- BRAZILIAN MADE ROSE QUARTZ & WIRE SCULPTURE
BRAZILIAN MADE ROSE QUARTZ & WIRE SCULPTURE Artexanato Brasileiro / Brazilian made sculpture of a flowering tree comprised of a wire trunk and branches with polished rose quartz flowers on a rough cut rose quartz base. 9" H x 7" W x 5" D. Multiple missing "flowers" noted.
- (13) COLLECTION OF SIGNED TEXANA BOOKS(lot
(13) COLLECTION OF SIGNED TEXANA BOOKS(lot of 13) Collection of Texana books, including: (1) "Titans," Leila Meacham, Grand Central Publishing, 2016, 597 pages, inscribed by author, (1) "The Armadillo Whisperer: Murder Behind Bars," Denniger Bolton, Javelina Books, 2007, 255 pages, signed by author, (1) "Handling the Mails at Corpus Christi," Rex H. Stever, Taylor Publishing Company, 1997, 265 pages, signed by author, bookplate at front endpaper, (1) "The Boy Kings of Texas," Domingo Martinez, Lyons Press, 2012, 443 pages, inscribed by author, (1) "The Day the Cowboys Quit," Elmer Kelton, Texas Christian University Press, 1986, 247 pages, inscribed by author, (1) "Hondo: my Father," Becky Crouch Patterson, Shoal Creek Publishers, Inc., 1979, 268 pages, inscribed by author, (1) "Conversations with Texas Writers," edited by Frances Leonard and Ramona Cearley, University of Texas Press, 2005, 422 pages, inscribed by Cearley, (1) "Texas Play-Party: a Lavaca County Life 1912 to the Present," Kenneth Munson, Guild Craft, 1992, 148 pages, inscribed by author, (1) "The Truth & Then Some: Tales from the Heart of Texas," Tom DuBose, Bob Kingsbery, 2004, 229 pages, inscribed by author, (1) "The Fighting of Padre Zapata: Father Edward Bastien and the Falcon Dam Project," edited by Maria F. Rollin, Texas Western Press, 2003, 265 pages, inscribed by Rollin, (1) "Time & Place," Bryan Woolley, Texas Christian University Press, 1985, 245 pages, inscribed by author, (1) "Spitfire Diary," E.A.W. Smith, Eakin Press, 1988, 238 pages, inscribed by author, (1) "Galveston" Ray Miller, Cordovan Press, 1983, 249 pages, signed and dated by author; 16lbs total
- (7) TEXANA BOOKS, UNIVERSITY OF TEXAS
(7) TEXANA BOOKS, UNIVERSITY OF TEXAS PRESS(lot of 7) Texana Books: (1) "Pioneering in Southwest Texas," Frank S. Gray, Steck Company, Austin, 1949, illustrations, 247 pages; (1) "The Swedish Texans," Larry E. Scott, The University of Texas, 1990, illustrations, 288 pages; (1) "Terrell Texas," Jack Stoltz, The Naylor Company, San Antonio, 1973, author signed, 170 pages; (1) "Historical Round Rock Texas," Digesualdo, Thompson, Nortex Press, 1985, illustrations, 583 pages; (1) "The History of the German Settlement in Texas," Rudolph Biesele, University of Texas, 1964, illustrations, fold out map, 259 pages; (1) "Historical Sketch of Williamson County," Ken W. England, 1966, soft covers, illustrations; (1) "Pflugerville, Another Time, Another Place," Dearing, Mott, Shrout, Stephenson, New Sweden Press, 2009, illustrations, 188 pages, soft covers; largest: approx 9"h, 6"w, 2"d, 8.75lbs total
- (5) ILLUSTRATED TEXANA BOOKS, SOME AUTHOR
(5) ILLUSTRATED TEXANA BOOKS, SOME AUTHOR SIGNED(lot of 5) Texana Books: (1) "Texas, A Historical Atlas", Ray Stephens, University of Oklahoma Press, 2010, illustrated, 417 pages; (1) "Texas Past", Andrew Sansom, autographed by author, Texas Parks and Wildlife Press, 1997, illustrated, 150 pages; (1) "The Texas Courthouse Revisited", June Welch, autographed by author, Texian Press, 1990 illustrated, 278 pages; (1) "The Capitol of Texas", Longstreet Press 1995, illustrated, 178 pages; (1) "Austin", introduction by Dan Rather, illustrated, 491 pages, largest: 12.25"h, 9.5"w, 1"d, total: 17.75lbs
- (10) COLLECTION OF TEXANA BOOKS, J.
(10) COLLECTION OF TEXANA BOOKS, J. FRANK DOBE(lot of 10) Collection of Texana books: (1) "On the Bloody Trail of Geronimo," Lt. John Bigelow Jr, Westernlore Press, 1986, 237 pages; (1) "The Longhorns," J. Frank Dobie, University of Texas Press, 1985, 388 pages; (1) "A Vaquero of the Brush Country," J. Frank Dobie, University of Texas Press, 1981, 302 pages; (1) "Jeff Davis's Own," James R. Arnold, 2007, Castle Books, 378 pages; (1) "Singers and Storytellers," Texas Folklore Society, Southern Methodist University Press, 1961, 298 pages; (1) "Will's War," Janice Woods Windle, Longstreet Press, 2001, 361 pages; (1) "Six Years with the Texas Rangers," James B. Gillet, Copano Bay Press, 2012, 236 pages; (1) "The Texicans," Nina Vida, Soho Press, 2006, 295 pages; (1) "An Informal History of Texas," Frank X. Tolbert, Harper and Brothers Publishers, 1961, 275 pages; (1) "The Story of the Frontier," Everett Dick, Tudor Publishing Company, 574 pages, loose spine, loss to book jacket; largest: approx 9.5"h, 6.5"w, 1.25"d, 13.75lbs total
- (8) TEXANA RELATED BOOKS, MANY AUTOGRAPHED(lot
(8) TEXANA RELATED BOOKS, MANY AUTOGRAPHED(lot of 8) Texana related books, including: (1) "An Unfortunate Prairie Occurrence," Jamie Harrison, Hyperion, 1998, 369 pages, autographed and dated 2/4/98 in black ink, (1) "The Last King of Texas," Rick Riordan, Bantam Books, 2000, 320 pages, autographed in black marker, (1) "Tell Me a Texas Story," June Rayfield Welch, Yellow Rose Press, 1991, 211 pages, autographed in blue marker, (1) "Monday, Monday," Elizabeth Crook, Sarah Crichton Books, 2014, 340 pages, autographed in black ink, (1) "The Homecoming of Samuel Lake," Jenny Wingfield, Random House, 2011, 334 pages, autographed and dated 7/28/11 in black ink, (1) "Mister Charlie: Memoir of a Texas Lawman," Charlie Munson, Madrona Press, Inc., 1975, 122 pages, autographed by Charlie and Kenneth Munson, (1) "Call to Glory: the Life and Times of a Texas Ranger," Michael J. Gilhuly and Marilyn Gilhuly, with personalized inscription reading "Best wishes to Charlie," stamped signatures, (1) "Hill Country," Janice Woods Windle, Longstreet Press, Inc., 1998, 474 pages, autographed in blue ink, largest: approx 9.25"h, 6.25"w, 1.75"d; 11.5lbs total
- (42) TEXANA RELATED BOOKS & PAMPHLETS(lot
(42) TEXANA RELATED BOOKS & PAMPHLETS(lot of 42) Texana books: (2 vol) "The King Ranch," Tom Lea, with slip case: (1) "The Republic of Texas," Wharton, 1922; (1) "The Cactus, 1922," UT Annual; (1) "Pioneer Women Teachers of Texas;" (1) "A Pictorial History of Texas," Gambrell, 1960; (1) "Buck Schiewetz' Texas;" (1) "Karankaway Country," Bedichek; (1) "Galveston: A History," McComb; (1) "Houston: A History," McComb; (1) "Galveston," Miller; (1) "The Katy Railroad and the Last Frontier," Masterson; (1) "A Texan at Bay," Crume; (1) "Geography of Texas," Smith & Walker; (1) "Workers and Wealth of Texas," Stigler & Tardy; (1) "A History of Texas Revised," Pennybacker; (1) "The Lusty Texans of Dallas," Rogers; (1) "A Century of Class," Rumbley; (1) "Diaper Days of Dallas," Dealey; (1) "Destiny in Dallas;" paperbacks: (1) "Destiny in Dallas," Denson; (1) "Texas Sketchbook," Fields; (1) "Tell Me About Texas;" (1) "Bob's Reader, Galveston Island, Texas;" (1) "The Story of Football at The University of Texas, 1893-1951;" (1) "How to Speak Southern," Mitchell; (1) "The Illustrated Texas Dictionary of the English Language," Everhart; (1) "A History of the French Legation of Texas," Hafertepe; (1) "We Said it with Flowers," Lewis; (1) "The Walden Home in the Valley;" (2) "Real Texans Don't Drink Scotch in their Dr. Pepper," Walraven; (1) "My Home is Austin, Texas," Love; (1) "Remember the Alamo!," Moffitt; (2) "Biennial Report, Texas State Library, 1964-1966;" (1) "The University of Texas Record, 1902;" (1) "The University of Texas Bulletin, November 1, 1930;" (1) "Bulletin of The University of Texas, July 8, 1912;" (1) "University of Texas, First Session-1883-84," reprint; (2) "Handbook of Sororities, University of Texas," the two covering 1945-1949; largest: approx 9"h, 11.75"w, 37.5lbs total
- (24) TEXANA BOOKS(lot of 24) Texana
(24) TEXANA BOOKS(lot of 24) Texana Books: (1) "Cowboys Out Our Way, Williams, 1951, autographed by J. Frank Dobie; (1) "Dallas, The Deciding Years"< Greene, 1973; (1) 'Texas Avenue at Main Street", Greene, 1964, pamphlet; (1) "The BUll of the Woods and Out Our Way", Williams, 1944; (1) "Early Texas Oil", Rundell, 1977; (1) "Ben Love, My Life in Texas Commerce, 2005; (1) "A History of the Presbyterian Church in Texas", Red, 1936; (1) "Death from the Sea", Galveston Hurricane, 1900, Mason, 1972; (1) "The Forty Acre Follies", Frantz,1983; (1) "The Caruths, Dallas Landed Gentry", Sanders, 1988; (1) "Cactus Pryor, Inside Texas, 1982; (1) "Allan Shivers", Kinch & Long, 1973; (1) "Big Red, Red McCombs", 2011; (1) "Cowpokes, Draggin S Ranch", Reid, 1966 pamphlet; (1) "Texas" Morehead, 1982; (1) "A Texas Looks at Lyndon", Haley, 1964; (1) "The Schiwetz Legacy", Schiwtz, 1972; (1) "Austin, A Historical Portrait", Willoughby, 1981; (1) "Texas History Movies" Patton & Rosenfield, 1943; (1) "Dallas, An Illustrated History", Payne, 1982; (1) "Texas Past, Enduring Legacy", Sansom & Meinzer, 1997; (1) "The Back Forty", Graham, 1968, pamphlet; (1) "Bulletin of The University of Texas", July 8, 1912; (1) "Waterloo Scrapbook, 1968-1970"; (1) "Footprints of Texas History", Dill, 1911, largest: 12"h, 9.5"w, 1.25", total: 38lbs
- (19) TEXANA BOOKS(lot of 19) Texas
(19) TEXANA BOOKS(lot of 19) Texas Related Books: (1) "Santa Anna's Campaign Against Texas, 1835-1836", Richard G. Santos, 1968; (1) "Between the Enemy and Texas: Parson's Texas Cavalry in the Civil War", Anne J. Bailey, 1989; (1) "Bibliography of Texas", C.W. Raines, 1896; (1)
"Views in Texas, 1895-1896", Henry Stark, 1974; (1) "Texana, The Battle of Valverde", Jerry Don Thompson, 1972; (1) "The Unauthorized History of Dallas, Texas", Rumbley, 1991; (1) "1857 Texas Almanac", repriint; (1) "The Conscience of the University", Ransom, reprint, 1983; (1) "History of Texas World War Heroes", Army Navy History Co., 1919; (1) "35,000 Days in Texas" Dallas News, Acheson, 1938; (1) "The Texas News", Steen, Editior; (1) "Dallas, First Hundred Years, 1856-1956", pamphlet; (1) "Heroes of Texas". Richardson, et.al, 1964; (1) "The University of Texas, A Pictorial Account of It's First Century", (1) "I'm Much Obliged", Walter E. Long, 1968; (1) "Memories of An Old Cowhand", Moller, 1970, pamphlet; (1) "Chronicles of the Big Bend", Smithers, 1979; (1) "The Texas Courthouses", Welch & Nance, 1973; (1) "The Great State Fair of Texas", Wiley, 1984, largest book: 11.25"h, 9"w, 1.25"d, total: 37lbs
- PAINTING, JACK SWANSON Jack Swanson
PAINTING, JACK SWANSON Jack Swanson (American, 1927-2014), "Study for 'The Texan'," 1957, oil on masonite, signed lower right, signed, titled, and dated verso, board: 16"h x 20"w, overall (with frame): 21.5"h x 25"w
- EARL STALEY, LAND OF THE SIRENS ACRYLIC
EARL STALEY, LAND OF THE SIRENS ACRYLIC PAINTINGAcrylic on canvas escape scene depicting siren song.
Earl Staley (b. 1938) is an influential Texan artist who taught at Rice University and has been featured in solo and group shows in Houston, New York, Venice, and elsewhere. This piece depicts the call of sirens toward a small boat on rough seas, amongst an orange sky. Signed and dated by the artist, lower right. Includes original sales invoice from Phyllis Kind Gallery.
Artist: Earl Staley
Issued: 1984
Dimensions: 51.5"H x 83"W
Country of Origin: USA
Condition:
Overall good
- MARJORIE LEE O/B ABSTRACT LANDSCAPE
MARJORIE LEE O/B ABSTRACT LANDSCAPE PAINTING, PEACH ORC...Marjorie Johnson Lee (Texas, 1911-1997) oil on board abstract landscape painting titled "Peach Orchard in Bloom" rendered in brightly hued impasto depicting a dense orchard bursting with pink foliage. Signed "M Lee" lower right corner. Titled, signed, and dated "painted in 1959" along with personal written inscription "1972 Jo Spuzzy: with all my love" in pen, en verso of backing. Housed in a giltwood frame with canvas liner. Sight: 9 3/8" H x 13 3/8" W. Framed: 14 3/4" H x 18 3/4" W. Artist biography: Marjorie Johnson Lee was one of the founders of the Fort Worth School of Artists (1932), which was established to expose Texans to abstract art. She attended Texas Christian University, Fort Worth School of Fine Arts, the Art Institute of Chicago, Colorado Springs Fine Arts Center, and the Arts Student League in New York. She volunteered alongside many other artists in the U.S. Navy WAVES during WWII including as a flight instructor and later lived in New York for many years. She returned to Texas in 1974 and continued painting until her death. (Source: The Old Jail Art Center Art Museum). Lee's paintings are in the collections of the Amon Carter Museum of American Art, the Grace Museum, and the Blanton Museum.
Condition:
Minor surface grime. Otherwise in overall very good condition.
- MARJORIE LEE O/C ABSTRACT PAINTING,
MARJORIE LEE O/C ABSTRACT PAINTING, HILLSIDEMarjorie Johnson Lee (Texas, 1911-1997) oil on canvas abstract painting titled "Hillside" rendered in impasto with a dynamic mixture of bright and earthy colors, portraying a cubist-influenced rocky hillside. Signed "M. Johnson Lee" lower edge. Titled and additionally signed with inscription "Miss Johnson", en verso of stretcher. Housed in a wooden frame with canvas liner and giltwood sight edge. Sight: 8 5/8" H x 15 7/8" W. Framed: 13" H x 20 1/4" W. Artist biography: Marjorie Johnson Lee was one of the founders of the Fort Worth School of Artists (1932), which was established to expose Texans to abstract art. She attended Texas Christian University, Fort Worth School of Fine Arts, the Art Institute of Chicago, Colorado Springs Fine Arts Center, and the Arts Student League in New York. She volunteered alongside many other artists in the U.S. Navy WAVES during WWII including as a flight instructor and later lived in New York for many years. She returned to Texas in 1974 and continued painting until her death. (Source: The Old Jail Art Center Art Museum). Lee's paintings are in the collections of the Amon Carter Museum of American Art, the Grace Museum, and the Blanton Museum.
Condition:
Slight surface grime throughout; minor area of loss to paint layer in upper right quadrant measuring 1/8" x 1/4". Otherwise overall very god condition.
- MARJORIE LEE O/C ABSTRACT PAINTING,
MARJORIE LEE O/C ABSTRACT PAINTING, THE BLUE HOUSEMarjorie Johnson Lee (Texas, 1911-1997) oil on canvas expressionist landscape painting titled "The Blue House" rendered in brightly hued impasto, depicting a house situated above a body of water surrounded by abstracted elements. Signed "M. Lee" in red and faintly signed beneath paint layer lower right. Titled and additionally signed, en verso. Housed in a gilt acrylic frame. Sight: 17 1/2" H x 21 1/2" W. Framed: 19" H x 23" W. Artist biography: Marjorie Johnson Lee was one of the founders of the Fort Worth School of Artists (1932), which was established to expose Texans to abstract art. She attended Texas Christian University, Fort Worth School of Fine Arts, the Art Institute of Chicago, Colorado Springs Fine Arts Center, and the Arts Student League in New York. She volunteered alongside many other artists in the U.S. Navy WAVES during WWII including as a flight instructor and later lived in New York for many years. She returned to Texas in 1974 and continued painting until her death. (Source: The Old Jail Art Center Art Museum). Lee's paintings are in the collections of the Amon Carter Museum of American Art, the Grace Museum, and the Blanton Museum.
Condition:
Minute pinprick loss to paint layer and minute area of lifting paint at base of blue building. Otherwise in very good condition.
- A MASSIVE COLLECTION OF MORE THAN 400
A MASSIVE COLLECTION OF MORE THAN 400 16MM FILMS.A Massive Collection of More Than 400 16mm Films. American, 1920s - 70s (bulk 1930s - 40s). A single collector's archive of vintage 16mm safety films (single, double, and triple reels), amassed from the 1960s - 90s, the greatest share being Westerns, plus features in other genres, including horror and comedy, and a variety of shorts, news, instructional (Eastman Kodak Educational Series, 1930s), cartoons, travel, military, sports and other subjects. Lead stars include John Wayne, Charlie Chaplin, Buster Keaton, Gene Autry, Johnny Mack Brown, Gary Cooper, Cary Grant, Bela Lugosi, Roy Rogers, Buck Jones, Bill Cody, Laurel & Hardy, Abbott & Costello, Hopalong Cassidy, James Cagney, Tex Ritter, Tim McCoy, Jimmy Stewart, Henry Fonda, Boris Karloff, Rudolph Valentino, W.C. Fields, Lon Chaney, Lane Chandler, Bing Crosby, and others. Short list of titles includes King Kong, House of Frankenstein, White Zombie, Dr. Jekyll & Mr. Hyde, The Gold Rush, The Kid, Young Frankenstein, Way Out West, Saps at Sea, Sons of the Desert, The Chimp, Tit for Tat, Modern Times, The Vagabond, Jeremiah Johnson, Headin' For the Rio Grande, Lucky Texan, Down Mexico Way, Swifty Foot, Robin Hood of the Pecos Trail, In Old Santa Fe, Under California Stars, and Oklahoma Kid. Full inventory available on request. Regularly cleaned, stored on reels and in cans. Sold together with a hot splicer, film counter, and Neumade Professional rewinder. Third-party freight shipping required. Item location: San Diego, California.
- RUFINO TAMAYO MIXED MEDIA ON CANVAS
RUFINO TAMAYO MIXED MEDIA ON CANVAS BOARDRufino Tamayo (New York/Mexico, 1899 - 1991) colorful mixed media abstract portrait on canvas board, signed to upper right "Tamayo 0-81". Unframed, measures 20" in height with width of 16". In overall good condition. Provenance: from the estate of a prominent Texas collector.
Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man withFlower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
- RUFINO TAMAYO "ESTUDIO" GRAPHITE ON
RUFINO TAMAYO "ESTUDIO" GRAPHITE ON PAPERRufino Tamayo (New York/Mexico, 1899 -1991) unframed portrait portrayal of two ladies, signed to lower right "R. Tamayo" & measuring 20" in height with width of 16". Comes complete with Certificate of Authenticity (see photographs), & is in overall good condition. All measurements are approximate. Provenance: from the estate of a prominent Texas collector.
Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man with Flower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
- HARRY ANTHONY DEYOUNG (AMERICAN/TEXAS
HARRY ANTHONY DEYOUNG (AMERICAN/TEXAS 1893-1956) A PAIN...HARRY ANTHONY DEYOUNG (American/Texas 1893-1956) A PAINTING, "Afternoon in the Hills, Boerne," 1930, oil on pressed board, signed and dated L/R, verso titled, signed and dated. 8" x 10" Note: Verso signed "Harry Anthony DeYoung", dated "Nov. 15, 1930" and location identified "Boerne." Harry Anthony DeYoung was born in Chicago in 1893. He studied at the Art Institute of Chicago and the University of Illinois. A veteran of World War I, he served as a sergeant in the quartermaster corps. He taught at various art schools throughout the United States, making a name for himself by regularly winning art prizes. After suffering a nervous breakdown at age thirty-five, DeYoung moved to Texas hoping for better health for both he and his daughter. The Witte Museum and the St. Anthony Hotel both house murals by the artist. The Alamo hangs a painting of Davy Crockett, among other portraits of historical Texans. He had a stroke shortly before turning fifty in 1942, resulting in the loss of the use of his painting hand. He learned to paint with the opposite hand and continued to create left-handed paintings for the remainder of his life. Harry Anthony DeYoung passed in Waco, Texas in 1956.
Condition:
In very 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."
- AN ANTIQUE RECONSTRUCTION ERA MAP, "KOSSE
AN ANTIQUE RECONSTRUCTION ERA MAP, "KOSSE & SCOTT'S MAP...AN ANTIQUE RECONSTRUCTION ERA MAP, "Kosse & Scott's Map of the City of Houston and Environs," 1867, hand colored engraving on paper, compiled and drawn by Theo. Kosse, Civil Engineer, "With Advertising assistance Mess. Will Powers, Geo. H. Bringhurst, Surveyor, W.R. Baker...," showing the five wards of Houston subdivided into resident housing lots; White Oak and Buffalo Bayou meander through the city, recognizable street names like Pease, Leeland, Richmond, Travis, Milam, Congress, Franklin, Preston, Prairie and Texas Streets are laid around the Courthouse, with areas yet undeveloped labeled by their land owners names such as H.H. Allen, Bush, T.M. Anderson, F.A. Rice, H.H. Milby, Onderdonk, Branard, Kirkland, Kuhlman; southern third ward with unusual hand written in pencil "Emancipation Lands," a single notation for a City Hospital, four railroad lines in the city include Texas & New Orleans; Houston & Texas Central; Galveston, Houston & Henderson; and Houston & Brazoria; south of the bayous are City, Episcopal, Masonic and Catholic Cemeteries; the map bordered by lattice rocaille and Texas Star medallions interspersed by engraved early Houston portrait medallions of A.C. Allen, T.M. Bagby, J.S. Holeman, and F. R. Lubbock, Sam L. Allen, W.R. Baker, T.W. House, W.J. Hutchins, and engravings of notable architectural landmarks of the Wm. J. Hutchins and E.H. Cushing residences, Hutchins Corner, Houston Academy, Christ's Episcopal Church, Perkin's Corner, Morris Building, Court House, the Old Capitol and the corner at Main & Commerce streets, in the lower right corner a reference chart denotes local hotels, schools, churches and the firehouse. 49" x 36" Note: The unusual hand penciled inscriptions suggest that lands in Houston were bought and sold rapidly during Reconstruction, and it could be suggested that the present map was likely used to maintain a clear idea of the most up to date land ownership. The "Emancipation Lands," penciled in area, if period to the map, likely predates the 1872 known establishment of modern day Emancipation Park in Houston Texas' historic Third Ward. In a comparison to a later map from 1869 by W.E. Wood, the later map shows that the names Kohlman and Steenberg are printed within the map (the same penciled in names off Hadley St in the present 1867 map), however Emancipation Park is concealed by border engravings. This curious difference, though small, suggests an important historical consideration for Houstonians. The deed records also reflect a concentrated effort between elders of Trinity Methodist Church and Jack Yates to establish the park before the known 1872 date. The efforts of the recently freed slaves in establishing the park immediately after the Civil War is an important connection for modern Texans to recognize as a unique and immensely historically important contribution to the Houston community that has existed in perpetuity since the park was established. Maps of this significance and rarity are something to take note of, as they reveal a great deal of knowledge, otherwise yet uncovered. Provenance: Property from a Fortune 500 Energy Company, Houston, Texas.
Condition:
Fine hand coloring and pencil inscriptions and markings, creasing as issued, waves, bends, wrinkles and crinkling of paper, some toning, tape and or tape residue, minor holes and losses, but overall in good to very good condition, wear commensurate with age and use. 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."
- A REPUBLIC OF TEXAS PROMISSARY NOTE,
A REPUBLIC OF TEXAS PROMISSARY NOTE, J. DEVERAUX WOODLI...A REPUBLIC OF TEXAS PROMISSARY NOTE, J. DEVERAUX WOODLIEF (1806-1854) SIGNED AND DATED DECEMBER 1, 1837, a settler and soldier, moved to Washington County, Texas in 1828, and settled on Lorenzo de Zavala's grant, receiving a half league of land, fought at the Battle of San Jacinto as a member of Henry W. Karnes' cavalry company under the command of Mirabeau B. Lamar and also was one of the Second Regiment Texas Volunteers Cavalry Company, better known as Sherman's raiders. He was wounded during the battle and carried to Vice President Zavala's home across the Brazos, where Nicholas D. Labadie tended the wounded. Woodlief commanded the Texian forces at Velasco after San Jacinto and on June 13, 1836 ordered Captain William H. Patton to remove Mexican general Antonio López de Santa from Velasco to Columbia (West Columbia) and thence to Washington, D.C. On August 13, 1836, he was commissioned a lieutenant colonel in the Texan Army. 3 1/2" x 7 3/4"
Condition:
Some toning, ink bleed, all wear expected, and in overall very 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."
- A WORLD WAR II BROWN HORSEHIDE FLYING
A WORLD WAR II BROWN HORSEHIDE FLYING TIGER A2 JACKET,A WORLD WAR II BROWN HORSEHIDE FLYING TIGER A2 JACKET, the worn brown leather jacket with left front Flying Tiger patch and left arm China Burma India shield patch, right arm circular patch centering bullion thread star centering a red dot above a bullion thread winged flying tiger with red thread details, each shoulder epaulet with custom seven pointed leaf detail, zippered front opening to inside center stitched rectangular label "TYPE A-2 DRAWING NO.30-1415 A.C. ORDER NO. 42-18246-3 PROPERTY AIR FORCE U.S. ARMY," over a small stitched black tag "411," above handwritten "LT. J.F. GREEN," over black stenciled "J.F. GREEN," left interior with large chit of an American flag above rows of Brahmic Indo-Tibetan-Burman script flanking columns of Chinese character marks, size: 41. Note: John Forest Green (1922-2011) was a native Texan who entered the World War II era Army Air Corps pilot training program as a 2nd Lieutenant. Not long afterwards he was flying deadly combat missions in his P-38 aircraft named "Ranger" against the Japanese in the Burma/China theater. This heroic service was recognized with several awards from the Air Corps. At the end of World War II, Green, now Major Green stayed on to train new pilots. After leaving the military he worked as a U.S. Post Office Inspector, served eight years in the Texas legislature, chaired the Texas Agriculture Committee and owned a Hereford Cattle ranch until his passing in 2011. During all this time he continued his love of flying in a Cessna airplane and maintained his pilot's license for 65 years, reputedly the oldest continually active pilot's license in the country until 2011.
Condition:
Leather is dry and worn in areas throughout, some small tears, patches have surfaced buildup, loose threads, and largest has crackled area surface from aging. The chit is dry, has some losses and has darkened with age. The original zipper and one neck hook fastener are evident but missing the wearer's right side hook. The pockets retain their original United Carr metal button snaps. This historic jacket could use a professional restoration. 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."
- A RARE ANTIQUE CIVIL WAR ERA MAP, "PRESSLER'S
A RARE ANTIQUE CIVIL WAR ERA MAP, "PRESSLER'S MAP OF TH...A RARE ANTIQUE CIVIL WAR ERA MAP, "Pressler's Map of the State of Texas," THE STRAND, GALVESTON, 1862, hand colored engraving on paper, "Compiled from the Records of the General Land Office...by Chas. M. Pressler, Principal draftsman...," published by Jones Root & Co., signed in plate by Commissioner of the General Land Office of the State of Texas, Stephen Crosby (1808-1869), also with two sub maps, "Map of Original Land Districts," and "Map of the Old Colonies," and a "Table of Counties," with vignette showing the original 1852-1853 "State Capitol at Austin," framed with original leather front board. 46 1/2" x 51" Note: The American and Texan landscape teemed with uncertain energy in 1862. The North and South were in the midst of the American Civil War, and in September of the same year President Abraham Lincoln issued the Emancipation Proclamation. Charles W. Pressler, immigrated to Texas in 1846, establishing himself as a surveyor first with Jacob De Cordova. Pressler lead surveying expeditions for the active surveyor; later establishing a career with the General Land Office of the State of Texas in 1850, serving as Principal Draftsman from 1858-1865. It is during this time that Pressler and colleagues were commissioned to produce the present map. Argued as "unquestionably the finest map of Texas of its period," this map improved the State of Texas and the United States' understanding of Texas' geography. Parts of West Texas were still uncharted at this time in history. The map shows the actual and proposed network of railroad lines throughout Texas, indicating population and inhabited areas of the largely undeveloped West Texas territory. The map also details post offices, trails, and roads giving the viewer insight into land travel throughout the State of Texas during the mid 19th century. Outside of man-made transportation routes, the single most detailed part of this map is the extensive system of waterways that surround and run through Texas. The information regarding early colonies, at once, gives the viewer a deep history of the overall cultivation of the State. Indigenous territories are found near the Red River, the map lacking Greer county, which appears in later editions. Finally, an engraving of the State Capitol at Austin is so unusual to see; very few renderings of this building remain. The current State Capitol, which was built in the late 19th century now rests over the foundation of the original 1850s structure. The map was so well informed and drafted that not only the State of Texas, but also the United States Federal government consulted this map and later editions when resolving land disputes in the 19th century. An incredibly rare printing, this map captures the unsettled Texas landscape during the upheaval of the American Civil War. Provenance: Property from a Fortune 500 Energy Company, Houston, Texas.
Condition:
Professional restoration and repairs including overlaid mesh support, various inpainting, losses, tears, creases, left side with notable yellow toning and foxing spots, waves, bubbling, but overall in good condition, wear commensurate with age and use. 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."
- HARRY ANTHONY DEYOUNG (AMERICAN/TEXAS
HARRY ANTHONY DEYOUNG (AMERICAN/TEXAS 1893-1956), "AUTU...HARRY ANTHONY DEYOUNG (American/Texas 1893-1956), "Autumn," oil on burlap canvas, signed L/R, verso titled on hand inscribed paper label, gallery label and artist studio stamp on stretcher. 20" x 24" Note: Harry Anthony DeYoung was born in Chicago in 1893. He studied at the Art Institute of Chicago and the University of Illinois. A veteran of World War I, he served as a sergeant in the quartermaster corps. He taught at various art schools throughout the United States, making a name for himself by winning art prizes regularly. After suffering a nervous breakdown at age thirty-five, DeYoung moved to Texas hoping for better health for both he and his daughter. The Witte Museum and the St. Anthony Hotel both housed murals by the artist. The Alamo hangs a painting of Davy Crockett, among other portraits of historical Texans, also by DeYoung. He had a stroke shortly before turning fifty in 1942, resulting in the loss of the use of his painting hand. He learned to paint with the opposite hand and continued to create left-handed paintings for the remainder of his life. Harry Anthony DeYoung died in Waco, Texas in 1956. Provenance: Harry Anthony De Young Studio, 509 Seventh, San Antonio; Beuhler Fine Art, San Antonio, Texas.
Condition:
A flea size loss upper left, mild toning, but overall in very 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."
- GRACE SPAULDING JOHN (AMERICAN/TEXAN
GRACE SPAULDING JOHN (AMERICAN/TEXAN 1890-1972) A PAINT...GRACE SPAULDING JOHN (American/Texan 1890-1972) A PAINTING, "The Lighted Candle," 1923, oil on artist board, signed L/L, verso titled and dated typed label. 24 1/2" x 21" Note: Grace Spaulding John was born on February 10, 1890 in Battle Creek Michigan but by age 13 her family moved to Beaumont Texas where her father became the editor of the Beaumont Enterprise. It was here that she had her first art lessons under the tutelage of Penelope Lingan and later attended the Chicago Art Institute, the Art Students League of N.Y.C and the Pennsylvania Academy of Fine Art. Afterwards she returned to Texas where she married a prominent Houston attorney, Alfred Morgan John a great grandson of Sam Houston. John became known for her oils, watercolors, Italian frescoes, etchings and lithographs as well as printing in various mediums. The Museum of Fine Arts Houston recognized her with a solo exhibition, one of the first for that institution. In 1930 she organized the Houston Artists' Gallery in the basement of the Beaconsfield Hotel on Main street - the first professional artists' gallery in Houston. Source
Condition:
Good condition, professionally re-framed in 2013. 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."
- A REPUBLIC OF TEXAS ENGRAVED SILVER
A REPUBLIC OF TEXAS ENGRAVED SILVER PLATE MOUNTED CARVE...A REPUBLIC OF TEXAS ENGRAVED SILVER PLATE MOUNTED CARVED WOOD WALKING STICK, COMMEMORATING THE BATTLE OF SAN JACINTO, BELONGING TO ARCHIBALD ST. CLAIR RUTHVEN, DATED 1841, of tapering faux grained natural form with silver plate capped truncated branches and pierced silver stars suspending a blue tasseled silk cord, surmounted by a conforming cap enclosing a "JR" monogram above sides with inscription "FROM. / A.S. RUTHVEN. / HOUSTON, TEXAS. / To his father / in Edinburgh, 1841 / Cut from the Battleground of San Jacinto," ending in a conforming circular bronze collar and iron base cap. Note: The Battle of San Jacinto (in present day Harris County, Tx), is considered the decisive battle of the Texas War of Independence (1835-1836) and was fought on April 21, 1836. The Texian Army, led by General Sam Houston, defeated the Mexican Army under General Santa Anna in just eighteen minutes. Provenance: Archibald St. Clair Ruthven (Scottish/Texan 1813-1865) emigrated from Scotland to the United States in 1832 and by 1840 had moved to Houston, Texas. Ruthven was initiated into the first Masonic Lodge for Texas, Holland Lodge No.1, where he progressed rather quickly attaining a variety of offices. Ultimately, he was appointed as Grand Master (1846-1847) followed by Grand Secretary (1848-1861). While serving as Grand Secretary he was able to chronicle an important two volume publication "Proceedings of the Grand Lodge of Texas: 1837-1857," which covered the organization's early history as well as records. He was also active in the Knights Templar at New Orleans and later in Houston at the Ruthven Commandery No. 1, so named in his honor. He was well known for his protestations of the annexation of Texas by the United States. In 1855 he and his wife moved to Galveston, where he served as the Texas representative for cotton purchasing of a New York firm and later Powell & Ruthven of Galveston. The success of cotton and his business led him to commission a steamboat in his name. Unfortunately the steamboat was used as a transport vessel during the Civil War and was sunk in 1861. The anchor was later recovered and is displayed in Palestine, Texas. During the war, Ruthven was actively involved in blockade running off the Texas coast. Just before the war ended, he and his wife returned to Scotland where he fell ill with tuberculosis and died on July 24th, 1865. Height: 36.00"
Condition:
Good condition, normal areas of tarnish, minor surface marks and small scratches, some small dings and wear on engraved cap. 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."
- JOHN JAMES AUDUBON (AMERICAN 1785-1851)
JOHN JAMES AUDUBON (AMERICAN 1785-1851) A LITHOGRAPH, "...JOHN JAMES AUDUBON (American 1785-1851) A LITHOGRAPH, "Canus Lupus. Linn. Var Rufus (Red Texan Wolf)," PHILADELPHIA, CIRCA 1845, hand colored lithograph on paper, "Drawn from Nature by J.J. Audubon F.R.S.F.L.S.," lithographed, printed and colored by J.T. Bowen (English/American 1801-1856), Plate LXXXII, No. 17. 20" x 26" Note: A sheet from John James Audubon's last monumental work, The Viviparous Quadrupeds of North America, printed from 1845-1848. Provenance: Property from a Corporate Collection, Houston, Texas. Property from a Corporate Collection, Houston, Texas
Condition:
Some mild handling creases, expected mild surface wear, overall in good to very 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.
- AN ANTIQUE RECONSTRUCTION ERA MAP, "NEW
AN ANTIQUE RECONSTRUCTION ERA MAP, "NEW MAP OF TEXAS PR...AN ANTIQUE RECONSTRUCTION ERA MAP, "New Map of Texas Prepared and Published for the Bureau of Immigration of the State of Texas," NEW YORK, 1875, color cerography on paper, "By A.R. Roessler, Civil and Mining Engineer, 52 Beekman Street, New York, 1875," with a chart lower left identifying railroad stations and their exact coordinates, a cartouche containing an architectural rendering of the second "State Capitol at Austin," above "Explanations," listing "Iron, Manganese, Copper, Silverlead, Gold, Bismuth, Molybdenite, Copperas, Sulphur, Salt, Gypsum, Coal, Lignite, Graphite, Kaolin, Potters clay, Steatite, Mica, Feldspar, Mineral asphalt and the Boundary of Timber and Prairie," above an explanation of Texan geology. 15" x 17" Note: "The lower and rolling lands are alluvial and tertiary. The hilly region is cretaceous. Primitive rocks appear in many places. The great Plains consist of stratified clay and cretaceous marks. On the verge of these plains are deposits of Gypsum extending over an area of thousands of square miles. Coal beds of carboniferous age exist in the North West. Iron Ores in inexhaustible quantities on LLano & Colorado Rivers and Tributaries of Red River; silverlead and copperlance in the North West; salt at Salt Springs and by natural evaporation on the lakes." Provenance: Property from a Corporate Collection, Houston, Texas. Property from a Corporate Collection, Houston, Texas
Condition:
Some losses, toning, repairs, losses at neatline, uneven edges, overall in good to very 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.
- AN ANTIQUE EARLY REPUBLIC OF TEXAS MAP,
AN ANTIQUE EARLY REPUBLIC OF TEXAS MAP, "NEW MAP OF TEX...AN ANTIQUE EARLY REPUBLIC OF TEXAS MAP, "New Map of Texas with the Contiguous American & Mexican States," PHILADELPHIA, 1836, hand-colored lithograph on paper, first edition-second issue, engraved by J.H. Young, published by S. Augustus Mitchell, "Sold by Mitchell & Hinman No. 6 North Fifth Street," three inset paragraphs, "Remarks on Texas," "Land Grants," and "Rivers of Texas," "Entered according to Act of Congress in the year 1835 by S. Augustus Mitchell in the Clerk's office of the district court of the eastern district of Pennsylvania," the whole within a geometric and piano key motif border. 13" x 15 1/2" Note: The second printing of this map from the 1835 version, showing Texas divided into land grants and colonies. The Red River is the boundary in the north; the Panhandle still entirely Indian Territory. Harrisburg, Anahuaca, Matagorda, and Galveston are prominent coastal areas. The River San Antonio noted with "Goliad, formerly La Bahia," and "San Antonio de Bexar, usually called Bexar." Neighboring Guadalupe River noted with Gonzales and Victoria. This rare map of early Texas is a well colored and an invaluable addition to any Texana collection. Provenance: Property from a Corporate Collection, Houston, Texas. Property from a Corporate Collection, Houston, Texas
Condition:
Creasing, buckles, pleasing bright hand color extends west Texas borders into Comanche Indian territory, old tears, overall in good to very 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.
- JOHN JAMES AUDUBON (AMERICAN 1785-1851)
JOHN JAMES AUDUBON (AMERICAN 1785-1851) A LITHOGRAPH, "...JOHN JAMES AUDUBON (American 1785-1851) A LITHOGRAPH, "Mephitis Mesoleuca. Licht. (Texan Skunk. Natural Size.)," PHILADELPHIA, CIRCA 1845, hand colored lithograph on paper, "Drawn from Nature by J.J. Audubon F.R.S.F.L.S.," lithographed, printed and colored by J.T. Bowen (English/American 1801-1856), Plate LIII, No. 11. 20" x 26" Note: A sheet from John James Audubon's last monumental work, The Viviparous Quadrupeds of North America, printed from 1845-1848. Provenance: Property from a Corporate Collection, Houston, Texas. Property from a Corporate Collection, Houston, Texas
Condition:
Some handling creases, overall in good to very 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.
- A REPUBLIC OF TEXAS MANUSCRIPT, SAM
A REPUBLIC OF TEXAS MANUSCRIPT, SAM HOUSTON, SIGNED, GI...A REPUBLIC OF TEXAS MANUSCRIPT, SAM HOUSTON, SIGNED, GIFTS THE SPUR OF SANTA ANA LOST IN THE BATTLE OF SAN JACINTO TO DOCTOR, JUNE 7, 1836, hand-inscribed ink on paper, from "Gen. Sam Houston, President of Texas," his location in New Orleans, Louisiana, he writes on the eve of his return to Texas, to Dr. Carr, of Assumption, Louisiana, "Dear Sir, Specifically to the request of a friend. I present you with a Mexican Spur taken from Genl. Santa Anna in the Battle of San Jacinto on the 21st April last - As you are an amateur of curiosities, this may be considered an addition to your collection and as such please take care of it until applied for, Very respectfully yours truly, Sam Houston," the return address on the exterior of the letter, "Genl. Sam Houston, President of Texas, N. Orleans 7th June - 1836 - Accompanied by one of the spur's of Santa Anna.," the interior with a note by Dr. Carr, "On the day of the date of this letter Genl. Houston left New Orleans on his return to Texas by the way of Red River in the Steam Boat Caspian at 5 o'clock P.M., S. Ino. Carr." 10" x 16" Note: The date of this letter predates Sam Houston's election as President of the Republic of Texas, which occurred on October 22, 1836. The present manuscript dated June 7th, 1836 signals the reader to consider that Sam Houston personally titled himself "President of Texas." Sam Houston was already the Commander and Chief of the Texian Army by this time. David G. Burnet, Interim President of Texas, was unfavored by Texans after the capture of General Santa Anna and the battle of San Jacinto, because he refused to execute the Mexican General, leaving the interim president overruled by the popular Houston. The resignation of Burnet anticipated by Houston is apparent herein. Sam Houston was injured during the battle of San Jacinto and as a result, was treated for his injuries in New Orleans at William Christy's home in New Orleans. The note inscribed by the doctor on the interior of the correspondence reveals that Sam Houston was returning to Texas by way of the Red River on the side wheel Steamboat Caspian, by 5 pm that evening. Provenance: Estate of Dr. Paul E. Schutts, Houston, Texas.
Condition:
Some mild tone and small tears, support added at crease partially covering return addressee name, but overall in good to very 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.
- DAWSON DAWSON-WATSON (ENGLISH/TEXAN
DAWSON DAWSON-WATSON (ENGLISH/TEXAN 1864-1939) A PAINTI...DAWSON DAWSON-WATSON (English/Texan 1864-1939) A PAINTING, "Sailboat at Rockport," MARCH 2, 1883, watercolor on cream wove paper, signed and dated L/R, "Dawson-Watson 3.2.83'," 7 1/2" x 5", framed, 18 1/2" x 16 3/8".
Condition:
In good condition. 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."
- A REPUBLIC OF TEXAS BILL OF LADING FOR
A REPUBLIC OF TEXAS BILL OF LADING FOR SMUGGLER AND FOR...A REPUBLIC OF TEXAS BILL OF LADING FOR SMUGGLER AND FORGER MONROE EDWARDS, NEW ORLEANS TO GALVESTON, MAY 1, 1836, lithograph and manuscript ink on paper wove paper, shipping supplies listed as coarse sacks, possibly for sugar cane production, bulk flour, sugar, sacks of coffee, keg powder, tea caddy, keg brandy, jug of oil, box of dry goods, and whiskey, with arrival destination at the, "mouth of Sabine or at the mouth of Clear Creek, Galveston Bay (Kemah), signed by James Spilman, shipmaster, and with a spurious "R.G. Hazard," merchant signature. 5 3/4" x 10 1/2" Note: Monroe Edwards sets a nefarious precedent as an illicit smuggler of humans and known forger during his tenure in the Republic of Texas. His otherwise apparently average seeming motive to receive goods along the Gulf Coast appears subliminally fraught with his usual par for the course potential for illegal behavior, which is here exhibited within the present bill of lading. The financial document curiously has an unnamed cost amount for his freight shipment, which was to be received at the mouths of either the Sabine River or Clear Creek in Galveston, Texas. In the record, on March 2, 1836, only two months prior to the present bill of lading date, "Edwards took about 171 slaves up the Brazos river and drove them overland to Chenango.," Edward's working plantation, formerly cotton turned sugar cane. The use of the river mouth meeting point as opposed to a legal port of entry, which is notably scratched out on the present document, has implications that nurtures the odios nature of Monroe Edwards' less respectable pursuits. In finality of examining this document and comparing the present bill of lading to other bills of lading from the same year; most are signed "R.G. Hazard," for Rowland G. Hazard, a sensational abolitionist merchant working in New Orleans from 1833-1842. R.G. Hazard was looking for illegally imprisoned men and women, and certainly would have been no friend of a man like Monroe Edwards. In fact, Hazard posed a distinct problem for Edwards. It's hard to believe they did business at all. In complementing fashion to the criminal nature of Monroe Edwards' tendency to forge, the signature in the upper right is decidedly not that of R.G. Hazard, however attempted to doup the reader, which further implicates this document as evidence of Monroe Edwards' forgery. Lastly, quantity number of the first product listed identifies "83 sacks corse". The relationship of the term coarse with Lowell or "Negro cloth" has implications within this document that require careful historical consideration. The strange number eighty three within in a shipping context, and considering Monroe Edwards was known for purposefully driving illegally imported slaves eastward over land after receiving them from a ship at the Gulf Coast; this document stands to be considered within the context of its place within the Republic of Texas AfroTexan genealogical history. There is enough questionable evidence here to consider that the "83 sacks corse" were not just sugar cane production supplies, but indeed possibly being worn by enslaved people. Provenance:
Condition:
Unframed, smudges, stains, creases, pale/translucent red color stains, tape/glue residue, verso pencil inscriptions. 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.”
- A GROUP OF SEVEN BOOKS CONCERNING TEXAS
A GROUP OF SEVEN BOOKS CONCERNING TEXAS AND FRONTIER HI...A GROUP OF SEVEN BOOKS CONCERNING TEXAS AND FRONTIER HISTORY, comprising Negro Frontiersman: The Western Memoirs of Henry O. Flipper, First Negro Graduate of West Point, edited by Theodore D. Harris, published by Texas Western College Press, El Paso, 1963, printed by Carl Hertzog; 9 1/2'' x 6 1/2''; Ode to Nita, by J. Evetts Haley, Canyon, Texas, 1958, printed by Carl Hertzog, from the edition of 125, with an inscription by the author and enclosed Christmas card; 9 3/4'' x 6 1/2''; Pioneer Surveyor Frontier Lawyer, The Personal Narrative of O.W. Williams, edited by S.D. Myres, Texas Western College Press, El Paso, 1966, printed by Carl Hertzog, with slipcase, from the Fort Stockton Edition 150, colophon with signatures of the editor, the introduction writer, the artist, the researcher and the printer; 9 3/4'' x 6 3/4''; Memoir of Col. Ellis P. Bean, Written by Himself, About the Year 1816, edited by W.B. Yoakum, published by the Book Club of Texas, 1930, printed by the Rein Company, Houston, numbered 116 from the edition of 200; 8'' x 5''; Letters from the Pacific, by William H. Chickering, San Francisco, 1946, printed by Carl Hertzog, El Paso, numbered 79 from the edition of 300; 9 1/4'' x 6''; Josiah B. Vrooman (Vroman) His Ancestors and Descendants, by Lora Vrooman Randall and Florence Vrooman Houghton, printed by Carl Hertzog, El Paso, 1946, signed by the printer, from the edition of 500; 9 1/2'' x 6 1/2''; and Printer at the Pass: the Work of Carl Hertzog, compiled by Al Lowman, published by The University of Texas Institute of Texan Cultures, San Antonio, 1972; 9 1/4'' x 6 1/4''. (7)
Condition:
The books show wear particularly on the cloth boards and on the slipcase. The bindings and pages are intact with no apparent damage. 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.”
- PAULINE HOWARD (AMERICAN/TEXAS B. 1951)
PAULINE HOWARD (AMERICAN/TEXAS B. 1951) A DRAWING, "LAD...PAULINE HOWARD (American/Texas b. 1951) A DRAWING, "Ladies at the Beach," LATE 20TH CENTURY, pastel on paper, signed L/L, "P.M. Howard;" 15 3/4'' x 25 3/4'', framed 24 1/4'' x 33 3/4''. Note: A native Texan, Pauline Howard was born in San Antonio in 1951. First titled a "Texas Realist" in 1985, her pastel figural work gained traction from the late 1970s until her last documented exhibition in 2002 with the Lone Star Pastel Society at the Panhandle Art Center in Amarillo. A student of the Glassell School of Art in Houston, she graduated with a BFA from the University of Houston in 1977. Her landscapes and architectural works of art recall the oeuvre of Anzalone and Kahn. Pauline Howard's figural works are among her most popular, and are categorically nostalgic, leisure scenes. Though not expressly erotic, suntanned skin and relaxed summer bodies recall hot Texas summers spent on grainy, sweltering Gulf Coast beaches.
Condition:
There are no visible signs of damage, framed under plexiglass. 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."
- STEPHEN SEYMOUR THOMAS (AMERICAN/TEXAS
STEPHEN SEYMOUR THOMAS (AMERICAN/TEXAS 1868-1956) A PAI...STEPHEN SEYMOUR THOMAS (American/Texas 1868-1956) A PAINTING, "Trepieds France, Near Étaples," JANUARY 2, 1938, oil on board, signed L/R, "Seymour Thomas Jan. 2, 1938," verso paper labels, a dedication, "A Memento - for Mrs. Jesse H. Jones - of a great artist, a loyal Texan and a Houston friend," and inscribed with place; 4 1/4" x 3 1/4", framed 12" x 14". Provenance: Property from the Jesse H. Jones and Houston Endowment Collection, all proceeds to benefit the Houston Food Bank; James Bute Co., Houston, Texas
Condition:
Signature and date rubbed and faint, some surface wear. 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."
- "CONQUERING OUR GREAT AMERICAN PLAINS"
"CONQUERING OUR GREAT AMERICAN PLAINS" 1ST ED 1930For your consideration is this Scarce First Edition of "Conquering Our Great American Plains A Historical Development" by Stuart Henry, 1930 E. P. Dutton & Co., Inc. A magnificent picture of early pioneer life in Kansas and Texas in the 1860s and 1870s, the dramatic period when the Texan cowboys with their gigantic herds of cattle came up along the famous Chisholm Trail to Abileen, Kansas. In 1867, the Kansas Pacific Railway (Union Pacific) pushed westward through Abilene. In the same year, Joseph G. McCoy purchased 250 acres of land north and east of Abilene, and built a hotel, stockyards for 2,000 cattle and a stable for horses. The Kansas Pacific put in a spur line at Abilene that enabled the cattle cars to be loaded and sent on to their destinations. The town grew quickly and became the first "cow town" of the west. Texas cattlemen to drive their herds to these stockyards. From 1867 to 1871, the Chisholm Trail ended in Abilene, bringing in many travelers and making Abilene one of the wildest towns in the west. The stockyards shipped 35,000 head in 1867 and by 1871, more than 5,000 cowboys herded from 600,000 to 700,000 cows to Abilene and other Kansas railheads. The green cloth bound gold gilt textured hardcover is in good overall condition, very slight scuffing exhibited on cover edges. Intact pages appear deckled on fore edges, age tanning and light foxing observed throughout, No other obvious marring noted. Measures 5.5"W x 8.5"L x 1.5"D