A few examples of appraisal values for
ALBERTA

• NELSON KENONatural material and
  NELSON KENONatural material and stone, "Spirit 1975", Northern Alberta, artist's number, 10 inches high.
• ALBERTA KINSEY (1875-1952), VERANDA
  ALBERTA KINSEY (1875-1952), VERANDA WITH PLANTS, 1929, OIL ON CANVAS, 20" H X 18" WAlberta Kinsey, (1875-1952) Veranda with plants, 1929, Oil on canvas Signed and dated lower left: Alberta Kinsey Oil on canvas Dimensions: 20" H x 18" W Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above
• RICH ROENISCH (ALBERTA, CANADA)
  RICH ROENISCH (ALBERTA, CANADA) "THE WILD BUNCH'Patinated western bronze horse sculpture, "The Wild Bunch" signed in cast Roenisch (Rich Roenisch, 20th/21stc., Alberta, Canada), numbered 1/20, presented on stepped wood base, approx 21.5"h, 19"w, 15"d, 64.45 lbs
• BLACKFOOT INDIAN BEADED BELT &
  BLACKFOOT INDIAN BEADED BELT & KNIFE SHEATHS Two Blackfoot / Blackfeet Indian knife sheaths and a beaded belt with provenance. On a business card "John W. Harding Foreign editor of the New York Recorder". Handwritten on reverse "Beadwork belt made & used by the Blackfeet Indian, N.W.T. Canada Obtained on the reserve, Gleichen, Alberta, Canada, during my "tour around the world afoot" in '94. Presented by me to Mr. J. W. Harding, June 29, 96 H. G. Yorker (?)". All beadwork is fragile, there are many loose beads. Sheath with fold pocket, 8" x 4.5". Sheath 7 5/8"x 2 3/8". Belt, 2.25" x 37". It is likely that more of these tiny beads will shed/be lost during preview and shipping. Condition: Fragile. Needs stabilization / conservation.
• (8) Vintage garment group to
  (8) Vintage garment group to include Alberta Ferretti green mohair overcoat, textured leather jacket, S, Paino Piano Dolce Carlotta MOP button closure wool full length jacket, 40, runs small, Jenne Maag grey wool coat, S, (2) 1960's dresses, XS/S, Cinzia Rocca wool coat, US size 2, along with a vintage Priscilla of Boston wedding dress, 34" bust, 30" waist.
• 7lbs of Quilt Fabric- Y2K,
  7lbs of Quilt Fabric- Y2K, Millenium, and Swap. Group includes 6 different year 2000 fabrics by Fabric Traditions, General Fabrics, and VIP. All appear to be at least one yard long. Millenium fabrics have been pre washed and are in good condition. Along with a large box from 1999 of 61 swap envelopes from all over the USA and countries from all over the world, Germany, Cape town, Singapore, Lithuania, Denmark, Alberta Canada, South Africa, and more. All with fabric swatches, signed blocks, and notes. Most swatches are around 3'' and there appears to be 25 in most envelopes. Many include a small signature block as well. Some even include a short letter. This would be a wonderful project to either complete or research. If you have any doubt, please ask questions! We will provide extra pictures, or can schedule an in person or video conference preview at your convenience. In house Flat Rate Shipping of $25 is a domestic shipping estimate for first quilt and includes insurance. We will gladly combine multiple lots for your convenience and economy. Each additional quilt or quilt top we can pack in the same box is $5 each. Please feel free to contact us with any questions.
• RICHARD E. BISHOP
  RICHARD E. BISHOP (1887-1975)Prairie Wings, 1945 signed and dated "Richard E Bishop '45 ©" lower left oil on canvas, 30 by 25 in. signed, titled, and dated on back An edition of "Prairie Wings" by Edgar M. Queeny, published by Ducks Unlimited in 1946 accompanies the lot. In 1946, Edgar Queeny published "Prairie Wings" through Ducks Unlimited. It is now one of the most important books on waterfowl ever written. He studied the landing patterns of birds over Wingmead, his 14,000 acre property in Arkansas, which had three named green tree reservoirs: Wingmead, Paddlefoot, and Greenwood. Queeny was an active patron of Bishop's and partnered with the artist for the many illustrations throughout the book, including the color frontispiece. Queeny wrote, “Dick’s paintings and etchings of wildfowl are outstanding because he is not only a superb artist but a topnotch engineer! As a result of his engineering training and his understanding of aerodynamics, mechanics of flight and the anatomy of birds came as second nature to him…the results are portraits of birds as they really fly!” Bishop’s original drawings and Queeny’s photographs from "Prairie Wings" were donated by Thomas K. Figge to the John L. Wehle Gallery of Sporting Art at the Genesee Country Village & Museum in 1986, where they remain in the permanent collection. This famous frontispiece for "Prairie Wings" comes from the collection of Joseph N. Pew Jr., the Sun Oil heir, philanthropist, and avid sportsman. He hunted and fished in Nova Scotia, started the Pew Charitable Trusts, and likely encountered Edgar M. Queeny in New York’s Links Club, where both were members. Provenance: Joseph N. Pew Jr. Collection Alberta Hensel Pew Baker Collection, Chester, Nova Scotia Private Collection Literature: Edgar M. Queeny, "Prairie Wings: Pen and Camera Flight Studies," New York, NY, 1946, frontispiece, XIII, p. 225.
• IMPORTANT PINTAIL DRAKEAndrew A.
  IMPORTANT PINTAIL DRAKEAndrew A. Tull (1840-1915) Philadelphia, PA, c. 1856 17 1/2 in. long An exceptional Delaware River pintail drake, this example is a regional archetype quite distinct in form from other celebrated and later Delaware River pintail peers. This decoy is debuting in the modern decoy market after having resided in the Alberta Wingate family of Philadelphia for generations. Dating back to 1856 or prior, it is one of the earliest Philadelphia decoys known to exist. The maker of this decoy has been inaccurately identified as John Blair by Henry Fleckenstein Jr. in his "New Jersey Decoys" book and by Harrison Huster and Doug Knight in "Floating Sculpture." However, early decoy historians Bob White and Hal Sorenson were on the right trail when they discussed a closely related A Tull pintail in the 1977 "Decoy Collector's Guide," captioning, “This beautiful pintail drake from the lower Delaware River has “1856” stamped in the weight. It would well be a fore-runner to the “Blair” style.” Fellow Delaware River decoy legend Kenneth Gosner in 1985 gravitated towards White and Sorenson’s assessment when discussing an “A Tull” branded pintail in his Delaware River decoy treatise, writing, “obviously related to the Blair tradition and possibly predating the classic style.” Research by noted Delaware River decoy collector Jeff Martinides follows White, Sorenson, and Gosner’s beliefs as he points out that John Blair does not appear to land on the shores of America until 1865 — almost a decade after an “A Tull 1856” decoy was stamped. In 2014 Russ Allen lifted the veil on the Tull mystery when he researched a pattern-making family from the Kensington section of Philadelphia. Andrew J. Tull was the son of John P. Tull. The 1860 U.S. Federal Census Report lists Andrew as following in his father’s footsteps as a pattern designer. Tull’s occupation as a pattern maker explains the beautiful lines and exacting construction of this decoy. Though research on Andrew Tull is still ongoing, we know that on January 18th, 1863, Andrew married Emma Mathews, also of Philadelphia. Shortly thereafter, on April 1, 1864, at the age of twenty-two, he enlisted in the U.S. Navy and served aboard the vessel "Chicopee" as a firefighter. In reviewing this Tull pintail lot, its sleek, hollow body draws to a long and sharply pointed tail which resolves with crisp chines on both the top and sides. The raised neck seat secures a slightly forward-reaching head with refined bill and eye groove carving. The underside is fitted with two small lead weights, one with the region's classic chamfers. The body is finished with exceptional and dynamic feather painting with a tight craquelure patina. The lively and well-executed feather painting technique stands out in a city known for its fine plumage representations. The paint on this bird is by far the best found on any Tull. L-shaped cut nails revealed in this decoy circa 1860 are rare, and typically only found in the finest and earliest decoys, including the dove-tailed decoys and Osgood geese. Exceptional early gunning paint with even wear and a minor chip under the bill tip. Provenance: Alberta Wingate Collection, Philadelphia Robert Brown, Philadelphia Private Collection by descent from the above Literature: Hal Sorensen, "The Blair Mystery," Decoy Collector's Guide, 1977, p. 74, Tull pintail illustrated. Henry A. Fleckenstein Jr., "Decoys of the Mid-Atlantic Region," Exton, PA, 1979, p. 59, Tull decoy illustrated. H. Harrison Huster and Doug Knight, "Floating Sculptures: The Decoys of the Delaware River," Spanish Fork, UT, 1982, pp. 38-39, Tull decoys illustrated. Henry A. Fleckenstein Jr., "New Jersey Decoys," Exton, PA, 1983, p. 231, related Tull decoy illustrated. Russ Allen, “Arthur Bartholomew Vance and the ‘Philadelphia School’,” Decoy Magazine, May/June 2014, pp. 2431, related Tull decoys illustrated. Hal Sorenson, "Decoy Collector's Guide,” 1977, pp. 74-78, related Tull decoys illustrated. Kenneth L. Gosner, “Working Decoys of the Jersey Coast and Delaware Valley,” Cranbury, NJ, 1985, p. 84, related Tull carvings illustrated.
• A DOULTON FAIENCE VASE Circa 1885
  A DOULTON FAIENCE VASE Circa 1885 Of baluster form with everted rim, painted by Alberta L.Green, with yellow hibiscus against a graduated green ground, between brown glazed neck and foot with lappet borders, impressed factory marks, painted artist's monogram, assistant's initial F for Catherine Francis, 26cm high
• Two reproduction prints by Canadian
  Two reproduction prints by Canadian artist Alice Saltiel-Marshall, including Lake Louise, Banff National Park, Alberta, and Spirit Island, Maligne Lake, Jasper National Park, Alberta. Image 5.5” x 8.5” Overall 12” x 14.5” Condition: very good CT Transfer Fee $10
• William George Hardy (1895-1979),
  William George Hardy (1895-1979), Canadian ALBERTA: A NATURAL HISTORY ALBERTA: A NATURAL HISTORY
• Photograph Portrait of the 19th
  Photograph Portrait of the 19th Alberta Dragoons Non-Commissioned Officers, early 20th century gelatin silver print framed 8.25 x 14.25 in — 21 x 36.2 cm
• JEAN MIOTTE (1926-2016)
  JEAN MIOTTE (1926-2016) FRENCHJean Miotte, "No Return", acrylic on canvas, signed lower right, 51 1/4 x 63 3/4 inches. Jean Miotte was a French abstract painter, in the style known as L'Art Informel. His work was preserved and studied by the Miotte Foundation and is in the collections of museums including: MoMA and the Guggenheim in New York, Musée d'Art Moderne de Paris, and Haus der Kunst in Munich [Source: Wiki]. Provenance: Estate of a Canadian Senator, Alberta Canada. Purchase at the Vik Gallery, Edmonton, Alberta, in 1988. The Vik Gallery was owned by the late Dr. Knut Egil, MD. Dr. Egil served on the boards of the Edmonton Opera, Alberta Ballet, Edmonton Art Gallery and Theatre Network. He founded the Vik Gallery on 104th Street where he was proud to represent such artists as Joane Cardinal-Shubert, Jane Ash Poitras and Jim Davies (Source: Edmonton Journal).
• RARE & LARGE STORAGE BOX,
  RARE & LARGE STORAGE BOX, UKRAINIAN, MANITOBAA large and rare Ukrainian storage box from Sarto, Manitoba, in red and black paint, embellished with tin cutouts that are both decorative and functional, with original brass lock and decorative tacks. Illustrated on the front cover and page 7 of "Ukrainian Pioneer Furniture" published by the Ukrainian Museum of Ontario (book included ) and partially pictured in "Canadian Folk Art to 1950", page 132. The outward facing horse head motif is found on other Ukrainian boxes, including the companion piece to this box that is in the collection of Alberta's Glenbow Museum. Ex collection John and Pat Fleming. H: 32"; W/L: 45"; D/P: 28". FRANCAIS: Grand et rare coffre de rangement ukrainien de Sarto, Manitoba. Peinture rouge et noire agrémentée de découpes en tôle à la fois décoratives et fonctionnelles, serrure en laiton d'origine et clous décoratifs. Illustré sur la couverture et à la page 7 de "Ukrainian Pioneer Furniture" publié par le Musée Ukrainien de l’Ontario (livre inclus) et partiellement illustré dans "Canadian Folk Art to 1950" page 132. Le motif à tête de cheval tourné vers l'extérieur est représenté sur d’autres boites ukrainienne, dont celle de la collection du Musée Glenbow de l'Alberta. Ex-collection John et Pat Fleming.
• PAINTED MORTAR AND PESTLEA
  PAINTED MORTAR AND PESTLEA painted mortar (8" x 5" dia.) and pestle (9" x 2") with red and gold bands. Early 20th century, found in Alberta. FRANCAIS: Mortier (8" x 5" dia.) et un pilon (9" x 2") peints avec des bandes rouges et dorées. Début 20e siècle, trouvé en Alberta.
• BRONZE BUST BY HAROLD PFEIFFERA
  BRONZE BUST BY HAROLD PFEIFFERA bronze bust of Johnny Powderface, Stoney First Nation, Alberta, by Harold Pfeiffer (Canadian, 1908-1997). Signed and dated 1980. Mounted on a walnut base. Perfect condition. Measuring, 12" high, 5" deep.
• ACOMA POT BY ALBERTA ANALLA WITH
  ACOMA POT BY ALBERTA ANALLA WITH FEET AND TRIANGULAR DESIGN 6.25"H Acoma pot by Alberta Analla with feet and triangular design 6.25"h
• ALBERTA KINSEY (AMERICAN,
  ALBERTA KINSEY (AMERICAN, 1875-1955) OIL ON BOARD PAINT...DESCRIPTION: Alberta Kinsey (American, 1875-1955) Oil on board painting featuring the portrait of a female. Reverse marked: "Alberta Kinsley" CIRCA: 19th Cent. ORIGIN: DIMENSIONS: (Image) H: 12" x L: 9" (Framed) H: 16" x L: 13" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• VLADIMIR HORIK (CANADA B1939)
  VLADIMIR HORIK (CANADA B1939) TOWNSCAPE OIL/BOARDVladimir Horik (CANADIAN / QUEBEC / ALBERTA, born 1939) oil painting on masonite board depicting a snowy winter townscape scene. Signed to lower right and dated 1981. Mounted in a copper and black painted woodenframe with mat and holding museum name plaque to lower center. Board measures approx. 20" height x 16" width (51cm x 40.6cm). Measures approx. 30 1/4" height x 26" width (76.8cm x 66cm) overall including frame. Condition: All lots are sold as is and where is. Elite Auctioneers, LLC provides condition reports upon request to aide in your bidding decision. No statement regarding age, condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalog or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. All sales are final, Elite Auctioneers, LLC does not give refunds based on condition. Elite Auctioneers, LLC does not perform any shipping or packing services. We do have a list of suggested shippers who gladly provide quotes prior to your bidding. Please visit our webpage for a list of recommended shippers.All items listed as "attributed", "after", or "in the manner" are not being sold as original works and are not guaranteed authentic.
• 3 CANNON COUNTY MIDDLE TN
  3 CANNON COUNTY MIDDLE TN BASKETS, 2 SIGNEDGrouping of three (3) Cannon Couny, Middle Tennessee split white oak baskets with woven rims and handles including two buttocks form and one rectangular form. Smallest buttocks basket with tag reading "Hand made by Bettie E. Tanner" with her address, largest buttocks basket signed and dated "Alberta Underwood, 1992", in pencil to the base. Ranging in size from 6 1/4" H x 7 1/2" W to 10 1/2" H x 11 1/2" W. All 20th century. Condition: All baskets in excellent condition.
• LOUIS K. HARLOW ETCHING "SLOOP ON
  LOUIS K. HARLOW ETCHING "SLOOP ON AN ESTUARY"Signed in pencil LR and marked UL "Copyright 1888 by C. Klackner 17 E. 17th St. N.Y." as well as LL "B20906"; unframed but including matting; measures approximately 7-7/8" x 20-3/4" without matting; in good overall condition with some wear to bottom right corner and light toning throughout. Louis Kinney Harlow-painter and etcher-known for New England landscapes, fishermen, farms, boats, and coastal scenes-was born on March 28, 1850 in Wareham, MA and died in 1913. Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers lists him as a watercolor artist and etcher, but his auction records also show a list of oils, pastels, gouache, and mixed media. Although not listed as an illustrator, Harlow did brightly colored paintings that were highly desired by publishers of fine art books. Prang & Company and C. Klacker & Company reproduced his watercolors. Harlow started his career as a professional artist in 1880 and exhibited with the Boston Art Club in 1883, 1885, 1887, and 1894. During the early 1880s he was teaching in Detroit but moved back to Boston in the mid-1880s. Harlow's work is represented in the collections of the Strong Museum in Rochester, NY and the Whyte Museum of the Canadian Rockies in Banff, Alberta.
• CHARLES M. RUSSELL (AMERICAN
  CHARLES M. RUSSELL (AMERICAN 1864-1926) A BRONZE BUST, ...CHARLES M. RUSSELL (American 1864-1926) A BRONZE BUST, "A Native American Piegan Woman," CIRCA 1902, with dark brown patination and wearing elaborate earrings above a broad waved shawl clasped at the center with a large button over a domed circular base, verso signed "CM Russell / © 1902," incised bull's skull, raised on a Rouge Royale marble block base. Height: 6 1/4" Width: 4" Depth: 3 1/4" Note: The Piegan/Piikani people compose the largest group of the three that make the Blackfoot Confederacy.They speak Algonquian and were traditionally a nomadic people of the Northern Plains from Montana to Alberta Canada. They can be found in neighboring areas such as Idaho, British Columbia and Saskatchewan but today most live on the Piikani First Nation in Alberta and the Blackfeet Nation in Montana. Condition: Good condition with some surface buildup in areas from handling otherwise good shape. 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.” NO REFUNDS will be issued based on condition.
• JOE G. RUSSELL (AMERICAN/TEXAS
  JOE G. RUSSELL (AMERICAN/TEXAS 1926-2008) A PAINTING, "...JOE G. RUSSELL (American/Texas 1926-2008) A PAINTING, "Summer Day," 20TH CENTURY, oil on canvas, signed L/L, "Joe g. Russell," verso inscribed, "To Fifi Skidmore/ Best Wishes/ Joe N. Russell;" 11'' x 14'', 17 1/4'' x 20 1/2''. Note: Joe G. Russell was born and raised in Austin and trained and gained experience at The University of Texas, the Graphics Studio in Austin and the Texas A&M Press in College Station. He had further studies at Cloudcroft in New Mexico and the Banff School of Fine Art in Alberta, Canada, but it was the landscape of the Texas Hill Country that most captured his imagination. He had a hilltop studio just south of Kerrville from which he produced paintings of the land and the people that he loved. He became a member of the Texas Cowboy Artists Association in 1981. Condition: There are no visible signs of damage or alteration. 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."
• THE AMERICAN ART SERIES: RUSSELL
  THE AMERICAN ART SERIES: RUSSELL & REMINGTON 2 VOLFeatured in this lot is a First Edition, Two Volume Set of “The American Art Series: Charles Russell & Frederic Remington” by Sophia Craze, 1989, Crescent Books publisher, New York, in slipcase. The beauty and variety of the American experience through the work of these great artists. With stunning full-color plates, additional black-and-white illustrations, and concise, authoritative text, these unique, beautifully produced studies present the life, work and achievements of two of America's premier Old West artists. Charles Marion Russell (1864 – 1926) also known as C. M. Russell, Charlie Russell, and "Kid" Russell, was an artist of the Old American West. Russell created more than 2,000 paintings of cowboys, Indians, and landscapes set in the Western United States and in Alberta, Canada, in addition to bronze sculptures. Known as 'the cowboy artist', Russell was also a storyteller and author. Remington is arguably one of the most influential Western artists who ever lived. Frederic Sackrider Remington (1861-1909) was an American painter, illustrator, sculptor, and writer who specialized in the genre of Western American Art. His works are known for depicting the Western United States in the last quarter of the 19th century and featuring such images as cowboys, Native American Indians, and the US Cavalry. These very fine "coffee table" books are in very nice condition in their display box and dust jackets. Intact pages are clean and bright, no marring observed. Original illustrated dust jackets and original illustrated slipcase are in very nice conditions. Books in slipcase measure 10.75"W x 15"L x 1.25"D
• MORT GRAHAM - A NATIVE HERITAGE
  MORT GRAHAM - A NATIVE HERITAGE PRINT SERIESFeatured in this lot is this print series by Mort Graham, titled "A Native Heritage", and printed by Zenith Graphics of Alberta, Canada. The series includes the portraits of multiple prominent Native American Indian figures, in the likes of a paper bound booklet, and ten individual loose prints. The figures included in the project consists of Pakan a Cree Chief, Big Plume A Sarcee, Big Bear Cree Chief, Medicine Calf or Button Chief War Chief of the Southern Bloods, Poundmaker A Cree Chief, Eagle Tail Head Chief of the Northern Piegans, Bull Head Head Chief of the Sarcee, Red Crow Head Chief of the Southern Bloods, Old Sun Head Chief of the Northern Blackfoot, Crowfoot Head Chief of the Northern Blackfoot. Each portrait is based off of a photograph of the chiefs, and is accompanied by a short biography. The series was used as a guest list for the 25th anniversary of Helena, Montana "Frontier Town" creators and owners, John and Sue Quigley. Frontier Town was the first of its kind, it is stated on a historical website "Constructed primarily of native logs and stone, Frontier Town was built almost singlehandedly by one determined and talented man -- John R. Quigley (1915-1979). With the help of his wife Sue Quigley, his children Jack, Peter and Kitty Ann, John operated and continually upgraded Frontier Town for over three decades.". The condition of this collection of portraits shows well preserved condition with a small tear in the spine of the folder but otherwise shows no obvious signs of damage to the portraits. The measurements of each of these portraits is 18 x 13 7/8".
• INDIAN WHY STORIES 1ST ED.
  INDIAN WHY STORIES 1ST ED. LINDERMAN C.M. RUSSELLThis is a Scarce First Edition of "Indian Why Stories: Sparks from War Eagle's Lodge-Fire" written by Frank Linderman and illustrated by Charles Russell and published in 1915. The book is comprised of numerous Native American Indian folklore stories including "Why the Chipmunk's Back is Striped", "Why Blackfeet Never Kill Mice", "Why the Indians whip the Buffalo-Berries from the Bushes" and many more. The book is a renowned collaboration between Linderman and Russell who were good friends. Frank Bird Linderman was a Montana writer, politician, Native American ally and ethnographer. Born in Cleveland, Ohio, he went West as a young man and became enamored of life on the Montana frontier. While working as a trapper for several years, he lived with the Salish and Blackfeet tribes, learning their cultures. He later became an advocate for them and for other Northern Plains Indians. He wrote about their cultures and worked to help them survive pressure from European Americans. For instance, he supported establishment of the Rocky Boy Indian reservation in Montana for landless Ojibwe (Chippewa) and Cree, and continued as an advocate for Native Americans to his death. Charles Marion Russell, also known as C. M. Russell, Charlie Russell, and "Kid" Russell, was an American artist of the American Old West, known as "the cowboy artist", a prolific artist who created more than 2,000 paintings of cowboys, Native Americans, and landscapes set in the western United States and in Alberta, Canada, in addition to bronze sculptures. This red cloth bound gold gilt illustrated hardcover is in good overall condition, scuffing observed on cover edges. Intact pages have painted top edge, fore edge appears deckled, age tanning with slight foxing exhibited. No other obvious marring noted. Measures 6.25"W x 8.25"L x 1.25"D
• T.J. HILEMAN (1882-1945) LAKE
  T.J. HILEMAN (1882-1945) LAKE MCDONALD LODGE PHOTOFeatured in this lot is this Lake McDonald Lodge photograph from Pennsylvania photographer T.J. Hileman. The hand tinted photograph shows a wonderfully and professionally crafted construction that shows the Lake McDonald with a resort on the left side of the lake and shows a forest at the base of a hill on the right with the dam in the center of the lake. The artist signature is shown in the bottom right hand corner of the photograph. T. J. (Tomar Jacob) Hileman (1882–1945) was an American photographer born in Manor Township, Armstrong County Pennsylvania, who is renowned for his photos of Glacier Park in Montana, and Blackfoot people. After working a while in Chicago and graduating from Effingham School of Photography there, he moved to Colorado and began to take photographs. In 1911, Hileman moved to Kalispell, Montana to open his own portrait studio. He and Alice Georgeson were the first couple to marry in Glacier National Park in 1913. Appointed the official photographer for the Great Northern Railway in 1924, Hileman took photos of Glacier National Park and Waterton Lakes National Park in Alberta, Canada, moving bulky camera equipment by packhorse, even at times perching on a narrow ledge to get just the right image on film. He also photographed the Prince of Wales Hotel in Waterton, Alberta, which was built by the railway. In 1926, Hileman opened photo-finishing labs in both Glacier Park Lodge and Many Glacier Hotel, which were convenient for tourists who could drop off their film in the evenings and pick up their prints the next morning. The condition of this this framed hand painted shows no obvious signs of damage to the photograph and shows some wear to the frame due to age. The measurements of this framed photograph is 14 1/4" x 20 1/2" and the visible photograph measures 12 3/4" x 19".
• BOSTON CUSTER'S COLT CARRIED AT
  BOSTON CUSTER'S COLT CARRIED AT LITTLE BIGHORNThis is quite possibly one of the most important Battle of the Little Bighorn firearms ever offered for public sale, a Colt U.S. Cavalry issue Single Action Army revolver owned personally by Boston Custer, youngest brother to George Armstrong Custer, and later owned by Chief Buffalo Hump of the Sans Arc Sioux with complete ownership history and documentation. Under General Terry’s Special-Order Number 117 on June 8, 1874, Colonel Custer acted to prepare his troops for the extended 1874 Black Hills Expedition, obtaining suitable arms for certain non-regular army personnel. Shipment information to Custer at Fort Lincoln, as obtained from jobbers used by the Colt Company, Schuler, Hartley & Graham of New York an H&D Folson, also of New York noted the shipment of six nickel plated revolvers shipped on July 29, 1874 from H&D Folson: Serial numbers 7486, 9977, 12057, 12443, 12937; and 13418 and a shipment from Schuyler, Hartley & Graham included: Serial numbers 10960, 11258, 11722, 11843, 13221, and this revolver, 12364. The nickel revolvers are all documented to 7th Cavalry Indian scouts (see Table 7, beginning at page 148 of the book, Documenting the Weapons Used at the Little Bighorn). The blue finished revolvers are documented, also on Table 7 starting at page 148 identifying serial number 11722 issued to Dr. Porter, 11843 to Dr. Lord, 10960 went to Moses Milner a civilian scout and 12364, the firearm in this lot, issued to Boston Custer who was acting as a packer in the pack train. It is noted by documented testimony from Oglala Sioux Horned Horse that on June 25, 1876 at the Battle of the Little Bighorn Horned Horse and Buffalo Hump went together crossing the Greasy Grass River at the ford. They rode to a high point to watch the battle, as Horned Horse was an old man tired of battle. They saw a lone soldier wearing buckskin clothing crossing in front of them to the north, riding a mule that was carrying some bags. Buffalo Hump told Horned Horse he wanted the mule and Horned Horse replied, “Han napiyuza sonsonla (Yes! Capture Mule)”. It should be noted for confirming this story that Captain Frederick W. Benteen, the Company H Commander of the 7th Cavalry gave testimony about Boston Custer, “He was with the pack train, the morning of the 25th, but when Boston overheard trumpeter John Martin’s message from George Custer to me to “…come on and be quick and bring packs,” Boston mounted one of the mules carrying ammunition and rode north.” Also noted 1st Lieutenant Edward S. Godfrey Commander of Company K said this about the Custer brothers, “The Custers wore buckskin suits…” Later Horned Horse and Buffalo Hump were at the spotted of the buckskin wearing man with mule, both found dead. Buffalo Hump took the boots and the revolver from the buckskin wearing young soldier (is clothes being taken by another). As per the body location as noted by 1st Sergeant John M. Ryan, Company M of the 7th Cavalry and Captain Benteen were both on burial crew and stated, “On the battlefield 200 feet down the hill from Last Stand Hill were General George Custer and his brother Tom Custer were killed, lay the bodies of their brother Boston and 18-year-old nephew Harry Armstrong “Autie” Reed. Boston was stripped expect for his stockings.” After the Little Bighorn, Buffalo Hump and Horned Horse rode with Crazy Horse at the Battle of Wolf Mountain against General Miles and the 5th Cavalry. Horned Horse surrendered with Crazy Horse on May 5, 1877 at Fort Robinson to 1st Lieutenant William P. Clark and Horned Horse acted as Crazy Horses interpreter. When Crazy Horse was killed on September 5, 1877, both Buffalo Hump and Horned Horse were present and heard Crazy Horse say on his deathbed, “I have always wanted to go to the land of the Grandmother (Canada). I shall be dead in a few minutes and will then go to the Grandmother’s country. I want you to all follow me”. In spring 1878, Buffalo Hump and some 240 lodges of the Crazy Horse band made their way into Canada including Little Hawk, the Black Elks, Low Dog and Black Fox heading for Sitting Bull’s camp. After arriving at Sitting Bull’s camp, some of their horses were stolen by a local tribe. Nicholas Black Elk and his uncle Running Horse were present on the day of the Buffalo Hump incident and their story was documented, “I was only 15… Our camp had lost some horses during the night. One of the horses belonged to Chief Buffalo Hump. Sitting Bull sent for the Grandmother police, as he was told to do by “Paddy” (Supt. James Morrow Walsh from the North West Mounted Police NWMP). Paddy sent “Big Bull” (Assistant Commissioner Acheson G. Irvine of the NWMP) and two policemen to settle the matter. As Big Bull (Irvine) rode int the camp, Buffalo Hump rant up to him to tell him about his stolen horse.. carrying his revolver in one hand and a knife in the other. Big Bull (Irvine) grabbed the revolver out of Buffalo Hump’s hand… Sitting Bull walked up behind… and said “Austan” (cease, finish, stop) Big Bull (Irvine) found the horses and returned them to Buffalo Bull, but he did not return the revolver. Day later Buffalo Hump asked Big Bull (Irvine) if he could have his gun back, but Big Bull (Irvine) said he had given it to the Commissioner of the NWMP, James Furguharson MacLeod as “Evidence”” Buffalo Hump and his Sans Arc band left Canada and surrendered at Fort Keogh and was transferred in August 1881 to the Spotted Tail Agency in Nebraska. Commissioner MacLeod served from July 22, 1876, to October 31, 1880, and oversaw the moving of police headquarters to Fort MacLeod being accredited with establishing peaceful policies for the NWMP in dealings with First Nations people. It is almost certain that Commissioner MacLeod held the Buffalo Hump Colt at this location. The gun stayed in the NWMP, later changing their name to the Royal Canadian Mounted Police RCMP, possession from 1878 until around 1922. In around 1920 William Northcote Taylor joined the RCMP, son of famed Indian Agent in the Northwest Territories William Richard Taylor the agent with whom Dr. Claude Lewis and his brother, Sinclair Lewis made a trip by canoe to make treaty payments to Northwest First Nations tribes memorialized in the book “Treaty Trip” in 1924. As per the testimony of William N. Taylors daughter, Karen Taylor in the accompanied signed letter, her father won the Colt Revolver serial number 12364 in a poker game while stationed at Fort MacLeod in Alberta, Canada in 1922. The gun then stayed in the Taylor family from 1922 until 1990. William N. Taylor dutifully registered the gun, per Canadian Law until his death in 1979 when ownership fell to his daughter Karen Taylor (an accompanying original Canadian Firearm Registration Certificate from 1945 filled out by William N. Taylor is with the lot). Karen Taylor sold the gun to a Canadian arms collector Vernon Vossler in 1990. It was published in the 1991, “Colt Peacemaker Encyclopedia Volume 2” by Keith Cochran on page 343 as S/N “12,364 7 ½ .45, Cavalry Model, this revolver was probably taken from a Sioux warrior in Canada after the battle of the Little Bighorn by an Indian Agent and Judge and then passed to his sone who was a Mountie or member of the Northwest Mounted Police. (See page 344).” The gun was in the Vossler estate from 1990 until 2008 when It was sold again in his estate sale by Bud Haynes Auction of Red Deer, Alberta (an original printout of the sale bill noting the gun, then further confirmed by Hayes, is included). At the sale the gun was purchased by Barry Kolbert, a collector from Red Lodge, Montana, only 125 miles away from the Little Bighorn. Kolbert then traded the gun to Wallace W. Francis who then traded the gun (with accompanying signed letter) to the current owner J. Michael Peters in 2016 (trading away a Colt Baby Burgess SN 6209 with letter, Colt SAA SN 962, Colt SAA SN 18318 and an additional $1,000 for this Colt SN 12364). In addition to the testimony and ownership documentation the firearm was examined by Wendell Grangaard of the Guns of History and found to be a correct matching serial number U.S. Cavalry issue Colt Single Action Army included on the Schuler, Hartley & Graham list. The gun has the legible cartouche of O.W. Ainsworth and the correct “A” inspector mark of Ainsworth, as well as the usual filings of the muzzle often used as a mark of Indian ownership by the Sioux. Most importantly the gun was found to be marked on the butte of the frame and grips by Chief Buffalo Hump telling the story of the gun in togia language. Marked on the bottom, “kill two non-soldiers – Greasy Grass – Buffalo Hump rode with Horned Horse – departed travel long rode Grandmother Land.” This further confirms the above documentation. Provenance: From General Terry’s Special-Order Number 117 issued to Boston Custer from a shipment from Schuyler, Hartley & Graham. Taken by Boston Custer to the Battle of the Little Bighorn where he was killed. Taken by Buffalo Hump and Horned Horse and eventually taken into Canada to Sitting Bull’s Camp in spring 1878. Seized by Canadian North West Mounted Police Assistant Commissioner Acheson G. Irvin as “evidence” and transferred to NWMP Commissioner, James Furguharson MacLeod. Won in a poker game at Fort MacLeod by RCMP William Northcote Taylor in 1922. Kept in the Taylor family from 1922-1990. Sold to Vernon Vossler in 1990. Vossler collection from 1990-2008. Sold in Bud Haynes Auction in August, 23, 2008, to Barry Kolbert of Red Lodge, Montana. Sold / Traded to Wallace W, Francis. Kolbert, Francis 2008-2016. Traded to J. Michael Peters 2016-present. Publications: 1991 Colt Peacemaker Encyclopedia Volume 2 by Keith Cochran; Document the Weapons Used at the Little Bighorn by Wendell Grangaard; and in Alberta Genealogical Society Relatively Speaking Volume 44, Number 3 August 2016 page 141-146 (booklet or print outs of pages mentioned included as documents). This historic piece includes a completely ownership history from its shipment to Custer’s men, capture by the Indians at Little Bighorn, capture by the NWMP in 1878, to the Canadian ownership in 1922 to present day. The ownership history has been published in the included book. Further the gun includes a historic analysis and documented testimony from Guns of History’s Wendell Grangaard as well as further documentation and signed letters. Possibly one of, if not the most well researched and recorded Battle of the Little Bighorn firearm ever brought to public sale. Antique Colt Model 1873 Single Action Army with correct U.S. stamping, “PAT. SEPT. 19, 1871, PAT. JULY, 2, 1872” on the side; matching 12364 serial number on the bottom of the butte frame, frame, trigger guard and 2364 on the cylinder. Inspection “A” mark on trigger guard, “A” and “P” on bottom of barrel, “P” and “A” on cylinder and “609” on swing out loading door. Top of the gun is marked in a single line, “COLT’S PT. F. A. MFG. Co. HARTFORD, CT. U.S.A.” cross like stamp before and after the address. The gun retains some of the original blue finish and is well kept, has the correct four click hammer pull back which turns the cylinder and correctly functions.
• HENRI DE GROOT "WHO SAYS I NEED A
  HENRI DE GROOT "WHO SAYS I NEED A BILL OF SALE?"Featured in this lot is a graphite and oil artwork called "Who says I need a Bill of Sale?," from Canadian artist Henri de Groot. The painting features a wonderfully and professionally crafted graphite and oil construction that depicts a cartoonish cowboy with a moustache, longer hair and a grey hat with a blue bandana. The artwork is signed by the artist in the bottom right hand corner. Henri de Groot produces highly refined Portraits of the West out of his home studio west of Edmonton, Alberta. He works in graphite and oil to produce beautifully detailed images of people and horses that often convey his sense of humor and reveal a glimpse of a real life cowboy or rancher. De Groot produces his yearly output evenly between color (oil) and black and white (pencil). Oil lends itself well for landscape scenes to capture the subtle shades and light of nature, while pencil drawings give the portraits depth and old time western feel. Completely self-taught, the artist feels the most important elements of any art work are light and composition, and no amount of technique will overcome the lack of those basic elements. De Groot’s works are exclusively figurative and his unique ability to capture the character and likeness of his subjects, plus the incredible crisp style has won him numerous accolades. Looking back on more than a decade as one of Canada’s premier portrait artists, de Groot said he is extremely grateful the vocation came naturally to him. The overall condition of this framed graphite and oil artwork is good with no obvious signs of damage. The measurements of this framed artwork are 24 1/8"L x 20 1/8"W, and the visible artwork measures 10"L x 8 7/8"W.*
• C.M. RUSSELL (1864-1926) THE
  C.M. RUSSELL (1864-1926) THE ROUND UP BRONZEFeatured in this lot is a bronze sculpture called "The Roundup" by American artist C.M. Russell who was born in 1864 and died in 1926. Charles Marion Russell (1864-1926) who was also known as C. M. Russell, Charlie Russell, and "Kid" Russell; was an artist of the Old American West. Russell created more than 2,000 paintings of cowboys, Indians, and landscapes set in the Western United States and in Alberta, Canada, in addition to bronze sculptures. Known as 'the cowboy artist,' Russell was also a storyteller and author. The C. M. Russell Museum Complex located in Great Falls, Montana, houses more than 2,000 Russell artworks, personal objects, and artifacts. Other major collections are held at the Montana Historical Society in Helena, Montana, the Buffalo Bill Center of the West in Cody, Wyoming, the Amon Carter Museum of American Art in Fort Worth, Texas, and the Sid Richardson Museum in Fort Worth, Texas. Russell's mural titled Lewis and Clark Meeting the Flathead Indians hangs in the state capitol building in Helena, Montana. Russell's 1918 painting Piegans sold for $5.6 million at a 2005 auction. The bronze features a cowboy roping one of two steers running away from him while he pulls his dally. The bronze is marked 'C.M. Russell' on the bronze base of the sculpture. The bronze is mounted on a marble base with a brass plaque that reads as follows: The Round Up - C.M. Russell. The overall condition of this bronze sculpture is good with no obvious signs of damage. The measurements of this bronze sculpture are 14" x 16 1/4" x 8".*
• GORDON WEBSTER - ICHIBANA
  GORDON WEBSTER - ICHIBANA LINEESigned, 2012, Blown glass, hot-assembled, 35h x 15w x 8d. Gordon Webster was born in Calgary, Alberta in 1978. In 2001, he received a Bachelor of Fine Arts on glass from the Alberta College of Art and Design. After graduation, Gordon was accepted into Toronto's Harbourfront Centre where he completed a three-year artist in residency program. Gordon has since moved to the Columbia Valley in British Columbia where he operates Sandpiper Studio with his wife Julie Gibb. His work has been exhibited throughout Canada and the US and is included in the private collection of many collectors including businessman/philanthropist, Charles Bronfman. Condition: Excellent
• JAMES HAMILTON(Irish/America,
  JAMES HAMILTON(Irish/America, 1819-1878) Ship in the Arctic, unsigned, c. 1850s, watercolor on paper, 7-1/2 x 11 in.; modern wood frame, 14-3/4 x 18-3/4 in. Note: The second arctic expedition financed by Henry Grinnell, was another attempt to locate any remains of Sir John Franklin's Northwest Passage expedition of 1845. The Grinnell Expedition was led by Elisha Kent Kane, who then collaborated with James Hamilton to illustrate his published story. Kane made sketches on the journey, Hamilton then produced watercolors such as this lot, and then engravings were made for the publication. Kane's accounts of his adventures were extremely popular. Exhibited: The Arctic Watercolors of James Hamilton , Glenbow Museum, Calgary, Alberta, October 7, 1983 - January 22, 1984, exhibition # 27, label verso. Provenance: Descended in the family of Elisha Kent Kane; Kane Manor Auction, Kane Pennsylvania, September 2003; Private Collection, Pennsylvania Condition: hinged in, wear around edges not visible under mat, possible fading; frame with wear, slight separation at corners
• GROUP OF FIVE AMERICAN DUCK AND
  GROUP OF FIVE AMERICAN DUCK AND SHOREBIRD DECOYSAmerican, late 19th/early 20th century, unsigned, of varying size and form, carved and painted wood, one with glass eyes, largest 7-1/2 x 17-1/4 x 5-1/4 in. Provenance: Bequest of Richard Bruce E. Lacont (one); Gift of Edwin and Alberta Gamble (one); Bequest of Anne Steele Marsh (three); Property from the Collections of the American Folk Art Museum Condition: all with surface dirt and accretion, scattered areas of paint loss; one shorebird with break and loss to bill and tail; one duck with break and repair to bill, chip and loss to proper right side
• HELEN FRANKENTHALER(New
  HELEN FRANKENTHALER(New York/Connecticut, 1928-2011) Untitled, 1978, signed lower right "Helen Frankenthaler 78", acrylic and crayon, with mica on paper, 30-3/4 x 41-3/4 in.; Gilt wood and composition frame, 42 x 53 in.. Exhibited: Fendrick Gallery, Washington, DC, Helen Frankenthaler: Twelve Works on Paper, January 6-28, 1979, No. 9, illustrated in color in catalog; International Exhibitions Foundation, Washington, DC, Frankenthaler on Paper: A Retrospective 1949-1984 , February 22-July 27, 1985, a traveling exhibition to The Solomon R. Guggenheim Museum, New York, New York, Edmonton Art Gallery, Alberta, Canada, Art Gallery of Ontario, Toronto, Canada, Harvard University Art Museums, Cambridge, Massachusetts, The Baltimore Museum of Art, Baltimore, Maryland, San Francisco Museum of Modern Art, San Francisco, California, Museum of Fine Arts, Houston, Texas. Condition: hinged to non acidic mount, full sheet with deckled edges, pin holes at four corners
• FOSSILIZED AMMOLITE AMMONITE W/
  FOSSILIZED AMMOLITE AMMONITE W/ MOSASAUR BITEMARKNorth America, Canada, Alberta, Bearpaw formation, late Cretaceous, ca. 71 million years ago. This is a breathtaking ammonite of the Placenticerus costatum genus, with an iridescent ammolite shell and puncture marks from a mosasaur! Not only is this ammonite astounding for the preserved signs of predation, but this shell also has turned into ammolite, a stunning organic gemstone that boasts an astonishing array of rainbows colors. Here, the brightness of this specimen's colors and the iridescence is a testament to the well-preserved state of the nacreous shell, and glimmers in fiery hues of red and orange. The color play due to lighting on this piece is astounding- best seen in person! Ammonite shells provided much needed protection from most predators, but a sizable and hungry mosasaur (an extinct marine reptile) could probably crush the shell in its jaws to get at the soft tissue. Size: 12.5" L x 2.75" W x 10" H (31.8 cm x 7 cm x 25.4 cm) The puncture holes seen on this shell- the circles near the recessed spiral- are likely teeth marks from mosasaurs, although there is some debate whether the marks are a result from limpets attaching themselves to the ammonites; however, their size as well as presence on both sides of the ammonite, linked them to the upper and lower jaws and the bite of medium-sized Mosasaurs. Another interesting note is the remains of what appears to be the tips of fossilized tentacles or other organic tissue material on the chamber opening! Ammolite is a rare, iridescent, gem-quality material cut from the fossilized shells of extinct sea creatures known as ammonites. Found only in the Bearpaw Formation in Alberta, Canada - along the eastern slopes of the Rocky Mountains - this organic gemstone has a dazzling range of colors and patterns and is highly desired for freeform natural cabochons and assembled jewelry pieces. According to the International Gem Society (IGS) statement on the difference between Ammolite and Ammonite: "You may find the terms ammolite and ammonite sometimes used interchangeably. However, ammonite, strictly speaking, refers to the fossil shells of ammonites, whether gem-quality or not. Ammolite refers to the gem-quality material made from fossils of particular species of ammonites." Also, according to IGS, "Ammonites were marine mollusks that became extinct around 65 million years ago. There were many species of ammonites, and their fossils have been found across the globe. The fossils of Placenticeras meeki, Placenticeras intercalare, and Baculites compressus can yield gem-quality ammolite. To date, this material has been found only in Alberta, Canada." Provenance: ex-private Wildwood, Missouri, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #170127 Condition: Professionally prepared with a clear fixative on surface to protect the shell. Mosasaur puncture holes and old gouges and abrasion to both sides likely from predation activity, and shell material is missing to that area. Stable fissures from fossilization throughout. Gorgeous iridescence!
• IKSIKTAARYUK STENCIL - "AN
  IKSIKTAARYUK STENCIL - "AN ANCIENT WAY OF DANCING" 1971...**First Time At Auction** Luke Iksiktaaryuk (Inuit, 1909-1977). "An Ancient Way of Dancing" limited edition stone cut and stencil on paper, Baker Lake, 1971. Edition 13 of 28. Signature, title, edition number, and date handwritten in pencil below the image. A fabulous and impressively sizeable stone cut and stencil composition by Inuit artist Luke Iksiktaaryuk (also Ikseektaryuk and Ikseetaryuk - disk number E2-45). Published in "Arts of the Eskimo: Prints" with the following description, "Inside the large community snowhouse the women have gathered to perform a dance. The man in the centre - or is it a boy? - will call out partners in turn. Two-dimensionality is carefully respected and the artist is intent on utmost graphic clarity." An outstanding artwork by Iksiktaaryuk presenting with vivid imagery and vibrant color, mounted in an attractive frame under glass. Size (sight view): 38.625" L x 24.25" W (98.1 cm x 61.6 cm) Size (frame): 40.5" L x 26.25" W (102.9 cm x 66.7 cm) Iksiktaaryuk's art has been collected by Canadian Guild of Crafts Quebec; Canadian Museum of Civilization, Dennos Museum Center, Northwestern Michigan College; Agnes Etherington Art Centre, Queen's University, Kingston; Art Gallery of Ontario, Toronto; Canadian Guild of Crafts Quebec, Montreal; Canadian Museum of Civilization, Hull; Clifford E. Lee Collection, University of Alberta, Edmonton; Dennos Museum Center, Northwestern Michigan College, Traverse City; Edmonton Art Gallery, Edmonton; Eskimo Museum, Churchill; Glenbow Museum, Calgary; Inuit Cultural Institute, Rankin Inlet; Klamer Family Collection, Art Gallery of Ontario, Toronto; McMichael Canadian Art Collection, Kleinburg; Mendel Art Gallery, Saskatoon; Musee des beaux-arts de Montreal, Montreal; National Gallery of Canada, Ottawa; Owens Art Gallery, Mount Allison University, Sackville; Prince of Wales Northern Heritage Centre, Yellowknife; Sarick Collection, Art Gallery of Ontario, Toronto; Simon Fraser Gallery, Simon Fraser University, Burnaby; University of Alberta, Edmonton; Williamson Collection, Art Gallery of Ontario, Toronto; Winnipeg Art Gallery, Winnipeg Iksiktaaryuk's "The Ancient Way of Dancing" hammered for $3600 at Waddington's, lot #69, September 16, 2020. Provenance: private Greenwood Village, Colorado, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #178625 Condition: Signature, title, edition number, and date handwritten in pencil below the image. Mounted in attractive frame under glass. Has not been examined outside the frame. Expected age wear with normal crease marks. Imagery and color are vivid. Fit with old suspension wire which we would recommend replacing.