colorful Staffordshire Polychrome Ceramic Figure: Glass and Porcelain. Benjamin Franklin Colorful Polychrome Enamel Victorian Period Staffordshire Base With Hand-Painted "FRANKLIN". c. 1860 to 1876 Colorful Polychrome enamel Victorian Era Patriotic Staffordshire figure of BENJAMIN FRANKLIN titled, "FRANKLIN" in Hand-Painted and fired gold lettering on its white base, Choice Extremely Fine. This wonderful English Staffordshire Figure depicts Benjamin Franklin, produced for export to America. This example measures about 14" tall including its 4. 75" wide base. This standing pose brightly polychrome figure is titled, "FRANKLIN" in large lettered Gold Script on the base, shown with his Tri-corner hat under left arm and holding a document in right hand. Figure standing wearing a decorative fancy colorful dotted white waistcoat with gold gilt breeches with Colonial period style black shoes. Similar to but larger and more impressive that most other Ben Franklin ceramics, here having rosy cheeks, red lips, and sharply detailed facial features. Design type listed in Arman as AI. 15, shown illustrated on page 233 of "ANGLO-AMERICAN CERAMICS, Part 1" authored by David and Linda Arman, published 1998 and there listed with a value of $1, 250 to $2, 000. A great looking, high quality large colorful "FRANKLIN" ready for display.
Framed Signed William Draper Logging Painting, ca. 1970: William Franklin Draper (American, 1912-2003), oil on canvas, ca. 1970, signed on lower right. A dramatic painting in which William Draper depicts a logging machine lifting a tall tree from the ground, surrounded by several felled trees. According to the Draper Estate, the artist created this painting during a period when he had painted a portrait of a timber magnate, and this composition is most likely a metaphorical statement representing his love of nature. According to his daughter, Draper painted it "as a statement of how awful the razing of the rainforest is. " William Draper was a founder of the American Orchid Society as well as the American Goldfish Society, and he loved natural history. A fascinating composition set in a beautiful frame. Size of painting: 13. 875" W x 10. 875" H (35. 2 cm x 27. 6 cm) Size of frame: 15. 125" W x 12. 2" H (38. 4 cm x 31 cm). . Interestingly, this painting was created ca. 1970, the year of the first Earth Day (April 22, 1970). Designed to raise public awareness to global environmental threats, Earth Day began as a grass-roots movement, with approximately 20 million American participants. Today, Earth Day is recognized as the dawn of the environmental movement and it is observed in approximately 200 countries across the globe. . William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D. C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc. , the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D. C. ), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999. . More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D. C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan. '' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano. . . Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper. . 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. . Replace: 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 Replace: 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 Replace: 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. . #151436 Condition Both painting and frame are in excellent condition. Painting is signed by the artist on the lower right. Draper Estate stamp on verso. Wired for suspension and ready to display.
Remington Style Gun Cane, solid metal shaft, Remington style dog head handle, banded collar, metal ferrule missing tip, unscrew shaft to load cartridge, pull handle to ready the weapon, push button firing mechanism (metal piece of firing mechanism broken but included), ferrule marked "34", 32.5" long
condition: cocking and firing mechanism not working, 1.5" crack towards top of shaft, 6.5" crack in shaft running from ferrule towards handle, removable ferrule is missing
Brass Fire Fender: A late 19th century brass fire fender, in nice condition, probably French, a good polish and it's ready to go, 48"x12"
U. S. Springfield Model 1863 . 53 Cal. Musket: Included in this lot is a U. S. Springfield Model 1863 . 58 caliber rifled musket. This is the classic standard Union issue Civil War rifle that saw service through most of the heaviest fighting in the War Between The States. This revolutionary rifle replaced the earlier smooth bore muskets. It was loaded from the muzzle with a soft lead hollow base grease-groove bullet over a charge of black powder. The charge was detonated by use of a percussion cap placed on a nipple under the hammer. Upon discharge, the gases from the powder charge would expand the hollow base of the bullet to fill the rifling grooves in the barrel to impart a spin on the projectile. This system allowed for very accurate shooting even at previously unheard of distances. It is recognized that this system changed warfare forever. This fine example has the correct clearly marked “U. S. SPRINGFIELD” with the eagle stamping on the side of the lock plate plus the manufacture date of “1863” on the rear of the lock plate behind the hammer. Importantly, the left side of the stock opposite the lock retains original inspector stampings. The barrel appears free of rust or pitting and retains the correct folding leaf rear sight. The walnut stock also appears free of all but the lightest of handling marks. The ramrod is intact and amazingly, the bore was inspected and proved to be in bright excellent condition with no pitting and retaining sharp rifling. Many of these rifled muskets were sold as surplus or were retained by soldiers after the Civil War ended in 1865. As such, this was a common firearm seen on the Western Frontier right up through the 1880s. Even though cartridge firing rifles became popular beginning in the early 1870s, fixed ammunition could be difficult to obtain in the unsettled West. Yet, with a supply of powder, lead and percussion caps the 1863 Rifled Musket would always be ready for service. Because of its large caliber and long range potential, it was a formidable weapon for hunting the largest of North American game or for self protection. Complete with leather sling, this is a most attractive example that recently turned up in Arizona. This firearm qualifies as an Antique, and does not require FFL Transfer or NICS Background Check. 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.
19th C. Charles Bird King Lithograph of Tuko-See-Mathla: Charles Bird King (American, 1785-1862). "Tuko-See-Mathla A Seminole Chief. " Hand-colored lithograph from a folio edition of McKenney and Hall's Indian Tribes of North America. Published in Philadelphia: Daniel Rice & James G. Clark, 1843. "Drawn, Printed & Coloured at the Lithographic & Print Colouring Establishment, 94, Walnut St. " A wonderful full-length portrait of Tuko-See-Mathla, a male Seminole chief who is presented standing and holding a rifle, wearing a striped, fringed wrap skirt and a striped shirt, with red sashes around his neck and waist, a red headdress with grey-black feathers and a scalloped, silver headband, silver cuff arm bands, fancy shin-high moccasins with buttons, and a grand medal around his neck. A striking original lithograph set in a beautiful custom red matte and a wooden frame with wonderful burled walnut and marquetry details. Size of visible lithograph (full sheet extends behind matte): 17. 875" L x 9. 875" W (45. 4 cm x 25. 1 cm) Size of frame: 27. 5" L x 19. 5" W (69. 8 cm x 49. 5 cm). . Also known as John Hicks, Tuko-See-Mathla was a prominent Native American leader who opposed United States slave raids into Florida, separate schools for indigenous peoples, and the movement to relocate the Seminoles from their lands. When leaders of various Native American tribes visited President Monroe, McKenney, the Superintendent of Indian Affairs and a champion of Native American interests, commissioned artists including Charles Bird King to paint portraits of the delegates in their choice of dress. Unfortunately, most of King's original paintings later burned in a fire at the Smithsonian. Given this, the lithographs published in McKenney and Hall's "Indian Tribes of North America" are the only surviving records of the likenesses of many important 19th century Native American leaders. . See: Howes M129. Bennett, American Nineteenth-Century Color Plate Books, p. 79. Field 992. Lipperheide Mc4. (Inventory #: 3458) . . Provenance: ex Stein collection, Bloomfield Hills, Michigan, USA, acquired prior to 2010. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . 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, please contact us directly or work with your local customs brokerage firm. . #164469 Condition This hand-colored lithograph has not been examined outside the frame. It appears to have mild toning to the sheet, but the imagery and text are vivid. Margins of the sheet are covered by the red matte. Frame is in excellent condition and is wired for suspension - ready to hang.
Framed & Signed William Draper Painting - Orchids, 1959: William Franklin Draper (American, 1912-2003), "Orchids" oil on canvas, 1959, signed by the artist in red on the lower right. A striking plein air painting of a Lady Slipper Orchid - also called Venus Slipper or Paphiopedilum from the Greek word "Paphos" meaning temple and "pedilon" meaning sandal. Draper captured the beauty of the orchid's blooms, presenting burgundy on yellow dotted patterns and the flower's burgundy pouch-like structure that inspired the "slipper" nickname, surrounded by long verdant leaves. He also depicted another specimen's trunk in the background. Interestingly, this type of orchid is half terrestrial (meaning it grows on the ground) and half epiphytic (meaning it also grows on other plants and trees); perhaps this Lady Slipper Orchid was thriving due to the presence of that marvelous tree. Size: 18" L x 14. 125" W (45. 7 cm x 35. 9 cm); 22. 75" L x 18. 75" W (57. 8 cm x 47. 6 cm) framed. . Clearly, Draper was an observant nature lover as well as a master of plein air painting. Slipper Orchids are native to Southeast Asia, Indonesia, India, Papua New Guinea, regions of China, Bismarck and Solomon Islands. I wonder where Mr. Draper was when he depicted this orchid. . William Draper's career spanned five decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D. C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc. , the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D. C. ), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999. . More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D. C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan. '' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano. . . Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003), an accomplished American artist whose career spanned seven decades. Known as the "Dean of American Portraiture, " William Draper was the only artist to paint President John F. Kennedy from life, and his oeuvre includes marvelous landscapes from his world travels, military paintings as he was one of only seventeen Combat Artists in WWII, and portraits of illustrious individuals. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #152564 Condition Painting is in excellent condition. Signed "Wm. F. Draper" in black on lower right. Draper Estate stamp on verso. Canvas has darkened a bit on the verso. Frame is good save inactive insect holes as shown. Wired for suspension and ready to hang.
Lot of 42 metal French Native Infantry firing and at the ready. Gloss paint. Estimated S
Small Remington Style Gun Cane, solid shaft, small Remington style dog head handle, wood and metal ferrule, shaft unscrews to load cartridge, pull handle to ready the weapon, push button firing mechanism, silver collar, 35.25" long
condition, firing mechanism will not stay locked into place, .75 and .25" crack at base of handle where shaft meets, several surface imperfections in collar and on shaft
Framed Bill Freeman Painting "Mt. Moran" 1960s: William E. Freeman - also known as Bill Freeman (American, 1927-2012), "Mountain Moran", oil on canvas, ca. mid 20th century CE. Signed on lower right. A stunning landscape painting depicting Mount Moran of Grand Teton National Park in western Wyoming. Mount Moran is named for Thomas Moran (1837-1926), a famous American artist who specialized in landscapes of the western frontier. Freeman's painting possesses an almost ethereal quality thanks to his dreamy palette of lavender, sky blue, pastel pink, mauve, sage, forest green, and golden yellow as well as a style that demonstrates influences of Impressionism and Expressionism achieved via a sophisticated use of palette knife and brush. Freeman presents us with an optimal view of this awe-inspiring mountain range from the dry brush of the land below. Set in a lovely gilt wooden frame. Size: 23. 875" W x 17. 875" H (60. 6 cm x 45. 4 cm); 27. 375" W x 21. 375" H (69. 5 cm x 54. 3 cm) framed. . Bill Freeman grew up in West Texas on a farm just outside of El Paso. Interestingly, he worked as a horse wrangler, fought forest fires for the U. S. Forest Service, and was a field researcher and guide for the Arizona Game and Fish Department for twelve years in Arizona, Wyoming, and New Mexico prior to becoming an artist. It was not until the age of 30 that Freeman decided to become an artist specializing in Western landscapes. Today he is considered a pioneer of Western art centered on such storied locales as Scottsdale, Arizona as well as Jackson Hole and Grand Tetons National Park, Wyoming. . . Provenance: private Glorieta, New Mexico, USA collection. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #150671 Condition Painting is in excellent condition. Signed on the lower right. Frame shows minor scuffs. Wired for suspension and ready to hang.
PLAINS INDIAN .72 CAL PERCUSSION BLANKET MUSKETSuperb example of a Plains Indian “Blanket Gun” or “Buffalo Runner’s” cut-down percussion musket. Originally, these shortened, large caliber lightly rifled muskets were utilized by mounted horseman who galloped into herds of bison shooting guns and arrows at point blank range. Short barrreled muzzle loaders were about the only pre-cartridge firearms that could be quickly loaded while on horseback. Powder was poured, a naked ball was dropped, a percussion cap placed on the nipple below the cocked hammer and the firearm held muzzle high to keep the load settled. When ready to fire, the rider simply lowered the arm and fired before the ball had a chance to move off the powder charge. This proved fast and effective for both hunting and warfare. Decades later, during the reservation period, when firearms were often limited or prohibited altogether, these early cut down muskets formerly used for hunting became concealed “blanket guns.” Hidden under a robe or blanket, they could remain out of sight and away from confiscation. It is known that a number of blanket guns suddenly appeared before and during the tragic Wounded Knee Massacre in December 1890. Loaded with ball, bullet or shot, these proved formidable weapons for a number of uses. This is a classic example with a barrel length of 14 inches and an overall length of only approximately 24 inches. It is cut from a typical .72 caliber musket that is typical of the type sold or traded to the Plains Indians of the Pre-Civil War and Post-Civil War era. The lock functions and the lock plate has some vestige of markings that may be French or Belgian in origin, which would be typical of trade muskets. There is also considerable aged black powder pitting around the hammer/nipple area from decades of use. As expected, Overall metal has aged to a deep brown, uncleaned patina. The rear portion of the stock has been cut just behind the comb and shows some undeciphered light carved marks or symbols on the right rear portion. Forward of the lock is wound rawhide strips used to secure the barrel to the forend. Ahead of this the wood appears slightly charred as if it had been near a fire at some point. Overall, a wonderful example of a seldom seen Native American artifact that no doubt holds a wealth of history. NSN. This firearm qualifies as an Antique, and does not require FFL Transfer or NICS Background Check.
4 CURRIER & IVES CHICAGO FIRE AND FIREMAN PRINTSCurrier and Ives, United States. Group of four lithographs depicting scenes of fires in Chicago and St. John as well as a firefighter including:
Louis Maurer (American, 1832-1932). "The American Fireman. Always Ready," 1858.
Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 0165, page 22.
"The Great Fire at Chicago, Octr. 8th 1871," 1871.
Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 2835, page 291.
"Chicago in Flames: Scene at Randolph Street Bridge," 1872-1874.
Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 1125, page 122.
"The Great Fire at St. John, N. B. June 20th, 1877," 1877.
Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 2836, page 292.
Provenance: Distinguished Corporate Collection, Ohio.
Currier and Ives was founded by Nathaniel Currier (American, 1813-1888) in 1835 as "the Grand Central Depot for Cheap and Popular Prints," but changed its name with the addition of James Merritt Ives (American, 1824-1895) in 1857. The company created over 7000 popular lithographs depicting American life until 1907.
Sight; height ranges 10 in to 20 in; width ranges from 13 in to 25 1/2 in. Framed; height ranges from 16 3/4 in to 28 in; width ranges from 19 1/4 in to 33 3/4 in.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Autographed letters, signed Nash Buckingham dated January 4, 1943 to April 7, 1943; correspondence with Ira Richards (1922-2000); Nash Buckingham (1880-1971) and Arturo Peralta-Ramos (1928-2015) (6pgs) Provenance: Estate of Arturo Peralta Ramos II Other Notes: Nash Buckingham was perhaps the most famous author of sporting tales in the first half of the 20th century. This collection of eight stories first published in Field and Stream , Recreation , and Outdoor Life was originally published by The Derrydale Press in 1934. Buckingham's ability to evoke the golden age of wild fowling along the Mississippi flyway from the 1890s to the 1940s is unparalleled. Pull up your favorite chair in front of a fire and get ready to relive some of the best hunting stories ever told.
Handwritten orders from Rear Admiral Hiram H. Paulding to Capt. A. Kiltz commanding the USS Roanoke, April 25, 1865. In full "You will have your fires kept up and your steam ready at a moments notice. Report to me in person for further instructions. Navy Yard NY April 19 1865". Housed in Victorian gilded frame with vignettes of Paulding and USS Roanoke. MEASUREMENTS: Document 9-3/4" X 7-1/2". Overall with frame 20" x 24". CONDITION: No defects noted.
Russian hand-painted lacquer boxes, group of five, fairy-tale themed, all signed, including: "Kaschei's Death", Fedoskino style by Morozova, depicts Tsarevich Ivan attempting to rescue his mother by obtaining guarded chest, 5 3/4" h. x 3" w. x 1 3/4" d.; "The Firebird", depicts Prince Ivan with mythical bird in cage; "Golden Hair", Fedoskino school; smallest of metalsmith at working at bench, heavy craquelure, and largest of Tsar Ivan with his bow ready to fire at Baba Yaga, 4 1/4" h. x 6 3/4" w. x 1 1/2" d., all pieces with wear consistent with age and use which may include small scuffs, craquelure of glaze, etc.
Egyptian Bronze Cat + Apis Bull, ex Parke-Bernet: Egypt, Late Dynastic to Ptolemaic Period, ca. 664 to 30 BCE. A striking pair of cast-bronze figures from ancient Egypt; a cat and an Apis bull. Seated upon its plump haunches with its sinuous tail wrapped around its hind legs and forepaws, the feline relaxes with its back gently arched and its chest protruding forward in a patient, defensive pose with its weight leaned over the front legs as if ready to strike at the first mouse it sees. The head rests atop a tapered neck and features a charming countenance defined by almond-shaped eyes, a round snout, a thin mouth, and a pair of petite ears. Alternatively, the Egyptian bull represents the god Apis. He wears a sun disk surrounded by large bull horns - a crown commonly associated with the deities Hathor and Isis - presented with a frontal uraeus. Apis stands in profile on four hooved legs atop an integral plinth, his muscular body gradually tapering to a downcast bovine head, with a slender tail and delineated genitalia between his back legs. Beautiful seafoam green and russet patina envelops both figures. Size of largest (cat): 0. 5" W x 2. 3" H (1. 3 cm x 5. 8 cm); 3. 25" H (8. 3 cm) on included custom stand. . This cat probably represents the goddess Bastet, who represented fertility and motherhood. Thousands of mummified cats and kittens were given as offerings to Bastet at temples in her honor. Beyond the goddess, cats, known in ancient Egypt as "mau, " were honored and protected in Egyptian society. Famously, Herodotus wrote that in Egypt, men would protect cats from fire, and that when a cat died, a household would go into mourning as if a human member of the family had died, shaving their eyebrows to signify their loss. It was immediately before this Late Dynastic Period that worship of Bastet became immensely popular, and her chief center of worship, Bubastis, became a great city. . Apis was originally worshipped by Narmer, the ruler who unified Upper and Lower Egypt around 3000 BCE; the sacred bull is shown trampling the pharaoh's enemies on the Narmer palette that commemorates the unification. Three thousand years later, by the time of Roman control of Egypt, the worship continued. Though centered around the city of Memphis, the cult of Apis was so extensive in Egypt that the Greeks and Romans wrote about it repeatedly. The famous French archaeologist Mariette, excavating at the Serapeum of Saqqara, found the mummified remains of more than sixty bulls, some buried in their own separate tombs. . . Provenance: ex-private Bergen County, New Jersey, USA collection; ex-Parke-Bernet Galleries, part of lot 171, from the January 8th, 1970 auction, Antiquities & Ethnographical Arts. . 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. . #163094 Condition Losses to midsection of bull's leg and cat's plinth. Expected nicks, abrasions, and softening of detail commensurate with age. Otherwise, excellent with lovely earthen deposits throughout and beautiful seafoam green and russet patina.
A.D.M. COOPER CHROMOLITHOGRAPH - "BURNING ARROW" (1904)...**First Time At Auction**
Astley David Middleton (A.D.M.) Cooper (American, 1856-1924). "The Burning Arrow" or "Flaming Arrow" chromolithograph, 1904. An original, antique chromolithograph of "Burning Arrow" (aka "Flaming Arrow") - one of A.D.M. Cooper's most famous paintings. Cooper is best known for his depictions of indigenous peoples with whom he lived in the American West when he was in his early twenties. "Burning Arrow" depicts a group of warriors using a flaming arrow to signal their movements to a distant Indian camp during the Great Sioux War (also called The Black Hills War and known for the famous Battle of Little Big Horn) of 1876 to 1877. Starting at the top and in clockwise order, the figures depicted are as follows: Bull Head (son of Sitting Bull) is the man firing the arrow; Chief Hard Heart is standing with his back to the fire; Sitting Bear is on the ground sitting watching the arrow in flight; Lone Wolf, Buffalo Head, Standing Bear, and two unnamed Indians in the background are also depicted. A remarkable, large-scale, original antique chromolithograph that likely took months to create given its extensive composition and coloration - mounted in an exceptional frame that was artistically designed with carefully selected, museum-quality materials. Size (sight view): 19" L x 25.5" W (48.3 cm x 64.8 cm) Size (frame): 32.625" L x 38.875" W (82.9 cm x 98.7 cm)
A.D.M. Cooper objected to the American Indian Wars and was greatly respected by the indigenous peoples. Cooper exhibited "Burning Arrow" at H.A. Meldrum Company's Free Art Gallery at the Pan American Exposition of 1901 in Buffalo, New York. Cooper's models for this painting included six prominent Sioux Indians who participated at the Indian Congress at the Midway at the Pan Am Expo in addition to two other Sioux Indians. Starting at the top and in clockwise order: Bull Head (son of Sitting Bull) is the man firing the arrow; Chief Hard Heart is standing with his back to the fire; Sitting Bear is on the ground sitting watching the arrow in flight; Lone Wolf, Buffalo Head, Standing Bear, and two unnamed Indians in the background are also depicted.
Interestingly, Cooper first exhibited his 9' x 12' painting of "Burning Arrow" at the Exhibition Hall of the Emporium and Golden Rule Bazaar in San Francisco beginning on January 31, 1900. According to the advertisement in the "The San Francisco Call" newspaper on that date: "'The Burning Arrow'—a realistic painting of an episode of the Sioux-Custer war, by A.D.M. Cooper, a well-known painter of Indian pictures—on free exhibition to-day and until further notice in Exhibition Hall, second floor. The canvas is 9x12 feet in size. Aside from its artistic merits, it will be of special interest to every boy and girl who is studying the history of this country."
Chromolithography was invented by lithographers as a means of printing on flat surfaces by using chemicals instead of relief or intaglio printing. A chromolithograph like this one took months to produce, depending on the number of colors in the image.
Provenance: private Colorado Collection; Private Collection of a Private Colorado Family
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.
#176982
Condition:
This is an original antique hand-colored lithograph. It is not a later reproduction. It is mounted in a custom, museum-quality frame behind glass. While not examined outside the frame, it appears to be in outstanding condition with vivid imagery and hand coloring. Framing is of an impressive design, made with carefully selected, museum-quality materials. Frame has a few minute (nearly invisible) scuffs, but is otherwise excellent, fit with suspension wire, and ready to display.
Remington Style Gun Cane, solid metal shaft, Remington style dog head handle, silver banded collar, shaft unscrews to load cartridge, pull on handle to ready the weapon, push button firing mechanism, brass and wood ferrule, 38.5" long
condition: 1" x .25" repair at base of handle where shaft meets, 4 1" repaired cracks on base of handle, .25" chip at base of handle, various scratches and surface imperfections throughout shaft
EXTREMELY RARE BREECHLOADING DOGLOCK MUSKET. NSN. 74 Cal. 44-1/4” part oct bbl. No markings are visible. The lockplate, brass triggerguard, buttplate, sideplate and faucet escutcheons are engraved. A .781 plug 1-5/8” long is screwed into the bottom of the bbl to contain the chamber. A 1/2” wrench is needed to extract it. This musket came from the W. Keith Neal Collection and has been the subject of numerous articles and book chapters concerning 17th C. Tudor or English siege weapons, including Neal & Back’s Great British Gunmakers 1540-1740. (See Plates 44-a through e for the exact gun.) It was sold along with parts of his collection in 1995. Copies of the provenance listed in that catalog accompanies the lot. It is variously described as having a flat lockplate, “engraved with strawberry foliage and with dog-catch in the form of a bird’s head”, with a sideplate in the form of a monster and a thumb piece with “a caricature head”. This figure of a soldier wearing a helmet has a very long nose. The gun came from Timsbury Manor near Bath, England and dates around 1670. To load it, it was turned upside down and the screw plug removed with a wrench, the powder was poured in and the gun tipped up so the powder would go to the rear and the ball was inserted on top of the powder and the screw put back in. The lock was then ready for priming and firing. In J. N. George’s book, English Guns & Rifles, he indicates that guns of this type may have been used in the towers by snipers during a siege to shoot the officers of the siege force. The dragon sideplate is possibly replaced. There is very light raised carving around the bbl tang. There is no hammer screw on the outside of the lock. The lug on the back of the hammer extends through the lockplate and through the tumbler and is secured by a pin passing through the lug. The sear is also secured by a pin and operates against the top of the hammer, unlike most, later flintlocks. There is no bridle on either the tumbler or the frizzen. The front lockplate hook appears to be a replacement. There is a long extension on the tang of the buttplate with block engraving matching that on the breech plug escutcheon. The large v-notch rear sight has a folding leaf with three peepholes drilled in it. There is a large turned ring at the muzzle which has a brass bead sight on top. CONDITION: Lock has a smooth gray patina with some light pitting. Bbl and rear sight have very heavy pitting. Brass furniture has a mellow patina. Stock shows minor repairs and the rear of the lockplate and sideplate with a repaired crack through the wrist. Mechanically fine. 4-59136 FS778 (10,000-20,000)
Framed Native American Puebloan Pottery Shards: Native American, Southwestern United States, New Mexico, Pueblo culture, ca. 14th to 16th century CE. A fine collection of 12 ceramic shards that demonstrate the rich artistry of Rio Grande glaze ware. Pottery of this style was made using the coil and scrape method, with the surface of the bowls and other vessels being smoothed by sandstone, slipped, polished, and then decorated before firing. Each piece demonstrates the fine mastery of patterns in polychrome slip of red, black, and white. A hand-written inscription on the verso of the modern frame states that these fragments were excavated at a site 30 miles south of Albuquerque as a project by the University of New Mexico under the guidance of renowned archeologist Frank Hibben. All pieces are professionally mounted in a modern wood and glass case and are ready to be displayed. Size of largest shard: 2. 5" L x 2" W (6. 4 cm x 5. 1 cm); frame: 13" L x 8. 75" W (33 cm x 22. 2 cm) . . Provenance: ex-Ashland University Museum, Ashland, Ohio, 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. . #165430 Condition Shards and fragments of larger pieces as shown. Nice preservation of pigments and motifs. Professionally mounted in a modern wood and glass frame with visible wires to hold shards in place. The verso of frame has a handwritten note on the origins of the shards.
Plank No. 123 Style Steam Driven Fire Pumper. Description Complete and ready to pump water on the fire.Condition (Very Good). Size 8 - 1/2" x 9 - 3/4".
OGDEN MINTON PLEISSNER (American, 1905-1983) SNIPE SHOOTING. Outstanding large watercolor shows two hunters with guns ready to fire at a snipe, which has been flushed by a black and white pointer. The scene is shown in late fall with a New England farm behind a grove of trees. Low hills in the background with white and blue sky. A cascading stream with boulder lined banks is in foreground. Signed lower left “Pleissner”. Housed in its original molded painted wood frame with white liner. Reverse has label “Reproduction Right to the Painting Expressly Reserved by the Artist Ogden M. Pleissner”. SIGHT SIZE: 17” x 27”. CONDITION: Very good. Matte is foxed and stained. 12-326 (20,000-40,000)
Mid 20th C. Bill Freeman Western Landscape Painting: William E. Freeman - also known as Bill Freeman (American, 1927-2012). Untitled oil on canvas, ca. mid 20th century CE. Signed on lower right. Bill Freeman managed to capture both the awe-inspiring as well as the serene quaities of nature in this landscape painting. In this composition, a flowing river is lined by deciduous trees with their fresh spring green leaves shimmering in the sunlight and tall evergreens mark the treeline above the rock faces of the mountains. Freeman's soft yet colorful palette of yellow ochre, verdant green, sky blue, slate grey, terracotta orange, warm beige, and creamy white is rendered in his signature style with a sophisticated use of palette knife and brush. Size of painting: 23. 5" L x 19. 5" W (59. 7 cm x 49. 5 cm) Size of frame: 33. 125" L x 29. 125" W (84. 1 cm x 74 cm). . Bill Freeman grew up in West Texas on a farm just outside of El Paso. Interestingly, he worked as a horse wrangler, fought forest fires for the U. S. Forest Service, and was a field researcher and guide for the Arizona Game and Fish Department for twelve years in Arizona, Wyoming, and New Mexico prior to becoming an artist. It was not until the age of 30 that Freeman decided to become an artist specializing in Western landscapes. Today he is considered a pioneer of Western art centered on such storied locales as Scottsdale, Arizona as well as Jackson Hole and Grand Tetons National Park, Wyoming. . . Provenance: private Glorieta, New Mexico, USA collection. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #163389 Condition Painting is in excellent condition. Minor wear to frame with some scuffs and abrasions as shown. Wired for suspension and ready to hang.
AO SMITH TEXACO FIRE CHIEF GAS PUMP: Circa late 1950's to early 1960's AO Smith short pump model 485 with Texaco Fire Chief stickers. Red and chrome with rounded corners, serial number 07-00612. Measures 48 1/4'' h. x 25 1/2'' without nozzle x 16 1/2''.CONDITION: Ready for restoration. Missing internal dials, one pane of glass broken, tears to stickers.
Smith & Wesson Model No. 1 Third Issue Revolver: Very high condition Smith & Wesson Model No. 1, Third Issue revolver, 7 shot, caliber . 22 short rim fire. This was the final incarnation of the first metallic cartridge S&W revolvers that launched the company into being one of the most famous and successful firearms manufacturers of all time. This superior quality revolver was made from 1868-1881 and was a particular favorite of women or anyone needing a small, multi shot self defense weapon. This model is known as a “tip-up” revolver as the barrel tips up for loading and is secured by a hinge at the top of the barrel and frame juncture. For unloading fired cases, the barrel was tipped upward, the cylinder slid forward and free and then the stationary rod mounted under the barrel was utilized to push the empty cartridge cases free from the cylinder chambers. Loading was simple. The cylinder was easily loaded with seven cartridges, the cylinder was replaced in the frame and the barrel swung down and spring-locked in place. At this point the gun was ready to be fired. Since these were small arms and easily concealed in pockets or purses, most saw considerable carry use and surviving specimens today are usually found with much of the original finish worn off. This is a superb example in the middle serial number range for this model of 94389. It retains nearly all of the bright factory nickel finish and has beautiful factory rosewood grips that are in excellent condition showing no chips or cracks. The mechanics are also fine and even the bore is bright with sharp rifling. It retains perfect, sharp and correct barrel markings consisting of the Smith and Wesson address and patent dates ending in 1860. Overall, this early S&W is in a state of preservation seldom seen for a small pocket revolver made in the mid-1870s. The firearm qualifies as an Antique FIX, and does not require FFL Transfer or NICS Background Check. Serial Number: 94389 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.