LARGE PAINTED TRADE SIGN, EARLY TO MIDLARGE PAINTED TRADE SIGN, EARLY TO MID 20TH C.Large painted trade sign, early to mid 20th c. , inscribed Traders' Grocery , 24" x 97 1/2". Provenance: A Pennsylvania collection.
NO in-house shipping for this lot.
Condition:
As expected wear consistent with age and use.
AFTER CARY ENGRAVING FUR TRADERSAfterAFTER CARY ENGRAVING FUR TRADERSAfter William de la Montagne Cary (American, 1840-1922). Engraving, Fur Traders on the Missouri River Attacked by Native Americans. 8 3/4" x 13" (with frame 16" x 20 1/4"). Vertical crease through center of image.
LONG SCROLL GILT EMBOSSED LEATHER PAPER,LONG SCROLL GILT EMBOSSED LEATHER PAPER, KINKARAKAWAKAMI, BY ROTTMANN STROME AND CO
MEIJI PERIOD, 1884-1890 ?? ?1884-1890? '????? ?????'? ???? ???? ??leather, gilt decorated with hibiscus flowers in tendrils, a rectangular label on reverse stamped '????? ????? (Rottmann Strome and Co.)' with Mount Fuji image(1)648cm x 88cmProvenance: Private English collectionNote: Kinkarakawakami(gilt foreign leather paper) was the Japanese name for gold embossed leather paper.Embossed leatherkinkarakawa(gilt foreign leather) was introduced to Japan by Dutch traders in the seventeenth century and the fashion for tobacco pouches and other personal effects grew amongst the Samuri class. This led to a widespread interest in this luxury product. Japanese craftspeople began to experiment, recreating the leather effect on paper. This also allowed the items to be used in temples as it was vegetarian. It wasn’t until the Meiji Restoration period (1868-1912) that the technique was perfected and exported. It was popular as a wall covering in Western-style houses in Japan, but as an exported product it led to the establishment of a prosperous industry that was overseen by the Japanese government. One company that had a lucrative contract to export these products was Rottmann Strome and Co., a well-known British company who were contractually aligned with the Japanese Government from 1884 to 1890.By the 1880s Japanese leather wallpapers displaying international designs were finding an assured market in the West. Historians credit Alexander Rottmann with its growth. He began by engaging Japanese artisans in small shops and ended by establishing a large enterprise under the auspices of the Japanese government. At the Imperial Printing Works in Yokohama, where bank notes, primers and state documents were printed, Rottmann gained the assistance of government officials in setting up a section for the manufacture of embossed leather hangings in styles and in a format (rolls) suited to the Western market. He organized the house of Rottmann, Strome and Co., Yokohama and London, in 1883 with exclusive rights to export leathers. Some displayed Japanese elements of design, others imitated Renaissance leathers. A number were designed by well-known British artists such as Arthur Silver and Harry Napper. As Western demand increased the government opened a Tokyo factory. About 1890 both operations were relinquished by the government and purchased by Rottmann, Strome and Kobayishi Beiki as the Yamaji Hekishi Shawan Paper Co.[1]Rottmann's papers were "non-arsenical, damp-proof, washable . . . more durable than any other material of a similar character."[2] In 1884 the company obtained a gold medal at the London International Health Exhibition and in 1885 a silver medal at the Antwerp Exhibition.[3] The firm's 1886 statement that it was the "original manufacturer of the highly embossed Japanese Wall Hangings which require no after treatment."[4] [1] Leung, Felicity L. 1988. “Japanese Wallpaper in Canada, 1880s-1930s”. Material Culture Review28 (June).[2] The Decorator and Furnisher, September 1885, p. 189.[3] Sugden and Edmondson, History of English Wallpaper, p. 227[4] The Decorator and Furnisher, May 1886.
COLLECTION OF ART REFERENCE BOOKS
ONCOLLECTION OF ART REFERENCE BOOKS
ON ASIAN WORKS OF ART ????????????????????????????????????????including art reference books for jade, works or art, archaeology, musuem and exhibition catalogues, in total 46 publications.12th Annual New York Arts of Pacific Asia Show, New York, 2004Asian Art Museum: Selected articles from Orientations, Hong Kong: Orientations Magazine Ltd., 1999Bonhams: Fine Asian Art, London: Bonhams, 2005Chinese Buddhist Sculpture: from the collection of C.R. Moss O.B.E. and other properties (catalogue), Oriental Arts, 2000Chinese Jade Animals, Hong Kong: Urban Council of Hong Kong, 1997Chinese Jade: Selected articles from Orientations 1983-1996, Hong Kong: Orientations Magazine Ltd., 1997Christie's: Fine Chinese Ceramics and Works of Art Including Export Art, 2008Denwood, Philip (ed.), The Arts of the Eurasian Steppelands: a Colloquy held 27-29 June 1977 (Colloquies on Art & Archaeology in Asia No.7), London: School of Oriental and African Studies, 1977Fong, Wen and Watt, James C.Y., Possessing the Past: Treasures from the National Palace Museum, Taipei, New York: The Metropolitan Museum of Art, 1996Forsyth, Angus and McElney, Brian, Jades from China, Bath: The Museum of East Asian Art, 1994Hansford, S. Howard, Chinese Carved Jades, London: Faber and Faber Limited, 1968Howard, David S., A Tale of Three Cities: Canton, Shanghai & Hong Kong, London: Sotheby's, 1997Juliano, Annette L., Lerner, Judith A., Alram, Michael, Monks and Merchants: Silk Road Treasures from Northwest China, New York: Harry N. Abrams, 2001Kerr, Rose, Chinese Art and Design: The T.T. Tsui Gallery of Chinese Art, London: Victoria and Albert Museum, 1991Knapston Rasti catalogue Nov 05Knapston Rasti catalogue Nov 07Leiper, Susan, Precious Cargo: Scots and the China Trade, Edinburgh: National Museums of Scotland, 1997Lin, James C.S. (ed.), The Search for Immortality: Tomb Treasures of Han China, New Haven: Yale University Press, 2012Lu, Wenbao, Jades of the Liangzhu Culture, Hong Kong: The Chinese University of Hong Kong Art, 1998Michaelson, Carol, Gilded Dragons: Buried Treasures from China's Golden Ages, London: The British Museum, 1999Ming, Yu, Chinese Jade, Cambridge: Cambridge University Press, 2011Morgan, Michell (ed.), The Museum of East Asian Art Journal Volume V, Bath: The Museum of East Asian Art, 1999Morgan, Michelle, 100 Treasures: The Museum of East Asian Art, Bath: The Museum of East Asian Art, 2000National Museums of Scotland, Ming: The Golden Empire, Edinburgh: National Museums of Scotland, 2014Oriental Art Vol 44 No. 2 (1998)Oriental Art Vol 45 No. 1 (1999)Peterson, Harold (ed.), Chinese Jades: Archaic and Modern from the Minneapolis Institute of Arts, Rutland: Charles E. Tuttle Company, 1977Pirazzoli-t'Serstevens, Michele, The Han Dynasty, New York: Rizzoli International Publications, 1982Portal, Jane and Duan, Qingbo (ed.) The First Emperor: China's Terracotta Army, London: The British Museum, 2007Rawson, Jessica (ed.), Treasures from Shanghai: Ancient Chinese Bronzes and Jades, London: The British Museum, 2009Rawson, Jessica, Chinese Jade from the Neolithic to the Qing, London: The British Museum, 2002Rawson, Jessica, Chinese Ornament: The Lotus and the Dragon, London: The British Museum, 1984Schafer, Edward H., The Golden Peaches of Samarkand: A Study of Tang Exotics, Berkeley: The University of California Press, 1985Scott, Rosemary E., Chinese Jades (Colloquies on Art & Archaeology in Asia No.18), London: School of Oriental and African Studies, 1997Shanghai Museum Chinese Painting Gallery, Shanghai: Shanghai MuseumSickman, Laurence and Soper, Alexander, The Art and Architecture of China, New Haven: Yale University Press, 1992So, Jenny F. and Bunker, Emma C., Traders and Raiders on China's Northern Frontier, Washington: Smithsonian Institution, 1995The International Asian Art Fair, 2004Watson, William, The Arts of China to AD 900, New Haven: Yale University Press, 1995Watson, William, The Genius of China: An exhibition of archaeological finds of the People's Republic of China, London: Times Newspapers Ltd., 1973Watt, James C.Y. (et al.), China: Dawn of a Golden Age, 200-750 AD, New York: The Metropolitan Museum of Art, 2004Whitfield, Roderick (ed.), The Problem of Meaning in Early Chinese Ritual Bronzes (Colloquies on Art & Archaeology in Asia No.15), London: School of Oriental and African Studies, 1993Wilson, Ming, Chinese Jades (Victoria & Albert Museum Far Eastern Series), London: V&A Publications, 2004Yang, Xiaoneng (ed.), New Perspectives on China's Past: Chinese Archaeology in the Twentieth Century: Cultures and Civilizations Reconsidered (Vol 1), New Haven: Yale University Press, 2004Yang, Xiaoneng (ed.), New Perspectives on China's Past: Chinese Archaeology in the Twentieth Century: Major Archaeological Discoveries in Twentieth Century China (Vol 2), New Haven: Yale University Press, 2004Zhang, Hongxing, The Qianlong Emperor: Treasures from the Forbidden City, Edinburgh: National Museums of Scotland, 2002(qty)Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.Please note this lot will be offered with no reserve. ???????
AMERICAN INDIAN SILVER & TURQUOISE NECKLACEAMERICAN INDIAN SILVER & TURQUOISE NECKLACE & RING American Indian sterling silver and turquoise necklace and ring, the ring marked "Sterling," with certificate of authenticity for "American Indian Jewelry" by Skystone Traders. Necklace: 20" L. Silver not weighable.
ENGLISH BRASS SCALE BY H. M. STANLEY,ENGLISH BRASS SCALE BY H. M. STANLEY, LONDONMarked 'H.M. STANLEY (S & W) LTD LONDON EC1' and 'CLASS B TO WEIGH 50 OZ TROY'
23 1/2 x 18 1/2 x 10 in.
Note: HM Stanley, who made scales for bankers and bullion traders, moved to London, EC1 in 1945, where they remained until 1972, when the firm was closed. In September 1970 the firm name was changed to Stanley Weights.
Condition
The brass surface with pitting, rubbing and some scuffing. In generally good condition. Structurally sound. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
Petite Navajo Silver and Turquoise LinkPetite Navajo Silver and Turquoise Link Concha Belt
mid-20th century
eleven conchas and matching buckle; etched with a traders / pawn code CO-57-CT
belt length 27-1/4 inches, concha/buckle length 1-1/2 inches x width 3/4 inch, weight 60.5 dwt.
TWELVE STAFFORDSHIRE BLUE TRANSFER PRINTEDTWELVE STAFFORDSHIRE BLUE TRANSFER PRINTED PLATES, ENGLAND, FIRST HALF 19TH CENTURY, England, first half 19th century, Octagonal Chinoiserie , dia. 9 1/2; impressed Phillips Longport pastoral scene, dia. 9 7/8; marked Riley's Semi China Europa , dia. 9 3/4; classical design with Greek key border, dia. 9 1/2; classical design, dia. 9 3/4; impressed Rogers Zebra , dia. 10; Country House design, dia. 9 3/4; Chinese Traders , dia. 9 7/8; "Chinese Fisherman", dia. 9 1/4; Chinese junk design, dia. 9 5/8; mother, children and sheep design, dia. 10; marked Spode Tomb , dia. 10 in.
EIGHT STAFFORDSHIRE BLUE TRANSFER PRINTEDEIGHT STAFFORDSHIRE BLUE TRANSFER PRINTED SERVING PIECES, ENGLAND, FIRST HALF 19TH CENTURY, England, first half 19th century, square salad bowl marked Theatre Printing House Oxford Opaque China J & W Ridgway, lg. 8 1/4; square salad bowl with Chinese Traders , lg. 9 1/4; marked Spode Tower cheese dish and cover, ht. 11 1/4; Net hot water dish, dia. 10; footed cake stand with Oriental figures and rams, dia. 12; a Long Bridge bowl, dia. 9; Gothic Castle compote, lg. 11 1/4; and oval footed serving tray with Chinese Figure and Umbrella , lg. 9 in.
TED LONG (1932-2007), RED MEN & REDTED LONG (1932-2007), RED MEN & RED RIVER CART TRADERS Title: Ted Long (1932-2007), Red Men & Red River Cart Traders Dimensions: 16 x 32 Frame dimensions: 26 x 42 x 2
ALEXIS-HUBERT JAILLOT (1632-1712) FRENCHAALEXIS-HUBERT JAILLOT (1632-1712) FRENCHA very rare, fascinating and period example of Jaillot's map of Hudson's Bay and the Great Lakes, dated 1685, the map showing the regions then controlled by French Missionaries and Fur Traders. This early map depicts posts designed to halt the movement of Native peoples from Hudson's Bay to more southerly regions. Engraved, hand colouring, measuring 19" x 26 1/2". Archival framing, central fold crease, and minor staining. We can provide high resolution photos.
2 ROYAL DOULTON SERIES WARE FAMOUS SHIPS2 ROYAL DOULTON SERIES WARE FAMOUS SHIPS VASES D5957Small size. Titled ACORN, handpainted and decorated in relief.
The famous fighting ship the ACORN played a large part in destroying the slave-traders of the 1840s. Royal Doulton backstamp.
Issued: c. 1938
Dimensions: 5.75"H, each
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Age related use and wear
JAPANESE CERAMIC HAKATA DOLL FIGUREHandJAPANESE CERAMIC HAKATA DOLL FIGUREHand painted, in traditional Kimono with red lantern on a bamboo stick. Marked Made in Japan and stamped 52-26-39 to bottom base.
Issued: 20th c.
Dimensions: 11.75"H
Manufacturer: Oriental Traders Inc.
Country of Origin: Japan
16 ASSORTED DECORATIVE MOTHER AND CHILDRENDecorative16 ASSORTED DECORATIVE MOTHER AND CHILDRENDecorative painted scenes of mothers and children.
Santa Clara Seven Seas Traders Kern Arni Hamilton Collection
ROYAL DOULTON COMMEMORATIVE TWO HANDLEROYAL DOULTON COMMEMORATIVE TWO HANDLE VASE, ABTAWhite bone china with gold gilt loving cup, celebrating the 75th Allied Brewery Traders Association 1982.
Royal Doulton backstamp. #RoyalDoulton #LovingCup #ABTA #Brewery
Issued: 20th c.
Dimensions: 6"W x 4"H x 4" dia.
Edition Number: 146 of 600 Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Good
CHINESE 19TH CENTURY PEDESTALDESCRIPTION:CHINESE 19TH CENTURY PEDESTALDESCRIPTION: An antique Chinese 19th century pedestal composed of elm wood. Label attached to reverse from "Chinese Traders Inc." states the origin "Shanxi" restored in "2005" Dynasty "Qing"
CIRCA: 19th Cent.
ORIGIN: China
DIMENSIONS: H: 34.5" x W: 12.5" x L: 14"
CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
JOHANN BERTHELSEN (AM.1883-1972) OILJOHANN BERTHELSEN (AM.1883-1972) OIL ON CANVAS BOARD.Johann Berthelsen (Am.1883-1972) 12"H. x 9"W. oil on canvas board, winter scene "5th Ave & 60th St." looking south. Original white washed French frame label on reverse, "Traders in Treasures, Milton Schepps, Madison Ave." with artist and title.
Condition:
Dirty, no inpaint, loss to frame. Please contact gallery for further information or further condition of this lot, all items are sold as is, all sales are final
FARMERS AND TRADERS GUIDE, PUMPKINTOWN,FARMERS AND TRADERS GUIDE, PUMPKINTOWN, TN, 1839"The Farmers and Traders Guide, The Wholesale of Retail Value of Any Commodity from One Quarter of a Cent to Fifteen Dollars, with a variety of useful tables". By J.W. & J.R. Robinson, Printed by Johnston & Edwards, Pumpkintown, TN, 1839. Marbleized paper cover. 136 pages. Note: Pumpkintown, TN is no longer in existence but was originally located in McMinn County, TN near present day Athens, TN. The name was a corruption of the existing Cherokee Native American village a corruption of "Potemkin town". Provenance: Blount County, TN Living Estate.
Condition:
Some wear and spots on the spine and cover. Browning and spotting on pages.
LIBERIAN KRAHN FIGUREKrahn figure fromLIBERIAN KRAHN FIGUREKrahn figure from Liberia with straw hair, large teeth and open arms; measures approximately 16-1/4" tall; please refer to photographs for condition. The Krahn arrived in the area known as Liberia as part of early sixteenth century migrations from the north-east and what is now the Republic of Ivory Coast. This migration occurred due to pressure on local populations resulting from an emigration of Western Sudan tribes after the decline of medieval empires, as well as an increase in regional tribal wars. During this timeframe, the African slave trade was becoming more prominent within Liberia. Although some Kru tribes faced capture by Westerners, it was more common for the Krahn and other coastal peoples in Liberia to serve as local traders, brokering deals within the Western slave market.
A REPUBLIC OF TEXAS MAP, "MAP OF THEA REPUBLIC OF TEXAS MAP, "MAP OF THE UNITED STATES AND ...A REPUBLIC OF TEXAS MAP, "Map of the United States and Mexico, Including Oregon, Texas and the Californias," NEW YORK, CIRCA 1846, hand colored lithograph on paper, "Showing the route and importance of the contemplated Great Oregon Railroad, the boundary as agreed upon, the only two routes by which an army can reach the city of Mexico, an account of the battles of the American and Texian revolutions, Army & Navy of the United States; Route of the Santa Fe Traders, Description of Mexico, its gold and silver mines, seals of different states...," published by John Haven, a broadside map promoting Manifest Destiny and produced on the eve of the Mexican-American War, "The Texians claim as their boundary the Rio del Norte from its mouth to its source. Mexico recognizes their claim only as far as the Nueces." 31" x 20 3/8" Provenance: Property from a Corporate Collection, Houston, Texas. Property from a Corporate Collection, Houston, Texas
Condition:
Some tears, creases, losses, mild fading, stains, toning, and expected wear, overall in fair to good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS.” NO REFUNDS will be issued based on condition.
RUSSIAN GILT PORCELAIN EGG W/ STERLINGRUSSIAN GILT PORCELAIN EGG W/ STERLING STANDRussian porcelain Easter egg beautifully painted and gilt. One side bears a depiction of Christ within a cross; the other bears an image of St. Vladimir holding a cross. In a silver stand decorated with scrolling designs and a scene of traders. Stand is marked "Germany" and with crown and lion passant hallmarks.
Egg; height (not including stand): 4 1/2 in x diameter: 3 1/2 in. Stand; height: 2 3/4 in x diameter: 3 1/2 in. Stand weight: 2.15 Troy oz.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
ANTIQUE 1891 CAST IRON STILL BANK "THEANTIQUE 1891 CAST IRON STILL BANK "THE TRADERS BANK OF ...Antique 1891 Cast Iron Still Bank "The Traders Bank of Canada" , in the form of a large bank building, hinged door with removable interior divided coin compartment losses to finials and roof area
Height 8.5 in. Width 5 in. Depth 10 in.
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
"FIGHTING RED CLOUD'S WARRIORS" 1ST"FIGHTING RED CLOUD'S WARRIORS" 1ST EDITION 1926Presented in this lot is the First Edition of "Fighting Red Cloud's Warriors" by E. A. Brininstool, 1926, The Hunter-Trader-Trapper Co., Columbus, Ohio. A classic account of The Fetterman Massacre, The Wagon Box Fight, The Battle of Beecher Island, and The Buffalo Wallow Fight. From the Preface, "I am not a believer in the old adage that 'the only good Indian is a dead Indian.' My sympathy is with the red man. The early white traders who trafficked with the Indian were, as a rule, a class of men of little conscience and few scruples, who would stoop to any deceit or trickery to rob the Indian of his furs and pelts. It was the early trader who introduced whiskey among the Indian tribes; who, through fraud and knavery, turned the red man against the whites of whatever class. This was the beginning of the hatred and contempt which made all white men, good or bad, soon look alike to the warring savage." Brininstool (1870-1957) was a cowboy poet, but was not a working cowboy. He lived most his life in Los Angeles, rubbed elbows with Will Rogers and Charles Russell, who met regularly as part of a western artists group at the University Club in LA. He is best known for Trail Dust of a Maverick (1914) and Bozeman Trail (1922). Brininstool was a prolific author on the subject of Indian Wars, especially on Little Big Horn. This red cloth illustrated hardcover is in good overall condition, slight scuffing and soiling observed on cover and edges. Intact pages exhibit age tanning and very slight foxing, no other obvious marring noted. Measures 5.25"W x 7.25"L , weight approximate 10oz.
HE DOG OGLALA - CA. 1878 WINCHESTERHE DOG OGLALA - CA. 1878 WINCHESTER MODEL 1873 SRCThis is a rare Winchester Model 1873 Saddle Ring Carbine serial number 16399 ordered by He Dog, marked “Crazy Horse rode with He Dog” and B.F. Flower 1879. The piece comes accompanied by a signed document from Wendell Grangaard from The Guns of History, Inc. Sioux Falls, South Dakota. The firearm was examined by Wendell Grangaard, author and historian on Custer, the Battle of the Little Bighorn as well as the Togia language. Wendell noted the firearm being marked as such in Togia and English: On the left side of the receiver cover is marked He Dog with an illustration of a dog, below this is “B.F. Flower 1879” and in front of the dog, Crazy Horse rode with He Dog (illustration 1); On the left side of the stock is marked son of He Dog – Eagle Hawk (illustration 2); On the right side of the stock is the signature mark of Standing Bear (illustration 3). It is noted in the signed document that in July 1877, General Crook told Crazy Horse he could have one last buffalo hunt, with the date set for August 15, 1877. Crooks notified the trading post and traders that they were permitted to sell weapons to anyone participating in the buffalo hunt. He Dog ordered and purchased a Winchester from Long Joe Larrabee a French trader from St. Cloud on the Missouri River who had a trading post at Fort Robinson. The hunt was delayed when Crazy Horse was arrested and killed at the Fort on September 5, 1877. After returning from Washington in October 1877, He Dog formed a breakout of Soreback band members and they fled into Canada to join Sitting Bull. He Dog brought his first wife, and left behind his 13-year old son Joseph Eagle Hawk with his second wife, Rock mother to He Dog’s daughter They Keep Her Horse. She stayed with her people the Soreback Hunkpapa Lakota Sioux in the White Clay District on the Pine Ridge Reservation. The gun was delivered to Long Joe Larrabee at his trading post Fort Robinson in the spring of 1878 to He Dog’s wife, Rock. Rock knew the way of the Togia and that “lemita” (my possession) must be placed on the new Winchester carbine, so she asked Standing Bear to inscribe the rifle with her husbands name. The winter of 1878-1879 was long, cold and turbulent causing Rock to need to sell the firearm for necessary supplies for her family. She sold it to a teamster who was hailing supplies to the new Pine Ridge Agency. As part of trading the Winchester , Rock told B.F. Flowers, the teamster, to put his name below her husbands in the tradition of Togia. So he marked the gun B.F. Flowers 1879 below He Dog’s name. B.F. Flowers or B. Franklin Flowers was born on August 2, 1819, and was employed by the Department of the Platte for General Crooks. Flowers hauled supplies out of Fort Omaha, Nebraska. He died on December 21, 1889, and is buried on Lot 079 Pacific Cemetery, Pacific Township, Columbia County, Wisconsin. It is believe He Dog’s son, Joseph Eagle Hawk used the carbine before it was sold to Flowers, as his name is written on the stock in Togia. The Winchester is accompanied with a Winchester Factory Letter noting that this firearm, serial number 16399 as a Carbine shipped May 2, 1878 in Order Number 11740. The firearm is accompanied by the Cody Letter, Signed Provenance Document from Guns of History, and illustrations. The carbine exhibits the saddle ring on the left side, marked on the bottom of the straight grip, “16399”, on the top of the barrel in a two line address “WINCHESTER’S – REPEATING - ARMS. NEW HAVEN, CT / KING’S – IMPROVED – PATENTED – MARCH 29, 1866, OCTOBER 16, 1866” and on the back of the frame tang “MODEL 1873”. Has a tilt up site on the barrel and front barrel band site. Hammer exhibits some case hardening and the receiver some original color. Has a 20 inch long round barrel with full length loading tube. Butte plate is a crescent metal with sliding brass window exposing the metal and brass three piece cleaning rod. The lever lock tab functions. The lever works correctly, rolling down pushing the brass ejector up which loads the next round while also cocking back the hammer. The hammer independently will also click back twice holding into place. The trigger releases the hammer appearing to work correctly. The dust cover is present with oblong oval checkered thumb spot. This is an Antique Firearm that does not require an FFL.
NW INUIT / ALEUT ESKIMO MODEL CEDARNW INUIT / ALEUT ESKIMO MODEL CEDAR & SKIN KAYAKPresented in this lot is a Vintage Handmade Northwest Inuit / Aleut Eskimo Model Skin Kayak. Genuine skin and cedar frame. A superb miniature model kayak boat made from stretched skin over a wood frame, complete with cedar paddle, and sinew stitching and lashings. The kayak was the most prized possession of a northern hunter, used for transportation, seal, walrus, and whale hunting, and fishing. Models were built to demonstrate their construction to eager European traders who wanted to purchase these lightweight boats, and later as souvenirs, toys, and as art. Nice condition, measures 1.25"W x 11"L approximately.
C. 1883 KANSAS CITY'S LIVE STOCK TRADERSC. 1883 KANSAS CITY'S LIVE STOCK TRADERS 1ST ED.Featured in this lot is a Rare First Edition of "Twenty Years Of Kansas City's Live Stock Trade and Traders", by Cuthbert Powell, 1893. A very scarce book on the history of the Kansas City stockyards and its inhabitants, man and animal. Chapters on the packing industry, various animal in the stock yards, biographical sketches and photographs of many of the early traders. Powell was editor of various live stock journals in Kansas City, and he followed events and personages with a reporter's eye. Also included in this lot is a May 18, 1904 accounting sheet from Gilman Reed & Co., Live Stock Commission Merchants, Room 200, Live Stock Exchange, Kansas City Stock Yards. The stockyards were built to provide better prices for livestock owners. Previously, livestock owners west of Kansas City could only sell at whatever price the railroad offered. With the Kansas City Livestock Exchange and the Stockyards, cattle were sold to the highest bidder. This blue-green, cloth bound, gold gilt stamped texture hardcover is in good overall condition, with a bit of scuffing noted to cover edges and a loose spine. Intact pages exhibit age tanning, and some pages are loose from the binding. Measures 8"L x 5.5"W x 1"D.*
MEL CRAWFORD B. 1925) "YUKON" ORIGINALMelMEL CRAWFORD B. 1925) "YUKON" ORIGINALMel Crawford (Canadian, B. 1925) "Yukon" Signed lower left. Original Mixed Media painting on Cold Press Illustration Board.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This painting was originally published on the Fleetwood First Day Cover for the Canada 17c Flags of Canada Yukon stamp issued June 15, 1979.
Like much of the Canadian west, the Yukon Territory was first explored by fur traders of the Hudson's Bay Company. With the discovery of gold in 1873, settlements were established along the Yukon and Stewart Rivers. In 1895, the Territory was incorporated into the newly-organized Northwest Territories along with the rest of the former Hudson's Bay Company lands, and the Northwest Mounted Police were dispatched to the region to maintain Canadian law. When a rich gold strike was made in the Klondike region in 1896, the real modern history of the Yukon began. Thousands of gold seekers swarmed into the Yukon from all over Canada and the United States, and the rough-and-ready reputation of the territory began to spread throughout the world. In 1898, an Act of Parliament separated the Yukon Territory from the Northwest Territories, and established local control over most questions of administration in the Territorial Capital at Whitehorse. By the end of the gold rush, in 1901, the Territory's population had risen to more than twenty-seven thousand. Twenty years later, barely over four thousand people remained in the Territory. Today, there are still fewer than thirty thousand people in the whole Territory. But the Yukon will continue to grow and to prosper, because its rich lands have the resources that the more developed lands to the east and south need: lead, zinc, copper, nickel, asbestos, cadmium, tungsten, coal, gold, and silver are but a few of the resources that the Yukon has in abundance.
Image Size: 14 x 12.25 in.
Overall Size: 17.75 x 15 in.
Unframed.
(B05407)
Condition:
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EARLY 20TH C. NATIVE AMERICAN PLAINSEARLY 20TH C. NATIVE AMERICAN PLAINS HIDE PARFLECHE BAG...Native American, western United States, Plains Indians, probably Nez Perce ca. late 19th to early 20th century CE. A fine parfleche bag of rectangular form and impressive size, handmade from cow hide and skillfully hand-painted in hues of cobalt, emerald, crimson, and marigold. The brilliant pigments adorn the front of the bag, creating a lovely, abstract design of triangular and rhomboid motifs, as well as horizontal and vertical striations. These decorative patterns often represent mountains, rivers, or have a spiritual significance. The painted side of the satchel opens via a pair of front flaps that meet in the middle and are tied with a slender leather strap. An additional leather strap at the top allows the parfleche to be suspended. Parfleches like this example were almost exclusively made by women and used as lightweight and weather-proof containers for personal items and food stuffs, such as dried meats, dried cherries, fat back and peppermint leaves, often stored for long times as emergency rations. Size: 27.9" L x 12.4" W (70.9 cm x 31.5 cm)
The name "parfleche" was initially used by French fur traders and derives from the French language "parer" meaning "to parry" or "to defend" and "fleche" meaning "arrow." Different Indigenous peoples have their own names for these packages.
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: private Arlington, Virginia, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#167599
Condition:
Some expected surface wear, commensurate with age and use. Otherwise, intact and excellent with impressive remaining pigments.
BEAUTIFUL BYZANTINE GOLD & GARNET OPENWORKBEAUTIFUL BYZANTINE GOLD & GARNET OPENWORK NECKLACENear East, Holy Land, Byzantine empire, ca. 6th to 8th century CE. A dazzling and wearable gold necklace consisting of a figure-8 loop-in-loop chain with an orb-shaped pendant at the center and a pair of openwork rondels flanking a twisted hook clasp. The stunning pendant is comprised of 2 rows of braided gold loops connected by 5 circular, cabochon bezels - 4 of garnet and 1 paste glass - at the midsection. Circular gold sheets with undulating peripheries lie at the interior of the top and bottom of the orb, while an additional garnet bezel adorns the exterior of the bottom, and an ample suspension loop extends from the top. Each rondel is embellished by an openwork quatrefoil motif formed via 4 spiraling, slender gold ribbons. An exemplary ornament - replete with ancient artistic talent and modern stylistic taste! Size (of chain): 22.5" L (57.2 cm); Size (of orb pendant): 0.7" W x 1" H (1.8 cm x 2.5 cm); Gold quality: 90% (equivalent to over 21 karats); Weight: 23.5 grams
The Byzantine period was a time of intense religiosity and immense wealth devoted to religion. On the backdrop of the Crusades and the split between the Eastern and Western branches of the Church, religious jewelry like this played a significant role. Not only did it symbolize one's status, but it also served as a diplomatic tool. Interestingly, Emperor Justinian established laws (later called the Justinian Code) that among other things regulated the wearing of jewelry. He stated that sapphires, pearls, and emeralds were reserved for the emperor; however, every free man was actually entitled to wear a gold ring. This suggests widespread popularity of jewelry, and indeed, wealth abounded in the Byzantine Empire, there were gold mines within its borders, making gold more easily accessible. What's more, its geographical location was ideal for trade between the East and the West. Hence, individuals of various pursuits including military officers, traders, as well as high officials reporting to the emperor would all have been able to afford luxurious jewelry.
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: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010
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.
#159440
Condition:
Wearable as shown. One garnet bezel on side of orb replaced with glass, as mentioned. Otherwise, remarkably well preserved and in excellent condition.
17TH C. SPANISH COLONIAL IVORY SANTO17TH C. SPANISH COLONIAL IVORY SANTO SLEEPING NINOSoutheast Asia, Philippines, Spanish Colonial Period, ca. 17th to 18th century CE. An endearing sculpture of the sleeping Christ child or Santo Nino Dormido - a popular santo during the Spanish Colonial period in the Philippines - hand-carved from ivory and painted in hues of tan, gray, brown, and pink. Wearing only a petite cloth over his groin, the pudgy infant lays on his back with his right hand held to his cheek and his left arm at his side - a pose reminiscent of the reclining Buddha. Both legs extend from his distended abdomen, bending at the knee as though kicking at his swaddle. His plump visage exhibits a serene countenance of closed eyes, a bulbous nose, a slight smile, and an adorable double chin. A thin brown coiffure crowns his head, sitting above a pair of naturalistically rendered ears. The holy child has been meticulously sculpted with every detail given careful attention, from the folds of flesh at each joint to the nailbeds of each finger and toe. Size: 5.7" L x 1.9" W (14.5 cm x 4.8 cm)
According to the Walters Museum of Art, "The Infant Christ was a favorite devotional image in Spain throughout the 17th and 18th centuries. Appealing to sentimental piety, these images, often carved in ivory were frequently found in convents. Small ivory images of the infant Christ were among the favored subjects commissioned by Spanish traders in the Philippines (a Spanish colony since 1565) from local carvers, most of whom (at least initially) were Chinese, members of a long-established merchant community."
Cf. The Metropolitan Museum of Art, 64.164.174, Museo Lazaro Galdiano (Madrid), 11873, and the Walters Museum, 71.405 and 71.406.
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 Jacksonville, Florida, USA collection; ex-Nordby private collection, acquired in the USA in the 1960'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.
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.
#172326
Condition:
A few stable hairline fissures to neck and shoulder areas. Otherwise, intact and excellent with nice remaining pigments.
19TH C. LAKOTA BEAVER TOP HAT + BOX,19TH C. LAKOTA BEAVER TOP HAT + BOX, TIMOTHY W. AUDISSNorthwestern Europe, England, ca. late 19th to early 20th century CE; Timothy W. Audiss (Lakota Sioux, 1961 to present). This is an interesting commentary piece: a 19th century beaver fur top hat manufactured by a British company, the silk lining is stamped in gilt "ED. THURMANN RONNEBURG" with a crown emblem, and the inner sweatband is hand signed in ink by 20th to 21st century Lakota artist Timothy W. Audiss with a fish symbol. The cardboard hat box is also antique but is painted by Audiss with stylized imagery and signed by the artist. The lid depicts a fox in a top hat with antlers, the sides contain a rider in a top hat and traditional clothing hunting a buffalo, and another pair of figures opposite also are dressed traditionally, again, one wears a top hat. This piece is a combination of antique artifacts meets modern artist, European style meets Lakota Native American culture. Size (box): 13.75" L x 11.5" W x 8.5" H (34.9 cm x 29.2 cm x 21.6 cm) Size: 10.5" L x 9" W x 6" H (26.7 cm x 22.9 cm x 15.2 cm); hat: 10.5" L x 9" W x 6" H (26.7 cm x 22.9 cm x 15.2 cm)
Timothy W. Audiss (Lakota Sioux, 1961 to present) is a self-taught artist specializing in traditional Lakota crafts. He was awarded the American Indian Artist Fellowship in 2001 and runs the "Thin Elk's Visions" gallery. He specializes in recreating past artifacts, honoring his ancestors and highlighting cultural changes and adaptions. Lakota craftsmen of the 19th century absorbed the items that traders and settlers brought; umbrellas and top hats were decorated with beads, feathers, fur, and quills.
Provenance: ex-private Bishop Family Trust collection, the Trust of the late Bill Bishop, a noted antiquarian with shops in Scottsdale, Arizona and Allenspark, Colorado, USA, acquired before 2010
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.
#172908
Condition:
Fraying and tearing to box as well as staining and discoloration to surface as shown. Hat has signs of wear to interior band, but overall excellent. Box does not match hat. Painted motifs are modern; box and hat are antique. Clearly signed by artist on box and hat.
IMPORTANT MIMBRES POTTERY BOWL W/ WALKINGIMPORTANT MIMBRES POTTERY BOWL W/ WALKING FISH - TL'DNative American, Southwestern US, Mimbres Valley, New Mexico, ca. 950 to 1150 CE. A smallish, deep bowl of classic form and decoration from an imaginative and unique ceramic culture. The bowl has step walls, an unpainted exterior, and a dramatic series of abstract geometric motifs on its interior. Painted in tondo is a pair of unusual large fish, a stylized depiction with a tiny triangular tail and large, rounded body beneath which are 4 clear foot-like appendages. Its surface is decorated with crossed lines and diamonds. Between these fish is a "kill" hole, which researchers believe means that the bowl was ritually punctured at its nadir prior to interment with a human burial. The fish are surrounded by a series of mountain-like sweeping triangles with stepped, rectangular, and linear motifs whose forms may have been inspired by the dramatic geology of the Mimbres homeland.Size: 6.375" Diameter x 2.75" H (16.2 cm x 7 cm); 11" H (27.9 cm) on included custom stand.
Fascinatingly, a variety of fish as well as fishing scenes are depicted on Classic Mimbres pottery. A 1986 study by Jett and Moyle (see below) identified 20 fish taxa on Mimbres bowls, 18 of which are marine, from the Gulf of California. Does this mean that Mimbres traders traveled nearly 1000 miles across the desert to gain access to the rich resources of the coast? It must have been an arduous and remarkable journey, and yet the Mimbrenos seem to have undertaken it with some regularity - not only do they have many depictions of fish on their pottery, but thousands of marine shells have also been found in Mimbres archaeological sites. Given that they wore shell jewelry and left shells as offerings, we surmise that they were fascinated by the ocean. On this vessel, the fish is probably a marker of a particular clan, lineage, or other social group. c. f. Jett and Moyle, 1986, "The Exotic Origins of Fishes Depicted on Prehistoric Mimbres Pottery from New Mexico", American Antiquity, vol. 51, issue 4, pgs. 688-720.
This item has been tested using Thermoluminescence analysis (TL) and has given results consistent with the age as stated here. A full report will be issued to the winning bidder.
Provenance: private Niwot, Colorado, USA collection; ex-Kurquhill's Gallery, El Paso, Texas, USA; ex-private El Paso, Texas, USA collection, acquired early to mid 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.
#175728
Condition:
Kill hole as often found, repaired from 5 or 6 pieces with enhancement of pigment only over those repaired areas.
17TH C. JAPANESE EDO STEEL KATANA W/17TH C. JAPANESE EDO STEEL KATANA W/ GILT BRASS MENUKIEast Asia, Japan, early Edo Period, ca. early 17th century CE. A forged steel katana blade of nice length exhibiting a shinogi-zukuri shape and a shortened (o-suriage) tang set in honzukuri mountings. The blade features a wavy (gunome-choji) temper line with a "three cedar trees" (sanbon-sugi) temper pattern formed by the tight (itame-hada) forging grain. The handle (tsuka) is wrapped in stingray skin (samegawa) and cotton bindings (tsuka-ito) that display a pair of gilt brass kirin-form ornaments (menuki), and feathers decorate the end caps (fuchi / kashira). The circular hand guard (marugata tsuba) features 2 pairs of perforations, one larger and one smaller. The wooden scabbard (saya) is inlaid with petite pockets of white seashell powder and covered in dark lacquer (urushi) with a black cotton cord knotted along one side. Size (w/ scabbard): 3" W x 38.75" H (7.6 cm x 98.4 cm); (blade): 28.25" L x 1.3" W (71.8 cm x 3.3 cm)
The katana is an example of a daito, a long sword, that could only be worn by samurai of higher rank (shorter swords called wakizashi could be worn by craftsmen, traders, and merchants, and are more commonly found today). Over the centuries that katana were made, the process of their manufacture became heavily regulated. For example, in 1683, the Tokugawa Shogunate made laws about the maximum size of katana and wakizashi. Meanwhile, once a samurai took ownership of his new weapon, he had to wear it in a highly regulated manner. Katana in this period were both deadly weapons and signs of status. The craftsmanship of this piece is evident and reflects hundreds of hours of work.
Provenance: private Jones collection, Boulder, Colorado, USA; ex-private Sacramento, California, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#175626
Condition:
Minor abrasions and nicks to scabbard with possible infill material in some areas. Cotton cord on scabbard is a modern replacement. Light abrasions to blade and handle, otherwise intact and very good. Wonderful patina throughout. Blade is still very sharp so please handle with caution. Modern cloth carrying case included.
MINIATURE 19TH C. INUIT SEALSKIN KAYAKMINIATURE 19TH C. INUIT SEALSKIN KAYAK BOAT (MODEL)**Originally Listed At $600**
Native American, Northwestern United States or Canada, Inuit / Aleut people, ca. 19th to early 20th century CE. A superb miniature model kayak boat made from stretched seal skin over a wood frame, complete with paddles, bone attachments, and sinew lashings. The kayak was the most prized possession of a northern hunter, used for transportation, seal hunting, and fishing. Models were built to demonstrate their construction to eager European traders who wanted to purchase these lightweight boats, and later as souvenirs, toys, and as art! This example is in superb condition, and while we have not tested it, the body seems perfectly watertight! Size: 21.5" L x 2" W x 1.75" H (54.6 cm x 5.1 cm x 4.4 cm)
Please note this item falls under the Safeguard Tribal Objects of Patrimony Act and is not eligible for international shipping. Native American, Alaska Native, & Native Hawaiian objects can only be shipped within the United States.
Provenance: private Glorieta, New Mexico, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#160484
Condition:
Some fraying to sinew threads, and hide cargo bundle is reattached with glue, otherwise in great condition.
BONNIE HALSEY-DUTTON PAINTING - "APSAALOOKE"BONNIE HALSEY-DUTTON PAINTING - "APSAALOOKE" (2009)**Originally Listed At $800**
Bonnie Halsey-Dutton (American, Contemporary). "Apsaalooke" watercolor and gouache on paper, 2009. Signed and dated on lower right. The dramatic presence of the crow in this painting by Bonnie Halsey-Dutton pays homage to the Crow peoples who call themselves "Apsaalooke" meaning "Children of the Large-Beaked Bird". Also profoundly symbolic is the brilliant sun referencing the official Crow seal with its orb-like center signifying the united Crow people and its rays representing the tribe's many branches. Interestingly, the warrior on horseback, with a handprint on the horse, surrounded by arrows was inspired by a Crow ledger drawing that captivated Halsey-Dutton. All is delineated in Halsey-Dutton's expressive manner and uniquely floated upon a backdrop that the artist painted to resemble animal hide in a deep acrylic shadowbox frame. Size (painting): 30" L x 11" W (76.2 cm x 27.9 cm) Size (shadowbox): 34.5" L x 15.4" W x 2.7" D (87.6 cm x 39.1 cm x 6.9 cm)
Halsey-Dutton has used shadowbox framing to underscore the cultural importance of the theme and suggest a treasured museum artifact. This piece is painted on heavy-weight archival watercolor paper, and the manner of paint application was intended to convey age and weathering. In addition, the paper's deckled edge further imbues the piece with a sense of history.
Bonnie Halsey-Dutton was born and raised in South Dakota and is inspired by the local cultures where she resides as well as their history. She has provide the following statement about this piece, "The image of a mounted rider in this painting is inspired by a Crow ledger drawing. When Native American artists were displaced onto reservations, they often utilized discarded ledger books to record their experiences. Often, Native drawn images were placed over the top of the old handwriting, creating a visual dichotomy of life at the time. The sun in the painting is representative of the official Crow Indian seal. The center of the sun depicts the united Crow people, and the rays represent the many branches of the tribe.
The Native American tribe known as the Crow Indians call themselves 'Apsaalooke', meaning Children of the Large-Beaked Bird. French traders mistakenly translated the name to Crow, and although it became known historically, it was not technically a correct translation. As the native tribes were pushed west by United States expansion, they often were forced onto other natives' territories, compelling a continuous battle for existence. The stories of these struggles were often recorded on animal hides and also passed down as oral narratives."
Dr. Halsey-Dutton is both a professional visual artist and a fine arts educator, holding a PhD in Art History and Education from the University of Arizona. She exhibits her artwork both nationally and internationally, and also teaches art education workshops at home and abroad.
Provenance: Private Spearfish, South Dakota, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#177791
Condition:
Overall excellent and demonstrates impressive artistry and technique. Signed and dated on lower right. The artist has floated this painting in a deep clear acrylic shadowbox frame. The paper is mounted upon archival black foam core that has been permanently attached to a painted heavy Masonite backing. Fit with suspension wire and ready to display. Halsey-Dutton's informative description and COA is attached to the verso of this piece.
EARLY 20TH C. MOROCCAN BERBER POTTERYEARLY 20TH C. MOROCCAN BERBER POTTERY MUGMorocco, Berber / Amazigh, ca. 1900 CE. This is a prettily decorated pottery vessel that looks like a large coffee mug with the handle intact. Size: 4.5" L x 5.75" W x 4.25" H (11.4 cm x 14.6 cm x 10.8 cm)
Unglazed ceramics from Morocco are usually made in the Rif area of mountainous central Morocco. The production of ceramics is primarily women's industry, and the women who make the pots decorate them with natural paint from plants such as henna. They make the pots without a potter's wheel, instead using a wooden spatula to change the thickness of the walls and a leather strip for polishing the outer walls. Some art historians theorize that the geometric designs on Berber pots originated with the classical and medieval period traders of the Mediterranean and Sahara.
Provenance: Ex-private G. McDonald collection, New Hampshire
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.
#109884
Condition:
There is some fading, dirt, wear, and patina, but all the artwork is still bold and clear. There are some hairline cracks near the base and limited evidence for gluing to the base.