- TEN CIVIL WAR-ERA AUTOGRAPHS United
TEN CIVIL WAR-ERA AUTOGRAPHS United States,C. 1850s-70sA clipped autograph of Major General Oliver O. Howard; a clipped autograph of General Carl Schurz; a clipped autograph from Adjutant General Roger Jones (1789-1852); a clipped autograph of Senator James G. Blaine of Maine; a clipped autograph of artist George W. Edwards; a clipped autograph of Ambrose E. Burnside; a clipped autograph of Flag Officer Andrew H. Foote; a clipped autograph of Benjamin H. Bristow; a clipped autograph of Senator Roscoe Conkling; and a clipped autograph of Lewis C. Bayles.
- NATURE LANDSCAPE BY GEORGE B. GIBSONA
NATURE LANDSCAPE BY GEORGE B. GIBSONA well executed small oil sketch on masonite of an Ontario wilderness landscape. Signed by the artist George B. Gibson. Minor cracking to the paint. Circa 1950. Measuring, 7 3/4" height x 9 1/4" (image size). The Shaun & Joan Markey Collection.
- DIARY OF A COUNTRY PRIEST GEORGE BERNANOS
DIARY OF A COUNTRY PRIEST GEORGE BERNANOS BOOK Diary of a Country Priest by George Bernanos, dated 1986, quarter bound in brown leather with cloth board covers and with board slipcase, the endpage numbered 1/1000 and signed to back page, Limited Editions Club, New York. Quarto 4to. Cover 12.5" H x 9.5" W x 1.75" D. Pencil, wear, stains.
- GEORGE NELSON FOR HERMAN MILLER MODERN
GEORGE NELSON FOR HERMAN MILLER MODERN CHEST George Nelson for Herman Miller Mid-century Modern chest of drawers comprising five drawers, one door, walnut with metal pulls and hairpin legs, label to top drawer marked "George Nelson Designs, Herman Miller Zeeland Michigan." 39.5" H x 40" W x" 18.5" D.
- GEORGE NELSON FOR HERMAN MILLER MODERN
GEORGE NELSON FOR HERMAN MILLER MODERN CHEST George Nelson for Herman Miller Mid-century Modern chest of drawers comprising five drawers, one door, walnut with metal pulls and hairpin legs, label to top drawer marked "George Nelson Designs, Herman Miller Zeeland Michigan." 39.5" H x 40" W x" 18.5" D.
- SMALL PAINT AND ENAMEL DECORATED CONTINENTAL
SMALL PAINT AND ENAMEL DECORATED CONTINENTAL ICON. Small Continental icon displaying a painted depiction of St George slaying the dragon set within a filigree frame. Frame displays an inscription set against a blue enamel ground, and a total of (4) pearls set within each corner. From a Hollis, NY estate. Dimensions: icon measures approx. 2.25" w x 2.875" h. Condition: Good, with light surface scratches and minor dings/dents. Some paint losses, and general wear.
- ARTHUR FITZWILLIAM TAIT (1819-1905)Quail
ARTHUR FITZWILLIAM TAIT (1819-1905)Quail and Chicks, 1867
signed and dated "AF Tait N A 1867" lower right
oil on board, 10 by 14 in.
signed and dated on back
Kennedy & Co., New York and Winsor & Newton labels on back
This painting is number 67.5 in Henry Marsh's Tait checklist. This little gem recalls Tait's famous "The Cares of a Family," with a pair of attentive quail and six baby chicks framed by delicate grasses and flowers.
Known as one of America’s earliest sporting artists, Arthur Fitzwilliam Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While working for the art firm, Tait was exposed to the works of Edwin Landseer (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others.
In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the lives of Native Americans through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin's stories would have captivated the young and talented Tait.
In 1850 Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivaled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England.
With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became a full member. Editions of Tait’s works for Currier and Ives were reproduced by the thousands and formed some of America’s most iconic images of the Victorian era. The exceptionally popular "American Field Sports" series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs "A Chance for Both Barrels," "Flushed," "On a Point," and "Retrieving." These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as "An Anxious Moment," "A Tight Fix," and "Trappers at Fault: Looking for the Trail," have become embedded as part of our heritage and serve as signposts along our path as a nation.
Today, Tait's wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, DC; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others.
Provenance: Charles Porter Schutt Collection, acquired from The Old Print Shop, New York
Sarah S. Harrison Collection, by descent
Renee du Pont Harrison Collection, by descent
Literature: Henry M. Reed, "The A. B. Frost Book," Charleston, SC, 1993, p. 87, illustrated.
Henry M. Reed, "The A. B. Frost Book," Rutland, VT, 1967, illustrated.
Henry W. Lanier, "A. B. Frost The American Sportsman's Artist," New York, 1933, illustrated.
- ARTHUR FITZWILLIAM TAIT (1819-1905)On
ARTHUR FITZWILLIAM TAIT (1819-1905)On the Qui Vive!, 1871
signed and dated "A.F. Tait N.Y. 1871" lower right
oil on panel, 12 by 16 in.
numbered, titled, signed, and inscribed on back
"On the Qui Vive" is old slang for "on the alert," another common title for Tait's deer paintings. Depicting four deer with flying mallards behind on the shore of Racquette Lake in the Adirondacks, this bright and lively jewel of a painting reveals the artist at the peak of his painting abilities.
This important work is titled and described in Tait's 1871 register entry as No. 19. It is illustrated in Cadbury and Marsh's text on the artist: "[No.] 19. Deer. on the qui vive! Buck & 3 Does. 16 x 12. Mr. Dorman, 109 E 27th St. Del'd to him March 17th & paid same time [$125.00] in his own frame by [blank]."
Known as one of America’s earliest sporting artists, Arthur Fitzgerald Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While in the employ of the art firm, Tait was exposed to the works of Edwin Landseer (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others.
In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the lives of Native Americans through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin's stories would have captivated the young and talented Tait.
In 1850 Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivalled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England.
With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became a full member. Editions of Tait’s works for Currier and Ives were reproduced by the thousands and formed some of America’s most iconic images of the Victorian era. The exceptionally popular "American Field Sports" series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs "A Chance for Both Barrels," "Flushed," "On a Point," and "Retrieving." These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as "An Anxious Moment," "A Tight Fix," and "Trappers at Fault: Looking for the Trail," have become embedded as part of our heritage and serve as signposts along our path as a nation.
Today, Tait's wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, DC; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others.
Provenance: Dorman Collection
Mrs. J. Augustus Barnard Collection
The Metropolitan Museum of Art, New York, 1979
Private Collection
Literature: Warder H. Cadbury and Henry F. Marsh, "Arthur Fitzwilliam Tait: Artist in the Adirondacks," Newark, DE, 1986, pp. 215-16, no. 71.10, illustrated.
- A GREEK ICON tempura on panel, depicting
A GREEK ICON tempura on panel, depicting Jesus seated, with St George and St Demetrius below, 25cm high x 20.5cm wide
- RUSSIA, EMPIRE. RIBBON FOR THE CROSS
RUSSIA, EMPIRE. RIBBON FOR THE CROSS AND MEDAL OF ST GEORGE Part roll of ribbon for the the following Imperial Russian awards: Medal for the 1774 Peace with Turkey; Medal for the Battle at Kinburn; Medal for the Naval Battles in Ochaov Waters, Cross and Medal for the Storming the Fortress of Ochakov, Cross and Medal for the Storming of the Fortress of Izmail, Cross and Medal for the Capture of Praga, Medal for Usefulness, Cross for the Battle at Preussisch-Eylau, Cross and Medal for the Storming of Bazargik, Medal for the Turkish War of 1828-1829,
- GEORGE NELSON FOR HERMAN MILLER BASIC
GEORGE NELSON FOR HERMAN MILLER BASIC SERIES CHEST George Nelson for Herman Miller Basic Series chest, having a rectangular top above five drawers and a single door with metal pulls, rising on ebonized legs, lacking manufacturer's mark at top drawer, 39.5"h x 40"w x 18.5"d
- GEORGE NELSON FOR HERMAN MILLER BASIC
GEORGE NELSON FOR HERMAN MILLER BASIC SERIES CHEST George Nelson for Herman Miller Basic Series chest, having a rectangular top above five drawers with metal pulls, rising on ebonized legs, with manufacturer's mark at top drawer, 40"h x 40"w x 18.5"d