A Continental Bronze Figure After the Antique: A Continental Bronze Figure After the Antique. Late 19th/Early 20th Century. Height 24 3/4 inches. Patricia Ann Black Smyth (1925-2018) was born in Kansas City, Missouri, the daughter of Ernest Bateman Black and Faye Bunyan Black. She attended Miss Crosby's School in Illinois and graduated from Wellesley College in Massachusetts, where she was a lifetime member of the Wellesley Friends of the Library Organization. Mrs. Smyth also served as a member of the Junior League of Kansas City, Missouri, and was a long-time docent at the Art Institute of Chicago. Hindman is thrilled to present Mrs. Smyth's refined and diverse collection, which will be sold without reserve to benefit Berea College in Berea, Kentucky. . Berea College was founded in 1855 with the express mission of educating both women and men of all racial backgrounds. It is the South's first racially integrated and co-educational college and is guided by the motto from Acts 17:26: 'God has made of one blood all peoples of the earth. '. . Only students with high academic promise and limited financial means are accepted, and every student receives a Tuition Promise Scholarship-no student pays tuition. As a Work College, every student works at least 10 hours per week to help pay for housing, meals and personal expenses. Berea students have the lowest amount of student debt in the country, and half graduate debt free. . Today, Berea serves over 1, 600 students, the majority of which are from Kentucky and Appalachia, although its student body hails from over 40 states and 70 countries. Berea depends heavily on alumni and friends to continue to fulfill the no-tuition promise made to every student. Property from the Estate of Patricia Ann Black Smyth, Santa Fe, New Mexico, Sold to Benefit Berea College, Berea, Kentucky, offered without reserve Condition . For condition inquiries please contact fdcr@hindmanauctions. com
AN ANTIQUE MAP, "Carte de la Côte de l'Amérique, sur l'océan pacifiqque septentrional compernant Le Territorie de l'Orégon, les Californies, La Mer Ve: AN ANTIQUE MAP, "Carte de la Côte de l'Amérique, sur l'océan pacifiqque septentrional compernant Le Territorie de l'Orégon, les Californies, La Mer Vermeille, Partie des Territories de la Compangie de la Baie d'Hudson, et de l'Amérique Russe, " PARIS, 1844 hand colored engraving on paper, author Eugène Duflot de Mofras (1810-1884), Attaché à la légation de france à Mexico, published by Arthus Bertrand, "Pour servir à l'intelligence de son voyage d'exploration publié par ordre du roi de Mr. Le Maréchal duc de Dalmatie, Président du Conseil de Ministres, Mr. Le Ministre des Affaires Étrangères, " for the Libraire de la Société de Géographie, engraved by Jacobs, script by Hacq. , a page fragment from the atlas Exploration du Territoire de l'Orégon, de Californies, et de la Mer Vermeille, exécutée pendant les années 1840, 1841, et 1842. 36" x 22 3/4" Note: The present map is an excellent summary of knowledge concerning the American West, published on the eve of the Mexican War (1846-1848). Considered a landmark publication, the map consolidates expeditions including Lewis and Clark's, Long, Mac Kenzie, among others, including the Santa Fe trail and other wagon routes, principle villages and towns, ranches, missions, forts, indigenous lodging, mines and ports. Provenance: Property from a Fortune 500 Energy Company, Houston, Texas. Condition Some waving, fading, mild tone, joined paper at center as issued, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS. "
HENRY OSSAWA TANNER (1859 - 1937) Flight into Egypt. Oil on linen canvas, circa 1910. 590x952 mm; 23 1/4x37 inches. Signed in oil, lower left. Provenance: Cramer collection, Chicago; private collection, Santa Fe, New Mexico; Gerald Peters Gallery, Santa Fe, New Mexico (with the label on the frame back); private collection, Connecticut (1993). A photograph of the painting is in the Henry Ossawa Tanner papers in the American Archives of Art, Smithsonian Institution. On the verso, "Flight into Egypt by H. O. Tanner Paris" and "In Cramer Collection, Chicago" is hand-written in ink. (See the illustration below.) The Cramer collection is likely that of Mr. and Mrs. Ambrose Cramer of Lake Forest, Illinois, who were prominent collectors, active lenders and members at the Art Institute of Chicago from the late 1910s through the 1930s, or their son, the architect Ambrose Coghill Cramer. Exhibited: Twenty-Third Annual Exhibition of Oil Paintings and Sculpture by American Artists, the Art Institute of Chicago, October 18 - November 27, 1910. This painting was one of three Tanner paintings included - with The Three Marys, 1910, collection of Fisk University, and the now lost Behold, the Bridegroom Cometh (The Wise and Foolish Virgins), 1907-08. This beautiful nocturne is one of Tanner's larger and later interpretations of his important series of paintings depicting the Flight into Egypt. At the time of Tanner's second trip to the Holy Land, in 1898-99, Tanner began painting his intepretation of the Biblical story. It soon became a favorite subject of the artist - a depiction of the Holy Family escaping on donkeys under the cover of night. According to Dewey Mosby, Tanner had already painted four or five different versions by 1909. Today at least fifteen known examples, dated between 1899 and 1932, are known, including works in the Detroit Institute of Arts (1899), the Cincinnati Art Museum (c. 1907), the National Museum of African-American History and Culture (1916), the Museum of Fine Arts Houston (1921) and the Metropolitan Museum of Art (1923). Flight into Egypt was also a popular subject for Tanner with American collectors. The 1923 Flight into Egypt, now in the collection of the Metropolitan Museum of Art., was sold to Mr. and Mrs. John E. Naill of New York - reported in a February 9, 1924 issue of Artnews under the headlines "Collector Acquires a Tanner Painting". Tanner also exhibited other versions at Wanamaker's Art Gallery in Philadelphia and two in a solo exhibition at Vose Galleries in Boston in January, 1921. Records in the the Archives of American Art indicate Grand Central Galleries sold a large and small version of the subject in 1924 and another version in a traveling exhibition in Pasadena in 1929. A small version was also owned by the daughter of the important Atlanta collector J. J. Haverty, May Haverty and exhibited in Tanner's memorial exhibiton at the Philadelphia Alliance in 1945. This tonal and painterly canvas is part of a group of nocturnal scenes painted between 1900 and the 1920s. These canvases are characterized with broad painterly passages and deep tones, made with Tanner's rich glazes of cerulean and cobalt blue. Mosby p. 51, 172 and 302; Marley p. 163, 188 and 288.- 300,000
ACOMA/SANTA CLARA, GROUP OF NINE SMALL POTTERY ITEMS, 1890 - 1990Acoma + Santa Clara, Group of Nine Small Pottery Items, 1890 - 1990, , Grace Chino,(Acoma, 1929 - 1994) Small Polychrome Bird Effigy Seed Pot,fired clay, pigmentsinscribed: G. CHINO / ACOMA / N.M 2 x 1 3/4 x 2 1/2 in. (5.08 x4.445 x6.35 cm.) , Deborah G.,(Acoma, 20th Century) Black and White Geometric Design Pot,fired clay, pigmentsinscribed: DEBORAH / G. Acoma / N.M. Height 2 7/8 x Diameter 4 in. (7.3025 x10.16 cm.) , Unknown, (Santa Clara, 20th Century) , Largest Plate, fired clay, pigmentsinscribed: [indecipherable] / Santa Clara / Pueblo Height 1 1/2 x Diameter 5 1/2 in. (3.81 x13.97 cm.) Unknown, (20th Century) Smallest Plate,fired clay, pigmentsinscribed: Eliz / [indecipherable] / [indecipherable] Height 1 1/8 x Diameter 3 in. (2.8575 x 7.62 cm.) , Unknown, (Acoma, 20th Century) Checkered Design Small Potfired clay pigmentsinscribed: MRS. FRANCES / [indecipherable] / ACOMA N.M. Height 2 3/4 x Diameter 2 3/4 in. (6.985 x6.985 cm.) Unknown, (Acoma, 20th Century) Large Polychrome Bird Effigy Seed Potfired clay, pigmentsinscribed: ACOMA / Sky City, / NEW MEXICO 4 3/4 x 3 x 5 in. (10.795 x7.62 x12.7 cm.) , Miniature Pot,fired clay, pigments Height 2 1/4 x Diameter 2 1/2 (5.715 x6.35 cm.) , Small Pot with Handle,fired clay, pigments Height 3 1/2 x Diameter 2 1/2 in. (8.89 x6.35 cm.) , Pot with Wavy Lip,fired clay, pigments Height 3 x Diameter 4 1/2 in. (7.62 x10.795 cm.) Provenance: Private Collection Oklahoma
Historic Guthrie Oklahoma/Chickamauga Presentation Gavel to First Major D.B. Dyer With associated newspaper clipping and printed pamphlet relating to the opening of the Oklahoma Territory in 1889. The symbolic gavel measures 10? long made from a piece of souvenir wood embedded with a lead minie ball from the Chickamauga battlefield. The front of the simple mallet head bears a jeweler inscribed gold plate (not tested) that reads: ?PRESENTED TO/Hon D.B. Dyer/ FIRST MAYOR OF/Guthrie I.T./BY HIS FRIEND C.C.S./June 4 1889.? The presentation is flanked by CHICKAMAUGA and TENNESSEE on either side. The identity of ?C.C.S ? presumably a local Indian Territory inhabitant and former soldier-friend of Dyer is unknown. Additionally the lot includes a small archive of nine files containing Dyer manuscript correspondence to/from the Quapaw Indian Agency in the O.T. 1880-1884. Also three sundry files the first being a printed inventory booklet with annotations of ?Colonel Dyers Collection of Indian Curiosities? exhibited at the 1893 Columbia Exposition with a later article discussing the same collection then on loan to the Kansas City Public Library. The other files contain a typed letter dated February 1911 acknowledging Dyer??Ts the newspaper man cancellation of his Associated Press Membership. Last is a damaged manuscript letter to Dyer dated March 1911 on the letterhead of ?Pawnee??Ts Bill??Ts Buffalo Ranch.? D. B. Dyer??Ts time as Indian Agent ??" documented by Mrs. Dyer in the ?Frontier Classic Series? Fort Reno ??" came to a sudden end in July 1885 when the visiting government inspector concluded that ?his conflict with the Cheyenne prevented him from effectively carrying out his duties.? Mr. and Mrs. Dyer then moved to Kansas City Missouri where he engaged in the real estate business for the next few years with a partner from the Indian Agency days. In 1887 the Dyers also organized an exhibition of their ?large collection of Indian artifacts and relics? from the Quapaw Agency and this served as a catalyst for their lifelong friendship with ?Buffalo Bill? Cody. Dyer then found himself at the forefront of one of the most noteworthy events of the later 19th century. Leaders of Kansas City requested that D.B. Dyer go to Washington to lobby Congress to obtain support for what would become the two million acre ''Land Run'' of 1889. With the help of friendly Congressmen after a lengthy and sometimes factious debate President Harrison was pressured to open the Oklahoma District to a wave of homesteaders--Boomers--on April 22 1889. On that one frenzied day thousands of would-be settlers from across the country poured into the District staking claims and erecting tent cities. Overnight the small way station previously known as Deer Creek on the Atchison Topeka and Santa Fe line mushroomed into a boomtown of 10 000 people soon to be renamed Guthrie Oklahoma. When the Oklahoma Territory was formally organized on May 2 1889 Guthrie became the first capital quickly transforming itself into the ?Queen of the Prairie? complete with modern brick and stone structures in the Victorian style a municipal water and electrical works underwritten with bonds a horse drawn mass transit system and underground carriage parking in the central business district. At the forefront of this unprecedented development were ?hundreds of men who contributed time and money to bring about this result ? including D. B. Dyer who was elected first Mayor of Guthrie. Recalling those bygone days in 1904 Dyer wrote ?Everything was confusion and bedlam but on the morning of the 23rd a mass meeting was called where thousands assembled on the highest point of land in the town and proceeded to organize a regular old fashioned town meeting.? Of immediate concern was the multitude of conflicting and haphazard claims in and around Guthrie coupled with the fact that there was ?no law or precedent? for organizing the city policing the newcomers or arbitrating their claims. Dyer added that ?having been stationed in the territory for many years previous to this time and having represented Kansas City before Congress to secure the opening of this Territory I was probably at that time better known than any other individual on the ground.? An executive committee was formed and from this exercise ?of starting a government by the people ? D.B. Dyer was nominated to be Mayor. At first Dyer wrote that he ?steadfastly refused??|as I did not expect to remain in the territory permanently.? Dyer soon availed himself persuaded by his close friends and associates ?to accept the responsibility? as ?I could no longer decline??|given what seemed an impending crisis.? The committee made its report to the ?assembled mass? and ?when my name was presented to the people I was unanimously elected.? A city council was then elected and the two United States Marshals on the scene together with deputies and a small military detachment temporarily provided public safety. The burden of the early administrative work dealt with arbitrating overlapping claims and establishing property boundaries. The public right of way took precedence over individual claims and mayor himself was forced to cede at least one potentially valuable property to make way for a city street. The symbolic gavel offered here was presented to D.B. Dyer on June 4 1889 ??" the occasion is not recorded ??" and it clearly reflects a sense of steady fair-mindedness that he demonstrated to the citizens of Guthrie. Faced with the overwhelming task of constructing a city from the prairie Dyer wrote humbly ?Thousands of arbitrary decisions for the want of any law were forced upon those in authority??|? The mayor recalled that his ?own personal work was unremitting ? but after just three months on the job during which time Guthrie??Ts ?streets had been laid out ? he suddenly returned to his wife in Kansas City in July 1889 to pursue a more grandiose business scheme back east in Augusta Georgia. Dyer??Ts 1904 pamphlet recounting Early Oklahoma Days ??" published by his Augusta Chronicle newspaper ??" is fondly imbued with the lofty principle of Manifest Destiny. Oklahoma he waxes was the ?promised land and it is the same spirit that has reclaimed the vast solitude to civilization.? The popular American ethos of inevitability ??" our national self image on late 19th century stage ??" had already crystallized into a retrospective: ?They were genuine pioneers full of push and enterprise not satisfied with any half-hearted efforts to achieve their ambition and realize their dreams.? In 1910 Dyer reminisced about ?the cruel days of the opening of Oklahoma and rejoiced that the city of Guthrie itself was established without bloodshed through the cooperation of its brand new but stalwart citizens.? The small archive of letters that accompany the presentation gavel contain nothing of extraordinary significance but offer some interesting insight into the day-to-day workings of the Quapaw Indian Agency. In March 1880 D.B. Dyer wrote his parents (three lengthy letters) suggesting that they come to teach the Indian children at the agency school. Dyer matter-of-factly describes the arrangement as an ideal business opportunity as the teacher tends the agency farm rent free and is compensated ?$3.75 per month on each pupil? while the Indian children labor in exchange for food and lodging. Two more deeply personal letters from March 1881 from Daniel to his wife Ida are extremely revealing given their often rocky relationship documented in the forward of Mrs. Dyer??Ts Fort Reno account. In these letters Daniel writes passionately his words driven by a hitherto unknown religious zeal. Opting for the third person he engages Ida by invoking God: ???|and today he (meaning Daniel) is striving to repay his Lord with good deeds by working in the vineyard as a Missionary among the Indians ??" trying faithfully to atone for past offences??|? The letter pleads for reconciliation without begging. Written the next year an indenture in long-hand from August 1882 stipulating the division of real estate and property in advance of George and Ida??Ts ultimate divorce. Another exchange of letters dating from March 1884 between Dyer and Henry M. Lawson of Texas discusses the details of the Lawson??Ts transition ?as my successor to this Agency!? Lawson explains that he is unable to secure legal signatures for the required bond required by the government and until the matter is resolved he can only offer ?that I will be with you at or before the time indicated.? Still another file contains a typed copy of an 1886 lawsuit brought by one Rachael Silverheels in defense of her property in the Indian Territory illustrating the extent to which Indians were manipulated and ??~legally??T cheated out of land ostensibly deeded by right of treaty. The file containing the inventory booklet of D.B. Dyers collection of Indian artifacts from the 1893 Columbia Exposition includes a description of Captain Jack's coat: ?Modoc. Buckskin beaded made by Princess Mary sister of Captain Jack of Lava Bed fame and who was hung by the Government. Mary made this coat the same as the one Captain Jack had on when he was hung and presented it to Col Dyer at that time agent of the Modocs.? Collectively a fine historic artifact together with supporting archive relating to the early territorial history of Oklahoma of immeasurable importance to the Shangra-la-like city of Guthrie. Finally there are 67 empty covers with stamps dating to the 1880's mostly addressed to Col. Dyer at the Quapaw and Darlington Indian Agencies. The majority of the envelopes have printed return addresses such as ''House of Representatives '' ''Senate Chamber '' or ''Department of the Interior.'' Sadly the whereabout of the letters are unknown presumed lost. Descended Directly in the Dyer Family Condition: Gavel is complete and undamaged; all letters/paper complete and intact showing age with usual folds etc.
Lladro Christmas theme ornaments
including: Santa Claus, Mrs. Santa Claus, snowman, "Our Winter Home (Squirrels)," "Our Winter Home (Birds)," elf, pensive cupid, 3 to 5 in. H., all with original boxes
Condition: No apparent faults
A Group of Three American Miniatures, including Southern School, mid-19th c., "Portrait of a Woman, Possibly Abby Ann Adams (Mrs. Richard McAllister Orme)", miniature watercolor on ivory or bone, unsigned, sight 2 1/2 in. x 2 in., in an antique frame; J. Grant (American /California, early 20th c.), "Portrait of a Young Lady in a Blue Evening Dress", miniature watercolor, signed "J. Grant, Santa Barbara" and dated "1913" en verso, 3 1/2 in. x 2 3/4 in., in a period sterling silver frame; and Laura Prather Woodburry (American), "Portrait of a Smiling Woodburry", watercolor on ivory, signed "Prather" and dated "98" mid left, 3 in. x 2 1/2 in., in a brass pendant. $600/900 Provenance: The first, inscribed en verso, "Sept. 1979. This is a portrait of an ancestor of mine who lived in Savannah, Georgia around 1840-50. She was a member of the Orme side of our family. Norcom Jackson, New Orleans". Note: Abby Ann Adams was the second wife of Richard McAllister Orme, who was the editor of the Southern Recorder in Milledgeville, Georgia for fifty years. A larger portrait of Mrs. Orme exists from the year 1830 as well, and has been illustrated in the Colonial Dames' book, Early Georgia Portraits, published in 1975.
Nicholas S. Firfires (1917 ''Dry Country'', signed lower left: Nicholas S. Firfires and with artist's copyright symbol, titled on the stretcher, oil on canvas, 20'' H x 24'' W, est: $800/1200
Provenance: Mrs. Horace W. Rupp, Santa Barbara, CA, 1962; The Estate of Ernest A. Bryant III, Santa Barbara, CA
TWENTY-NINE REFERENCE BOOKS AND CATALOGUES. Relating to American antiques and folk art Southern pottery and Southwest Navajo rugs and pottery. Historic Pottery of the Pueblo Indians 1600-1880 Larry Frank and Francis H. Harlow The Navajo Weaving Tradition 1650 to the Present Alice Kaufman and Christopher Selser Native America: Arts Traditions and Celebrations by Christine Mather American Country West: A Style and Source Book by Mary Emerling Santa Fe Style by Christine Mather and Sharon Woods English Naive Paintings from the Collection of Mr. and Mrs. A. Kalman London The Barry Cohen Collection by America Hurrah and David A. Schorsch Folk Art in America: A Living Tradition (Selections from Abby Aldrich Rockefeller Folk Art Collection Williamsburg Virginia) American Folk Art: Expressions of a New Spirit by Robert Bishop Decoys: North Americas One Hundred Greatest by Loy S. Harrell Jr. Folk Art in Maine: Uncommon Treasures 1750-1925 by Kevin D. Murphy Raised in Clay: The Southern Pottery Tradition by Nancy Sweezy Making Faces: Southern Face Vessels from 1840-1990 by Jill Beute Kouerman Ash Glaze: Traditions in Ancient China and the American South by Daisy Wade Bridger Turners and Burners: The Folk Potters of North Carolina by Charles G. Zug III The Navajo Blanket by Mary Hunt Kahlenberg and Anthony Berlant Indian Baskets of the Southwest Clara Lee Tanner 2 Skinner Auctions catalogues (1994 and 1998) 2 Sotheby's auction catalogues (2005 and 2007) 2 Christie's auction catalogues (1992 and 2003) 1 Northeast Auctions catalogue (year 2002) 5 issues of Antiques: The Magazine (1992 - 2009)
A Sterling Silver Trophy Toasting Goblet Marked on the underside "From Shreve & Co. Sterling San Francisco" and "base loaded" the 8-3/4"H chalice has an engraved dedication on the side "Santa Barbara Country Club...Won By...Mrs. R.H. Channing Jr. and Mr. J.R. Whittemore...August 26 1911".
A Continental Carved Figure of a Recumbent Lion: A Continental Carved Figure of a Recumbent Lion. Likely Italian, 18th/19th Century. Height 19 3/4 x width 23 1/2 x depth 12 inches. . . Provenance:. Bryan and Scott Jewelers Ltd. , Colorado Springs, Colorado, 24 September 1999. . Patricia Ann Black Smyth (1925-2018) was born in Kansas City, Missouri, the daughter of Ernest Bateman Black and Faye Bunyan Black. She attended Miss Crosby's School in Illinois and graduated from Wellesley College in Massachusetts, where she was a lifetime member of the Wellesley Friends of the Library Organization. Mrs. Smyth also served as a member of the Junior League of Kansas City, Missouri, and was a long-time docent at the Art Institute of Chicago. Hindman is thrilled to present Mrs. Smyth's refined and diverse collection, which will be sold without reserve to benefit Berea College in Berea, Kentucky. . Berea College was founded in 1855 with the express mission of educating both women and men of all racial backgrounds. It is the South's first racially integrated and co-educational college and is guided by the motto from Acts 17:26: 'God has made of one blood all peoples of the earth. '. . Only students with high academic promise and limited financial means are accepted, and every student receives a Tuition Promise Scholarship-no student pays tuition. As a Work College, every student works at least 10 hours per week to help pay for housing, meals and personal expenses. Berea students have the lowest amount of student debt in the country, and half graduate debt free. . Today, Berea serves over 1, 600 students, the majority of which are from Kentucky and Appalachia, although its student body hails from over 40 states and 70 countries. Berea depends heavily on alumni and friends to continue to fulfill the no-tuition promise made to every student. Property from the Estate of Patricia Ann Black Smyth, Santa Fe, New Mexico, Sold to Benefit Berea College, Berea, Kentucky, offered without reserve Condition . For condition inquiries please contact fdcr@hindmanauctions. com
James LONGSTREET.Autograph letter signed to Captain Edmund B. Holloway concerning Holloway's travels and the health of his wife. Fort Bliss, [TX]: 1 April [c. 1855-1858]. 3 pp., (202 x 123 mm). Condition: expected folds, else fine. scarce pre-war letter by longstreet, written while a bvt. maj. fighting indians on the texas frontier.Longstreet, a distinguished veteran of the Mexican War, arrived at Fort Bliss in late July 1854 to assume command of Co. I, 8th U.S. Infantry. In January 1855, Longstreet and Holloway led their companies in an operation against the Mescalero Apaches in the Guadalupe Mountains. At times serving as the fort's commander, Longstreet dispatched the expedition against the Gila Indians in 1856. In 1858, Longstreet was transferred, first to Santa Fe, then to Fort Leavenworth, Kansas and then on to Albuquerque, New Mexico before reigning his commission at the outbreak of the Civil War to join the Confederate Army. His correspondent, Edmund Holloway, a member of the West Point class of 1843, went on to become a colonel of the 2nd Missouri Infantry in the Confederate Army and was killed in a skirmish in June 1861. Longstreet writes: "I sincerely hope you as much comfort and good weather as God in his mercy may grant. No matter how short your travels may be I would persevere, were I in your place. Mrs. Holloway will surely improve, after two or three days travel and will be able to begin to lengthen your days trip. But don't hurry at first. Stop at San Elizario the third day if Mrs. H. is fatigued, and make your trips as short as may be necessary all the way. If you get to the Limpia in time for the ambulance to get by the 5th or even the 10th it will be time enough. In short do as may be necessary for your wife's comfort, whether it ever gets back. I would that I cold do something for you more than is in my power. But you must go with h[e]arty good wishes…"
Edward Borein (1872-1945); Trail Boss: . Edward Borein (1872-1945). Trail Boss. watercolor on paper. 15 x 19. 75 inches. signed lower left. . According to Paul F. Starrs, “A watchful eye from an old hand is directed at a steer, moving slowly across a dusty draw. In fact, the prevailing sense of this fine painting is dryness—a prevalence of alkali and a sense that water is a distant afterthought, which won’t be seen for several hours more. Borein spaces the protagonists correctly; you don’t get in there and crowd, you allow an animal the illusion that a course of action is the most reasonable and the easiest, and everyone goes to the next spot without feeling being mussed. ”. . PROVENANCE. Dr. & Mrs. P. Paul Riparetti, Santa Barbara, CA by 1974. The Salah M. Hassanein Collection. Present owners, by descent 2019. . EXHIBITED. Coloring the West: Watercolors and Oils by Edward Borein, Santa Barbara Historical Museum, Santa Barbara, CA, Oct 25, 2007 - Feb 17, 2008. . LITERATURE. Harold G. Davidson, Edward Borein, Cowboy Artist (Garden City, NY: Doubleday & Company, Inc. , 1974), following p 64, illustrated. Warren Miller and Michael Redmon, ed. , Coloring the West: Watercolors and Oils by Edward Borein (Santa Barbara, CA: Santa Barbara Historical Society, 2007), p 33, illustrated Dimension Condition As viewed through glass. Paper appears slightly yellowed. Colors appears slightly faded.
A Set of Ten Louis XV Provincial Oak Dining Chairs: A Set of Ten Louis XV Provincial Oak Dining Chairs. 20th Century. Height 42 x width 19 x depth 18 inches. Patricia Ann Black Smyth (1925-2018) was born in Kansas City, Missouri, the daughter of Ernest Bateman Black and Faye Bunyan Black. She attended Miss Crosby's School in Illinois and graduated from Wellesley College in Massachusetts, where she was a lifetime member of the Wellesley Friends of the Library Organization. Mrs. Smyth also served as a member of the Junior League of Kansas City, Missouri, and was a long-time docent at the Art Institute of Chicago. Hindman is thrilled to present Mrs. Smyth's refined and diverse collection, which will be sold without reserve to benefit Berea College in Berea, Kentucky. . Berea College was founded in 1855 with the express mission of educating both women and men of all racial backgrounds. It is the South's first racially integrated and co-educational college and is guided by the motto from Acts 17:26: 'God has made of one blood all peoples of the earth. '. . Only students with high academic promise and limited financial means are accepted, and every student receives a Tuition Promise Scholarship-no student pays tuition. As a Work College, every student works at least 10 hours per week to help pay for housing, meals and personal expenses. Berea students have the lowest amount of student debt in the country, and half graduate debt free. . Today, Berea serves over 1, 600 students, the majority of which are from Kentucky and Appalachia, although its student body hails from over 40 states and 70 countries. Berea depends heavily on alumni and friends to continue to fulfill the no-tuition promise made to every student. Property from the Estate of Patricia Ann Black Smyth, Santa Fe, New Mexico, Sold to Benefit Berea College, Berea, Kentucky, offered without reserve Dimension Condition Seat height 19 inches. For condition inquiries please contact fdcr@hindmanauctions. com
5 pcs Chinese Ceramics inc. Ming w/Letter 5 early Chinese Ceramic items. 1st item: Ming Dynasty Canton (Ching Te Chen ware ) oil pot with blue and white decoration to body depicting various figures, retains lid. 1/4" rim chip and a 1/16" chip to spout. 2nd item: Early Celadon glaze small round dish, 5 1/3" diameter. Crazing and hairlines, 1/4" rim chip. 3rd item: Miniature pot or ginger jar with polychrome red and green decoration, unglazed neck, 4"H, very good condition. 4th item: Miniature ginger jar with blue and white decoration, unglazed neck, 5"H. Very good condition. 5th item: Chinese Ming dynasty ceramic plate with blue and iron red decoration of fish, 8 5/8" diameter. Provenance: collection/estate of Mr. and Mrs. W. Jeter Eason, Memphis, by descent to present consignor. A letter from Alfredo E. Evangelista, consultant on anthropology with the National Museum in Manila, dated March 12, 1968, on museum letterhead, certifies authenticity on the 3-colored vase, the blue and white vase and the fish-decorated plate, and attributes to the Ming dynasty. Letter also states the vases were found in Mindanao, Philippines and the plate was excavated in Santa Cruz, Laguna (Philippines). (Higher-resolution photos are available at www.caseantiques.com)
ANN CHRISTOPHER BRONZE - THROUGH THE DARK (1985)Ann Christopher (British, b. 1947). "Through the Dark" bronze sculpture, 1985. Stamped "AC 1.9" to indicate artist's initials and edition number on lower edge of the bronze. A mesmerizing abstract bronze sculpture by British Royal Academician Sculptor Ann Christopher entitled "Through the Dark" - cast number 1 of 9. Ann Christopher's oeuvre is comprised of non-figurative sculptures - usually cast in bronze, stainless steel, silver, or fabricated corten - that conjure images of ancient monoliths, landscapes, and rock formations. In 1980, she became a member of the Royal Academy, and in 1989, she was elected to become a Royal Academician - one of 80 artists who guide the Royal Academy of Arts in London. A wonderful piece by Ann Christopher who has described her practice as "a visual diary of my physical and emotional life" on an attractive slate base. Size: 4.25" W x 10.125" H (10.8 cm x 25.7 cm); 11.125" H (28.3 cm) on included custom stand.
The following is a brief biography of the artist according to the Royal Academy, "Ann Christopher attended Harrow School of Art from 1965 to 1966 and went on to study sculpture at the West of England College of Art from 1966 to 1969. Christopher’s first solo exhibition was held in 1969, with subsequent solo exhibitions throughout the 1970s. In 1989 she was given a retrospective of work produced between 1969 and 1989 at the Dorset County Museum and Art Gallery. Christopher has completed numerous public and private commissions both in the UK and USA and has exhibited in numerous group exhibitions both nationally and internationally. Recent solo exhibitions include: All the Cages Have Open Doors, Pangolin London (2016); The Lines of Time, Tennant Gallery, Royal Academy (2016); Marks on the Edge of Space, Rabley Drawing Centre, Marlborough (2014); To Know Without Remembering, Pangolin London (2013); The Power of Place, Sir Hugh Casson Room, Royal Academy (2007); Still Lines, Jubilee Park, Canary Wharf, London (2004). She was awarded Silver Medal for Sculpture of Outstanding Merit by the Royal Society of British Sculptors (1994) and the Otto Beit Medal of Sculpture of Outstanding Merit (1997). Christopher was elected a member of the Royal Academy in 1980, becoming a Royal Academician in 1989 and elected a Fellow of the Royal Society of British Sculptors in 1992. She is represented by Pangolin London and lives and works near Bath."
We would like to add that in 1992, Ann Christopher was names a Fellow of the Royal Society of British Sculptors. Furthermore, her works have been acquired by the University of Bristol, the City of Bristol Museum & Art Gallery, the Chantrey Bequest, and the Contemporary Art Society.
Provenance: private Santa Fe, New Mexico USA collection, acquired circa January 2018 by descent; ex-Allen Davis collection, Santa Fe, New Mexico, USA - Mr. Davis purchased "Through the Dark" from the Royal Academy annual Summer Exhibition in 1985.
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#169104
Condition:
Stamped "AC 1.9" to indicate the artist's initials and the edition number of the piece on the lower edge of the bronze. Overall, bronze sculpture and slate base are both very nice. Some of the black patina has rubbed off as shown; however, this could be easily remedied at a fine art foundry; the edges are highly polished. There is green felt on the underside of the stand to protect from scratching display surface.
A Pair of Empire Style Cast Bronze Sphinx-Form Bookends: A Pair of Empire Style Cast Bronze Sphinx-Form Bookends. 19th Century. each mounted to a marble base. Height of bronze 5 1/2 x length of marble base 11 3/8 x width 3 5/8 inches. . Provenance:. Kentshire Galleries, New York. . Patricia Ann Black Smyth (1925-2018) was born in Kansas City, Missouri, the daughter of Ernest Bateman Black and Faye Bunyan Black. She attended Miss Crosby's School in Illinois and graduated from Wellesley College in Massachusetts, where she was a lifetime member of the Wellesley Friends of the Library Organization. Mrs. Smyth also served as a member of the Junior League of Kansas City, Missouri, and was a long-time docent at the Art Institute of Chicago. Hindman is thrilled to present Mrs. Smyth's refined and diverse collection, which will be sold without reserve to benefit Berea College in Berea, Kentucky. . Berea College was founded in 1855 with the express mission of educating both women and men of all racial backgrounds. It is the South's first racially integrated and co-educational college and is guided by the motto from Acts 17:26: 'God has made of one blood all peoples of the earth. '. . Only students with high academic promise and limited financial means are accepted, and every student receives a Tuition Promise Scholarship-no student pays tuition. As a Work College, every student works at least 10 hours per week to help pay for housing, meals and personal expenses. Berea students have the lowest amount of student debt in the country, and half graduate debt free. . Today, Berea serves over 1, 600 students, the majority of which are from Kentucky and Appalachia, although its student body hails from over 40 states and 70 countries. Berea depends heavily on alumni and friends to continue to fulfill the no-tuition promise made to every student. Property from the Estate of Patricia Ann Black Smyth, Santa Fe, New Mexico, Sold to Benefit Berea College, Berea, Kentucky, offered without reserve Condition Height overall 7 inches. For condition inquiries please contact fdcr@hindmanauctions. com
José Rafael Aragón, Bulto of San Francisco de Asís: Attributed to José Rafael Aragón (1796 - 1862) Bulto of San Francisco de Asís ca. 1830 wood, gesso, pigment 30 x 12 x 9 in. St. Francis of Assisi. Solid carved wood figure wears long flowing indigo cloak with hood, cinched at waist with rope, carved from wood. His face is well carved with arched fringed eyebrows, downcast eyes with lashes ell defined nose and carved beard. He holds a cross and skull. Provenance: Private Collection, Cochiti Marie Cash Collection Carlos Osona, Santa Fe The Collection of Mr. and Mrs. Al Luckett, Jr. The Joseph Pytka Collection Literature, Exhibit: Sotheby’s, 1-15-1998, Lot 91,
5 pcs Chinese Ceramics inc. Ming w/Letter: 5 early Chinese Ceramic items. 1st item: Ming Dynasty Canton (Ching Te Chen ware ) oil pot with blue and white decoration to body depicting various figures, retains lid. 1/4" rim chip and a 1/16" chip to spout. 2nd item: Early Celadon glaze small round dish, 5 1/3" diameter. Crazing and hairlines, 1/4" rim chip. 3rd item: Miniature pot or ginger jar with polychrome red and green decoration, unglazed neck, 4"H, very good condition. 4th item: Miniature ginger jar with blue and white decoration, unglazed neck, 5"H. Very good condition. 5th item: Chinese Ming dynasty ceramic plate with blue and iron red decoration of fish, 8 5/8" diameter. Provenance: collection/estate of Mr. and Mrs. W. Jeter Eason, Memphis, by descent to present consignor. A letter from Alfredo E. Evangelista, consultant on anthropology with the National Museum in Manila, dated March 12, 1968, on museum letterhead, certifies authenticity on the 3-colored vase, the blue and white vase and the fish-decorated plate, and attributes to the Ming dynasty. Letter also states the vases were found in Mindanao, Philippines and the plate was excavated in Santa Cruz, Laguna (Philippines). (Higher-resolution photos are available at www. caseantiques. com) Condition See item description.
FREDERICK H. RHEAD; SANTA BARBARA; Exceptional tile panel incised and enamel-decorated with fish and waves, Santa Barbara, CA, 1914-17; Unmarked; Tiles only: 16 1/2" x 32 1/4", with grout: 19" x 35", frame: 22" x 37 3/4"; Provenance: Descended from Mrs. Hugh Weldon of Mission Canyon whose father, Christoph Tornoe, was one of the directors of Rhead Pottery as well as Rhead"s neighbor and landlord; Exhibited: Frederick Hurten Rhead: An English Potter in America, Erie Art Museum, 1986, catalog pg.
Condition Report:
Four Cloth Dolls and Two Animals, 1930s-50s, 1935 McCall's Pattern boy and girl with embroidered features, yarn hair, needle-stitched joints, and handmade cotton outfits, ht. 24, (some fabric soiling); Swiss Mrs. Santa Claus with button eyes, knitted nose, and painted mouth, ht. 23; Raggedy Ann in green and white Christmas outfit, ht. 16; Dutch knitted gray bear with plastic eyes and nose, ht. 18; and a Scottish knit-wool fabric white recumbent lamb with black feet, muzzle and paws, lg. 19 in.
A Continental Carved Stone Grotesque Mask: A Continental Carved Stone Grotesque Mask. 18th Century or Earlier. Height 12 1/2 x width 12 1/2 x depth 8 1/2 inches. Patricia Ann Black Smyth (1925-2018) was born in Kansas City, Missouri, the daughter of Ernest Bateman Black and Faye Bunyan Black. She attended Miss Crosby's School in Illinois and graduated from Wellesley College in Massachusetts, where she was a lifetime member of the Wellesley Friends of the Library Organization. Mrs. Smyth also served as a member of the Junior League of Kansas City, Missouri, and was a long-time docent at the Art Institute of Chicago. Hindman is thrilled to present Mrs. Smyth's refined and diverse collection, which will be sold without reserve to benefit Berea College in Berea, Kentucky. . Berea College was founded in 1855 with the express mission of educating both women and men of all racial backgrounds. It is the South's first racially integrated and co-educational college and is guided by the motto from Acts 17:26: 'God has made of one blood all peoples of the earth. '. . Only students with high academic promise and limited financial means are accepted, and every student receives a Tuition Promise Scholarship-no student pays tuition. As a Work College, every student works at least 10 hours per week to help pay for housing, meals and personal expenses. Berea students have the lowest amount of student debt in the country, and half graduate debt free. . Today, Berea serves over 1, 600 students, the majority of which are from Kentucky and Appalachia, although its student body hails from over 40 states and 70 countries. Berea depends heavily on alumni and friends to continue to fulfill the no-tuition promise made to every student. Property from the Estate of Patricia Ann Black Smyth, Santa Fe, New Mexico, Sold to Benefit Berea College, Berea, Kentucky, offered without reserve Condition . For condition inquiries please contact fdcr@hindmanauctions. com
Royal Doulton miniature Character jugs Santa Claus D6706, Santa Claus D6900 holly handle and Mrs Clausn D6992 (3)
Clarence Ellsworth, Illustrated Letter to Mrs. Homer Britzman, 1953: Clarence Ellsworth. (1885 - 1961). Illustrated Letter to Mrs. Homer Britzman, 1953. watercolor and ink on paper. initialed lower right of composition: C. E. inscribed: Mrs. Britzman - / Only a few days before the passing of our good first Sheriff / I had asked Westerner Clarence Ellsworth to prepare this card / to send to Britz. The results of Clarence's work now seem a bit / prophetic. Since we believe you will appreciate receiving this card / we are signing it and sending it along to you. / Sincerely, / Arthur H Clark Jr. Sheriff / Loring Campbell / "He was as fine as the Best" - Carl S. Dentzel - / Chas B. Benton / John B. Goodman / Roger W. Summer / Hollins C. Hollins / Hugh W. Shick / Warren F. Lewis / Bert H. Allson / Paul Galleher / Paul Barley / M. R. (indistinct) / W. W. Robinson / Iron Eyes Cody / Clarence Ellsworth / Gordon Boelter / (indistinct) / (indistinct) / Don Meadows / Jack Harden / Hank Clifford / Dan Bryant / Frank (indistinct) / Hudson (indistinct) / (indistinct) Rudkin / Russ Heckon / Phil Rash / Mat Hurley / James F. Gardiner dated lower right: 10-15-53. 12 3/4 x 8 3/4 in. (32. 39 x 22. 23 cm. ), Frame: 22 1/4 x 18 1/2 x 1 in. (56. 52 x 46. 99 x 2. 54 cm. ) . A Private Family Foundation*. *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. Condition The work is in overall very good condition. Please note the work has not been examined out of frame. . The condition reports for the lots offered by Santa Fe Art Auction (SFAA) are provided as a courtesy and convenience for potential buyers. The reports are not intended to nor do they substitute for physical examination by a buyer or the buyer's advisors. The condition reports are prepared by SFAA staff members who are not art conservators or restorers, nor do they possess the qualifications needed for comprehensive evaluation. Each condition report is an opinion of the staff member and should not be treated as a statement of fact. The absence of a condition report does not imply anything as to the condition of a particular lot. Buyers are reminded that the limited warranties are set forth in the Terms and Conditions of Sale and do not extend to condition. Each lot is sold as-is.
WILLIAM MICHAEL HARNETT American (1848-1892) ''The Golden Horseshoe'' oil on canvas signed lower right and dated 1886. 16 x 14 Provenance: Mr. & Mrs. James W. Alsdorf Winnetka Illinois. Exhibitions: Art Institute of Chicago Illinois ''Treasures of Chicago Collectors'' 1961; La Jolla Museum of Art and Santa Barbara Museum of Art California ''The Reminiscent Object Paintings by William Michael Harnett John Frederick Peto and John Haberle'' July 11-October 31 1965; Traveling University Art Gallery Berkeley California California Palace of the Legion of Honor San Francisco California National Gallery of Art Washington D.C. Whitney Musuem of American Art New York and The Detroit Institute of Arts Detroit Michigan ''The Reality of Appearance The Trompe L'Oeil Tradition in American Painting'' March-October 1970 n. 50 pp. 84-85 reproduced on p. 19 and on cover of catalogue; Traveling Metropolitan Museum of Art New York Amon Carter Museum Fort Worth Texas The Fine Arts Museums of San Francisco California National Gallery of Art Washington D.C. ''The Still Life Paintings of William M. Harnett'' March 1992-June 1993. Literature: ''After the Hunt William Harnett and Other American Still Life Painters 1870-1900'' Alfred Frankenstein 1969 pp. 72 159 cat. no. 99A p. 177 pl. 64 (a similar painting ''Colossal Luck 1886'' is reproduced in Frankenstein's ''After the Hunt'' 1953 edition pl. 64); ''The Blithe Deceivers Saturday Review'' Katherine Kuh vol. LIII n. 30 July 25 1970 pp. 38-39.; ''American Paintings V'' Berry-Hill Galleries 1988 p. 179 (reproduced as frontispiece); ''Smithsonian Magazine'' vol. 22 n. 12 March 1992 cover illustration for article ''Will the real William Harnett please stand up'' p. 2. Other Notes: Please click on the ESSAY for further information.
USS Brooklyn Landsman George Tittle Civil War Archive This archive of seven letters written between January 16 and June 18 1861 by Surgeon??Ts Steward George A. Tittle aboard the USS Brooklyn gives the reader an eyewitness account of some of the earliest actions of the war at Fort Pickens in Pensacola as well as Brooklyn??Ts encounter with a notorious English blockade runner at the start of her illicit career. On January 16 1861 Tittle writes his sister mentioning obliquely the Brooklyn??Ts mission to besieged Fort Sumter: Since you received my last we have been to Charleston - arrived there on the 12th and returned here on the 14th... Only two of our officers have resigned they are from Alabama all the others are ?true blue.? The Brooklyn had been sent to deliver new orders to the ship Star of the West which was en route to Fort Sumter with desperately needed supplies. However Confederate shore gunners forced the supply ship to abandon her mission before the Brooklyn caught up with her. After reconnoitering the defenses at Charleston the Brooklyn returned to Hampton Roads where she was loaded with troops and artillery to reinforce various forts in Florida in an attempt to prevent their seizure by Rebel forces. On January 31 Tittle writes from Key West: ...tomorrow we leave for Tortugas where we will leave a lot of Howitzers and Field Pieces we have on board for the Fort there then we will proceed to Fort ?Pickens? (Santa Rosa Island near the Pensacola Navy Yard) where we will leave the Soldiers we received on board from Fort ?Monroe. The Brooklyn arrived at Fort Jefferson on Dry Tortugas on February 2 and then proceeded on their mission to reinforce Fort Pickens. When they arrived off Pensacola on February 6 they found a truce in effect at Fort Pickens similar to the one governing events at Fort Sumter. The Pensacola Navy Yard and the other surrounding forts had been seized but the rebel commander promised not to attack Fort Pickens if the US did not reinforce the tiny garrison there. Since neither side wanted to be the one to start a shooting war the Union warships were ordered not to land their reinforcements. Quoting Tittle??Ts February 7 letter (note that this letter is mistakenly dated 1860 but references the contents of the January 31 1861 letter): The troops are still on board of us... On our arrival here we received dispatches ordering us not to land the troops until further orders from Washington. The Union squadron comprising USS Wyandotte (which had escaped Pensacola Navy Yard where she was under repair when Florida seceded from the Union) USS St. Louis USS Sabine and USS Brooklyn packed with soldiers patrolled off Fort Pickens for the next ten weeks. On April 12 Fort Sumter was attacked by Confederate forces in Charleston igniting the war. Events quickly developed in Pensacola when the news arrived as Tittle relates in his letter of the 21st: On the night of the 12th inst. it was rumored that the secessionists were making preparation for an attack on Fort Pickens before sunrise in consequence of which we received the ?Sabine??Ts? & ?St. Louis? Marines and some of their sailors on board and ran up near the Fort and landed them with the soldiers and our Marines (in all about 350 men) who immediately marched into the Fort; this manouver being seen by the secessionists caused them to postpone the attack... Yesterday the Sailors & Marines returned from the fort to the fleet - there are now over one thousand men (soldiers) in the fort and they are engaged day and night in mounting guns inside and erecting Sand-Batteries and placing large Mortars along the beach while the sailors are busy with boats landing Ordnance provisions &c from the Store Ships. Two weeks later he proudly writes his sister that: The work on Fort Pickens and the several Batteries on Santa Rosa island is so nearly completed as to be able in a very few days to defy the whole force of the Southern Confederacy. The last letter of the archive is dated June 8 1861 and finds the Brooklyn off the mouth of the Mississippi River in company with USS Powhatan capturing blockade runners. On May 31 the Brooklyn encounters the soon-to-be notorious British blockade runner General Miramon: on the 31st a steamer hove in sight with a secession flag at her peak and on discovering us hauled down the secession and hoisted the English flag and stood off to the S.W.; we immediately went in pursuit of her and when we were about a mile and a half astern of her fired a shot to heave her to but she paid no attention to it; we then gave her a 10 inch shell (from our pivot Gun) which burst directly over her and had the desired effect; she proved to be the ?Genl Miramon? (formerly a Mexican Man of War) bound from Havana to New Orleans. - as our captain had some doubts as to her being a legal prize he sent her in charge of a prize crew to the captain of the U.S. Str. ?Niagara? off Mobile who left her at Havana a short time ago for him to decide if she is a prize or not. A former warship belonging to the conservative rebel faction in the Mexican civil war of 1860 the General Miramon had recently been purchased in New Orleans by blockade runners. Official records show that Mr. Golding the British captain carried British registration for the ship and claimed that he sailed from Havana with a cargo of cigars before news of the blockade had arrived hence the question of her status. The Brooklyn??Ts prize crew sailed the Miramon to Mobile where records show that Captain Golding begged Captain McKean of the USS Niagara to let him into port. The Miramon was out of coal and food and had a very sick woman passenger on board. Despite signing a pledge to not offload or accept any cargo in exchange for being allowed to dock Golding promptly sold his cargo and bought another to export escaping to Havana before he was caught. His actions led to a serious diplomatic incident between the US and Britain at the highest level. The Miramon made five blockade runs before being captured for good under the name Elizabeth on May 27 1862 by USS Keystone State while inbound to Charleston. George A. Tittle enlisted in the US Navy on January 11 1859 as a surgeon??Ts steward. He served aboard the USS Brooklyn until she was decommissioned for overhaul in October 1861 re-enlisting as surgeon??Ts steward on December 3 for duty on the USS Kearsarge. He was on board Kearsarge when she sank the CSS Alabama off Cherbourg France on June 19 1864. He completed his term of enlistment on December 2 1864 after Kearsarge??Ts return to the US.
RARE AND IMPORTANT ART NOUVEAU CARVED AND INLAID LIBRARY TABLE. Julius Starke, Santa Barbara, California, ca.1880, mixed native California woods. Elaborately inlaid top with two pull-out writing surfaces and two drawers, resting on highly carved legs and stretchers with carved eagle heads. 31 1/2"h. 65 3/4"w. 40 3/4"d. Julius Starke (1837-1918) was born in Dresden and learned about both woodworking and botany while growing up in Europe. He came to the United States in the 1870s, and upon his arrival to California, became enamored of the Yosemite Valley. He spent several years there studying the local plants and trees and running a woodworking studio where he utilized the native woods. In the early 1880s, he relocated to Santa Barbara where he continued to incorporate woods from the Yosemite Valley into his furniture, boxes, and other creations. The present table represents the pinnacle of Starke's achievement in marrying local woods and sophisticated design. He expertly combines skilled carving in the Art Nouveau taste with no fewer than twenty-four specimens of Yosemite area woods. The geometrically inlaid top is ringed by curly, burl, flame, and other figured inlays, each a different wood, and each labeled by Starke with their scientific and common names. According to family tradition, the table was exhibited at the 1893 World's Columbian Exposition in Chicago, courtesy of the Southern Pacific Railroad. The table is documented to have been exhibited at the 1900 Exposition Universelle in Paris. Upon its return from Paris, Starke sold the table (for an alleged $10,000) to Mr. and Mrs. Robert Calvin Hall of Pittsburgh, Pennsylvania. The original leather covering of the writing surfaces is monogrammed "RCH" and "FCH." Illustrated here is a photograph of Hall sitting at this table in his library. The table then descended in the Hall family until consigned to this auction. Also accompanying the table is additional information, including a copy of a note written by Rosalie Hall Sheedy, Robert Hall's daughter, outlining the history of the table.
Original painting on velvet attributed to George Hinke, circa 1940 to 1950, "The Night Before Christmas", from an illustration in the book "Jolly Old Santa Claus" portraying Santa saying goodbye to Mrs. Claus while elves are hooking the reindeer to the sleigh. George Hinke (German/American, 1883-1953) was born in Berlin and settled in Milwaukee in 1923; trained in traditional forms of painting, Hinke painted magazine cover illustrations and illustrations for children's books including the Ideal Publications 1961 bestselling "Jolly Old Santa Claus". PROVENANCE: According to the consignor, this painting along with several others (see lots 752 to 758) hung in the window of the Penn Traffic Department Store in Johnstown, Pennsylvania in the 1940's to 1950's. The consignor purchased the paintings from the store in the 1960's and was told by the store's display manager that they commissioned George Hinke to paint them in the 1940's. MEASUREMENTS: 87-1/2" x 11'. CONDITION: Minor fold wrinkling.
Carved redware bowl teresita naranjo, santa clara pueblo Of circular form with red and beige glaze, decorated with abstract animals, signed on base 'Teresita Naranjo/ Rt. 1 Box 436/ Espanola, N. Mex./ Santa Clara Pueblo.'. Diam: 9 3/4 in. PROVENANCE: Property from the Estate of Dr. and Mrs. Meyer Naide, Philadelphia, PA. Long crack approx. 7 in. around foot of bowl.
(WRITERS--AMERICAN.) Group of over 25 Typed Letters Signed, by 20th-century writers, on a wide range of subjects. Some with the original envelope. Format and condition varies. should be examined. Vp, [1923-85]
Norman Mailer (3). Each to Miss Stephens, giving an army recipe for lemon meringue pie and permission to print it. New York, 27 April; 11 May; 16 December 1961 * Will James. To Mr. Carle, telling him that he has asked Scribners for some reviews of Lone Cowboy for him. Santa Barbara, 18 March 1932 * Upton Sinclair (2). The first, to Art [Young], asking him for a cover design for The Goose Step that he is working on. The second, to Ralph T. Esterquest, announcing the name of a work in progress: "A World to Gain." Pasadena, 29 September 1923; Monrovia, 29 October 1945 * H. Allen Smith. To Mr. Sullivan, bemoaning the fact that the Board of Education is recommending his book on Hawaii. Mount Kisco, NY, 6 June 1960 * James Thurber. To Mrs. D.M. Clawson, sending an autograph. New York, 9 May 1939 * Clifford Odets. Affidavit that he wrote the screenplay for "Sister Carrie." Los Angeles, 9 November 1944 * Albert Payson Terhune. To editor Mr. Marshall, a detailed explanation of an incident that has been misreported, and warning that the letter is not for publication. Pompton Lakes, 23 September 1930.
Others: Thomas B. Costain * Henry van Dyke (2) * Clarence Budington Kelland (2) * George S. Kaufmann * Christopher Morley * Robert Penn Warren (4) * Allan Nevins * Channing Pollock * Edmund Wilson * Owen Wister * Alexander Wollcott * Gore Vidal.
A Pair of French Neoclassical Gilt and Patinated Bronze Figural Lamps After Jean Goujon : A Pair of French Neoclassical Gilt and Patinated Bronze Figural Lamps After Jean Goujon . Early 20th Century. each cast to show a caryatid after the figural supports by Jean Goujon (French, 1510-1565) for the Salle des Caryatides in the Louvre, each with a Reduction Mecanique A Collas Brevete seal. Height overall 37 1/2 inches. Patricia Ann Black Smyth (1925-2018) was born in Kansas City, Missouri, the daughter of Ernest Bateman Black and Faye Bunyan Black. She attended Miss Crosby's School in Illinois and graduated from Wellesley College in Massachusetts, where she was a lifetime member of the Wellesley Friends of the Library Organization. Mrs. Smyth also served as a member of the Junior League of Kansas City, Missouri, and was a long-time docent at the Art Institute of Chicago. Hindman is thrilled to present Mrs. Smyth's refined and diverse collection, which will be sold without reserve to benefit Berea College in Berea, Kentucky. . Berea College was founded in 1855 with the express mission of educating both women and men of all racial backgrounds. It is the South's first racially integrated and co-educational college and is guided by the motto from Acts 17:26: 'God has made of one blood all peoples of the earth. '. . Only students with high academic promise and limited financial means are accepted, and every student receives a Tuition Promise Scholarship-no student pays tuition. As a Work College, every student works at least 10 hours per week to help pay for housing, meals and personal expenses. Berea students have the lowest amount of student debt in the country, and half graduate debt free. . Today, Berea serves over 1, 600 students, the majority of which are from Kentucky and Appalachia, although its student body hails from over 40 states and 70 countries. Berea depends heavily on alumni and friends to continue to fulfill the no-tuition promise made to every student. Property from the Estate of Patricia Ann Black Smyth, Santa Fe, New Mexico, Sold to Benefit Berea College, Berea, Kentucky, offered without reserve Dimension Condition . For condition inquiries please contact fdcr@hindmanauctions. com
Christophe Fratin (French, 1801-1864): Christophe Fratin (French, 1801-1864). Ours et singes . bronze. stamped Fratin . Height overall 25 1/2 inches. Patricia Ann Black Smyth (1925-2018) was born in Kansas City, Missouri, the daughter of Ernest Bateman Black and Faye Bunyan Black. She attended Miss Crosby's School in Illinois and graduated from Wellesley College in Massachusetts, where she was a lifetime member of the Wellesley Friends of the Library Organization. Mrs. Smyth also served as a member of the Junior League of Kansas City, Missouri, and was a long-time docent at the Art Institute of Chicago. Hindman is thrilled to present Mrs. Smyth's refined and diverse collection, which will be sold without reserve to benefit Berea College in Berea, Kentucky. . Berea College was founded in 1855 with the express mission of educating both women and men of all racial backgrounds. It is the South's first racially integrated and co-educational college and is guided by the motto from Acts 17:26: 'God has made of one blood all peoples of the earth. '. . Only students with high academic promise and limited financial means are accepted, and every student receives a Tuition Promise Scholarship-no student pays tuition. As a Work College, every student works at least 10 hours per week to help pay for housing, meals and personal expenses. Berea students have the lowest amount of student debt in the country, and half graduate debt free. . Today, Berea serves over 1, 600 students, the majority of which are from Kentucky and Appalachia, although its student body hails from over 40 states and 70 countries. Berea depends heavily on alumni and friends to continue to fulfill the no-tuition promise made to every student. Property from the Estate of Patricia Ann Black Smyth, Santa Fe, New Mexico, Sold to Benefit Berea College, Berea, Kentucky, offered without reserve Dimension Condition . For condition inquiries please contact fdcr@hindmanauctions. com
No. 36 - Special (Nicotine Flower) by Georgia O'Keeffe: Georgia O'Keeffe (1887-1986) No. 36 - Special (Nicotine Flower), 1920 watercolor on paper, 15 1/2 x 11 1/4 inches {The Downtown Gallery, New York, NY} Mr. and Mrs. William H. Lane, Leominister, Massachusetts, 1954 Museum of Fine Arts, Boston, MA (gift from above, 1989) Gerald Peters Gallery, Santa Fe, New Mexico
AN ISAIAH WEST TABER (1830-1912) TRAVEL PHOTOAlbum / Albumen Prints of the American West. The photo album is red leather with gold leaf and contains 46 photographs from San Francisco, Monterey, Santa Cruz, Carmel, San Diego, Los Angeles, Salt Lake City, Truckee, Niagara Falls, and Arizona. Images are mounted back-to-back on thick album leaves. The album was published by I.W. Taber and contains 9 photos taken by Charles Wallace Jacob Johnson (1830-1903),17 photos and 2 prints published by I.W. Taber, 3 photos signed and 2 attributed to Charles Roscoe Savage (1832-1909), 2 unsigned photos by A. Frank Randall (1854-1916), 1 photo attributed to Elias Atkinson Bonine (1843-1916), 6 photos possibly by George Barker (1844-1894). The images by Taber likely include images by Carleton Watkins (1829-1916). Taber purchased Watkins' studio in 1876 and reproduced his work. Images include a portrait of Jicarilla Apache Chief Augustin Yijil or Vigil, Apache infants, and a Yuma woman with two young children. There are numerous images of Chinese communities in Los Angeles, San Francisco, and Monterey. Other images include historic and natural landmarks such as Cliff House in San Francisco, Carmel Mission, Brigham Young House, Santa Cruz Arches, The Salt Lake Tabernacle under construction, Hotel Del Monte, and Redwood trees. Dimensions: 7 1/4" x 11 1/2". Condition: Foxing, staining, and discoloration throughout the album most of which is on the paper margins, not much on the actual images. The spine has separated but has been reattached. Overall fair condition. Provenance: The album was acquired by Mr. and Mrs. Elmer Franklin Smith on a trip through the American west from April to September 1886. Provenance: Deaccessioned from the Sippican Historical Society.
PAINTING, CLEMENT DREW Clement Drew (American, 1806-1889), "Steamship 'Nantasket' in the Tornado - June 16th, 1879," 1879, oil on board, signed lower right, titled and dated verso, board: 14"h x 22"w, overall (with frame): 19"h x 27"w. Provenance: Estate of Joanna Barnes and Jack Warner (Santa Barbara, California). Ms. Barnes was a Hollywood film actress featured in movies such as "Auntie Mame (1958)" and "The Parent Trap (1961)". Mr. Warner was a prominent architect; Purchased Pamela Auchincloss Gallery (Santa Barbara, California) in 1986.
Thomas L. Hunt (1882-1938). Thomas L. Hunt (1882-1938 Santa Ana, CA), seated portrait of Mrs. Hamilton. signed, dated and inscribed lower center: To Mrs. Hamilton, A small token of esteem from the artist - May 1925 Thomas Hunt, mixed media on board, 21'' x 17''. Condition: Visual: Generally good condition. Not examined out of the frame. Blacklight: No evidence of restoration under blacklight.< Prev
VENETIAN SCHOOL, CIRCA 1606 The feast of the rose garlands after Albrecht Dürer. Oil on canvas. 160.2 x 194 cm. Provenance: - probably made before/circa 1606, possibly commissioned by the Grimani family. - 1821 - 1839 Palazzo Grimani near Santa Maria Formosa. - 1839 - 1879 Baron Heath, London. - Christie's, London, 8.3.1879, Lot 13(4?)"ALBRECHT DURER./ 134 THE INSTITUTION OF THE ROSARY/ Purchased of Count Grimani, at Venice, in 1839 (?)/ It was painted about 1510 for the family/ This picture is specially noted by Vallery in the volume of / his artistic Travels in Italy (label verso). - 1879 - 1905 John Bayliss, Westergate House, Kingston. - 1905 - 1920; 1920 - 1939 Sir Herbert Cook (1868- 1939), the Old House, Copseham near Esher, Surrey "Mrs Miller (daughter of John Bayliss) sold it to Mr Herbert Cook in 1905 (for 50 pounds) (label verso). "Sir Frederick (Cook 1844 - 1920) having died at Doughty house in May 1920, the collection there assembled passed to Sir Herbert (..) To these Galleries he has brought some 20 pictures from Copseham, the house that he owned for many years at Esther (...) 484. J ROTTENHAMMER (After ALBRECHT DÜRER): The feast of the Rose Garlands. From Esher" Abridged Catalogue of the Pictures at Doughty House, Richmond, Surrey in the collection of Sir Herbert Cook" London 1932, S. VI-VII und 82. - 1939 Sir Francis Ferdinand Maurice Cook. - European private collection. Literature: - Abridged Catalogue of the Pictures at Doughty House Richmond Surrey in the Collection of Sir Herbert Cook, 1932, S. 82, No.484, attributed to Rottenhammer - Martin, Arthur James: Die Kopie nach Dürers Rosenkranzfest aus dem Palazzo Grimani bei Santa Maria Formosa, in: Studia Rudolfphina, Bulletin of the Research Center for Visual Arts and Culture in the Age of Rudolf II., 2006, Vol. 6, p. 64-66. - Martin, Arthur James in: Kotková, Olga (pub.): Albrecht Dürer: The Fest of Rosegarlands 1506 -2006, Ex cat. Prague 2006, p. 59 and 61, ill; p. 133.
HARRY NADLER, AMERICAN (1930-1990), UNTITLED, CA.1962, OIL AND GRAPHITE ON PAPER, 9 1/2"H X 11 3/4"W (IMAGE), 21 3/4"H X 25 3/4"W (FRAME)Harry Nadler, American, (1930-1990) Untitled, ca.1962, oil and graphite on paper Signed verso with artist's monogram, and inscribed, 62AA20 #4A. Provenance: Purchased from Walt Bazar through artist's estate. From AskArt: An abstract painter who lived in New York City; Amagansett, Long Island, and Albuquerque, New Mexico, Harry Nadler is described as a "formalist abstract painter of the 1960s-90s whose works were marked by their rich colors, transparencies, and labyrinthine constructions. —The attempt to capture in a purely abstract imagery the quintessential quality of light and contour that emanate from a particular landscape is a hazardous pictorial ambition, but Mr. Nadler has met the challenge of this problem with remarkable success.˜ (Hilton Kramer, The New York Times, April 27, 1974. He was a teacher at the University of California Los Angeles, UCLA, from 1958-59; New York University, 1960-65; Brooklyn Museum Art School, 1960-65; Wesleyan University, Middletown, Connecticut, 1965-71;and University New Mexico, Albuquerque, 1971-90. He was a student at UCLA, earning a Bachelor's Degree in 1958, and a Fulbright Scholar to Spain in 1960. Exhibition venues included the following: Los Angeles County Museum of Art annuals; San Francisco Museum of Modern Art Annual; Denver Museum annual for Western artists; Butler Institute Art; Library of Congress; Northwest Printmakers annual; Santa Barbara (California) Museum Art, California, 1960; Nebli Gallery, Madrid, Spain, 1961; Drawing Shop Gallery, New York City, 1963; —Arte de America y Espana,˜ Spain, France, Germany, Italy, Switzerland, 1963; Wesleyan University, Middletown, Connecticut, 1965, 1971; Dorsky Gallery, New York City, 1966; Benson Gallery, Bridgehampton, New York, 1968, 1976; Tokyo, Japan, International Exhibition of Young Artists, 1967; Westmoreland County Museum Art, 1967; Heckscher Museum, New York City, 1969; Bertha Schaefer Gallery, New York City, 1969, 1972, 1974 (solos); Gallery Paul Facchetti, Paris, France, 1968 (Timeless Paintings from the U.S.A; Indianapolis Museum, 1969; Institute Franco-American, France, 1969; Benson Gallery, Bridgehampton, New York, 1971; American Library, Brussels, Belgium, 1971; Museumée des Beaux Arts, Nancy, France, 1970; The New School, Boston Art Club, New York City, 1969-70; London Arts Gallery, Detroit, MI, 1973; Janus Gallery, Santa Fe, New Mexico, 1973; Gruenebaum Gallery, New York City, 1979, 1981; Cantor/Lemberg Gallery, Birmingham, MI, 1981; Pennsylvania State University, State College, Pennsylvania , 1982; University New Mexico, Fine Arts Museum, 1983, 1991 (retrospective); Eller Gallery, Albuquerque, New Mexico, 1987; Sena Gallery East, Santa Fe, New Mexico, 1989. In 1987, he had an award grant from the Israeli Government, 1987. oil and graphite on paper Dimensions: 9 1/2"H x 11 3/4"W (image), 21 3/4"H x 25 3/4"W (frame)
Frank Hamilton (1930-1999). Frank Hamilton C.W.S (1930-1999 Cambria, CA), Into the Pass, Santa Fe Scout Line leaving a station in rural eastern Colorado. 1965, signed and titled lower right: Frank M. Hamilton, watercolor on paperboard under glass, sight size: 21.5'' x 29.5''. Note: A letter dated 3/1/66 from Laguna Studio-Galleries is affixed to the verso stating: We have spoken to Frank Hamilton re: your watercolor ''Into the Pass''. The painting was completed in late December of 1965, done from a sketch made some time back in Eastern Colorado just before the line enters the Rockies. It was the Santa Fe Scout Line, which according to Mr. Hamilton, is no longer in existence. Provenance: Laguna Studio-Galleries, Laguna Beach, CA; Private Collection, Corona Del Mar, CA. Condition: Visual: Generally good condition with minor toning in the sky. Not examined out of the frame.< Prev
Howard Everett Smith (1885-1970). Howard Everett Smith A.N.A. (1885-1970 Carmel, CA), Horses Under Trees, Carmel Valley, 25''x30''. signed lower right: Howard E. Smith, signed again and titled verso and on the stretcher, oil on canvas. Exhibited: National Academy, New York, NY; Guild of Boston Artists, Boston, MA; Stanford (sic) Art Museum, Stamford, CT; Exhibit of Western artists, Santa Ana Elks Club, Santa Ana, CA, 1969; Santa Ana Womens' Club, Santa Ana, CA, 1969 (see inscription verso). Provenance: Mrs. M.F. Tillitson, Anaheim, CA; Property from a Private Collection, Southern California. Condition: Visual: Generally good condition. Very slight vertical rippling along the left half of the upper edge, would benefit from cleaning. Blacklight: No evidence of restoration under blacklight.
MR AND MRS SANTA BY ANNALEE Mr. and Mrs. Santa are dressed in their striped pajamas, Size: 30 inches,
AFTER VECCHIA ETCHING SANTA MARIA VENICE REGATTAFramed etching on paper, Veduta del Tempio della Salute in Venetia (View of the church of Santa Maria della Salute in Venice), Alessandro della Via (Italian, fl.1688-1724), after Gasparo Vecchia (fl.17th c.), sight: approx 16.25"h, 23.5"w, overall: 30.75"h, 37.25"w, 13.5lbs **Provenance: From the collection of Mrs. Bettye Wellons, Austin, Texas**
PAINTING, C. MYRON CLARK C. Myron Clark (American, 1858-1925), "The Steamer Mayflower," 1892, oil on canvas, signed, dated and inscribed "After Wm. Hudson Jr. 1848" lower left, canvas: 23.25"h x 34"w, overall (with frame): 27.25"h x 38.5"w. Provenance: Estate of Joanna Barnes and Jack Warner (Santa Barbara, California). Ms. Barnes was a Hollywood film actress featured in movies such as "Auntie Mame (1958)" and "The Parent Trap (1961)". Mr. Warner was a prominent architect; Purchased Pamela Auchincloss Gallery (Santa Barbara, California) in 1986.
A Pair of Sevres Style Gilt Bronze Mounted Flambe Glazed Urns: A Pair of Sevres Style Gilt Bronze Mounted Flambe Glazed Urns. Late 19th/Early 20th Century. each stamped MADE IN FRANCE to the metal plate attached to the base. Height 24 inches. Patricia Ann Black Smyth (1925-2018) was born in Kansas City, Missouri, the daughter of Ernest Bateman Black and Faye Bunyan Black. She attended Miss Crosby's School in Illinois and graduated from Wellesley College in Massachusetts, where she was a lifetime member of the Wellesley Friends of the Library Organization. Mrs. Smyth also served as a member of the Junior League of Kansas City, Missouri, and was a long-time docent at the Art Institute of Chicago. Hindman is thrilled to present Mrs. Smyth's refined and diverse collection, which will be sold without reserve to benefit Berea College in Berea, Kentucky. . Berea College was founded in 1855 with the express mission of educating both women and men of all racial backgrounds. It is the South's first racially integrated and co-educational college and is guided by the motto from Acts 17:26: 'God has made of one blood all peoples of the earth. '. . Only students with high academic promise and limited financial means are accepted, and every student receives a Tuition Promise Scholarship-no student pays tuition. As a Work College, every student works at least 10 hours per week to help pay for housing, meals and personal expenses. Berea students have the lowest amount of student debt in the country, and half graduate debt free. . Today, Berea serves over 1, 600 students, the majority of which are from Kentucky and Appalachia, although its student body hails from over 40 states and 70 countries. Berea depends heavily on alumni and friends to continue to fulfill the no-tuition promise made to every student. Property from the Estate of Patricia Ann Black Smyth, Santa Fe, New Mexico, Sold to Benefit Berea College, Berea, Kentucky, offered without reserve Condition One in overall very good condition with little surface wear associated with age and use. The other in overall decent and stable condition. There is an old repair to the upper rim of the porcelain. There are some minor associated losses of porcelain. For condition inquiries please contact fdcr@hindmanauctions. com
[Pop-Up] Lot of Christmas Pop-Up, Movable, Noise-Making, and Interactive Books. American, 1940s—50s. An impressive collection, together approximately 40 volumes of twentieth century titles, all but five Christmas themed, with many first editions, many in original pictorial boxes, and generally in fine condition, being in near or full states of completeness including inserts, fold-outs, instruction slips, and other pieces.
Includes:
Pranky’s Christmas (in box) COMPLETE
(No Publisher, No Date)
Charlot Byj
Three pop-ups
Round plastic skill puzzle (silver balls in a clock face) shows through die-cut hole in cover
Peppermint candy (title page)
Die-cut lower half of page with candy cane pipe cleaner (p.9)
Two sheets of gummed stickers in pocket (p.12)
Die-cut hole (p.16)
Christmas in Fairyland (in box) COMPLETE
(No Publisher, No Date, ca. 1950)
No Author, No Illustrator
Cover has die-cut white foam moon and glitter stars
Envelope inside front cover contains:
Sheet of gummed Stickers
Sheet with numbers which key the gummed stickers to the spots on the book
Sheet of punch-out game pieces
Santa crown
Whistle (p.2)
Die-cut Fairy Queen figure (p.4)
Die-cut reindeer (p.7)
Gold star on red pipe cleaner: magic wand (p.11)
Tatoo bubble gum (p.13)
Game on back cover
Santa’s Fun Book (in box) NEAR COMPLETE
(White Plains Greeting Card Corp., 1954)
No Author, No Illustrator
Four pop-ups and moveables
Die-cut hole in cover (p.1)
Yellow metal clicker (p.2)
Silver metal bell (p.4)
Die-cut hole in page in shape of star (p.5)
Embossed silver foil badge (p.6).
Brown honeycomb accordian (pp.8-9)
The Wonderful Window (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Whistle, plastic
Die-cut angel standee (p.12)
Loose in the box:
Four punch-out sheets
Window with tiny celebrant, rabbit, and lamb
Mobile with angels
Red feather (p.11)
LOLLIPOP (P.15)
3D glasses (p.16)
Box of four crayons (p.20)
Coloring book (p.20)
Santa’s Busy Day (in box) COMPLETE
(Polygraphic Company of America, 1953) $1.25
No Author, No Illustrator
Two pop-ups
Gold bell on reindeer’s neck (pp.2-3)
Balloon and metal clicker (p.7)
Seven die-cut reindeer (pp.8-9)
Tinsel strip (pp.16-17)
Die-cut reindeer: Blitzen (p.19)
Brown crayon (p.21)
Santa’s Circus (in box) COMPLETE
(White Plains Greeting Card Corp., 1952)
Pictorial Box
No Author, No Illustrator
Four pop-ups and moveables
Squeaker on clown’s nose (p.7)
Horse flocked (p.9)
Balloon for Elephant’s nose (p.11)
Red Pencil (p.16)
White Life Saver (p.18)
Die-cut hole for hat (p.23)
Paper blowout with feather (i.e., party blower or blow tickler) (p.25)
Santa Claus in Toyland (in box) NEAR COMPLETE
(Doehla Greeting Cards, 1951)
Softcover with red plastic spiral binding
No Author, No Illustrator
Five pop-ups and movables
Cover has styrofoam “snow” on house roof
Die-cut elves (p.7)
Lollipop (p.18)
VARSITY GUM (p.20)
The Shiniest Star (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups and moveables
Gold foil star mounted on cover
Wee-book (p.1)
Metal “shark” whistle (p.8)
Wise man cardboard standup (p.18)
Loose in box:
Instruction sheet for assembling manger
Punch-out manger
Two punch-out sheets of people and animals for Nativity
Christmas Time (in box) COMPLETE
(No Publisher, No Date)
Written and Adapted by Hilda M. Finch
Illustrated by Charlot Byj, Stina Nagel, Cristina F. Christensen, Rene Racette
Four pop-ups and moveables
Envelope inside rear cover has cookie recipe printed on it, and loose inside:
Folded punch-out sheet for “Mrs. Honey Bun’s Helpers”
Folded punch-out sheet, one side for “Billy’s Christmas Visitor,” the other for
“The Night Before Christmas” (Figures fit into slots you cut on the page)
Kerry Kitten’s Christmas Adventures (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Jason Lee
Three pop-ups and moveables
Package squeaker (p.8)
Metal badge (p.13)
Wee coloring book “Brave Cats” (p.21)
Water pistol (p.21) This item is glued to the front of the wee coloring book.
Santa’s Christmas Party (lacking box)
(Polygraphic Company of America, 1951)
Pictures by Mary Stevens, Story by Helen Sterling
Five pop-ups
Die-cut hole in cover
Button (“Santa’s Christmas Party”) (p.3)
Santa’s Christmas Punch-Out Book
(Lowe, No Date)
The Night Before Christmas (animated by Meg Wohlberg)
Crown, 1944
Santa’s Playbook
Whitman, 1964
Christmas Cards (26 of Them)
Saalfield, 1946
Christmas 1955 (Carl Henry Rathjen)
3-D Glasses
Pop-up display rear inside cover
Stevie’s Christmas Concert (in box) COMPLETE
(No Publisher, No Date)
Written by Beth Vardon, Pictures by Charlot Byj
Two pop-ups
Plastic flute (p.18)
Loose in box:
Instruction sheet for assembling Pet Shop Interior
Pet Shot Interior pop-up scene
Punch-out sheet of pieces for pet shop (Christmas tree and three animals)
Santa’s Merry Carnival (in box) COMPLETE
(Polygraphic Company of America, 1955)
By Dorothy N. King, No Illustrator
Green alligator clicker (p.4)
Balloon in clown’s hand (pp.8-9)
Paint tablets (p.14)
Paint brush (p.15)
Monkey on wooden trapeeze stick (pp.18-19)
Davey and the First Christmas (in box) COMPLETE
(No Publisher, No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Inside Front Cover: Paper blowout with feather (i.e., party blower or blow tickler)
Game on back cover
Loose in box:
Die-cut Donkey (Tim)
Die-cut saddle bags (three pieces)
Instruction sheet for assembling donkey and saddle bags
Punch-out sheet with stars and top for game
Instruction sheet for game
Santa’s Cuckoo Clock (in box) COMPLETE
(Polygraphic Company of America, 1954) $1.25
By Dorothy N. King, No Ilustrator
Six pop-ups
Die-cut hole in cover
Paper blowout with feather (i.e., party blower or i.e., party blower or blow tickler) (p.6)
Paper straw (p.12)
Wee-book, Carols for your Christmas (p.14)
Paint tablets and paint brush (p.16)
Balloon (p.19)
The Christmas Story in box
Gospel Trumpet, 1952
Nativity scene pieces loose in box
Santa Visits Mother Goose (in box) COMPLETE
(White Plains Greeting Card Corp., 1953)
No Author, No Illustrator
Five pop-ups and moveables
Die-cut hole (p.5)
Red plastic spoon (p.7)
Band-Aid (pp.8-9)
Cellophane bag of red candy hearts (p.13)
Die-cut window in Mother Hubbard’s dress (p.17)
Paper parachute with fish (p.18)
Die-cut hole for piggy’s head (p.19)
Piggy squeaker (p.21)
Red paper horn (p.23)
Wee-book of Mother Goose rhymes (p.25)
Santa Claus in Storyland (in box) NEAR COMPLETE
(Doehla Greeting Cards, 1950)
Hardcover: casebound
No Author, No Illustrator
Six pop-ups and moveables
Cover has styrofoam “snow” on house roof
Die-cut spider (p.16)
Varsity gum (p.17) (Another copy with Fleer’s Double Bubble gum—a replacement?)
LOLLIPOP (p.20)
Santa’s Tuney Toy (in box) COMPLETE
(Polygraphic Company of America, 1956)
By Dorothy N. King, No Illustrator
Die-cut Carousel on stick (pp.2-3)
Wooden and metal multi-color xylophone and wooden mallet
Inside rear cover is small Tuney Toy Song Book
Christmas on Stage (in window box) COMPLETE
(Polygraphic Company of America, 1950)
By Charlot Byj
Five pop-ups
Visions of St. Nick in Action in Box
Phillips, 1950
My Flower Garden Book
No publisher, No date
Seed packets and pop-outs intact
Blinky Bill “Magic Action”
Whitman, 1935
Bobby Bear “Magic Action”
Whitman, 1935
Christmas Time (in box) COMPLETE
(No Publisher, No Date)
Written and Adapted by Hilda M. Finch
Illustrated by Charlot Byj, Stina Nagel, Cristina F. Christensen, Rene Racette
Four pop-ups and moveables
Envelope inside rear cover has cookie recipe printed on it, and loose inside:
Folded punch-out sheet for “Mrs. Honey Bun’s Helpers”
Folded punch-out sheet, one side for “Billy’s Christmas Visitor,” the other for
“The Night Before Christmas” (Figures fit into slots you cut on the page)
Floppy in Santa Land (in box) Signe COMPLETE
(Polygraphic Company of America, 1957)
Story by J. O’Hara, No Illustrator
Five pop-ups and moveables
Metal button on the cover: “Santa’s Guest * North Pole, N.Y.” (Not in pristine copy)
Cotton-tail (p.5)
Paint tablets and paint brush (p.6)
Dog’s die-cut back foot on a spring (p.13)
Pop-up soft foam bunny ears (p.19)
Santa’s Little Helpers (in box) NEAR COMPLETE
(Polygraphic Company of America, 1952)
Illustrations by William P. Hoest, Story by Ahlene Fitch
Six pop-ups and moveables
Die-cut cover (Santa’s beard)
Round cotton for Snowman (p.2)
FOIL-WRAPPED CANDY (P.7)
Balloon (p.11)
Die-cut Santa’s sleigh (p.18)
Paper blowout with feather (i.e., party blower or blow tickler) (p.22)
Metal clicker (p.25)
Larry’s Little Lamb (in box) COMPLETE
(No Publisher, No Date)
(Regal Stationary Company, Canada?)
Illustrations by Charlot Byj
One pop-up
Cover has small plastic ribbon attached by pin
Silver bell (p.2).
Small Chiclets box (yellow, red, or blue) with two Chiclets inside (p.13)
Loose in box:
Instruction sheet for assembling punch-out “Creche Theater”
Quarter-folded sheet of punch-out pieces: Creche and 8 figures
Poochy the Christmas Pup (in box) COMPLETE
(No Publisher, No Date)
Written by Beth Vardon, Pictures by Charlot Byj
Two pop-ups
Inside Front Cover: Paper blowout with feather (i.e., party blower or blow tickler)
Small compass (p.4)
Plastic toy rifle (p.9)
Magnetic Fishing set (p.18)
Plastic bone (p.20)
Loose in the box: Christmas Carols booklet
André et le Premier Noël
French Canadian Edition of Davey and the First Christmas
(Regal Stationary Company, Ltd., No Date)
Story by Beth Vardon, Illustrated by Charlot Byj
Two pop-ups
Inside Front Cover: No reference to “chicken feather” printed on page. The envelope holds the game pieces for the Voyage en Egypte game on the rear cover.
Punch-out sheet with stars and top for game
Instruction sheet for game
Game on back cover
Santa’s Circus (in variant box) COMPLETE
(White Plains Greeting Card Corp., 1952)
Red and White Box
No Author, No Illustrator
Four pop-ups and moveables
Squeaker on clown’s nose (p.7)
Horse flocked (p.9)
Balloon for Elephant’s nose (p.11)
Red Pencil (p.16)
White Life Saver (p.18)
Die-cut hole for hat (p.23)
Paper blowout with feather (i.e., party blower or blow tickler) (p.25)
Take the Children (in window box) COMPLETE
(Dorothy K. Werblow, 1951)
Written by Dorothy N. King, No Illustrator
Six die-cut dolls in envelope (p.11)
Next six odd-numbered pages (pp.13, 15, 17, 19, 21, 23) each have a slot for a doll
The Jolly Snow Man Christmas Play Book (in box) COMPLETE
(White Plains Greeting Card Corp., 1955)
No Author, No Illustrator
Balloon in Snowman’s nose on cover (p.1)
Bell on reindeer’s nose (p.8-9)
Stand-Up Christmas tree with punch-out ornaments (p.12).
Christmas stocking with three items (p.16)
Magnet in envelope
Santa Picture Puzzle (punchout)
Game Book
Jet Glider in glassine envelope (p.17-18)
Paint brush (p.19)
Santa Claus Magic Paint Book (pp.20-23)
Christmas at the Little Zoo (in box) COMPLETE
(No Publisher, No Date)
(Reader's Digest Children's Publishing, Incorporated, 1955?)
Story by Beth Vardon, Illustrations by Charlot Byj
Inside front cover, envelope contains:
Printed and folded paper ruler
Little Zoo paper penant on candy cane pipe cleaner
Printed Zoo ticket
Press-out Christmas ornaments (five)
Bell (p.7)
Green balloon (p.15)
Gold-covered chocolate coin (p.16)
Four tiny Christmas cards and four matching white envelopes in red band (p.19)
Leon Jason’s Jingle Dingle Christmas Stocking Book (in box)
COMPLETE
(Art Craft Publishers, 1953) $1.25
Story by Lucille Lee Kramer, Pictures by Ruth Ruhman
Five pop-ups and moveables
Jingle Dingle figure die cut with bell on cover (p.1)
Balloon in suitcase (p.5)
Jingle Dingle figure die cut (p.14)
Whistle in Santa’s hand (p.19)
Checkerboard and domino punch-out sheets in Christmas stocking (p.21)
Velvet Eyes: Santa’s Little Helper (in box) COMPLETE
(No Publisher, No Date)
Illustrated by Charlot Byj, Edited by Emil W. Klimack
Front cover has gold-embossed foil star
Inside front cover, envelope contains:
Sheet of gummed stickers (to be placed at numbered spots in book)
Punch-out sheet of game pieces (six children and five stars)
Instruction sheet for game on rear cover
Bell (p.4)
Whistle (p.6)
Small mirror (p.9)
Die-cut Velvet Eyes figure (p.13)
Talking Mama doll figure (pp.16-17)
Gold-printed star (p.21)
Game on back cover
New Mexico, Two Contemporary Santero Works: New Mexico Two Contemporary Santero Works. Two Contemporary Santero Works. Andrea Fresquez Baros (20th Century) Santa Rita 2014 Retablo paint with mica accents inscribed verso: Santa Rita / Feast Day: May 22 / Patroness of marriage / of all suffering and / granting the impossible / of mothers of sickness. / To: / From: / Andrea Fresquez Baros / 2014 / Mica Accents Dimensions: 8 1/2 x 5 1/2 in Margarita Mondragon (20th Century) Santa Monica 2014 Painted carved bowl inscribed verso: SANTA MONICA / Patroness of married / women and mothers. / Feast Day / Aug 27 / M. MONDRAGON / MR 2014 Dimensions: 25 1/4 x 10 1/4 x 4 in. . All proceeds from the sale of this artwork benefit the Spanish Colonial Arts Society
Antonio Frasconi, American, (1919-2013) La Guardia Civil Espanola, 1952, woodcut Signed lower right. EX: Collection of Mr. and Mrs. Meyer P. Potamkin. Estate of Vivian Potamkin. From the Archives of askART Following is The New York Times obituary of the artist. "Antonio Frasconi, Woodcut Master, Dies at 93" By DOUGLAS MARTIN Published: January 21, 2013 In 1953, Time magazine called Antonio Frasconi America's foremost practitioner of the ancient art of the woodcut. Four decades later, Art Journal called him the best of his generation. Mr. Frasconi did not reach this pinnacle by adhering to orthodoxies. He found inspiration in comic books as well as the Old Masters. He decried art education, saying the average student does not learn the pertinent questions, much less the answers. He abhorred art that dwelt on aesthetics at the expense of social problems. He repeatedly addressed war, racism and poverty, and devoted a decade to completing a series of woodcut portraits of people who were tortured and killed under a rightist military dictatorship in his home country, Uruguay, from 1973 to 1985. "A sort of anger builds in you, so you try to spill it back in your work," he said in a 1994 interview with Americas, a magazine of the Organization of American States. Mr. Frasconi, who died on Jan. 8 at 93, illustrated more than 100 books, and his work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the New York Public Library, the National Gallery of Art and the Smithsonian. His woodcuts appeared on album and magazine covers, holiday cards, calendars and posters, and in exhibitions around the world. Several of his children's books won awards. In 1963 he designed a stamp to honor the centennial of the National Academy of Sciences. In 1968 he represented Uruguay at the Venice Biennale, exhibiting prints from 20 years of work. Much of that work was done in the studio at his home in Norwalk, Conn., where the views of migrating birds and passing seasons from the window influenced his art. He built the house in 1957, and his son Miguel said he died there. Mr. Frasconi's was patient and meticulous in his art, which involves making an impression on paper from a design carved in a block of wood. Before producing a woodcut titled Sunrise — Fulton Fish Market in 1953, he spent three months wandering Lower Manhattan's wharves and the holds of fishing boats. He spent hour upon hour studying "just how a man lifts a box," he said. He then spent three weeks carving five wood blocks, each to apply a different color, as they are stamped successively on the same sheet of paper. He said the capricious nature of wood governed many artistic decisions. He loved the hands-on experience of working with wood, some of which he gathered from the beach in front of his home. "Sometimes the wood gives you a break," he told Time in 1963, "and matches your conception of the way it is grained. But often you must surrender to the grain, find the movement of the scene, the mood of the work, in the way the grain runs." Mr. Frasconi said he took up the art after being attracted to the idea of making multiple prints, in part so he could offer art to people at reasonable prices. The woodcuts of Paul Gauguin were an enormous influence, he said. Antonio Rudolfo Frasconi was born to Italian immigrant parents on April 28, 1919, in Buenos Aires; a few weeks later his family moved to Uruguay. His father was frequently unemployed, and his mother worked in a restaurant and as a seamstress. He dropped out of art school at 12 because he was bored with copying from plaster casts of classical sculpture and became a printer's apprentice. On his own, he made posters deriding Franco and Hitler, which he signed "Chico." In 1945 he came to New York on a one-year scholarship to the Art Students League, and the next year he had a show at the Brooklyn Museum. After moving to California, he worked as a gardener and as a guard at the Santa Barbara Museum of Art, where he had an exhibition. Returning to New York, he collaborated with the adapter Glenway Wescott and the book designer Joseph Blumenthal on 12 Fables of Aesop, which was published by the Museum of Modern Art and honored by the American Institute of Graphic Arts as one of the year's 50 best books. He illustrated a poem by Federico García Lorca on the brutality of Franco's police. A later political work about the Vietnam War superimposed bombsights on terror-stricken peasants. He illustrated selections from the poems of Herman Melville to comment on the Ohio National Guard's killing of students at Kent State University in 1970. For many years Mr. Frasconi, a citizen of both Uruguay and the United States, taught at Purchase College of the State University of New York. His first marriage, to Rene Farmer, ended in divorce. His second wife, Leona Pierce, a noted woodcut artist, died in 2002 after 50 years of marriage. In addition to his son Miguel, Mr. Frasconi is survived by another son, Pablo, and a granddaughter. Some of Mr. Frasconi's work was devilishly playful. His 1952 book, The World Upside Down, pictured a bull butchering a human, a man in a bird cage while a bird cavorts outside, and a sheep herding a flock of humans. A dog sleeps in bed, while a man slumbers in a doghouse on the floor. A fire hydrant is nearby, apparently in case the man needs it. woodcut 5 7/8" x 32", 6 7/8" x 33" (frame)
EIGHT ROYAL DOULTON CHARACTER JUGS OF CHRISTMAS. Including Santa Claus (5), Snowman, Santa with Snowman, Mrs. Claus - 7 1/2 in. high, largest.
FOURTEEN MELANESIAN AND POLYNESIAN WOODEN CLUBS, PADDLES AND SPEARS
including two highly stylised anthropomorphic design paddles, Santa Cruz Islands and two war clubs with coconut fibre rope, Fiji, maximum length 220cm, 19th or early 20th c
1919 Inventory (Hall) "3 carved paddles [and] The... clubs spears etc brought by Mr Beardsley from the South Seas Islands".
A similar Santa Cruz Islands paddle (from Ndende Island) collected by the La Korrigane Expedition 1934-36 is illustrated, Meyer (A J P), - Oceanic Art Koln 1995, plt 692.
JANET LIPPINCOTT, NEW MEXICO (1918 - 2007), SMALL WATERCOLOR SERIES, 1991, WATERCOLOR AND INK, 20 1/2"H X 16 1/2"W (SIGHT), 14 1/2"H X 13 1/4"W (FRAME)Janet Lippincott, New Mexico, (1918 - 2007) Small Watercolor Series, 1991, watercolor and ink Signed lower left. Exhibited: Fletcher Gallery, Santa Fe, NM. Biography from the Archives of askART: Janet Lippincott was born in 1918 to a family of privilege in New York City. Her Aunt Gertrude Lippincott, a modern dancer, took her to museums, and when Lippincott saw her first Picasso she was turned on to modern art. Her family lived in Paris during her childhood which was another influence on her art. When Lippincott was age 15, her mother, on the suggestion of a friend, enrolled her at the Art Students League in a life drawing class. Thinking it was a course in nature drawing, Lippincott was taken back when a male nude entered the class. She left the room and sat in the park but did return to the class when a female nude was the subject. The artist graduated from the Todhunter School, a private school in New York where Mrs. Franklin D. Roosevelt was principal. After high school, Lippincott returned to the Art Students League full time. During World War II, the artist enlisted in the Women's Army Corps and was attached to Gen. Dwight D. Eisenhower's staff. Lippincott tells a story of Gen. George Patton storming into Eisenhower's office in London demanding to see him. She told Patton flatly that Eisenhower was busy and that he would have to take a seat and wait and that he should keep his mouth shut, too. In 1949 Lippincott drove from New York to Taos, New Mexico to attend the Emil Bisttram School of Art on the G.I. Bill. Bisttram did not appreciate Lippincott's talent and told her that she was wasting her time. She responded that the G.I. Bill was paying him and that she would remain. In 1972 when Lippincott was exhibiting at the Jamison Gallery in Santa Fe, Bisttram gave her a glowing review. Janet Lippincott attended the Colorado Springs Arts Center and the San Francisco Art Institute on fellowships. In 1957 the artist settled in Santa Fe. She bought property on Canyon Road and built an adobe house and studio. It took time for Lippincott's art to be accepted by critics in Santa Fe. Lippincott herself explains that, "After The war, I came out here, and NO ONE was doing any modern painting. Here I came with my screwball ideas and shook everybody up." Eventually Lippincott won over the critics in Santa Fe. She has had numerous show around the country and internationally. Lippincott works with a wide range of media. She was one of the first artists to create lithographs at the Tamarind Institute. In 2002, Lippincott is still painting and winning awards. She recently won the New Mexico Governor's Award as Artist of the Year. Source: Art-Talk, November 2002 watercolor and ink Dimensions: 20 1/2"H x 16 1/2"W (Sight), 14 1/2"H x 13 1/4"W (Frame)