A few examples of appraisal values for
STRONGER

• Various Artists. Five theatrical posters.
  Various Artists. Five theatrical posters. early 20th century, offset lithograph in colors. 16½ h × 11½ w in. result: $328. estimate: $800–1,200. Lot is comprised of posters for The Stronger Sex, The Factory Girl, Rollicking Shannon, and Sheriff of Angel Gulch.
• WINCHESTER MODEL 1886 LIGHTWEIGHT RIFLE
  WINCHESTER MODEL 1886 LIGHTWEIGHT RIFLE .33 WINModel 1886 Winchester rifle, .33 WCF (Winchester Center Fire) Cartridge. Serial number 140559. Barrel marked, "MANUFACTURED BY THE WINCHESTER REPEATING ARMS CO. NEW HAVEN CONN. U.S.A. PAT. OCT. 14. 1884. JAN. 20. 1885. 33 W.C.F. NICKEL STEEL BARREL ESPECIALLY FOR SMOKELESS POWDER". Upper tang marked, "Model 1886 Winchester Trade Mark". Lower tang marked, "PAT. OCT. 14. 1884. JAN. 20. 1885". Walnut stocks, metal frame, round nickel steel barrel. Standard sights. Barrel length - 24". Overall length - 42 1/2". Serial number corresponds to year 1906. (Higher-resolution photos are available at www.caseantiques.com) Condition: Bore is a little dark but should clean to good. Barrel, magazine tube, forearm cap, receiver, and lever retain 20% to 30% blue being stronger in protected areas. Screw heads are good. Wood is good with normal storage dings. Shotgun butt stock. Action is excellent.
• SPARKS CIRCUS. EVER GROWING LARGER IN
  SPARKS CIRCUS. EVER GROWING LARGER IN SIZE, HIGHER IN M...Sparks Circus. Ever Growing Larger in Size, Higher in Merit and Stronger in the Confidence of the Public Eye. Circa 1910. Color lithograph panel mounted on board, varnished. 13 x 39". Borders trimmed, heavily faded, discolored, chipped. Poor.
• FIVE CLOSE-UP PROBLEMS (THE THREE DOLLAR
  FIVE CLOSE-UP PROBLEMS (THE THREE DOLLAR MANUSCRIPT).[Vernon, Dai] Ross, Faucett. Five Close-Up Problems (The Three Dollar Manuscript). [Wichita], 1933. Plain wrapper. Mimeo. Legal-size pages, with remnants of tack-holes. Neatly disbound. Inscribed and signed to Loring Campbell by Dai Vernon. Issued during the Great Depression, Vernon's manuscripts became famous not only for their contents - many effects they explain are modern classics - but for their exclusivity and the high asking price. Roughly 20 or 30 copies of each were produced; the three-dollar manuscript was published after a stronger than expected response to the twenty-dollar manuscript. Pirated copies of both works appeared quickly, circulated by those with perhaps as few scruples as dollars in their bank accounts. Those offered here are from the original, limited releases of each work.
• ALEXANDER. THE MAN WHO KNOWS. SIGNED
  ALEXANDER. THE MAN WHO KNOWS. SIGNED WINDOW CARD.Alexander (Claude Alexander Conlin). Alexander. The Man Who Knows. Signed Window Card. Bombay: Av Yaga, 1915. Small window card advertising the mind-reading show of this successful and nefarious mentalist. Signed “C. Alexander” along the right side margin. 20 x 10”. Handsome gilt wooden frame. Printer’s date stamp (Oct. 20, 1915) to right side of image; horizontal crease across first line of text below portrait area, with a few light marginal creases and losses outside printed area. Only known copy in this size and format, with deeper and stronger coloration to the portrait than seen on the three-sheet version. “The Man Who Knows.” “Ask Alexander.” Turning away from the bombastic language favored by most magicians of his day, Alexander wagered that these simple and mysterious taglines would prove as powerful when, in 1915, he ordered a boxcar full of posters to bolster his growing public persona. Accompanied only by a portrait of the magician staring at the viewer, or in a turban forming a question mark, these now-iconic designs promised audiences nothing concrete, but enticed them to find out. While thousands of Alexander’s one-sheet posters have survived to the present day, and have become so familiar that many collectors refer to them as simply Alexander “red” or “black”, the example above represents something much rarer – a window card-format print of a design that has previously been seen only in three-sheet runs. As important, the presence of a printer’s date stamp and Alexander’s signature in the margin suggests that the print was so special as to have been handled, and perhaps approved of, by the performer himself.
• NINE PIECE BRAZILIAN CHERRY OUTDOOR
  NINE PIECE BRAZILIAN CHERRY OUTDOOR PATIO SET, TO INCLU...Nine Piece Brazilian Cherry Outdoor Patio Set, to include eight chairs, two arm chairs and six side chairs, along with a table having two 20" built in leaves, Brazilian Cherry is stronger and more dense than teak, height 29 inches, top 41" x 85". Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• TIFFANY STERLING FOOTED CENTERBOWLAmerican,
  TIFFANY STERLING FOOTED CENTERBOWLAmerican, 1902-1907, oval with lobed everted rim, base rim with four feet, all with scroll and wave decoration, gilt interior and rim, heraldic device in center with eagle preying on a hare (The More Family Crest) and banner "VIS UNITA FORTIOR" (United virtue is stronger), marks for Tiffany & Co., 11830...6119", 94.5 oz. T., 5 x 18-1/2 x 14 in. Provenance: Charlton Hall, Columbia, South Carolina, February 2022 (with copy of receipt); A Prominent Charleston Estate Condition: wear and loss to gilt interior, light scratches and typical wear
• ITZCHAK TARKAY "PEACEFUL LIFE"Itzchak
  ITZCHAK TARKAY "PEACEFUL LIFE"Itzchak Tarkay "Peaceful Life" limited edition print: Lithograph in Color on Wove Paper. Signed in Pencil Lower Right Itzchak Tarkay Israeli Artist b. 1935-2012. Tarkay drew upon the entire realm of art history in a body of work that is not only aesthetically agreeable and compositionally seductive but a cultural phenomenon responsible for countless love letters, innumerable nights of passion and incalculable furtive glances - the very substance of visual poetry. Today's roots as a painter take hold in the decisive years of modern art. The bright colors and flat patterns build on the paths forged by Matisse, Mouly, and the Fauves. Like Picasso and Tobias, the sculptural grows stronger than the pictorial. Tarkay constructed a perspective and then took it away. The paintings go through an abstract transformation, the perspective dissolves into colors and shapes, her face remains, and the world reconstructs around her. There is an ancient mystery in the work of Tarkay that must be discovered for oneself. Tarkay dove deep into history and brought up pearls for our times. The quality of his line was organic, the quality of his woman, his art, was magic. Edition: 415/475 Size : 9x12 in | 23x30 cm Framed : 19x23 in | 48x58 cm
• ANDY WARHOL(New York/Pennsylvania, 1928-1987) Marilyn
  ANDY WARHOL(New York/Pennsylvania, 1928-1987) Marilyn Monroe (Feldman & Schellmann II.28), edition 218/250, from the portfolio Marilyn Monroe, 1967, signed in pencil verso lower left "Andy Warhol", dated, stamped, and numbered, Factory Additions, New York, publisher, Aetna Silkscreen Products Inc., printer, screenprint in colors, 36 x 36 in. (91.44 x 91.44 cm.); white frame, 37-1/4 x 37-1/4 in. Note: "In August 62, I started doing silkscreens. I wanted something stronger that gave more of an assembly line effect. With silkscreening you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple quick, and chancy. I was thrilled with it. When Marilyn Monroe happened to die that month, I got the idea to make screens of her beautiful face the first Marilyns." - Andy Warhol Warhol lifted his iconic image from a publicity image taken while Marilyn was working on the 1953 box office hit Niagara. Condition: areas of handling creases, at edges and corners, indentation right edge, slight scuffing on nose
• BRIAN SANDERS (BRITISH, B. 1937) "BOY
  BRIAN SANDERS (BRITISH, B. 1937) "BOY SCOUTS"Brian Sanders (British, B. 1937) "Boy Scouts" Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original appeared on the Fleetwood First Day Cover for the Great Britain Boy Scouts stamp issued March 24, 1982. Probably the world's most famous youth movement is the 1982 marked its 75th anniversary and anniversary of the birth of its founder, Robert Baden-Powell. By the year 1908, Powell's experiences in the British Army convinced him that British boys needed far more physical training and experience in outdoor life. Having previously written a military manual for British recruits called "Aids to Scouting," Powell decided to rewrite his manual for younger readership. The new version, entitled Scouting for Boys, became a tremendous success. Practically overnight, thousands of Scout Patrols sprang up throughout Britain to try out Powell's fun and adventurous ideas. Powell's original intention was that Scouting should be for boys between the ages of eleven and eighteen. But younger boys, seeing the fun and adventure older brothers and friends were having as Boy Scouts, began asking to join too. Thus, in 1914 Powell announced his plans for "Junior Scouts," since changed to Cub Scouts, to include boys under eleven years of age. Since then, numerous other sub-groups of the prestigious Scout movement have been added. And today, the excitement and magic of Scouting has never been stronger, for there are now over fifteen million Scouts, ages eight to twenty, around the world, with well over 650,000 in the United Kingdom alone! Image Size: 12 x 14.25 in. Overall Size: 13.75 x 19 in. Unframed. (B06249) 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. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - 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. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - 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.
• DON BALKE (B. 1933) "MUSK OX WITH YOUNG"Don
  DON BALKE (B. 1933) "MUSK OX WITH YOUNG"Don Balke (North Carolina, B. 1933) "Musk Ox with Young" Signed lower right. Original Watercolor on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood commemorative cover for the Baby Wildlife of the 50 States, postmarked January 3, 1984. Covered with short curly hair, the baby Musk Ox takes its first wobbly steps under the watchful eyes of its mother. Born on Alaska's windswept tundra, the newborn calf will huddle under its mother's long hair skirt for protection from the Arctic chill. As the calf grows stronger, it learns to kick and butt with the other youngsters in the herd. Through the short summer season, the Musk Oxen roam the valleys and alpine meadows of Alaska grazing on grasses and willow boughs. As the young calves age, their shaggy coats grow longer and thicker to protect them from the coming winter's frigid climates and bitter winds. Like sheep, Musk Oxen shed their coats each spring. This trait led to recent research which suggests Musk Oxen are not really oxen, nor do they have a musk odor. They are, however, closely related to sheep, goats and mountain goats. For centuries, Eskimos descriptively called Musk Oxen, Oomingmak, which means "the bearded one." High above their bearded chins, the young Musk Oxen will soon grow long, elastic horns which form a shield covering the crest of their heads. These interesting animals will form a circular fortress when threatened, their horned heads lining the outer edge. The young oxen are protected by the entire herd in the center of the ring. When attacked, the Musk Oxen fling predators into the air and, as they land, trample them. Roaming the snowy tundras of Alaska, the powerful Musk Ox is truly an amazing animal. Image Size: 11 x 12.5 in. Overall Size: 20 x 22 in. Unframed. (B08394) 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. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - 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. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - 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.
• CHINESE TANG DYNASTY POLYCHROME HORSE
  CHINESE TANG DYNASTY POLYCHROME HORSE W/ TLEast Asia, China, Tang Dynasty, ca. 618 to 906 CE. A lovely mold-made pottery horse shown in stride atop an integral plinth. Painted in hues of apricot, peach, and chocolate brown, the noble steed displays a naturalistic head with a bulbous snout, incised nostrils, and almond-shaped eyes, all capped by a pair of perky ears. His thick body bears an elaborate saddle featuring lengthy polka-dot-incised saddle flaps beneath a striped sash. A slender tapered tail extends downwards from the ancient horse's posterior and an ovoid vent is featured on the animal's underside. Size: 8.75" L x 5" W x 7.5" H (22.2 cm x 12.7 cm x 19 cm); 7.75" H (19.7 cm) on included custom stand. According to Zhixin Jason Sun, Curator of the Department of Asian Art at the Metropolitan Museum of Art, "The importance of horses rose to new heights in the Tang dynasty (618–907) when, as emblems of imperial power, they marched in state processions, galloped through royal hunting parks, raced across polo fields, and even danced before the emperor. Their portraits were painted by leading court artists, and their majestic form was modeled in brightly glazed pottery as tomb figurines and sculpted on marble plaques to adorn emperors' tombs as symbols of dynastic vitality." Beyond this, the horse played a significant role in the unification of the Chinese Empire, as the ancients could communicate to parties near and far due to the great speed of these noble steeds. The horse also assisted the military to conquer distant lands and grow the empire. As the desire for stronger, faster breeds grew, the ancients imported horses from Central Asia, leading to the creation of the famous Silk Road. We see evidence of the reverence for the horse in the visual culture of ancient China. Imagery of horses abound in painting, literature, and sculpture. During the Tang dynasty, artists created burial art representing these revered animals. This particular piece depicts a large charger; this type of horse served as both a symbol of imperial stability that engendered bountiful trade and prosperity for the expanding empire and the reward of military exploits to the west. The most cherished horses were raised in the western kingdom of Ferghana and known as "blood-sweating horses." These were delivered as tribute to the reigning emperor. In general, for the ancient Chinese, horses were a sign of wealth. This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full report will accompany purchase. Provenance: private Reno, Nevada, USA collection, acquired through descent, originally purchased in San Francisco, California, USA in the 1960s to 1970s 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. #163709 Condition: TL holes on bottom of saddle, under lower jaw, and between front legs. Repaired from several pieces with restoration to front of base and restoration over break lines. Break line visible on proper right ear. Chip to proper left ear. Expected surface wear with nick, abrasions, and some chipping to paint as shown, all commensurate with age. Otherwise, very good with nice remaining pigments
• CHINESE WARRING STATES BRONZE SHORT
  CHINESE WARRING STATES BRONZE SHORT SWORDEast Asia, China, Warring States Period, ca. 475 to 221 BCE. A handsome example of a short sword known as a duan jian that is mold-cast from bronze via the lost wax (cire perdue) technique. The stocky blade is of a double-edged style with a prominent midrib running along its length until the pointed tip, and above the shoulder is a crested, trapezoidal hand guard. The rod-form handle bears a pair of thick and close-set ringlets that facilitated a stronger grip for the warrior, and a discoid pommel on top ensures that their hand did not accidentally slip while wielding the weapon. While deadly and functional, finely made bronze weapons such as this sword, were signs of prestige, and used as ceremonial and funerary weapons. Size: 20.25" L x 2" W (51.4 cm x 5.1 cm) Provenance: ex-private C. Davis collection, Cyprus, Texas, USA, acquired at auction or gallery before 2011 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. #169693 Condition: Losses to pommel as shown. Stable and shallow cavity on the blade near tip. Age and use expected surface wear. Heavy areas of a rich green and blue patina. Tip is still quite pointed and slightly sharp.
• SUPERB 10TH C. INDIAN PALA STONE PANEL
  SUPERB 10TH C. INDIAN PALA STONE PANEL GREEN TARASouth Asia, India, Bihar region, Pala Empire, ca. 10th to 12th century CE. A stunning hand-carved phyllite stone high relief panel of Green Tara or Shyamatara, a mother and savior goddess who offers protection, seated upon a lotus pedestal in the lalitasana pose. She is a lovely and voluptuous deity, adorned in jewelry, headdress, and sheer skirt- her breasts bare. In one hand is a nilotpala or blue lotus flower, the other extends downward in the varada mudra gesture of giving. She is flanked by two lions and framing her head is a halo within a flaming border with two musician devotees positioned on either side. The stone itself is a lustrous black with flecks of shimmering mica, and such a stunning sculpture would have been featured in a niche of a temple or shrine. Size: 19" L x 6" W x 29" H (48.3 cm x 15.2 cm x 73.7 cm); 31" H (78.7 cm) on included custom stand. For a similar example from the Pala period, please see the Brooklyn Museum's website, accession number: 1995.136. According to Buddhist teachings, Tara was born out of the tears of compassion of the bodhisattva Avalokiteshvara, who wept as he observed the suffering of worldly beings, his tears formed a lake from which a lotus sprung. When the lotus opened, the goddess Tara was within. Shyamatara or the Green Tara protects believers from the eight great dangers - lions, elephants, snakes, fire, thieves, water, demons, and prisons or the government. In Buddhism, Tara (Sanskrit for star) is a savior goddess. In Tibet, she is the most important deity and her name is Sgrol-ma or Shyamatara (she who saves). She is also popular in Nepal and Mongolia. Tara is the goddess of supreme compassion, said to be stronger than a mother's love for her children. In addition, Tara is said to bring about longevity, protect earthly travel, and guard followers on their spiritual journey to enlightenment. Provenance: private Tucson, Arizona, USA collection, acquired in 2007 from B.C. Galleries, Armadale, Australia 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. #173696 Condition: Professionally repaired. Break line across halo, right arm and right leg. Loss to lower left leg. Chips and surface wear to high pointed areas. Details are sharp and well preserved. Light mineral deposits and remains of red pigments in recessed areas.
• 17TH C. INDIAN MUGHAL WALRUS IVORY ARCHER'S
  17TH C. INDIAN MUGHAL WALRUS IVORY ARCHER'S RING**Originally Listed At $500** Near East, Mughal Empire, ca. 17th century CE. An elegant archer's ring, hand-carved from walrus ivory in a traditional form with a pointed tab on one side and a petite knob flanked by wing-like designs at the other. An archer’s ring is worn on the thumb of the archer's stronger hand, the hand that pulls the bowstring, with its tab or tongue fitted over the pad of the thumb. Not only does it protect the thumb, it also allows for a more precise release of the bowstring. A precious example that could be worn on the thumb as intended or suspended from a chain as a pendant. Size: 1.8" L x 1.3" W (4.6 cm x 3.3 cm); US Ring Size: 11.5 This is an ESA antique exempt piece of ivory and cannot be sold internationally or to anyone residing in the states of California, Hawaii, Illinois, Nevada, New Hampshire, New Jersey, New York, Oregon, and Washington. We guarantee that the piece is over 100 years old. Provenance: private Denver collection, Colorado, USA, acquired in 2004; ex-Bob and Shirley Heller collection, Tulsa, Oklahoma, USA, purchased from Zamilco International, New York, New York, USA in 1968 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. #177939 Condition: Some minor nicks and abrasions to surface, and natural, stable hairline fissure to bone. Otherwise, intact and excellent with nice preservation of incised decoration and light patina. Wearable as a ring or pendant.
• EGYPTIAN BRONZE NUDE HARPOKRATES AMUN
  EGYPTIAN BRONZE NUDE HARPOKRATES AMUN W/ GILT EYESAncient Egypt, Late Dynastic to Ptolemaic period, ca. 664 to 30 BCE. A rare and remarkably preserved bronze figure of Harpokrates Amun presenting as the nude child god Horus in a seated position and surmounted by a towering, double feather crown and sun disk associated with the god Amun, and gilt eyes. Harpokrates is depicted traditionally with his finger raised to his mouth - a physical manifestation of the Egyptian hieroglyph for child - and a long, separately-cast sidelock hanging down the right side of his head. A necklace with a teardrop-shaped amulet falls down his chest. Size: 1.8" W x 8.1" H (4.6 cm x 20.6 cm); 8.8" H (22.4 cm) on included custom stand. Amun (also spelled Amon, Ammon, and Amen) - the Egyptian god of sun and air - was one of the most significant deities of ancient Egypt who became prominent in Thebes at the dawn of the New Kingdom. His name literally means "the hidden one", "invisible", or "mysterious in form", and quite interestingly, as opposed to other Egyptian deities, Amun was regarded as Lord of All representing every aspect of creation. Harpokrates (also Harpocrates) was, in many ways, one of the most popular deities in the Egyptian pantheon for centuries on end. The offspring of Osiris and Isis, Harpokrates was originally thought to be a protective deity, warding dangerous magic and creatures away from the wielder of his effigy. His depiction as a child was a common sight in ancient Egypt as infantile gods were favored to their adult characterizations from roughly the Third Intermediate Period on into Greco-Roman times. Created mostly as temple votives, child gods were thought to have a higher concentration of power and influence, thus making for a stronger prayer request when left as an offering. 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. Provenance: ex-Royal Athena Galleries, New York City, New York, USA; ex-Pierre Berge, November 30, 2012; ex-Florent Dalcq (1878-1950) collection, Belgium 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. #177264 Condition: Professionally repaired with restoration and painting over break lines. Otherwise, excellent with impressive preservation of detail and nice remains of gilding in eyes. Rich patina throughout.
• GUSTAVE BAUMANN, AMERICAN 1881-1971,
  GUSTAVE BAUMANN, AMERICAN 1881-1971, DESERT, COLOR WOODBLOCK, IMAGE: 6 X 7 1/2 IN., SHEET: 10 3/8 X 12 7/8 IN.GUSTAVE BAUMANN, (American, 1881-1971) Desert, color woodblock titled Desert lower left; numbered 5/100 lower center; signed Gustave Baumann lower right color woodblock Dimensions: image: 6 x 7 1/2 in., sheet: 10 3/8 x 12 7/8 in. Condition: In good condition. Colors are stronger and paper is not as grey as it appears in these images. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• RICHARD YARDE, (AMERICAN, 1939-2011),
  RICHARD YARDE, (AMERICAN, 1939-2011), UNTITLED (THREE FIGURES), 1977, WATERCOLOR ON RIVES PAPER, SHEET: 25 1/2 X 19 IN., FRAME: 32 X 27 1/4 IN.RICHARD YARDE, (American, 1939-2011) Untitled (Three Figures), 1977, watercolor on Rives paper signed and dated Yarde 1977 lower right 1977, watercolor on Rives paper Dimensions: sheet: 25 1/2 x 19 in., frame: 32 x 27 1/4 in. Provenance: The Estate of a Prominent Architectural Historian, Wellesley, Massachusetts. Condition: Colors strong (if anything a bit stronger than they appear in these images). A few scattered flecks of foxing. Faint mat burn at edges. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• THE STRONGER SEX AS SEEN BY MARCEL VERTES
  THE STRONGER SEX AS SEEN BY MARCEL VERTES BOOK United States,20th CenturyAuthored by Janet Flanner, published by Hyperion Press, New York.
• 1968 CHEVROLET EL CAMINO VIN: 136808K102377
  1968 CHEVROLET EL CAMINO VIN: 136808K102377 Mileage: 61,000 with the original 327 cubic inch V8 stroked to 383 cubic inches, and the 700-R4 transmission was upgraded to a stronger 200-R4 automatic transmission with overdrive in 2016. The engine rebuild in 2006 included aluminum heads, Edelbrock Air Gap Intake, and Edelbrock AVS 800cfm carburetor to produce 400 horsepower. A 12 bolt Torsen posi-traction rearend with 3:73 gears was added. A+A Engine Dynamics in New Jersey performed the engine rebuild and install. Exhaust Headers, Flowmaster exhaust, as well as an MSD Ignition system and wiring from Painless Wiring were added. This truck has an aggressive tone and is very fast. It retains disc brakes in the front and drums in the rear. Originally Tuxedo Black, with a repaint that shows well, and the interior in black also. In 2009, the truck received a minor refresh to include installation of a Vintage air conditioning system, Grant three-spoke 14" steering wheel, new door panels were installed, rear air shocks were added, as well as voltage, water temperature and oil pressure gauges. The original 120 mph speedometer and the tachometer inset of the warning lights and fuel gauge were retained. It appears that some of the interior pieces are original, and some restorations has been performed to headliner and such. The original bench seat was replaced with six-way power drivers seat with manual passenger seat and a console added. The 15" Chevrolet Rallye Style 55 wheels with BFGoodrich Radials in 235/60 and 255/60 give the truck an aggressive stance. The installation of the A/C system with an original 4 lever control required the removal of the radio in the factory location, and a blank panel was added. This lot subject to reserve. For this lot, payment accepted only by wire transfer. 15% Buyer's Premium for LLA live-online and absentee bidding. 20% buyer's premium for live internet bidding through a third party host. For winning bidders in NC, license plate and titling of vehicle will be obtained by Leland Little Auctions NCFL# 7452, provided all applicable fees and taxes are paid.
• JOAN MIRO, SPAIN / FRANCE (1893 - 1983),
  JOAN MIRO, SPAIN / FRANCE (1893 - 1983), LA FEMME NUE DEVANT LA FENETRE AND BRIDGE STREET GALLERY, TWO OFFSET COLOR LITHOGRAPHS, 36 1/2"H X 24 1/2"W (LARGEST, IMAGE), 37 1/2"H X 25 1/2"W (LARGEST, FRAME)Joan Miro, Spain / France, (1893 - 1983) La Femme Nue Devant La Fenetre and Bridge Street Gallery, two offset color lithographs Biography from Artistic Gallery From the Archives of AskArt: Joan Miro was born in Barcelona, Spain on April 20, 1893, the son of a watchmaker. From 1912 he studied at the Barcelona Ecole des Beaux-Arts and the Academie Gali. In the first quarter of the 20th century, Barcelona was a cosmopolitan, intellectual city with a craving for the new in art, music and literature. But it was not the place where great art was being made. That place was Paris and Miro established himself there at the age of twenty-six. He made friends with Pablo Picasso, Alexander Calder, Ernest Hemingway, Max Ernst and Paul Klee and was accepted as a Surrealist, looking stronger as the years went by. He lived alone in Paris in total poverty, but everytime he went out he wore a monocle and white spats. He kept his brushes clean, waxed and polished the floor of his studio and arranged his canvases in neat order. Miro went about his career with orderly determination. He wrote to Picasso in 1929 that he was looking for a studio, a dealer and a wife. That same year he married the daughter of family friends. Her name was Pilar Juncosa and they were happily married in 1929 and were together for fifty-four years. They had one daughter, Dolores. Miro was certainly the most distinguished painter of Catalonia; he was intensely proud of that fact. All of his work was conceived in Montroig (the site of his family's farm). Most important of these was the painting named The Farm which did not sell in Paris and was sold finally to Ernest Hemingway for $250. two offset color lithographs Dimensions: 36 1/2"H x 24 1/2"W (largest, image), 37 1/2"H x 25 1/2"W (largest, frame)
• JOAN MIRO, SPAIN / FRANCE (1893 - 1983),
  JOAN MIRO, SPAIN / FRANCE (1893 - 1983), UNTITLED, COLOR LITHOGRAPH, 26 3/4"H X 21"W (SIGHT), 35"H X 29 1/4"W (FRAME)Joan Miro, Spain / France, (1893 - 1983) untitled, color lithograph facsimile signed. Biography from Artistic Gallery From the Archives of AskArt: Joan Miro was born in Barcelona, Spain on April 20, 1893, the son of a watchmaker. From 1912 he studied at the Barcelona Ecole des Beaux-Arts and the Academie Gali. In the first quarter of the 20th century, Barcelona was a cosmopolitan, intellectual city with a craving for the new in art, music and literature. But it was not the place where great art was being made. That place was Paris and Miro established himself there at the age of twenty-six. He made friends with Pablo Picasso, Alexander Calder, Ernest Hemingway, Max Ernst and Paul Klee and was accepted as a Surrealist, looking stronger as the years went by. He lived alone in Paris in total poverty, but everytime he went out he wore a monocle and white spats. He kept his brushes clean, waxed and polished the floor of his studio and arranged his canvases in neat order. Miro went about his career with orderly determination. He wrote to Picasso in 1929 that he was looking for a studio, a dealer and a wife. That same year he married the daughter of family friends. Her name was Pilar Juncosa and they were happily married in 1929 and were together for fifty-four years. They had one daughter, Dolores. Miro was certainly the most distinguished painter of Catalonia; he was intensely proud of that fact. All of his work was conceived in Montroig (the site of his family's farm). Most important of these was the painting named The Farm which did not sell in Paris and was sold finally to Ernest Hemingway for $250. color lithograph Dimensions: 26 3/4"H x 21"W (sight), 35"H x 29 1/4"W (frame)
• JAMES O'BLACK, INDIANA (20TH / 21ST
  JAMES O'BLACK, INDIANA (20TH / 21ST CENTURY), UNTITLED BARN, WATERCOLOR / GOUACHE? ON PAPER, 11"H X 15"W (SIGHT), 18"H X 22"W (FRAME)James O'Black, Indiana, (20th / 21st Century) untitled barn, watercolor / gouache? on paper signed lower right. From The Brown County Art Guild: James earned a B.S. in Geology and worked in the field briefly, but the pull of art was stronger. He took a watercolor lesson to see how it compared to other mediums and discovered his true passion. Art fairs around the country became his career and provided a wonderful, exciting way to bring his art to the public. watercolor / gouache? on paper Dimensions: 11"H x 15"W (sight), 18"H x 22"W (frame)
• JOAN MIRO, SPAIN / FRANCE (1893 - 1983),
  JOAN MIRO, SPAIN / FRANCE (1893 - 1983), UNTITLED, COLOR LITHOGRAPH, 26 3/4"H X 21"W (SIGHT), 35"H X 29 1/4"W (FRAME)Joan Miro, Spain / France, (1893 - 1983) untitled, color lithograph facsimile signed. Biography from Artistic Gallery From the Archives of AskArt: Joan Miro was born in Barcelona, Spain on April 20, 1893, the son of a watchmaker. From 1912 he studied at the Barcelona Ecole des Beaux-Arts and the Academie Gali. In the first quarter of the 20th century, Barcelona was a cosmopolitan, intellectual city with a craving for the new in art, music and literature. But it was not the place where great art was being made. That place was Paris and Miro established himself there at the age of twenty-six. He made friends with Pablo Picasso, Alexander Calder, Ernest Hemingway, Max Ernst and Paul Klee and was accepted as a Surrealist, looking stronger as the years went by. He lived alone in Paris in total poverty, but everytime he went out he wore a monocle and white spats. He kept his brushes clean, waxed and polished the floor of his studio and arranged his canvases in neat order. Miro went about his career with orderly determination. He wrote to Picasso in 1929 that he was looking for a studio, a dealer and a wife. That same year he married the daughter of family friends. Her name was Pilar Juncosa and they were happily married in 1929 and were together for fifty-four years. They had one daughter, Dolores. Miro was certainly the most distinguished painter of Catalonia; he was intensely proud of that fact. All of his work was conceived in Montroig (the site of his family's farm). Most important of these was the painting named The Farm which did not sell in Paris and was sold finally to Ernest Hemingway for $250. color lithograph Dimensions: 26 3/4"H x 21"W (sight), 35"H x 29 1/4"W (frame)
• THOMAS JEFFERSON AUTOGRAPH LETTER SIGNED
  THOMAS JEFFERSON AUTOGRAPH LETTER SIGNED TO JOHN DICKINSON, JULY 23, 1801THOMAS JEFFERSON AUTOGRAPH LETTER SIGNED TO JOHN DICKINSON, JULY 23, 1801, one quarto sized sheet, folded in half, with a two page ALS by Thomas Jefferson written as President to John Dickinson. Integral address leaf present, with stamp from Wash. City Jul. 25. There are three pieces of non-archival tape present, causing some discoloration. Jefferson discusses, among other items, the political division between Federalists and Republicans. A Founding Father, John Dickinson was known as the "Penman of the Revolution" for his twelve Letters from a Farmer in Pennsylvania, published individually in 1767 and 1768. A member of both the First and Second Continental Congresses, Dickinson reworked Thomas Jefferson's language and wrote the final draft of the 1775 Declaration of the Causes and Necessity of Taking Up Arms. When Congress then decided to seek independence from Great Britain, Dickinson served on the committee that wrote the Model Treaty, and then wrote the first draft of the 1776-1777 Articles of Confederation and Perpetual Union. Upon Dickinson's death, President Thomas Jefferson recognized him as being "Among the first of the advocates for the rights of his country when assailed by Great Britain whose 'name will be consecrated in history as one of the great worthies of the revolution.'" My dear & respected friend Washington July 23. 1801. I have duly recieved your favor of the 18th. Doctr. Vaughan's character had been before known to me in a certain degree, & advantageously known as a friend to republican government. your letter in his favor strengthened my confidence in it. for your satisfaction as well as from a regard to truth I assure you that nothing could be more candid than his conduct here. it was at my request he undertook to consult the friends of republicanism on his return & to recommend a marshal. he declined doing it here & of himself, & until he should know that the person would accept. I am sorry the person recommended has not been agreeable to all the republicans. but I am more concerned to see in this disapprobation a germ of division which, if not smothered, will continue you under that rule from which union is relieving our fellow citizens in other states. it is disheartening to see, on the approaching crisis of election, a division of that description of republicans, which has certainly no strength to spare. but, my dear friend, if we do not learn to sacrifice small differences of opinion, we can never act together. every man cannot have his way in all things. if his own opinion prevails at some times, he should acquiesce on seeing that of others preponderate at others. without this mutual disposition we are disjointed individuals, but not a society. my position is painful enough between federalists who cry out on the first touch of their monopoly, & republicans who clamour for universal removal. a subdivision of the latter will increase the perplexity. I am proceeding with deliberation & enquiry to do what I think just to both descriptions & conciliatory to both. the greatest good we can do our country is to heal it's party divisions & make them one people. I do not speak of their leaders who are incurables, but of the honest & well-intentioned body of the people. I consider the pure federalist as a republican who would prefer a somewhat stronger executive; & the republican as one more willing to trust the legislature as a broader representation of the people, & a safer deposit of power for many reasons. but both sects are republican, entitled to the confidence of their fellow citizens. not so their quondam leaders, covering under the mask of federalism, hearts devoted to monarchy. the Hamiltonians, the Essex-men, the revolutionary tories &c. they have a right to tolerance, but neither to confidence nor power. it is very important that the pure federalist & republican should take this honest & dispassionate view of one another, should see in the opinion of each other but a shade of his own, which by a union of action will be lessened by one half: that they should see and know the monarchist as their common enemy, on whom they should keep their eye, but keep off their hands. but in Delaware it seems we have a preliminary operation, to reconcile dissenting republicans: for how can federalists coalesce with those who will not coalesce with each other? I know too well, my friend, your moderation, your justice, your affection to national liberty, to doubt your best endeavors to heal this two-fold separation. the purity & perspicuity of your views are respected by all parties. I hope much then from their effect, and that operating on the good sense & patriotism of the friends of free government of every shade, they will spare us the painful the deplorable spectacle of brethren sacrificing to small passions the great, the immortal & immutable rights of men. may heaven prosper you in your endeavors, and long preserve in health & life a consistent patriot, whose principles have stood unchanged by prosperous or adverse times, whom neither the civium ardor prava jubentium, Nec vultus instantis tyranni mente quatit solida? I tender you the homage of my constant & affectionate friendship & respect. Th: Jefferson *civium ardor prava jubentium, nec vultus instantis tyranni mente quatit solida: "the man of integrity who holds fast to his purpose is not shaken from his firm resolve by hotheaded citizens urging him to do wrong, or by the frown of an oppressive despot" (Horace, Odes, 3.3.1). Provenance: Stewart R. Crane Family Collection
• STOCKBOOK OF BRITISH EMPIRE AND COMMONWEALTH
  STOCKBOOK OF BRITISH EMPIRE AND COMMONWEALTH STAMPS Including colonies and territories "R" to "Z" (Rhodesia to Zululand), with a selection of Victorian issues and stronger representation in the 20th Century, Mint and Used, notably: a good selection of British West Indies and African colonies, Sarawak, Seychelles, Sierra Leone, Straits Settlements, and Victoria.
• STOCKBOOK OF BRITISH EMPIRE AND COMMONWEALTH
  STOCKBOOK OF BRITISH EMPIRE AND COMMONWEALTH STAMPS Including colonies and territories "N" to "Q" (Nevis to Queensland), with a selection of Victorian issues and stronger representation in the 20th Century, Mint and Used, notably: Newfoundland, New Guinea, New South Wales, Nova Scotia, Orange Free State, and Queensland.
• STOCKBOOK OF BRITISH EMPIRE AND COMMONWEALTH
  STOCKBOOK OF BRITISH EMPIRE AND COMMONWEALTH STAMPS Including colonies and territories "G" to "N" (Gibraltar to Nauru), with a selection of Victorian issues and stronger representation in the 20th Century, Mint and Used, notably: Gold Coast, British Morocco Agencies, Hong Kong, India, Mauritius, and Natal.
• STOCKBOOK OF BRITISH EMPIRE AND COMMONWEALTH
  STOCKBOOK OF BRITISH EMPIRE AND COMMONWEALTH STAMPS Including colonies and territories "A" to "G" (Aden to Ghana), with a selection of Victorian issues and stronger representation in the 20th century, Mint and Used, notably: Australia, various British West Indies, British Guiana, Ceylon, and Falkland Islands.
• MARCEL VERTES (HUNGARIAN, 1895-1961)Marcel
  MARCEL VERTES (HUNGARIAN, 1895-1961)Marcel Vertes (Hungarian, 1895-1961), "Le Vase Décolleté", oil on canvas, signed lower left, "Cousin Frères, Paris" canvas stamp en verso and on stretcher, 21 1/2 in. x 15 in., framed; together with 2 copies of Vertes, Marcel, and Janet Flanner. The Stronger Sex as Seen by Vertes. New York: The Hyperion Press, 1941, editions 328 and 1236. (3 pcs.) Provenance: The Estate of Caroline P. Ireland
• ART DECO "LE SEXE FORT" MOVIE POSTER,
  ART DECO "LE SEXE FORT" MOVIE POSTER, CA. 1946 Art Deco movie poster advertisement in French for the Mexican film "Le Sexe Fort / El Sexo Fuerte / The Stronger Sex" by Emilio Gomez Muriel (Mexican, 1910-1985), housed under glass in a gilt wood frame. Image: 30.75" H x 45" W; frame: 36" H x 50.5" W. Provenance: From a private Rye, New York collection.
• TWO NEW JERSEY COPPERS 1787 6-D AND
  TWO NEW JERSEY COPPERS 1787 6-D AND 1788 67-V 1787 Maris 6-D W-5050 Weakly struck obverse compared to reverse with date present but also weakly struck. Left ear almost touches A with second ear then surrounding A. large planchet with diagnostic diecrack and cud lower left shield. Nice hard planchet with reverse struck stronger than Obverse - VG 1788 Maris 6-v W-5510 Star before and after every word, narrow shield, nice brown planchet VG
• NINE EARLY 20TH CENTURY LETTERS & DOCUMENTS:
  NINE EARLY 20TH CENTURY LETTERS & DOCUMENTS: PHOTO, 1927 COVER, LETTER AND INFORMATION ABOUT TEXAS POLITICIAN FRANCIS RICHARD LUBBOCK; 6 PAGE 1918 LETTER FROM SOLDIER 3 DAYS AFTER ARMISTICE 6 1/2"H X 4 1/4"W (PHOTO OF LUNine early 20th century letters & documents: photo, 1927 cover, letter and information about Texas politician Francis Richard Lubbock; 6 page 1918 letter from soldier 3 days after Armistice Also includes 1918 letter home with cover from Montgomery, Al to Los Angeles reporting to a military camp in WW1 describing train trip, quarters of "darkies,' food and filth; three 1916-1917 letters and covers with two photos to a lady "pen pal" from a Well's Fargo employee: 1911 Standard Oil Co. N. C. bill of lading and cover for purchase of gasoline, 1925 letter and cover from a semi-pro ball team on letterhead "Pleasant Valley Smilers;" and 1930 Dr. Pierce's Invalid's Hospital letter and and inserts "Get Stronger with our own Stuff," 6 1/2"H x 4 1/4"W (photo of Lubbock) Dimensions: 6 1/2"H x 4 1/4"W (photo of Lubbock)
• CONSTANCE FORSYTH, AMERICAN (1903-1987),
  CONSTANCE FORSYTH, AMERICAN (1903-1987), BACK PORCH IN THE WOODS, 1926, GRAPHITE / PENCIL ON PAPER, 20"H X 18"W (FRAME), 11 1/2"H X 9 1/2"W (SIGHT)Constance Forsyth, American, (1903-1987) back porch in the woods, 1926, graphite / pencil on paper signed lower right. Provenance: From a private collector in Zionsville / Indianapolis. Biography from Foltz Fine Art: Constance Forsyth's education began in her hometown of Indianapolis, Indiana, with a BA in chemistry from Butler University. In 1925, she enrolled at the John Herron Art School where her father, William Forsyth, taught painting, and where she received a diploma in 1929. In 1927-28, and again in 1930 Forsyth attended the Pennsylvania Academy of Fine Arts in Philadelphia. She furthered her art training at the Broadmoor Art Academy in Colorado Springs in 1932 and in 1934 where she attended the first lithography class taught in the region. In 1933, Forsyth worked as an assistant to Thomas Hart Benton on the Indiana History Murals project for the Century of Progress International Exposition in Chicago. Her 33-year association with The University of Texas at Austin began in 1940 Lockwood to create a printmaking program in the art department. In 1945, to gain a stronger understanding of the technical aspects of printing lithographs, Connie arranged for a one-week session as assistant to master printer, George Miller. The copious notes she made during this training session allowed her to pass Miller's printing techniques on to future generations of printmakers. Forsyth was a longtime member of the "Texas Printmakers" group originally called the "Printmakers Guild." This organization enabled its members to exhibit their work in "circuit" exhibitions around the country and through this process, helped to educate the public about printmaking. Among the collections in which Forsyth's work can be found are: the Dallas Museum of Art, the Jack S. Blanton Museum of Art in Austin, the Witte Museum and The McNay Museum in San Antonio, the Indianapolis Museum of Art, and the Joslyn Memorial Museum in Omaha. graphite / pencil on paper Dimensions: 20"H x 18"W (frame), 11 1/2"H x 9 1/2"W (sight)
• § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH
  § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) ROYAN, 1909 oil on board, signed, inscribed and dated verso26cm (10 1/4in), 34cm (13 1/2in)Fergusson painted Royanduring the exceptional period when he lived in France from 1907 until 1914. More than any other British artist, he played a part in the heady creative circles of Paris’s pre-war art world and whilst there made the works on which his international standing is based.Following sporadic attendances at the Académies Colarossi and Julian in the French capital in the late 1890s, Fergusson began his career in Edinburgh. His first solo exhibition was held at the Baillie Gallery in London in 1905. However, as Alice Strang has explained: ‘An increasing interest in developments in contemporary art in Paris and parallel frustration with the conservatism of the art world in Scotland, an inheritance following his father’s death in 1906 and the start of his relationship with the painter Anne Estelle Rice (1877-1959) in Paris-Plage in 1907, culminated in Fergusson’s decision to move to Paris later that year.’ (1)Fergusson declared ‘Paris is simply a place of freedom’ and established himself in a studio in Montparnasse. (2) First-hand experience of the very latest developments in French art, such as those made by the Fauve artists Henri Matisse, André Derain and Kees van Dongen, had an immediate and dramatic effect upon his work, as can be seen in Royan. This encompasses the bold colour, simplification of form and expressive technique which signalled Fergusson’s progression from the Edwardian sophistication of his earlier work to the forefront of the avant-garde.Royan dates from a key year in Fergusson’s career. In 1909 he exhibited at the Venice Biennale for the first time and moved to the inspiring environment of a new light and orderly studio, in the rue Notre Dame des Champs. Moreover, as Kirsten Simister has written: ‘Fergusson’s artistic confidence and ambition reached an all-time high in 1909 when he was elected a Sociétaire of the Salon d’Automne and given an entire wall for his exhibits.’ (3) Election to this progressive exhibiting society was recognition by Fergusson’s peers of his contribution to the modern movement and he recalled: ‘To me, considering myself a revolutionary, this was a very great honour…it had the effect of confirming my feeling of independence, the greatest thing in the world, not merely in art but in everything.’ (4) Rice received the same honour the following year and together they became key figures in the celebrated group of Anglo-American artists who, for example, founded the cutting-edge journal Rhythm in 1911. After three years of encouragement from Fergusson, his fellow Scottish Colourist Samuel John Peploe moved to Paris in 1910, where he lived for two years.Simister continues: ‘In both 1909 and 1910 Fergusson, Peploe and Rice spent summer holidays together painting in Royan and nearby Saintonge, on the west coast of France. The sea and harbour inspired a number of small paintings made outdoors, which make use of stronger colour to heighten the emotional impact and mood of the scene…[Some]…indicate a tighter, more structured organisation of composition, a feature which became more pronounced over the years to come.’ (5) Fergusson had long been stimulated by working en plein air, in locations as varied as Princes Street Gardens in Edinburgh, the Scottish island of Islay and during summer painting trips to France with Peploe from 1904 to 1907. His enjoyment of responding directly and spontaneously to light and weather conditions, as well as to architectural and natural features, is clear in many of the paintings he created outdoors.In 1913, Fergusson left Paris in search of ‘more sun, more colour’ and settled on the Cap d’Antibes. (6) Due to the outbreak of World War One he moved to London, but returned to the French capital for a decade from 1929. World War Two prompted a move to Glasgow, where Fergusson died in 1961.(1) Alice Strang et al, D. Fergusson, Edinburgh 2013, p.16.(2) J. D. Fergusson, Modern Scottish Painting, Glasgow 1943, p.70.(3) Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Edinburgh 2001, p. 39.(4) J. D. Fergusson quoted by Margaret Morris in The Art of J. D. Fergusson: A Biased Biography, Glasgow 1974, 2010 edition, p. 53.(5) Simister op.cit., p. 42.(6) J. D. Fergusson, ‘Memories of Peploe’, Scottish Art Review, vol. viii, no.3, 1962, p.31.
• Lennard Lewis (1826-1913) two pairs
  Lennard Lewis (1826-1913) two pairs of watercolours Coastal and Loch scenes signed and dated 90/91 9.25 x 19.5in. Estimate ?200-300 Loch scene pair have a few scattered light fox marks and other small dirt specks one with pronounced mountains has a dark spot just to the right above them probably also a little faded overall in fair but not excellent condition signed and dated lower right. In washline card mounts which are now looking a little grubby with some mould slim gilt frame. Seascape pair are in better condition with stronger colours and little signs of any foxing or dirt near matching washline mounts again in better order and slim gilt frames. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?380