DANIELS, Johnny, (American, 20th Century): Florida Highwaymen Sunrise Indian River Scene with Trees and Birds in Flight, Oil/Masonite, signed lower left, 18'' x 24'', moulding frame 21 1/4'' x 27 1/2''.
NEWTON, Harold, (American, 1934-1994): Florida Highwaymen Indian River scene with boats, birds and palm trees, Oil/Masonite, signed lower center, 16'' x 33'', framed 37 1/2'' x 20''.
CARROLL, Mary Ann, (American, 20th Century): Florida Highwaymen tranquil Indian River scene, Oil/Canvas, signed lower right, 14'' x 18'', framed 19 1/2'' x 23 1/2''.CONDITION: There is one green paint line extending from palm tree to top.
WHEELER, Charles (Chico), (American, 20th Century): Florida Highwaymen Indian River Lagoon scene with sailboat and palm tree, Oil/ Masonite, heavy impasto palette knife, 8 1/4'' x 11'', framed 14 3/4'' x 17''.
HAIR, Alfred, (American, 1941-1970): Florida Highwaymen Nocturnal Indian River scene with 2 palm trees, Oil/Upson, 20'' x 11 3/4'', framed 22 1/4'' x 14 1/4''.
MAYNOR, John, (American, 1948-2016): Florida Highwaymen vibrant Indian River fire sky with palm trees, birds in flight, Oil/ Masonite, signed lower right, 16'' x 20'', framed 23'' x 19''.
BLACK, Al, (American, 20th Century): Florida Highwaymen Indian River Lagoon sunrise scene with vibrant pink sky, palm trees and birds, Oil/Masonite, signed lower right, 18'' x 24'', framed 21 3/4'' x 27 3/4''.
NEWTON, Tracy, (American, 21st Century): 2nd Generation and son of Florida Highwaymen Sam Newton, Indian River scene with boats and palm trees, Oil/Masonite, 24'' x 48'', framed 25 1/2'' x 49 1/2''.
BUCKNER, Ellis, (American, 1943-1991): Florida Highwaymen nocturnal moonlight Indian River scene with oak and palm tree in foreground, Oil/Upson, signed lower right, 18'' x 24'', framed 21 1/2'' x 27 1/2''. Ellis Buckner died before the resurgence of the Highwaymen making his pieces rarer and very desirable to the collector.
DANIELS, Willie, (American, 20th Century): Florida Highwaymen nocturnal Indian River scene with palm trees in foreground, Oil/Board, 20'' x 16'', framed 25 1/2'' x 21 1/2''.
GIBSON, James, (American, 20th Century): Florida Highwaymen moonlight Indian River scene with palm trees, Oil/Board, signed lower right, 7'' x 5'', framed 11'' x 9''.
MCLENDON, Roy, (American, 20th Century): Florida Highwaymen fire sky Indian River Lagoon scene with palm trees and sailboat, Oil/Upson, signed lower right, 24'' x 12'', framed 27 1/2'' x 15 1/2''.CONDITION: In need of a cleaning.
MCLENDON, Roy, (American, 20th Century): Florida Highwaymen nocturnal Indian River Lagoon scene with palm trees and boat, Oil/Canvas, 25 1/4'' x 18'', framed 27 1/2'' x 20''.
REAGAN, Willie, (American, 1944-): Vibrant Florida Highwaymen sunset scene on the Indian River with trees and heron, Oil/Upson, signed lower left, 24'' x 48'', framed 28'' x 52''.CONDITION: Back of painting held to frame with duct tape.
BATTLE OF FALLEN TIMBERS.Important News. Lexington, [Kentucky] September 8. An Express arrived here on Saturday evening about eight o'Clock with letters from the Army, from which we have collected the following particulars . Staunton, VA: William Throckmorton, [September 1794]. Small broadside with wide margins and deckle edges (9x7 inches, 225x180 mm). Condition: Very light foxing and soiling, minor staining, old folds.unrecorded broadside account of the american victory over indian forces at the battle of fallen timbers - the final battle of the northwest indian war. Following the American defeat at the Battle of the Wabash, Washington reorganized the US Army and appointed Anthony Wayne as its commander. Raising a large force, and accompanied by Kentucky militia, Wayne's army began marching deep into Indian territory in the summer of 1794. Learning from St. Clair's mistakes, Wayne ordered forts erected as they advanced to cover his position and thwart any surprise attacks. After a final offer for peace was rejected by Blue Jacket of the Shawnees in mid-August 1794, the army moved toward the main body of Indian forces amassed close to British-held Fort Miami near Roched de Bout on the Miamee River. The British had long been supporting the Indian forces, as the terms of the Treaty of Paris which ended the American Revolution stipulated that they could remain in the region as long as the Indian dispute remained unresolved. On 20 August 1794, at a clearing filled with fallen trees and high grass, approximately 1000 Indians attempted a surprise attack. This broadside gives an accurate account of the battle:On the 20th ult. About 146 miles advanced of Greenville, the advance guard, consisting of two companies, were attacked by about 1100 Indians and Canadian militia: the attack being sudden and unexpected, the advance guard fell back on the main army and threw them into confusion … after forming not more than two heavy fires were exchanged before they were ordered to charge the enemy, which was instantly done; upon which the enemy immediately gave ground, and our men rushing forward with such impetuosity, the enemy were dislodged from their coverts; and the cavalry taking advantage of that event, pursued them about two miles when they were dispersed . . . One hundred and twenty seven scalps were taken, and a number killed in the river that were not scalped. The army remained three days on the groundm, and returned to fort Defiance, at the mouth of the Auglaize, where they were on the 34th ult. … The text of the broadside continues with a description of Fort Miami and concludes with a list of the Kentucky volunteers who were killed and wounded.The American victory over Indian forces at Fallen Timbers not only brought an end to organized Indian resistance in the Northwest Territory, but led to the Treaty of Greenville, which established a definite boundary between the United States and the Indians. The importance of this treaty was twofold: it began a period of American migration west of the Alleghanies leading to large scale settlement of Ohio; and resulted in the provision within Jay's Treaty in which the British formally abandoned their occupation of the region.This broadside is an exceptional example of early printing in the shenandoah valley , being only the second separately-printed work issued in Staunton. The broadside appears to be unique, with no other extant copies. Not listed in Evans, Bristol, Shipton and Mooney, or Hummel. No copies listed in OCLC or American Book Prices Current .
Eanger Irving Couse (1866–1936) — Repose: . Eanger Irving Couse (1866–1936). Repose. oil on canvas. 20 × 24 inches. signed lower left. . Repose will be included in the E. I. Couse Catalogue Raisonné. . Virginia Couse Leavitt writes, “Indian flute players appear in many Couse paintings, most often in the context of courtship. The horizontal composition of Repose showing an Indian from Taos Pueblo stretched out on a river bank communing with nature, is unique. . “In the main body of this painting he has created an interesting composition based on three horizontal bands. At top and bottom are two dark bands, represented at the top by trees and at the bottom by a rock. In between these, a third band is represented by the flute player who stretches out bathed in light. This horizontal banding reinforces the theme of Repose. Couse added interest to this composition, however, by including two separate bands of color on the right representing a sliver of river and distant hills bathed in sunlight. . “Painting the qualities of light was a lifelong interest of Couse. This painting represents yet another example of how he explored this interest. ”. . PROVENANCE. Couse Estate, New Mexico. C. W. Edwards Ltd. , Seattle, Washington, 1982. Private collection, Chicago, Illinois. John Pence Gallery, San Francisco, California, 1987. The Buck Collection, Laguna Niguel, California. The Leis Collection, Pacific Palisades, California. John and Toni Bloomberg, La Jolla, California. . EXHIBITED. Couse Retrospective, Panhandle-Plains Historical Museum, Canyon, Texas, 1967. Desert Southwest Art Gallery, Palm Desert, California, 1968. Visions of the West: Highlights from the Bloomberg Collection, San Diego Museum of Art, San Diego, California, 2020-21. . View more information Dimension Condition Surface condition very good. Canvas is lined. Faint hairline cracks in trees above Indian. Small spot of inpainting in water in lower-right corner.
Bronson G Stevenson Crow Indian Etching: Featured in this lot is a Bronson Graves Stevenson Crow Indian etching. Bronson Graves Stevenson (1901- 1989) was an American artist known for his western etchings. This etching displays a Crow Native American watering his horse at the bank of the Little Big Horn River in Montana. The etching displays the horse and two dogs drinking from the river with a large clump of trees on the opposite bank. The piece shows a wonderful art style and is marked across the bottom, reading "Crow Indian Watering Horse Little Big Horn River, Montana 25/30 Bronson G Stevenson". The etching is set into a paper frame and shows good condition overall. The frame measures 17" wide by 15 3/4" tall, with the etching measuring 8 3/4" wide by 6 1/2" tall.
CHURTON, William (d. 1767).Group of 7 manuscript surveys of western North Carolina undertaken for the Moravian Church during Bishop Spangenberg’s Expedition, each accomplished and signed by Churton . North Carolina, 3 November to 19 December 1752. Each 1 page (measurements below). Condition: Minor foxing and browning, each tissue-backed.a remarkable survival of among the earliest surveys of the north carolina frontier, resulting in the first moravian settlement at wachovia. In 1751, John Carteret agreed to sell up to 100,000 acres of land in western North Carolina to the Moravian Church. Bishop Augustus Gottlieb Spangenberg (1704-1792) and five companions set out from Bethlehem, PA and arrived in Edenton, NC in September 1752. Churton, who officially served as Carteret’s surveyor in North Carolina, there accompanied the expedition with several assistants to the remote region on the Catawba River. At the time, this area of the Blue Ridge Mountains was predominantly inhabited by Indians, adding a significant element of danger to the task. According to Spangenberg's diary (quoted in Fries, Records of the Moravians in North Carolina ), surveying began on 3 November 1752 -- the exact date of the first survey present here.This archive of seven surveys constitute four different tracts being considered for settlement. Besides a map of the tract with a detailed description of the boundaries below, each survey is signed by Churton and includes a listing of the names of the chain carriers who assisted him. Concerning the maps on each survey, four of the seven include geographical elements such as hills and tributaries, and the other three merely an outline of the plot. The surveys are accomplished at a scale of 30 chains per acre. 1) 3 November 1752. A tract of 1000 acres. “Lying on the head Branches of Little River that head up in the Brushy Mountains & runs into the Cawlorbert River a little above One Barrels Place Beginning at a Pine running thence S° 105 chains near a Red Oak then Et 25 Chains to a Hickory by a Spring branch thence S° 35 Chains to a Red Oak then Et 15 Chains near a Wt Oak then S° 317 ¾ Chains to a Wt Oak then Et 40 Chains to a Pine then S° 26 ¾ Chains to a Wt Oak then Wt 20 Chains to a Wt Oak then S° 16 ½ Chains to a Wt Oak then Wt 60 Chains to a Pine then N° 75 Chains to a Wt Oak sapline [?] then Wt 15 chains to a Wt Oak then N° 35 Chains to a Wt Oak then Wt 25 Chains to a Red Oak then N° 105 Chains to a Red Oak then Et 40 Chains to the first Station.” (7 ½ x 9 inches, 185x230 mm.)2) 13 November 1752. A tract of 1100 acres. “Lying on the North side of the North fork of the Cautaba River just above Andrew Hampton's Shoals, beginning at a Spanish Oak, at the said Shoals, by the River Runing thence N: 41 ½ Ch: to a pine, then Wt: 215 Ch: to a pine, then S 61 ½ Ch: to a hickory, on the side of the River, then N 85 Et: 218 Ch: down the River to the first Station . ” (7 ½ x 9 ¾ inches, 185x250 mm.)3) 13 November 1752. The same tract as the preceding, but with additional geographic details. (7 ½ x 9 inches, 183x230 mm.)4) 15 December 1752. A tract of 3840 acres. “ Lying on the North & South fork of the Yadkin about 5 miles above the upper Mulberry Field, beginning at a White Oak, a little to the West of a small Creek, Runing thence W: 70 Ch: to a White Oak, then N: 150 Ch: to a White Oak, then Et 250 Ch: to a hickory, then N 20 Ch: to a White Oak, the Et: 45 Ch: to a Black Walnut, Then S: 140 ch: to a White Oak, then Wt: 225 Ch: to a pine, then So: 30 chains to the first Station.” (9 ¾ x 7 inches, 245x180 mm.)5) 15 December 1752. The same tract as the preceding, but with additional geographic details, including the course of the Yadkin. (9 x 7 ½ inches, 227x185 mm.)6) 19 December 1752. A tract of 4754 acres. “Lying on the south side of the Yadkin River, against the Mulberry fields, beginning at a White Oak, thence Wst 145 Ch: to a White Oak, thence S°: 110 Ch: to a White Oak, then S° 45 Et: 80 Ch: to a Beech tree on Cubb Creek, then E: 240 Ch: to a Red Oak, thence N 197 Ch: to the East and of a very small Island in the said River, then up the River 151: chains to the first Station.” (9 ½ x 7 ¼ inches, 240x185 mm.)7) 19 December 1752. The same tract as the preceding, but with additional geographic details. (9 x 7 inches, 227x182 mm.)Although much of the land surveyed by the Expedition to this point was eminently suitable for settlement, the party continued toward the forks of Muddy Creek. From 27 December 1752 until 13 January 1753, nearly 100,000 acres would be surveyed in that region and would be named by Spangenberg “Wachau” or Anglicized as “Wachovia.” Upon the expedition’s return, the Church immediately purchased this region and settlement began that year. It is worth noting that some of the land surveyed prior to Wachau -- i.e. the land surveyed in these documents -- would later be deeded to the Church as well.Beyond the importance of these surveys to the history of the Moravian settlement of the North Carolina frontier, Churton would use the surveys of the region from the expedition to help create a large manuscript map of showing the interior of North Carolina in 1757 which, in turn, would form the basis for john collet's famous 1770 map . “[Churton] probably did as much as any one in the eighteenth century to extend the cartographical knowledge of the interior of North Carolina” (Cumming, The Southeast in Early Maps , pp 56-58).
Pair of Nimschke-Style Engraved Smith & Wesson Model No.2 Revolvers Inscribed to D.B. Dyer .32 caliber RF 6'' octagonal barrels S/N 19189 S/N 17780. Nimschke-style engraving with nickel finish and pearl grips; both with custom pearl grips and contemporary hand-tooled Slim-Jim-style leather holsters. One gun originally cased in fancy rosewood box with brass corners and lined in maroon velvet lining. A near matching pair of the acclaimed rimfire No. 2 Army Smith & Wesson revolvers that first saw widespread service during the Civil War as a reliable personal weapon and later carried on the Western frontier by the likes of George Armstrong Custer and ?Wild Bill? Hickok. These guns were exquisitely engraved by the shop of superlative firearms engraver Louis D. Nimschke (1832-1904) and illustrate the perfect symmetry of his distinctive scrollwork design harmonious and masterfully executed albeit on the Smith and Wessons. Both pistols were originally cased in rosewood boxes and are identically inscribed ?D.B. Dyer? on the back strap. One gun bears the serial number 17780 and is confirmed by Jinks as having been made in 1864 and retailed by Smith & Wesson??Ts exclusive agent J.S. Storrs of New York City. The other pistol numbered 19189 was made slightly later and shows a variant pattern of Nimschke??Ts work on the frame barrel cylinder and butt strap. That both handsome pistols were once carried by Daniel B. Dyer (1849-1912) as a pair is evidenced by the matching black leather ''Slim Jim'' holsters custom-made with an identical flower-over-star pattern tooled into the leather with aesthetic reverse hook trigger guard. The right holster shows more wear than the left. Family recollection says that the Smith & Wessons were purchased by patriarch Captain George Randolph Dyer then serving as Quartermaster at Pilot Knob Missouri as a gift ??" possibly a birthday present ??" for his second son Daniel B. Dyer sometime after 1864. Parenthetically the family retains a gold cased pocket watch inscribed and presented to the older brother Captain George Dallas Dyer on the occasion of his 18th birthday in 1862 lending substance to gift story. Even though Daniel Dyer was a fifteen-year-old civilian he had been present at Fort Davidson ??" staying with his father ??" during the battle of Pilot Knob on September 27 1864 where Sterling Price sought to overwhelm the thin Federal defenses en route to St. Louis. Family history relates that young Daniel was captured at Pilot Knob and managed to escape after a few weeks. A plausible supposition is that Captain Dyer purchased the guns for his young son in recognition of that harrowing occasion. The pistols must certainly have accompanied Daniel Dyer to Baxter Springs Kansas in 1870 where he built a successful hardware and dry goods business in the sprawling cattle town. In 1880 Dyer took up a Federal appointment as Indian Agent at the newly created Quapaw Agency in the nearby Indian Territory. He had earlier accompanied General Sherman with William Cody as their scout to the Klamath Reservation in the Oregon Territory to relocate the remnants of the defeated Modoc tribe--about 165 men women and children held as prisoners of war--to the distant Oklahoma reservation. It is thought that during this time D. B. Dyer and the flamboyant plainsman who would be regaled as ''Buffalo Bill'' became lifelong friends and business associates. The Dyers moved to the Darlington Agency in 1884 near the newly constructed Fort Reno and walked into the middle of a simmering dispute between the restive Cheyenne and Arapaho bands and local cattlemen. The ranchers had purchased limited and cheap grazing rights on the reservation that provided income for the tribes but now began to encroach directly on Indian camps. Rejecting Dyer??Ts officious demands that they take up farming the hungry Indians began to steal cattle causing the angry ranchers to clamor for army intervention. Brow-beaten by the whites arrayed against them the Cheyenne led by the Dog Soldier faction grew surely and aggressive and ?threatened to go on the warpath.? The whites at the Darlington Agency immediately fled to safety of nearby Fort Reno while the Indians watched the darkened Dyer homestead for signs of the despised Indian Agent. Dyer only survived the incident thanks to a friendly half-breed who had convinced the cautious warriors that Dyer had ?already gone to the fort.? Unquestionably the pair of Smith and Wesson??Ts were cocked and ready as the Dyer family remained secreted until the cavalry came to the rescue. By the summer of 1885 Dyer??Ts days as an government Indian Agent were over. Dyer moved to Kansas City Missouri where he and a partner engaged in the real estate business reaping significant wealth and social status in relatively short order. The Dyers had brought with them a massive collection of Indian artifacts from the Darlington Agency ??" then regarded as little more than curiosities ??" which was displayed at the National Agricultural Exhibition in Kansas City in 1887. Today the Dyer collection is held ??" but not displayed ??" by the Kansas City Museum and is said to be the largest collection of period Cheyenne-Arapaho artifacts in the world. Lured to the newly opened Oklahoma Territory in 1887 by the prospect of fresh business opportunities Dyer dabbled briefly in territorial politics and was elected the first mayor of Guthrie Oklahoma before abruptly returning to Kansas City. Dyer had caught wind of a more promising venture in Augusta Georgia. Having lined up investors and secured capital he moved to Augusta in 1890 and quickly chartered the Augusta Street Railway Company. Financial reward was immediate and Dyer would go on to successfully parlay his railroad company into a multitude of holdings that included utilities real estate and the venerable Augusta Chronicle newspaper. Dyer soon commissioned an opulent twenty-seven room mansion in Augusta he named ?Château Le Vert? and thereafter alternated between his Georgia estate and the 41 acre river front manor in Kansas City called ?Clarendon.? In 1911 Dyer sold all of his Augusta interests and returned to Kansas City Missouri. On December 23 1912 at age sixty-two Daniel Dyer died of pneumonia. Woven into the rich tapestry draping the Gilded Age of Industrialists is the illustrious Daniel B. Dyer ??" a Captain of Industry. In describing his life??Ts success Dyer preferred a baseball metaphor stating matter-of-factly: ?Business is like playing baseball. I??Tve been lucky in hitting the ball.? He was brought back to the home of his father in Joliet Illinois where he was buried in Oakwood Cemetery the pair of Smith and Wesson??Ts a lasting legacy of his frontier roots and successful ascendancy in the West. Along with the pistols is a large cross section of intriguing ephemera ??"newspaper clippings letters pamphlets genealogy and photography??"relating to D.B. Dyer??Ts eminent life as a business mogul and respected philanthropist during the Gilded Age. The paper reflects Dyer??Ts privileged status during the last decade of his life and touches upon some of personal relationships he cemented with similarly high profile individuals including the American icon ?Buffalo Bill? Cody. Born on his father's rustic farm near Plainfield Illinois on March 21 1849 Dyer as a successful man expended considerable energy in documenting the extensive genealogy of his long and illustrious family tree an impulse not lost on his survivors who likewise compiled several files of florid newspaper clippings and printed obituaries after their patriarch??Ts demise and funeral in 1912. There are twelve different cabinet cards of the heavily bearded Dyer ranging from 1884 through at least 1911; all are obligatory formal poses mostly by Augusta photographers. Three of the portraits show the regal Major Dyer wearing a Georgia National Guard dress uniform GAR medals and presentation sword. From a historical perspective the most interesting photograph is the portrait of a younger D.B. in civilian suit wonderfully inked on verso ?D.B. Dyer/US Indian Agent/Cheyenne and Arapaho/Agency. I.T./May 2. 1884? with Kansas City MO imprint. Mrs. Ida Dyer??Ts later frontier classic Fort Reno does not even include her then-husband??Ts photograph from his time as Indian Agent. Two more photographs depict showman extraordinaire William Cody. One is an undated picture of the ubiquitous ?Buffalo Bill? and D.B. Dyer standing side-by-side ??" looking like twin brothers ??" with matching moustaches and goatees now aged silver-white. The other is a glossy contemporary print of Cody mounted in full regalia a later 20th century copy of an original photograph made up with a fabricated autograph by ?Buffalo Bill? to ?Col. Dyer dated Arizona Feb. 26 1911.? The extensive ephemera consists of fifty-eight large file folders dated 1898-1912 each tab having a brief handwritten description of the generally sparse contents contained therein. Twelve more folders are undated and comprise otherwise uncategorized drafts notes inventories clippings and letters. Among the most interesting material is a highly collectable engraved $1000 gold bond certificate for the Augusta Railway Company an interurban founded by Dyer in 1890 as his first business venture in that city. This fine example of scripophily is printed in rust and black with fabulous graphics the uncut document measuring 21 x 17 in. unfolded retaining all of the redeemable coupons. Dated February 1911 is a typed two page communication on the business letterhead of the Edison Storage Battery Company informing D.B. Dyer that ?converting existing carriages and wagons into electric vehicles? is ?impossible to carry??| into effect? from a cost standpoint. The iconic inventor Thomas A. Edison is listed as ?Company President.? From Mrs. William F. Cody and family is an actual black bordered death notice still in its original envelope dated January 16 1917 addressed to Miss Mabel E. Green a niece of D.B. Dyer. Also a large file relating to ?Buffalo Bill??Ts? gift in 1912 of his ?old Deadwood coach? to the local Kansas City Missouri DAR chapter. Two typed letters dated July 1911 (one a typed transcription of an original hand written letter) on the colorful heading of William F. Cody??Ts Campo Bonito Mining & Milling Company in which D.B. Dyer responds to Lieutenant jg. Robert. L. Ghormley USN giving the officer formal permission to marry his favorite niece Lucile Lyon. Vice Admiral Ghormley USN (1883-1958) later took command of SOPAC in April 1942 and planned the initial operation at Guadalcanal during the early days of World War Two. Another folder contains Daniel B. Dyer??Ts official paperwork related to his 1889 membership in the Military Order of the Loyal Legion of the United States (MOLLUS) a prestigious post-war organization populated exclusively by successful Civil War veterans and their male offspring. Lastly a selection of poems and illustrations by an obscure artist named Frank C. Roberts (1861-after 1924) that appears to have descended by marriage. The handwritten collection is bound in a modern folder (1997) and lists nineteen pieces of verse on a contents page written between 1895 and 1897 in Kansas City and Chicago. Frank Roberts is a virtual unknown who seems to have specialized in ?outdoor verse ? particularly ?the wild but restful forests of Canada? according to the only reference found on the Internet. Descended Directly in the Dyer Family Condition: Both revolvers have been lightly cleaned. Still retain some of the original nickel finish. Case is in excellent condition. Holsters show wear and use but are in excellent condition. Paper documents and photographs showing expected age and minor handling wear else undamaged.
China, 230 Photographs, 1910-1917 Album of Photographs, the vast majority captioned and dated 1910-1917, depicting Shanghai, Yangtze River, life outside Shanghai, Hong Kong, River Canton, Canal between Shameen & City Canton, Canton, 5 Story pagoda & graveyard outside walls Canton, Inside Walls Canton, 5 story Pagoda & graveyard outside Walls Canton, Cheefo, Wei-hai-Wei, Pei-ho River old Taku Forts, Junks on the Pei-ho, Pei-ho River, Changli station, Pei-tai-ho (x 3), Chien-Meng gate Peking, Chien-Men, On the Wall Peking, Shelter for man guarding crops, Kiaolang & Soya crop near Peking, Bell Tower Peking, Race Club Peking, Yew Trees, Temple of Heaven Peking, Temple of Heaven Peking, On Avenue Temple of Heaven, Gate-Way Altar of Heaven (x 2), Pagoda at Yu-Chuan-Shan near Peking, Terracotta Pagoda & Hills East of Peking, Hills West Of Yu Chuan-Pu, Pagoda & Indian Monument, Camel-back Bridge in Gardens Ya Choan-Shan, Temples & Lake in Summer Palace, Court-yard in Lama Temple Peking, Main Temple Summer Palace, Terrace and Pavilion Summer Palace, Pond Summer Palace, Marble Bridge Summer Palace, Bridge Summer Palace, Looking up beginning of Pass Kalgar, Foot of Pass Carts & Bullocks, Great wall on hills, Camels waiting to be loaded at Foot of Pass, Looking round lower end of Pass, Riverbed forms Road; Ascending Nantow Pass, Messrs. Brisker, Hawkshaw & Horsely - Lama Temple in Background, City Gate Outer wall of Cuina, View from train near Kalgar, 12 uncaptioned photographs, Men-Tou-Kou, coal mine near Peking (x5), Managers's House, Men-Tou-Sou, Ching-Wang-Tao, creek & end of lagoon, Shan-Hai-Kwan hills in distance, Junk, Fishing boats, bluff from harbour, Chinwantao, Making Rain-Joss at beach (x 3), Old walled town on way to Hot Springs, Up valley above Hot springs, Great Wall of China Shan-Hai-Twam, River in hills Shan-Hai-swan, Shan Tsu in distance, Bund with Dredger Tientisn, Steamer going down Tientsin, River near Russian Ferry Tientsin, Pontoon Bridge to Russian concession, Peizus waiting on Tee to take Passengers down River, Gardens, Tientsin Club, Tienstin Station, Russian Park Tientsin, Golf course Tientsin (x3), crossing to course course over Pei-ho, Fire at Liddell Bros Go-down (x4), British soldiers leaving Tientsin for Tsingtau, International Manoeuvres Tientsin (Spring 1914) showing Russian, British, French, Japanese, German troops, Icebreaker at Tientsin, Home of Mr N.J. Collins Peking, River near Canton, Inside Forbidden City Peking, Tai-Ho-Tien Forbidden City, Grotto temple near Shan-hai-Kwan (x 4), 13 photographs of Japan, Dam in course of Construction Li- Shu-Shcen (x 12), photograph of Regent Emperor 12th July 1917, ?Manchu troops in Peking, Funeral of Yuan Shih-Kai 1916 (x5), Northern Troops outside Tung Hua, Chang Siens soldiers (x 2), a flooded Chinese city (x 6), photographs of a house interior, Temples and city walls, 8 of Russia, average size 9 x 12cm., album size 25cm x 30cm., album lacking spine Estimate £ 2,000-3,000 + fees. Sold for £6,250 (buyer's premium included)
Southeast Indian Village Lithograph By Adolf Dehn: For your consideration in this lot we have a lithograph titled Southeast Indian Village by Adolf Dehn. Dehn (1895 - 1968) was an American artist most known for his lithographs, paintings, and printmaking. The piece shows a small village on the banks of a river with a couple of canoes on or around the river. The background shows a number of moss covered trees behind and around the grass thatched buildings. The piece shows a number of villagers in and about the village. It is framed in a simple stained wood frame with a cream colored border. The print is marked in the bottom right corner. The piece shows an art gallery tag in the back of the piece reading "Wolf Dehn - Southeast en n Indian Village - Lithograph - 11-10-02" and has a tag in the front reading "Adolf Dehn Etching - 11-10-02". The piece is in good condition overall with some wear in the frame. The frame measures 20 3/4" wide by 16 3/4" tall. Condition For a complete representation of condition and for additional images please call 800-686-4216. It is the buyer’s responsibility to view each image and preview the item to determine condition.
UNSIGNED (American, 19th Century) LANDSCAPE WITH INDIANS AND CANOE. Primitive oil on canvas scene shows a Hudson River type landscape with mountains, trees and water. Foreground has shoreline with canoe, Indian, Indian maiden with bow and arrow and another person. Housed in its original gilt molded wood frame. SIZE: 25” x 34”. CONDITION: Craquelure, consolidation lines showing white, mostly in tree. 9-98412 (500-1,000)
[COLONIAL PERIOD]. A group of 4 Colonial American newspapers. 1768-1772. The Boston Chronicle. Vol. 1, Number 47. Boston: Mein and Fleeming, 31 October-7 November 1768. 8pp., 4to, 8 1/2 x 10 5/8 in. Disbound (toned, occasional spotting).Reporting on Governor Tyron moving against the Regulators in North Carolina, where back-country dissidents, who called themselves Regulators, began to grow in numbers and boldness. In 1768 Tryon led a small militia force to put down a riot at Hillsborough, but the violence persisted. In the spring of 1771 Tryon determined to muster a full-scale expedition against the Regulators, resulting in the Battle of Alamance River: "Gov. Tyron has been here in person to command the militia attended against the Orange County Regulators; but as the people here had been informed of the intended expedition, there were not 1000 men under arms, although at other times usually mustered 17 companies or about 1900 men. When the review was over the Gov. produced an oath to be administered to all the men, the purport of which was that they would to the utmost of their power support and defend all the laws of the province. This occasioned a great murmuring amongst the men, and Capt. James Hamah told his Excellency that…he must decline taking the oath…and that his commission being at present, rendered very disagreeable to him…and he accordingly delivered it up. The men were ordered to remain on the field all night, under a fine of 5 pounds… But as few of them took the oath, the rest retired, everyone to his own home, unanimously determined not to fight against their own countrymen.” Local Boston news of a crowd celebrating a "large live oak tree...which they consecrated by the name of the Tree of Liberty."Additional news of the response of Lord Hillsborough, Secretary of State for the Colonies: “… his Lordship acquaints the Gov. that the disposition which is appeared in the town of Boston for some time past to resist the laws, and the measures which have been taken for opposing the officers of revenue, and for intimidating the civil magistrate, have induced his Majesty to interpose his authority for their support and for this end the commanders of his forces by sea and land will be instructed when legally called upon, to give all necessary aid to the civil magistrate; and that the civil magistrate will after this be responsible for the piece of the town, and the protection of the King's officers and subjects..." His Lordship concludes by expressing his Majesty's tender wishes that his misled subjects of Massachusetts Bay may be brought back to their duty by lenient and persuasive methods and that it would be pleasing to his Majesty, to hear that the people of Boston have been such by such means to a proper sense of their duty as the doctrines and calculated Incorporated by wicked, designing and probably self-interested men, tend only to anarchy and confusion." In response to the Townshend Acts, the Massachusetts Circular Letter, written by Samuel Adams and James Otis Jr., passed the Massachusetts House of Representatives in 1768. Lord Hillsborough, Secretary of State for the Colonies, ordered the Massachusetts General Court to revoke it. The body voted 92-17 not to do so. In response to the General Court's defiance, Governor Francis Bernard dissolved the assembly. This led to an outbreak of violence from colonists and Lord Hillsborough sent four regiments of British soldiers to Boston which arrived in October 1768.Letter from London on affairs in America: “…The Administration...seems ashamed of what they did in repeal of the Stamp Duty and are now determined to have obedience paid all acts of parliament respecting America; for this they propose to begin at Boston, where they say lies the nest from which all the evils have sprung. It is said six regiments will be kept there, besides a number of man-of-war." Also with coverage of review of troops at the Boston Common, Sir William johnson meeting with Indians at Fort Stanwix.[With:] Pennsylvania Chronicle and Universal Advertiser. Vol. III, Number 9 (Whole Number 115). [Philadelphia], 20-27 March 1769. 8pp., 4to, 9 1/4 x 11 3/4 in. Disbound (toned, chipping at edges, first bifolioum separated at hinge).Resolutions of the House of Lords on Affairs in America, with a detailed account of parliamentary proceedings in the House of Lords: “Resolved by the Lords Spiritual and Temporal in Parliament assembled, that the resolutions and proceedings of the House of Representatives of Massachusetts Bay...draw into question the power and authority of his Majesty, by and with the advice and consent of the Lords Spiritual and temporal and Commons in Parliament assembled, to make laws and statutes of sufficient force and validity, to bind the colonies and people of America, subjects to the Crown of Great Britain...in petitions which do deny or draw into question the right of parliament to impose duties and taxes upon his Majesty's subjects in America...are proceedings of the most unwarrantable and dangerous nature, calculated to inflame the minds of his Majesty's subjects in the other colonies, and into create an unlawful combinations repugnant to the laws of Great Britain and subversive of the Constitution.… It appears that the town of Boston, in the Province of Massachusetts Bay has for sometime past, been in a state of great disorder and confusion; and that the peace of the said town has at several times been disturbed by riots and tumults of a dangerous nature, in which the officers of his Majesty's revenue there have been obstructed by acts of violence...and their lives endangered...Resolved, in these circumstances the province of Massachusetts Bay, and of the town of Boston, preservation of the public peace into execution of the laws came impracticable without a military force to support and protect the civil magistrates, and the officers of his Majesty's revenue.… Resolved, that declrations, resolutions and proceedings in the town meetings of Boston, on 14 June 19 September were illegal and unconstitutional, and calculated to excite sedition and insurrection in his Majesty's province of Massachusetts Bay." Additional account of discussions in Parliament relative to America, New York celebrating the repeal of the Stamp Act, the Court-martial of Major Rogers, a meeting of the American Philosophical Society in Philadelphia. The paper also contains a notice of an escape from jail in Bucks County of three prisoners including “a negro man, named Will, about 30 years of age, 5'9" high, marked with the smallpox. Had on brown broadcloth, black breeches and rolled felt hat. $20 Reward. Includes an advertisement for an enslaved "very lively negro boy." [Also with:] The Pennsylvania Gazette. Number 2139. Philadelphia: David Hall and William Sellers, 21 December 1769. 4pp, folio, 10 x 15 7/8 in. Disbound (toned). Reporting on "Lawlessness in the Wyoming Valley" and news from Virginia regarding a petitioning Royal proclamation permitting "copper money to be brought in, and pass in this colony," concerns over counterfeit notes, legislative reporting in the Assembly of Pennsylvania, and the appointment of William Draper as governor of South Carolina. Providence Gazette and Country Journal. Vol. Xi, Number 451. Providence, RI: John Carter, 29 August 1772. 4pp., folio, 10 1/4 x 15 in. Disbound (toned, slight loss to lower edge). An officer accused of mistreating his slaves, kills his accuser in Pensacola, FL: “the dismal story George Harrison's death; Lieutenant Thomas, of the Artillery...quarreled with him about his negroes, whom Thomas had abused, and Thomas drawing his sword...when Harrison unsecured a stick he had, in which there was a sword, and attempted to defend himself, but he received a wound in his right shoulder and fell; the other then run him through the eye and nose; Harrison entreated him not to murder him, which instead of cooling, seemed to incense Thomas more, who with dreadful menances stabbed him to the heart." Also reporting of slave revolt in Suriname: “Captain Bogart, in 27 days from Surinam, informs us that a short time before he sailed from thence the wild negroes cut off two plantations, and killed two white men; and that was much feared, that unless succours soon arrived there from Holland, a great damage would be done." News of Indian affairs at Fort Pitt: “A party of Indians (said to be Chickasaws) entered the store of Messrs. Rumsie and Company at Caskaskys, and behaved in a very turbulent manner...upon which a scuffle ensued between them and the white people attending the store when one of the latter was murdered."Together, 4 Colonial American newspapers from the 18th century.
19th C. Bakairi Indians Wood Mayaku (Child's Basket): **Originally Listed At $800**. . Native American, South America, Brazil, Bakairi Indians, ca. 19th to early 20th century CE. A fascinating anthropological object, this is a mayaku, or child's carrying basket. It is made from bent sticks lashed together into a long, ovoid frame with high, steep sides and one pointed end, giving it the appearance of a boat in profile. The body is covered with thin, dried tree bark that looks similar to leather, forming an enclosed space for a child. The Bakairi live on the upper Xingu River and use objects like these for carrying children safely. Size: 10. 5" L x 37" W x 11. 65" H (26. 7 cm x 94 cm x 29. 6 cm). . Illustrations of similar objects can be found on plate 240, #s 3-5 in Otis Tufton Mason's exhaustive study, "American Indian Baskets", vol. 1 + vol 2. published as one volume by Dover reprints in 1988. This important study was originally published in 1904 as "Indian Basketry". Doubleday, N. Y. . . Provenance: ex-Davis collection, Houston, Texas, acquired before 2013 from various auction houses in London and New York. . 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. . #138676 Condition Losses to bark around one end as shown in the photographs; the bark is in somewhat fragile condition and has come away from the top of the basket in places. The bent sticks are generally in nice condition, and the form of the basket is strong.
RALEIGH, Sir Walter (c.1552-1618).The Discoverie of the Large, Rich and Bewtiful Empire of Guiana, with a relation of the great and Golden Citie of Manoa (which the Spanyards call El Dorado) And of the Provinces of Emeria, Arromaia, Amapaia, and other Countries, with their rivers, adjoyning. London: Robert Robinson, [1596]. Small 4to (172 x 130 mm). 112pp., [A-P4]. Woodcut ornament to title, woodcut chapter initials and headpieces many with historiation. 19th-century calf by Riviere, gilt spine and turn-ins, gilt edges. Condition: upper margin of title restored in partial facsimile, a few repairs to at least 3 leaves, margins shaved, some soiling; turn-ins faded to endpapers, joints tender, light shelfwear. Provenance: Old East India House/ Ex Libris/ Boies Penrose (bookplate to front-free endpaper); Boies Penrose II (armorial bookplate to front pastedown); Acquisition: purchased from William Reese Company (2000), $9,200.first edition, the boies penrose copy of raleigh's account of seeking el dorado. There were three issues of this work, all printed in 1596. This is the rare third issue with p.21, reading 'Nueuo reygno de Granada', p.60, line 12 starting 'it, there' and the variant spelling 'Empyre' and 'Citie' on line 6 of title-page.England was a relative latecomer to the Age of Exploration. Sir Walter Raleigh played a leading role in England's early efforts at increasing the Elizabethan empire. Declaring his voyage in the name of Queen Elizabeth, whenever he came across an Indian community he told them, through an interpreter, about the Queen; even showing them her image, for greatest appeal. Raleigh wrote, "I shewed them her Majesty's picture, which they so admired and honoured…so as in that part of the world her Majesty is very famous an admirable, whom they now call Ezrabeta cassipuna aquerewana, which is as much as "Elizabeth, the Great Princess, or Greatest Commander."Whenever possible Raleigh used native guides on the voyage, believing their employ the easiest way to assume power over this new land and profit from a mutual friendship. Raleigh described in plentiful detail the lush, natural habitat he encountered, 'On the banks of these rivers were divers sorts of fruits good to eat, flowers and trees of such variety as were sufficient to make ten volumes of Herbals; we relieved ourselves many times with the fruits of the country, and sometimes with fowl and fish. We saw birds of all colours…'. Such imagery is often attributed to influencing Shakespeare's writing of 'The Tempest'. Though Raleigh only found tiny amounts of gold, he still held steadfast to the legendary rich return to be found in El Dorado. Perhap enamored by the beauty and other natural wealth of the land, he was convinced that there were well hidden veins of gold in the mountains of northern South America. 'I will promise these things that follow, which I know to be true. Those that are desirous to discover and to see many nations may be satisfied within this river, which bringeth forth so many arms and branches leading to several countries…And the shining glory of this conquest will eclipse all those so far-extended beams of the Spanish nation' -Sir Walter Raleigh European Americana 596/85; Church 254; Sabin 67553; STC 20636.
Engraved Powder Horn Moses Walcut 14'' length engrailed edge with a 3.5'' smooth spout and a notched surface around the opening. A domed wood base with a brass eye in the base. Engraved with the British coat of arms with highlighting behind the guardians and shield ending with another royal lion standing atop the crown. Engravings of soldiers birds animals trees including a winged griffon with large pointed teeth. Engraved Moses Walcut Horns Made At Fort EDW 1758. 1758 is engraved behind the soldiers. This well documented horn is featured in Jim Dresslar's The Engraved Powder Horn book on pages 28 & 29 in which Private Walcut's military service is summarized: drafted out of the 5th Connecticut Regiment of Militia served 15 days in the 1757 campaign in Capt Rudd's Connecticut Militia in relief of Fort William Henry. Walcut later served in Col. Fitch's 3rd Connecticut Regiment from April 13 to November 20 the entire 1758 campaign. During the French & Indian War Fort Edward was a key strategic military post on the east bank of the upper Hudson River the center of a frontier war zone known in lore as the ''The Great Carrying Place.'' Ft. Edward was constructed in 1755 on the site of an earlier French post and was improved during 1755-56 as an expansive three bastion Vauban-style fort made of stone surrounded by a dry moat. Opposite the fort was Rogers Island the base camp of the famous green-clad Rogers Rangers who made their reputation mimicking native tactics during the French and Indian War. The garrison was heavily reinforced in August-September 1757 following the loss of Ft. William Henry (the French burned it) and the horrendous massacre that occurred at the base of Lake George. As the tide of war slowly turned in favor of the British Fort Edward served as the major staging area and depot for Major General Jeffery Amherst's British Army during his ultimately successful invasion of Canada in 1759-60. Condition: The horn has a nice white-to-yellow patina. There is a small chip at the base where Fort Edward is engraved. This is an outstanding French and Indian War engraved powder horn.
CLASSIC ''AMERICA'' INDIAN PRINCESS PRINT: Hand Colored Engraving by ''B. Maryno'', c 1790, 7 3/4'' x 5 3/4'', original frame, on early white laid paper. Features a classic oval portrait of a standing Indian Princess ''America'' holding an arrow in one hand and a large bow in the other. Clad in animal skins, and a red tinted, yellow fringed woven skirt, a head wrap bedecked with red, white, and yellow feathers. The dark skinned Indian princess looks demurely straight ahead; forest, palm and palm trees, a waterfall, mountains and a river are depicted in the background. ''America'' is inscribed at her feet and in the bottom margin. An important early engraving with a most impressive historic icon.CONDITION: Lightly toned and aged but still sharp and clear.
Eanger Irving Couse (1866–1936) — Two Indian Children: . Eanger Irving Couse (1866–1936). Two Indian Children. oil on board. 12 × 16 inches. signed lower left. . VERSO. Titled. . Two Indian Children will be included in the E. I. Couse Catalogue Raisonné. . According to Virginia Couse Leavitt, “Couse’s favorite model, Ben Lujan, from Taos Pueblo, had nine children, many of whom posed for him over the years. Ben’s oldest daughter, Santanita, and oldest son, Eliseo, appear in this painting of two children seated on a river bank in the moonlight. On the left, the two children, illuminated by the moonlight, are set against a dark background of trees. Contrasted to that, on the right is a moonlit view of the distant shore. . “Couse is famous for his tonal paintings such as this, both moonlight or firelight scenes. His lifelong interest in painting the qualities of light goes back to his French period as a student at the Académie Julian and his subsequent years living in the art colony at Étaples. After arriving in Taos in 1902, however, the brilliant light and colors of New Mexico transformed the impressionist palette of his earlier work into the rich palette for which he is best known today. ” . . PROVENANCE. The artist. Private collection, Florida, 1930. Private collection, by descent. Rob Day, Austin, Texas, 2009. . View more information Dimension Condition Surface condition is very good. No signs of restoration.
Important 19th century Georgia map, “Map of the State of Georgia, Prepared from actual Surveys and other Documents for Eleazer Early,” by Daniel Sturges (c.1765-1823), engraved by Samuel Harrison, 1818, four-quadrant map separated into fifty 5-3/4 x 9 in. panels, showing 39 counties in Georgia, Indian territories and villages, roads, towns, military outposts, rivers, swamps, ridges, and portions of modern day South Carolina, Alabama, and Florida, 1 inch to 8 mile scale, statistical table for 39 counties and three Indian territories showing the area, median length and breadth, population, and “Seat of Justice,” also includes other reference and geographical information, “Published and Sold By Eleazer Early Savannah Georgia, and By John Melish and Samuel Harrison Philadelphia” lower center, “Entered According to Act of Congress by Eleazer Early Proprietor” and “Engraved by Saml. Harrison 1818” lower right, vignette at top with classical figures holding spear, wheat sheaf, tree branch, the Georgia great seal, with sailing ship in background, county boundaries outlined in color, on wove paper, inscribed “Georgia Historical Society, Savannah, Georgia” in brown ink on mounting, 46-1/2 x 58-1/2 in. (page); accompanied by photocopy of 1967 Parke-Bernet catalog listing for map and hand-written label. Sewn and laid down on linen backing with marbled fore paper verso, panels with toning, scattered foxing, fading, smudges, soiling, minor corner loss, one panel in title margin with 1/4 x 1/4 in. corner loss, linen hinged to acidic card, stains and mildew, creases with separations, inscription with fading and stains. By tradition, said to have been used by the Marquis De Lafayette on his 1825 tour of Georgia; “The Celebrated Collection of Americana Formed by the Late Thomas Winthrop Streeter,” Parke-Bernet Galleries, Inc. New York, April, 1967 (Parke-Bernet Gallery notes indicate it was purchased from Montagu Hankin, 1942); purchased by consigner’s father circa 1970. Private Collection.
MACKENZIE, ALEXANDER, Sir. Voyages from Montreal, on the River St. Laurence, through the Continent of North America, to the Frozen and Pacific Oceans. Engraved frontispiece portrait; 3 large folding engraved maps. [4], viii, cxxxii, 412, [2] pages, including errata leaf at end. 4to, contemporary tree calf, handsomely rebacked; portrait foxed, offsetting onto title, maps lightly offset, each with short clean tear in inner corner, second and third maps offsetting onto facing pages. Armorial bookplate of Sir William G. Pearce. London: R. Noble for T. Cadell et. al., 1801
first edition of the first narrative of a north american transcontinental crossing, and an important and accurate source for the fur trade and for Indian languages and customs of the region. The book describes expeditions from Fort Chipeway to the Arctic Sea in 1789, and from the New Establishment on the Peace River to the Pacific Ocean in 1792. Hill 1063; Howes M133; Lande 1317; Pilling 2384; Streeter Sale 3653; Wagner-Camp-Becker 1:1.
COLLECTION OF PHOTOGRAPHS OF CHINA, INDIA, CEYLON, EGYPT AND NORTH AMERICA LATE 19TH/EARLY 20TH CENTURY 87 PHOTOGRAPHS OF CHINA, predominantly taken in Hong Kong and Shanghai, where Schröder was based for some time. These photographs appear to be from Schröder's personal collection and reveal insight into contemporary life of a Western merchant in China, as well as the daily lives of locals. One photograph shows Schröder himself swimming in Hong Kong- he appears standing in the water holding a ball, surrounded by friends, one of whom holds a pet monkey. There are several Shanghai street scenes, notably of the Foreign Settlement and Nanking Road. Another photograph depicts Schröder with three friends in tennis clothing, with one holding a racket, as they lounge outdoors possibly just after a game. The photograph is annotated '13 Mohawk Road, Shanghai' (now South Huangpi Road), which is an address in the International Settlement- this photograph may have been taken at the racecourse which existed on this street. There are also professional photographs taken by William Saunders (1832-1892) and Thomas Child (1841-1898), including the iconic image of the Foreign Office Tsungli Yamen ('Foreign Office') in Beijing from 1878 24 PHOTOGRAPHS OF USA AND CANADA, including a photograph of the SS Kaiser Wilhelm der Grosse, the transatlantic luxury cruise liner which first entered service when it set sail from Bremerhaven to New York on 19th September 1897, likely the same year as these photographs were taken. It is considered to be the first ever superliner due to its four funnels. 5 sheets are signed WM Notman & Son, the Canadian photography studio which was known for compiling albums for tourists of bourgeoning modern cities and expansive natural landscapes of Canada (here including Mountain Creek Bridge on the Canadian Pacific Railway from c.1884-89, and the Three Sisters peaks near Canmore, Alberta). 15 PHOTOGRAPHS OF EGYPT, including 7 numbered and signed 'Zangaki'. The Zangaki brothers were Greek photographers working in Egypt who specialised in photography for the emerging European tourist market at the end of the nineteenth century. Their works depict both ancient Egyptian landmarks as well as scenes of contemporary life- such as image 572 depicting two men filling baskets with water along the river Nile and image 833 illustrating a staged depiction of two lovers in discussion. 26 PHOTOGRAPHS FROM INDIA, including 7 photo-chrome photographs numbered and signed 'P.Z.' after the Swiss printing company Photoglob Zurich, which still exists today. These coloured works were produced by transferring the photographic negative onto lithographic printing plates. These brightly coloured images show some iconic Indian landmarks such as image 20029 of the Agra Taj Mahal, and image 20006 which shows the Chandi Chowk market, one of the oldest and busiest markets in Delhi. The unsigned photographs depict the architecture of India, for example a photograph of the Lucknow Residence which existed only in ruins at this point, following the unsuccessful Indian Rebellion of 1857 against British ruling, may signify Schröder's own interest in local culture and history. 18 PHOTOGRAPHS OF SRI LANKA, including 6 signed by Scowen & Co. Charles Scowen was a prominent British photographer working in Sri Lanka from the 1870s until around 1890. His work is noted for its strong compositional qualities, attention to lighting, and high quality printing. He is known for his photographs of Malay women such as the photograph Tamil Cooly Plucking Tea Leaf on offer, and also for landscapes such as the photograph The Lake, Kandy, which is where Scowen was based. Schröder's personal photographs of Sri Lanka echo that of Scowen with images of tea pickers and large fields of tea leaves. 137 PHOTOGRAPHS OF JAPAN, including 15 professional hand-coloured photographs. These photographs depict both Japanese monuments and scenes of daily life across Japan and were popular modern souvenirs for visiting Europeans. This collection contains scenes such as a warrior fully armoured, a bathroom in hot-spring in Hakone, and farmers working in a tea garden in Fujiyama with a view of Mount Fuji in the distance. The photographers include amongst others Adolfo Farsari (1841-1898), Felice Beato (1832-1909), Ogawa Kazumasa (1860-1929), Tamamura Kozaburo (1856-1923), Suzuki Shin'ichi, Kusakabe Kimbei (1841-1934) and Uchida Kuichi (1844-1875) Smaller unsigned photographs of Japan also form part of this selection, with 8 images per sheet measuring 5.4" x 3.5" each, compared to the average photograph which measures 7.7" x 10.2". These smaller scenes are photo chrome coloured and also depict staged scenes of contemporary life such as women enjoying leisure time, shops displaying their various wares, and busy street scenes during a festival, along with cherry blossom trees in full bloom (qty) largest 26.5 x 21.7cm Estimate £ 10,000-15,000 + fees Provenance: From the collection of the Merchant and Anthroposophist Johannes Gottfried William Schröder (1870-1942). For more information, please see lot 304.. Sold for £20,000 (buyer's premium included)
JOHN MARSHALL. THE LIFE OF GEORGE WASHINGTON. FIRST LONDON EDITION WITH ALL MAPS, PRINTED FOR RICHARD PHILLIPS BY T. GILLET, 1804-1807 John Marshall. The Life of George Washington, Commander in Chief of the American Forces During the War Which Established the Independence of his Country and First President of the United States, London: Printed for Richard Phillips by T. Gillet, 1804. First English edition, 8vo, complete in five volumes, with all 12 listed maps. Quarter leather with marbled covers, edges and eps, five raised bands on spine. Vol. 1: [1, blank], frontis of Washington by Stuart, title, Preface [xxiv], Contents [xxv-xxxii], 453, List of Plates, publisher?s ads [455-458], 2 folding maps: Map of the Northern Provinces of the United States and Map of the Southern Provinces of the United States, both printed for R. Phillips, 71 St. Paul?s Church Yard, Russell Junior, sculpt., [1, blank]. Vol. 2: [1, blank], frontis of Mount Vernon by G.I. Parkyns, title, Contents [iii-vii], 541 and Notice: ?It is supposed that the Manuscript of another Volume of this Work will be received from America in the course of the Autumn, and that the entire work will be completed, in Four or Five Volumes, before Christmas./ No. 71, St. Paul?s Church-Yard,/ June 12, 1804./ The BINDER is requested to place the View of Mount Vernon facing the Title./ By Taylor, Black-Horse-Alley; Stower, Charles Street, and Marchant, 3, Greville-Street, Hatton-Garden. [1, blank] Vol. 3: [1, blank], frontis of The City of Washington in 1800, Parkyns, del., Title, Contents [iii-viii], 460. Last page with engraving set below text of The Elm Tree at Washington, under which Mr. Penn made the first Treaty with the Indians. [1, blank] Vol. 4: [1, blank], (no frontis), title, Contents [iii-vii], 589. [1, blank] Vol. 5: [1, blank], folding map, Boston and its Environs, published Sept. 18, 1806 by R. Phillips, Bridge Street, Blackfriars, London. Cooper, sculpt., title, Contents [iii-vii], 667, Pedigree of General Washington [668], List of the Engravings [listing 10 maps in Vol. V], publisher?s ads [3 pages] and 9 folding maps. [1, blank] The 10 maps in Vol. 5 are not bound in the order listed on the Engravings page but all maps are present in the following order, with the numbers in parentheses indicating the number listed on the Engravings page: A Map of Part of Rhode Island (7), Plan of the country from Frogs Point to Cotton River (8), Investment and Attack of York in Virginia (15), The scene of operations of the Northern Army including the Wilderness through which General Arnold marched to attack Quebec (16), A plan of New York Island (9), A map of the country from Raritan River in East Jersey (10), A map of those parts of Virginia, North Carolina, and Georgia (11), A plan of the Northern part of New Jersey (12) and The Siege of Charleston (13)
1900s J. H. Sharp Painting - View from Artist's Studio: Joseph Henry Sharp (American, 1859-1953). "View from the Artist's Studio Montana, The Crow Reservation" oil on canvas, ca. 1901-1905. A very special landscape painting by Joseph Henry Sharp, presenting a view from his log cabin, named Absarokee Hut by the artist, which served as both his home and studio during his years on the Crow Reservation in Montana. In the artist's words, "I have built…my 'hut' in just this spot because I wanted to paint the winter landscape here as well as the Indians, " Sharp stated, "to paint them day after day and month after month. " The composition presents green grass dotted by trees across the groundline, a silhouette of blue ridged mountains in the distance, and the big, open Montana sky above. Size of painting: 13. 5" L x 19. 5" W (34. 3 cm x 49. 5 cm) Size of frame: 18. 875" L x 24. 7" W (47. 9 cm x 62. 7 cm). . J. H. Sharp would go on to be a founding father of the Taos Artist colony, beginning in 1912, and specialize in portraits of Native Americans as well as larger compositions that documented their ways of life. Although a childhood hearing loss impeded Sharp's traditional education in his native Bridgeport, Ohio, he excelled in the visual arts and enrolled in the McMicken School of Design in Cincinnati when only 14 years old. According to the Smithsonian American Art Museum, "In 1881 he went off to Europe, the first of three study trips abroad, each of which was followed by visits to New Mexico and the Columbia River basin. He spent part of the summer of 1893 in Taos and passed on word of its artistic resources to Ernest Blumenschein and Bert Phillips, whom he had met in Paris in 1895. For two decades, he divided his time between teaching at the Cincinnati Art Academy, sketching in the Northwest, and summering at Taos, where he finally established a permanent residence in 1912. Sharp was a charter member of the Taos Society of Artists, with which he exhibited for many years. His favorite subject was the Indian and his fast-disappearing lifestyle. Sharp drew and painted with a facility and accuracy that gave his work ethnographic as well as artistic value. ". . On the verso of the painting is a letter written by Harold McCracken, Director, Buffalo Bill History Center on July 22, 1967 addressed to George Kolbe, a former owner of the painting, in which McCracken states that the painting was created "by J. H. Sharp in his studio at the Crow Reservation, Montana, sometime between 1901 & 1905. ". . This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques. . . Provenance: ex-Denenberg Fine Arts, Los Angeles, California USA; ex-private Helen and William Georgenes collection, Santa Fe, New Mexico, USA; ex Charles Putney collection; ex George Kolbe collection; ex Richard I. Frost collection, Curator of the Buffalo Bill collection, Cody, Wyoming, USA. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #164842 Condition Painting is in excellent condition, save slight stains. Chips to frame finish as shown. Wired for suspension and ready to display.
Eanger Irving Couse (1866–1936) — The Evening Camp (1920): . Eanger Irving Couse (1866–1936). The Evening Camp (1920). oil on canvas. 16 × 20 inches. signed lower left. . VERSO. Label, Kennedy Galleries, New York, New York. . The Evening Camp will be included in the E. I. Couse Catalogue Raisonné. . According to Virginia Couse Leavitt, “An Indian is crouched in the gloaming on a river bank before a small fire. His upper body, silhouetted against some dark trees, is illuminated by the warmth of the fire, whereas his deerskin leggings reflect a cool white light. This theme of an Indian seated before a campfire is repeated in many Couse paintings, but always in a somewhat different and compelling manner. . “Couse arrived in Taos in 1902. He soon became famous for the moonlight and firelight pictures he began to paint under the influence of the strong light and brilliant colors of the region. The muted palette he used in The Evening Camp is of special interest because it falls into the middle years of his Taos experience, when it was common for the artist to use strong tonalities, yet in this case he was exploring something different. Although he often repeated certain themes, his main purpose was always to explore the varied qualities of light. Here he was interested in the juxtaposition between the warm firelight reflected off the bare torso of the model and the cool light reflected by the white deer skin of his leggings. ”. . PROVENANCE. Newhouse Gallery, St. Louis, Missouri, 1921 . Kennedy Galleries, New York, New York. Mongerson Galleries, Chicago, Illinois, 1977. Private collection, Janesville, Wisconsin. Coeur d’Alene Art Auction, Reno, Nevada, 2016. Private collection, Reno, Nevada. . View more information Dimension Condition Surface condition is excellent. Canvas is lined. Small spots of inpainting throughout.
THOMAS HILL (American, 1829-1908) “SUNSET ON MT. RANIER”. Oil on canvas scene shows snow covered mountain in distance, river with Indian encampment along its banks. Tree lined banks with nice sunset colors in sky. Housed in a replacement carved and gilt frame. Signed lower right T. Hill. SIGHT SIZE: 13 3/4” x 21 3/4” . CONDITION: Cleaned with some minor inpainting, near excellent. 9-71018 (40000-60000)
341. A lot of Three Framed Miniature Paintings from India, 19th Century
Three narrative scenes from Indian folklore. Watercolor on paper with gold highlighting and spot varnish, each matted and framed, image sizes 4-1/2" x 7-1/4", with frames 10" x 12". The first scene depicts a prince bearing Krishna across a river protecting him from three serpents, embellished by surrounding figures and buildings. The second scene a Maharaja holds court with Krishna seated upon cushions and a leopard rug surrounded by courtly maidens. In the third story, the young Krishna and Radha are shown outside a palace with two felled trees while women attend indoors. Each is delicately rendered and highly decorative. Provenance: The Dr. Alvin O. Bellak Collection.
400/600 Sold: $494.50
Polychrome Painted Pine "DR. WHITCHER" Trade Sign with Indian Figures, America, late 19th century, rectangular pine panel with applied molding, one side painted with the figure of a Native American man wearing a feathered headdress standing with bow and arrows in one hand, and a leafy branch in the other, in a river valley landscape; the reverse showing a Native American woman standing in a landscape with shrubs and trees, both with black painted lettering below reading "DR. WHITCHER," (imperfections), overall ht. 25 1/4, wd. 19 in.
Scattered paint losses, age cracks- one is 16 in. lg. going through male figure, a couple ring stains, the other side with female is somewhat dark and faded.
19th century Indian school - seated lady on the bank of a river, another woman hidden amongst the trees, gouache, signed, 12.75" x 9.25"
WELD, Isaac; Jr.Travels through the States of North America, and the Provinces of Upper and Lower Canada, during the years 1795, 1796, and 1797. London: John Stockdale, 1799. 4to (263 x 205 mm). Engraved folding map hand-colored in outline, engraved map of Canada, engraved plans of Washington, Quebec and Niagara Falls, 11 engraved plates (16 total). 8 pp. of publisher’s ads in the rear, errata overslip on the List of Plates. Contemporary tree calf gilt, spine stamped in gilt and with a black morocco lettering piece. Condition: scattered minor foxing, short repaired tear to H3; restoration along the joints, else minor wear.first edition. Isaac Weld (1774-1856) set sail from Ireland for Philadelphia in 1795 and spent just over two years travelling in the Mid-Atlantic states and Canada. “Often guided by Indians, he explored the vast forests and great rivers. While in the towns he mixed in the best society, and he met George Washington. He returned home at the close of 1797” (DNB). His work was well received and quickly went through three editions, as well as translations in French, German and Dutch.Howes W235; Sabin 102541; TPL 708.
An Antique Indian Manuscript Illumination. Meticulously painted in polychrome pigments with tile accents depicting a prince and princess in a central rectangle with ornamental borders outside of which are pictorial borders on three sides with farm scenes cranes in a lake peacocks a woman making an offering to a holy man trees rivers buildings mountains hunting scenes and distant cities. The verso with calligraphy not framed measures apprx. 13-1/2" x 8-1/2".
- Oil on wood panel painting of a tree-lined moonlit river scene with Indian tepees on the shore, c.1885, in a similar style to R.A. Blakelock, initialed indistinctly l.l. and unframed. 10”x13.75” - |
Ralph Albert Blakelock O/B Moonlit Landscape Ralph Albert Blakelock (American, 1847-1919) oil on wood panel, moonlit landscape, with heavily forested foreground and moon rising against a cloudy sky; the moon is reflected in the ground or possibly a pool below. Signed R.A. Blakelock lower right in red. Rococo style whitewashed giltwood carved frame. Authenticated by Norman A. Geske of the Nebraska Blakelock Inventory in 1976. Label verso for University of Nebraska Blakelock Inventory No. 909 (full record number is NBI-909-II). Additional label with handwritten inscription "Tennessee Fine Arts Center Nashville Tenn." 5 3/8" x 7 3/4" sight, 12" x 15" framed. Biography (courtesy Askart and Michael Zellman, 300 Years of American Art): Ralph Albert Blakelock studied briefly at Cooper Union, and at the Free Academy of the City of New York. In 1867, he first exhibited at the National Academy of Design. Primarily self taught, he declined his wealthy father's offer to pay for more extensive art schooling, and in 1869, embarked on a horseback tour of the West that lasted several years. He lived with Plains Indians, painting pictures of their villages, and traveled and painted through the Rockies and the Sierra Nevadas and in San Francisco and Mexico. His western paintings were in the Hudson River style, although they were rough and more painterly. Returning to New York, he developed what became his signature expression: quiet, moody, nocturnal scenes accented with bright colors depicting light, and trees silhouetted against the sky. He had a labor-intensive technique, which was building up of multi layers of thick paint, scraping some away, and "adding more to build a complex tonality". (Zellman 420). In 1899, Blakelock had a mental breakdown. He spent the final two decades of his life in a mental institution in New York. It was only in the final few years before his death that collectors began paying substantial sums of money for his work. Provenance: The living estate of Dr. and Mrs. Benjamin H. Caldwell, Nashville, TN, ex-Tennessee Fine Arts Center at Cheekwood. (Higher-resolution photos are available at www.caseantiques.com)
Ralph Albert Blakelock O/B Moonlit Landscape: Ralph Albert Blakelock (American, 1847-1919) oil on wood panel, moonlit landscape, with heavily forested foreground and moon rising against a cloudy sky; the moon is reflected in the ground or possibly a pool below. Signed R. A. Blakelock lower right in red. Rococo style whitewashed giltwood carved frame. Authenticated by Norman A. Geske of the Nebraska Blakelock Inventory in 1976. Label verso for University of Nebraska Blakelock Inventory No. 909 (full record number is NBI-909-II). Additional label with handwritten inscription "Tennessee Fine Arts Center Nashville Tenn. " 5 3/8" x 7 3/4" sight, 12" x 15" framed. Biography (courtesy Askart and Michael Zellman, 300 Years of American Art): Ralph Albert Blakelock studied briefly at Cooper Union, and at the Free Academy of the City of New York. In 1867, he first exhibited at the National Academy of Design. Primarily self taught, he declined his wealthy father's offer to pay for more extensive art schooling, and in 1869, embarked on a horseback tour of the West that lasted several years. He lived with Plains Indians, painting pictures of their villages, and traveled and painted through the Rockies and the Sierra Nevadas and in San Francisco and Mexico. His western paintings were in the Hudson River style, although they were rough and more painterly. Returning to New York, he developed what became his signature expression: quiet, moody, nocturnal scenes accented with bright colors depicting light, and trees silhouetted against the sky. He had a labor-intensive technique, which was building up of multi layers of thick paint, scraping some away, and "adding more to build a complex tonality". (Zellman 420). In 1899, Blakelock had a mental breakdown. He spent the final two decades of his life in a mental institution in New York. It was only in the final few years before his death that collectors began paying substantial sums of money for his work. Provenance: The living estate of Dr. and Mrs. Benjamin H. Caldwell, Nashville, TN, ex-Tennessee Fine Arts Center at Cheekwood. (Higher-resolution photos are available at www. caseantiques. com) Condition Painting: Drying cracks resulting in "alligatored" appearance to paint, 1/4" area of abrasion along perimeter of left edge. Frame: Losses to two corners, some small cracks, two 1/2" losses to inner edge molding, scattered small surface layer losses.
12th C. Indian Pala Stone Stele - Parvati w/ Peahen: **Originally Listed At $8000**. . Northeastern India, Pala Period, ca. 12th century CE. A finely carved black stone stele depicting the deity Parvati, goddess of love and family adored for her assistance in marriage, fertility, and parenting. She is the daughter of king Himavan and Queen Mena, consort of Shiva, and mother to Ganesha and Kartikeya. In addition, the Puranas describe her as sister to Lord Vishnu and river goddess Ganga. She appears in many manifestations, sometimes as Durga or Kali with eight or ten arms. Here she presents eight arms which are indicators of her divine nature that carry symbolic implements (such as a flame, a mirror - a symbol associated with Shiva and a sign of wisdom and the emptiness of worldly matters, a flute, a pomegranate symbolizing fertility, an axe, and a scroll that may refer to the Puranas). The goddess stands upon a lotus pedestal carried by a pair of peahens with floral blossoms in their mouths. See more about this iconography below. Size: 17. 625" W x 24. 5" H (44. 8 cm x 62. 2 cm); 27. 125" H (68. 9 cm) on included custom stand. . Kapaleswarar Temple, one of the most famous in Chennai, is located in what is today known as Mylapore (Mayilapur) which means "City of the Peacock. " A legend of the Puranas (sacred Sanskrit writings) tells of Parvati's association with the peacock. According to the story, when Lord Shiva was attempting to impart his pearls of wisdom to Parvati, she was suddenly distracted by a peacock. Upset by this, Shiva cursed her and ordered her to take birth as a peahen, declaring that he would later join her after she worshipped him in the form of Shiva Lingham under a Punnai tree. It took years and years of searching, but the peahen finally discovered a Shiva Lingham in Mylapore. Upon finding Shiva Lingham, Parvati (as a peahen) worshipped Lord Shiva, carrying floral blossoms to him in her beak. At once, Lord Shiva then reunited with Parvati. . Carved from black basalt, a stone that was popular among sculptors during the Pala and Sena periods in northeastern India and in what is now Bangladesh, this stele most likely once occupied a niche within a temple to served as a focus of worship. . A black stone stele created during the Pala Period and depicting Vishnu sold for $47, 500 at Christie's New York (Sale 14484, lot 616) on September 13, 2017. . . Provenance: ex-collection of Medill Sarkisian, Sarkisian Gallery, Denver, Colorado, USA, collected in the 1950's. . 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. . #131805 Condition Expected surface wear commensurate with age, but imagery is still very clear. Abraded areas at the peripheries
Hodges Soileau (B. 1943) "Sequoyah": Hodges Soileau (American, B. 1943) "Sequoyah" Signed lower right. Original Mixed Media painting on Paper. . . Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . This painting originally appeared on the Fleetwood Sequoyah Commemorative Cover postmarked February 21, 1983. . . Sequoyah, also known as George Gist, was probably born about 1770, near Fort Loudon on the Tennessee River. From childhood Sequoyah lived among the Cherokees. Although he knew no English, he was fascinated by the whites' method of transmitting information over long distances with writing, and their ability to accumulate knowledge with printed words. About 1809 he began experimenting with an alphabet for the Cherokee language, but his work was interrupted by the Creek War of 1813-14. Along with other Cherokees he served as a soldier under Andrew Jackson against the Creeks. Returning to his Cherokee alphabet after the war, Sequoyah eventually devised eighty-six written characters, each representing one of the syllables of the tribe's spoken language. The syllabary proved to be easy to learn and was officially adopted by the tribe. In 1827 the Cherokee leaders ordered printing types cast of Sequoyah's alphabet, purchased a press, and on February 21, 1828, the first issue of the Cherokee Phoenix was published, a unique event in American Indian history. During that year Sequoyah was invited to Washington where government officials presented him with an award, and Charles Bird King painted his portrait. His last years were spent in a search for the "lost" Cherokees, a group who had migrated to Mexico. He died near Matamoras sometime in 1843. Among the memorials to Sequoyah's genius are the giant trees of California that were given his name, a national park, and a statue in the national capitol. . . Image Size: in. . Overall Size: in. . Unframed. . (B06904) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be out bid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live.
Ed Vebell (1921 - 2018) "Lewis and Clark" Oil Ptg: Ed Vebell (American, 1921 - 2018) "Lewis and Clark Reach Pacific Ocean" Signed lower right. Original Acrylic painting on Masonite. . . Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . This painting is the original painting which was published on the Fleetwood Commemorative Cover for Epic Events in American History series issued in 1985. . . One of the most celebrated moments in American history occurred on the morning of November 7, 1805, when Captain Meriwether Lewis and Captain William Clark stood on a peak in Oregon and gazed at the Pacific Ocean. Clark engraved the historic event on the trunk of a pine tree "By land from the United States, 1804 and 1805, " and in his journal quite simply, "reached Cape Disappointment at the entrance of the Columbia River to the Great South Sea and the Pacific Ocean. " That brought to a triumphant close an enterprise launched by Christopher Columbus, Admiral of the Ocean Seas, in 1492. It was, characteristically enough, Jefferson who had conceived the expedition, obtained Congressional support, and defied international laws by penetrating the empires of Spain and of Britain. What is more, Jefferson set down in detail the agenda of the expedition ". to find the most direct and practical water communications to the Pacific, " explore the mineral and other resources of the vast West, keep records of temperature, flora, fauna, the customs of the Indian tribes, and lay the foundations for American claims to the whole of the "Oregon" country. That was both bold and ambitious, but in the end Britain gave in to the reality that Lewis and Clark had been the forerunners, and that the United States could make good its claim. . . Image Size: 20. 25 x 21. 25 in. . Overall Size: 24 x 27. 25 in. . Unframed. . (B05369) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.