- ALEXANDER GARDNER, EARLY PRINTED PHOTOGRAPHAlexander
ALEXANDER GARDNER, EARLY PRINTED PHOTOGRAPHAlexander Gardner (1821-1882), early printed photograph, dated 1867, of Hon. Lewis V. Bogy, Commissioner of Indian Affairs and Charles E. Mix in council with the Sacs and Foxes and Kaws in Washington, D.C. At the meeting, Bogy advised the Sacs and Foxes and Kaws to go to a new home, better adapted to their condition, in the valley of the Canadian River, frame - 27 1/4" x 35". Provenance: Descended in the family of Hon. Lewis V. Bogy, Commissioner of Indian Affairs under President Andrew Johnson, 1866-1867.
NO in-house shipping for this lot.
Condition:
Photo measures 21 1/5'' h. x 29 1/2'' w. Tears throughout. Examined out of frame, but cannot remove mat, taped to image.
- RARE PRINTED BROADSIDE FOR LINCOLN HORSE
RARE PRINTED BROADSIDE FOR LINCOLN HORSE COMPANYca. 1922 dated; large sheet poster for a group that was a watch group that focused on arresting horse thieves, the meeting listed as first of every year to be held at Lincoln Hotel, Lincoln, PA and dated Jan 1, 1922, framed in pressed molded trade advertising frame for "The Old 76 Distilling Co., Newport, KY", 17 1/2"x 23"; [Note: the group possibly intended more as a social drinking group (?) listed are prominent members of Ephrata Area and owner's of several businesses; ex-John Hummer Estate, former owner of The Olde Lincoln House/Hotel]; Condition: good
- EUGENE FROMENTIN. "THE MEETING," OIL
EUGENE FROMENTIN. "THE MEETING," OIL (French, 1820-1876). Oil on panel, initialed "E.F." lr, sight size: 11 1/2 x 16 1/2 in., in a carved and gilt ornamental kufic framed size: 21 x 26 x 2 inches.
- WITOLD WEJCHERT (POLISH 1867-1904)
THE
WITOLD WEJCHERT (POLISH 1867-1904)
THE MEET - A WINTER LANDSCAPE WITH TRAVELLERS IN A TROIKA Signed and dated '99, oil on canvas79cm x 131cm (31in x 51.5in)Provenance: The Ashley Hall Collection: By order of The Trustees of the J. Porter Trust & The Executors of the late Leonard RawcliffeNote: With note verso which states 'Picture from the Winter Palace of the Czar of Russia'
- AFTER JOHN PRESCOTT KNIGHT
THE MEETING
AFTER JOHN PRESCOTT KNIGHT
THE MEETING OF NELSON AND WELLINGTON Oil on panel24cm x 19cm (9.5in x 7.5in)Note: The circumstances of the meeting between Wellington and Nelson were recalled by Wellington in conversation with the noted diarist John Wilson Croker at Walmer Castle on October 1st 1834. In September 1805 Wellesley had just returned from India and was due to meet the Secretary of State in the Colonial Office at Downing Street. On entering the room he immediately recognized Nelson and since they were kept waiting by the Secretary of State they conversed for three quarters of an hour. Nelson was killed at the Battle of Trafalgar later that year.It is not clear whether our painting is a copy of the original painting by Prescott Knight or the engraving by S W Reynolds of 1864
- 19TH C. ENGLISH HUNT SCENE "THE MEET,"
19TH C. ENGLISH HUNT SCENE "THE MEET," OIL 19th century English oil on masonite, "The Meet" depicting an English hunt scene, dated lower right "1875," reverse canvas lining, with title and gallery label "N.R. Omell" to stretcher. Image: 10.5" H x 14" W; frame: 14.75" H x 18.5" W x 1.25" D. Craquelure throughout.
- FRAMED EQUESTRIAN HUNT PRINT 'THE MEET
FRAMED EQUESTRIAN HUNT PRINT 'THE MEET AT BLAGDON'Framed print on paper, "The Meet at Blagdon," after the original painting by J.W. Snow (John Wray Snow, United Kingdom, 1801-1854), sight: approx 20.5"h, 30.5"w, overall: approx 28.75"h, 38.75"w, 11.75lbs
- THOMAS HART BENTON (AMERICAN, 1889-1975).
THOMAS HART BENTON (AMERICAN, 1889-1975). "The Meeting". Lithograph, 1941. Signed in pencil lower right. Published by Associated American Artists, New York, from the edition of 250. From a Syosset, Long Island, NY collection. Dimensions: 8.8" h x 11.5" w. (plate) Condition: Occasional tiny spotting. Framed behind glass, unexamined out of frame.
- DANIEL RIDGWAY KNIGHT, OIL ON CANVAS,
DANIEL RIDGWAY KNIGHT, OIL ON CANVAS, 1886 Daniel Ridgway Knight (French/American, 1839-1924), "The Meeting at the Fence", signed and dated "Ridgway Knight - Paris - 1886", lower left, 31"h x 26"w (stretcher), 38"h x 31.5"w (frame)
- FINE BERLIN HAND-PAINTED PORCELAIN VASE,
FINE BERLIN HAND-PAINTED PORCELAIN VASE, 19TH C.An extremely fine hand-painted 19th century panoramic Berlin porcelain vase of baluster form, depicting the meeting of Petrarch & Laura de Noves at the Church of Sainte-Claire d'Avigon in 1327, after a work executed in 1879 by noted Czech artist Vaclav Brozik (1851-1901) well known painter of historical themes. Finely executed in vibrant detail, perhaps signed F. Dorft, and titled in raised gilt text, the underside of the base showing a brass clad protective cap. Measuring 26" high. Note: Petrarch was an Italian poet, scholar and humanist who gave up his vocation as a priest after meeting Laura de Noves.
- (LOT OF 2) ENGLISH POTTERY URNS IN THE
(LOT OF 2) ENGLISH POTTERY URNS IN THE GREEK REVIVAL STYLE (Lot of 2) English pottery urns in the Greek Revival style, the first redware urn with cover, decorated titled scenes of 'The Meeting of Hector & Adromache' and 'Achilles', 14"h; the second two-handled urn decorated with figures and anthemion bands, 12.5"h.
- SEWING BIRD & 2 STEVENGRAPHS1st item:
SEWING BIRD & 2 STEVENGRAPHS1st item: Metal figural sewing bird clamp with pincushion top (missing cushion), the pin with heart shaped terminus, 4-3/4"H. 2nd and 3rd items: 2 fox hunt themed Stevengraph bookmarks, titled The Meet and Full Cry, both framed original mats labeled WOVEN IN SILK BY THOMAS STEVENS, INVENTOR AND MANUFACTURER, COVENTRY AND LONDON (REGISTERED). 2-1/4" x 6" sight, 5-2/3" X 9" framed.
Condition:
1st item: missing cushion. 2nd item: Overall fading and discoloration to textiles and mats, abrasions and scattered molding losses to original frames.
- J.F. HERRING "BREAKING COVER" & "THE
J.F. HERRING "BREAKING COVER" & "THE MEET" PRINTSJohn Frederick Herring Sr. (London, 1795-1865) hand colored prints pair, including "The Meet", painted by J.F. Herring, Sen. to lower left, Engraved by J. Harris to lower right, London Published October 1867, By R. Dodson, 147, Strand with title to lower center of the plate; measures approximately 25-1/2" in height by 35-3/8" in width with the sight image measuring approximately 15-7/8" in height by 25-7/8" in width. Lot also includes "Breaking Cover" hand colored print. Painted by J.F. Herring, Sen. to lower left, Engraved by J. Harris to lower right, London Published October 1867, By R. Dodson, 147, Strand with title to lower center of the plate; measures approximately 25-1/2" in height by 35-3/8" in width with the sight image measuring approximately 15-7/8" in height by 25-7/8" in width. Both Identically matted and framed under glass. Both having COA verso.
- MARC CHAGALL (RUSSIAN/FRENCH 1887-1985)
MARC CHAGALL (RUSSIAN/FRENCH 1887-1985) A PRINT, "RENCO...MARC CHAGALL (Russian/French 1887-1985) A PRINT, "Rencontre de Ruth et de Boaz (The Meeting of Ruth and Boaz)," SIGNED, PARIS, 1960, lithograph in colors, signed L/C in black ink, "Marc Chagall," Fernand Mourlot, Editeur, 13 3/4" x 10 1/8", framed, 24 3/4" x 19". Provenance: Neal Auction, New Orleans, 2013
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."
- RARE AND IMPORTANT AMERICAN PILGRIM
RARE AND IMPORTANT AMERICAN PILGRIM CENTURY CHESTattributed to the Mason-Messenger shop tradition, Boston, Massachusetts, circa 1680, walnut with white pine secondary, constructed in two sections, molded top, five paneled, dovetailed, and side hung drawers, rosehead nails, double paneled sides and back, set on original bun feet, 36 x 39 x 22-3/4 in., Provenance: by descent in the Weare family of York, Maine, likely from Peter Weare (1691-92); Note: Peter Weare was in America by about 1638 when he and Thomas Brooks bought John Wilcox's land at the Great Works on the Asbenbedick River. By the 1640s, Peter had settled in York, Maine, and was living near the meetinghouse on ten acres purchased from John Alcock in 1644. For more, see: https://sites.rootsweb.com/~mainegenie/WEARE.htm#PETER(1)WEAREÿ
Condition:
Accompanied by extensive treatment and condition report from Alan Miller, antiques consultant. The chest survives with fine integrity, including its original undisturbed top and turned feet - a rare survival from this period. Many of the small applied moldings on the drawer facings are restored, as are the brasses. Finish work was undertaken by Keith Lackman, conservator in Pennsylvania. The chest exhibits typical minor shrinkage separations, bumps, and wear including some minor losses at lower right molding and at turned feet.
- TWO PIECE LOT TO INCLUDE, "GOING TO
TWO PIECE LOT TO INCLUDE, "GOING TO THE MEET-SLAWSTEN" ...Two Piece Lot to include, "Going to the Meet-Slawsten" after Godfrey Douglas Giles, lithograph in colors on paper; along with a fox hunt scene after H.Grant, lithograph with hand coloring, sight size 17" x 28 1/2".
Condition:
All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
- SEVEN BRITISH CERAMIC PRATTWARE JUGSlate
SEVEN BRITISH CERAMIC PRATTWARE JUGSlate 18th/early 19th century, comprising: "Smokers and Drinker Jug", circa 1795, on one side depicting two men seated at a table with a jug of ale, two churchwarden pipes and a plate of food, the other side a soldier and civilian, the soldier with a sword in one hand, an ale glass in the other, the civilian smoking a long churchwarden pipe, pendant border, lower part of jug with stiff leaf border, 4-7/8 in.; "The Meet" and "Judgment of Paris" jug, circa 1790-1810, original scene by John Turner, depicting a group of gentleman in a landscape with horses and dog, preparing for a hunt, the other side depicts Paris under a tree, handing an apple to Aphrodite, whose attendant arranges drapery on her, acanthus and laurel leaf borders, 4-7/8 in.; "Mischievous Sport and Sportive Innocence", circa 1795, one side depicting two children, one holding a doll, the other a dog by the leash, the other side one child holds up a gruesome mask, frightening her companion who falls in alarm, each in heart form cartouches, leaf and chain link borders, 4-3/4 in.; "The Royal Sufferers and Duke of York" jug, circa 1794, one side depicting the profile of the Duke of York in medallion bordered by leaves and fruit, acanthus decoration below spout and handle, vine and ribbon border, fluted to lower half, the opposite side depicting Louis XVI, Marie Antoinette and the Dauphin, 4-3/8 in.; "Miser" jug, circa 1795-1800, depicting the bust of a man in a blue hat counting money to both sides, leafy and foliate borders, 5-3/4 in.; jug depicting two putti surrounding a column, cartouche of boy and lion under spout, brown linear borders, 4-1/2 in.; faceted jug with acanthus leaf and scrolling foliate borders, 5-7/8 in.
Note: First jug in Pratt Ware 1780-1840 , by John and Griselda Lewis, Baron Publishing, 1984, page 61.
Second jug in Pratt Ware 1780-1840 , by John and Griselda Lewis, Baron Publishing, 1984, pages 182 and 207.
Third jug in Pratt Ware 1780-1840 , by John and Griselda Lewis, Baron Publishing, 1984, page 188.
Fourth jug in Pratt Ware 1780-1840 , by John and Griselda Lewis, Baron Publishing, 1984, page 129.
Fifth jug in Pratt Ware 1780-1840 , by John and Griselda Lewis, Baron Publishing, 1984, page 197.
Provenance: Private Charleston Collection
Condition:
discoloration, spotting, scratching, hairlines, anomalies (as made), chips (some with restorations), crazing, flaking to glaze, break and restoration to spout on one, spider cracks, dirty interiors, wear to bases
- SAMUEL HENRY ALKEN SPORTING PAINTING(British,
SAMUEL HENRY ALKEN SPORTING PAINTING(British, 1810-1894)
Going to the Meet, signed lower left "H. Alken", oil on canvas, 15-7/8 x 20-1/8 in.; gilt wood frame, 19-1/8 x 23-1/8 in.
Provenance: The Sporting Gallery, New York City, New York (label verso)Robert Patterson, Sr, Great Britain; By Descent in family
Condition:
lined, restretched on old stretcher, crackle, cupping, yellowed varnish; frame with abrasions
- HERRING SR. 4 LARGE 19TH C. FOX HUNTING
HERRING SR. 4 LARGE 19TH C. FOX HUNTING PRINTSAfter John Frederick Herring Senior, The Complete Fox Hunting Plates. 4 lithographs in colors on wove paper. printed by J. West Giles at M & N Hanhart, London Titles Include: The Start, The Meet, The Run, The Death. (4). Mahogany framed with gilt liners
images 23x33, framed 33x43
Litchfield Auctions is honored to offer Selections from the Collection of Peter Tillou. Peter has enjoyed wide renown across the United States and Internationally over his seventy-year career as the consummate dealer-collector. While in college in 1956, Peter was already advertising a pair of fine antique flintlock pistols. By 1960, now a resident of historic Litchfield Connecticut, he was cited by the New York Times as a dealer in "great rarities." With later residences and shops in London, Manhattan, Sun Valley Idaho, and Sanibel Island Florida, Peter continued to consider Litchfield his home. By 2013, Peter was recognized by the Antiques Dealers of America with its highest honor, its Award of Merit,"in recognition of his extensive contributions to the fields of fine art, American decorative arts and antiques." More recently, a cover story in The Antiques and the Arts Weekly traced "the arc of Tillou’s long career"
(PTIL1004/4)(TC)
Condition:
old insect losses and restorations, but generally good age-appropriate condtion
- CHINESE TANG DYNASTY POTTERY POLO PLAYER
CHINESE TANG DYNASTY POTTERY POLO PLAYER W/ TL TESTEast Asia, China, Tang Dynasty, ca. 618 to 907 CE. An exemplary pottery polo player with a well-modeled figure upon a galloping horse with finely painted details and nice remaining pigments of orange, beige, white, and black. The sculpture emphasizes a powerful sense of movement and athletic balance. Note how the horse’s legs are extended front and back - a pose known as ventre a terre - while the rider leans forward, bending both arms at the elbow with hands clenched in fists, demonstrating intense focus. The player's bellowing sleeves sway in the wind, giving the impression of quick movement, while a veil caps the head. Size: 12.75" L x 3.25" W x 11.125" H (32.4 cm x 8.3 cm x 28.3 cm); 13.5" H (34.3 cm) on included custom stand.
While a 3rd century CE poem by the Chinese poet Cao Zhi mentions the act of hitting a ball on horseback, and a mural in the late 6th century tomb of Xu Minxing in Shandong province depicts a man mounting a horse while holding what look like polo sticks, the first very clear written evidence of the game of polo in China dates to the Tang dynasty, when the game was called jiqiu (meaning strike ball). In the present day, the game is usually called maqiu horse ball) or damaqiu (strike horse ball). Both men and women of the Tang court played polo. Two Tang emperors in particular, Taizong (reigned 626-649 CE) and Xuanzong (reigned 712-756 CE) favored the game of polo. They encouraged young men of the court to play it, because the skills involved could be applied to military activities.
Tang dynasty poets were also inspired by polo. The literatus Han Yu wrote a poem entitled Poem to Commander Zhang at the meeting of the Bian and Si Rivers" which describes a polo field that was 1000 steps long, with low walls on three sides, and called the ball used in the game "the divine bead". The poem describes the game occurring before sunrise on a cold autumn morning; drums making a thunderous sound when the red flags are raised to start the match; as well as the intense competition between the players and the excitement of the spectators. At the end of the poem, Han Yu declares that polo is not a game for mere fun, but is actually one devised for military training. This said, scholars also played polo during the Tang dynasty and successful candidates in the national civil service examinations held a polo tournament to celebrate.
This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full report will accompany purchase.
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 New Jersey, USA collection, acquired in 2016; ex-Anavian 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.
We ship worldwide and handle all shipping in-house for your convenience.
#163785
Condition:
Repaired from several pieces with restoration over some break lines and other break lines visible. A few stable hairline fissures. Expected nicks and abrasions, commensurate with age. Otherwise, excellent with impressive remaining pigments.
- MOCHE GOLD TWEEZER IMPLEMENT ANTHROPOMORPHICPre-Columbian,
MOCHE GOLD TWEEZER IMPLEMENT ANTHROPOMORPHICPre-Columbian, Peru (North Coast), Moche Culture, ca. 100 to 700 CE. A fine pair of tweezers skillfully made from a hammered sheet of 50.89% (equivalent to over 12 karat) gold folded in half. Slightly convex, each side presents in the shape of a Tumi featuring a rounded bottom with petite extended wings on each side and a thick neck that tapers to a top in the form of anthropomorphic head. The haunting visage exhibits a pair of heavy-lidded, almond-shaped eyes, a small, straight nose, prominent nasolabial folds, and a rectangular mouth with delineated teeth. The head is flanked by four vertically striped triangular embellishments, perhaps representing hair, as well as a pair of annular ear spools, while a strand of circles serving as a collar necklace graces the face's chin. The folded area above the head is tubular with two drill holes for suspension. Precious metal quality: 50.89% gold (equivalent to 12K+), 44.53% silver, 4% copper; Size: 2.625" W x 3.875" H (6.7 cm x 9.8 cm); 5.25" H (13.3 cm) on included custom stand; Weight: 24 grams.
The use of metal in Andean cultures is spectacular and scholars posit that thee metalworks were associated with ritual rather than solely utilitarian purposes. Tweezers like these were just some of the multitude of silver, gold, and bronze objects placed into elite Moche tombs. Gold items, like this example, were reserved for the tombs of nobility.
Provenance: private Hawaii, USA collection; ex-The Old Curiosity Cabinet, Ian Arundel collection, Melrose Avenue, Los Angeles, California, USA, collected 1950 to 1970 (The Old Curiosity Cabinet was the meeting place of all the old collectors in the 1950s and 1960s.)
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.
#161528
Condition:
Collection label on interior. Expected light surface wear commensurate with age. Otherwise, intact and excellent
- FINE 19TH C. FRENCH GILT BRONZE TURTLE
FINE 19TH C. FRENCH GILT BRONZE TURTLE W/ SNAKE LAMPWestern Europe, France, ca. early to mid-19th century CE. A stunning bronze sculpture with a foundry mark faintly on the base, the snake twining around the bird's foot is gilt with 8.7% gold, and the shell dish has an 8.4% silver-gilt. This piece is modeled off both Classical Greco-Roman and Asian elements - the clawed foot gripping a tortoise that supports a scallop shell with a snake twining over the top, forming a handle. Ancient oil lamps dating to the Han Dynasty cast of bronze often depict cranes atop turtles, both animals were symbolic of longevity, while snakes entwined with the turtle also represented long life as well as the mythical symbol the "Black Tortoise" (Genbu). Ancient Romans and Greeks also found snakes as suitable handles, the arching body looping over the rims of oil lamps, kyathos, and kylix vessels, much like this sculpture. A striking combination of the "Orientalism" and "Neoclassicism" that was so popular in European art at this time. Size: 5.25" L x 5.25" W x 9" H (13.3 cm x 13.3 cm x 22.9 cm)
The snake is gilt with 8.7% gold across the bronze surface, and the shell is washed with a 8.4% silver gilding to contrast with the amber bronze of the tortoise. The desire for "bronzes d'ameublement" (functional and decorative bronzes) was prevalent amongst the wealthy, complex bronze guild systems arose to meet these demands. Compared to other known examples in institutions and museums, the barely visible mark on the base is most similar to "Vittoz Bronzier." Limited information is available in regard to Vittoz, but a bronze foundry operating under that name was active in Paris from the early to mid-19th century, and first recorded in 1818 with an entry in the Meeting of Manufacturers.
Provenance: private Rancho Mirage, California, USA collection, by inheritance in 2020; ex-Dr. TDR Berreth, California, USA, acquired before 1982
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.
#179104
Condition:
Make mark is very faint on base and nearly indiscernible. Leg is slightly loose but secure to turtle. Fading and losses to gold-gilt surface on snake and silver-gilt shell. Minor surface wear and abrasions, but otherwise intact and excellent. Areas of green and white oxidation / patina and dark toning throughout.
- HARRY JACKSON BRONZE - "WASHAKIE II"
HARRY JACKSON BRONZE - "WASHAKIE II" (1981)Harry Jackson (American, 1924-2011). "Washakie II / Second State" bronze on a stone base, 1981. Edition 6 of 50. Foundry stamp, signature, date, and edition number on bronze. Brass plaque reading "WASHAKIE SECOND STATE HARRY JACKSON" on stone base. A magnificent bronze sculpture skillfully rendered in the round by Harry Jackson, one of America's most distinguished Western artists. Jackson depicted Washakie, an important leader of the Shoshone people during the 19th century who led the Shoshones to meetings of the Treaty of Fort Laramie, mounted upon his agile steed and donning a grand feathered headdress. Jackson not only captured this horse and rider in a lifelike manner, but also delineated the surfaces of the figures as well as the land below with his signature expressive manner. An elegant homage to Chief Washakie - respected for both his prowess on the battlefield and his negotiations toward peace - by Harry Jackson, an artist who dedicated himself to preserving the history and lore of the Old West in his art. Size: 15.5" W x 18.4" H (39.4 cm x 46.7 cm); 20.25" H (51.4 cm) on included custom stand.
About the artist: "Harry Jackson grew up in Chicago and had two passions: drawing and horses. At age fourteen, he hopped on a freight train to Cody, Wyoming, to become a cowboy. He served as a combat artist for the Marines in World War II, and when he returned, studied art under the GI Bill. After a stint as a radio actor and narrator, he moved to New York City, where he belonged to a circle of abstract expressionist painters including Jackson Pollock, Willem de Kooning, and Grace Hartigan, to whom he was married for a time. In the early 1950s, Jackson traveled to Europe, where he studied the Old Masters, and although he continued to appreciate abstract art, his own work from this time on was representational. He is most noted for his bronze sculptures that tell stories of the Old West." (Smithsonian American Art Museum website)
Harry Jackson's art is in prestigious collections such as the Metropolitan Museum of Art, New York; Smithsonian American Art Museum, Washington, D.C.; Denver Art Museum, Denver, Colorado; Amon Carter Museum, Fort Worth, Texas; Gilcrease Museum, Tulsa, Oklahoma; Buffalo Bill Center of the West, Wyoming; the Meeteetse Museum, Wyoming; University of Wyoming; Wyoming State Museum; American Museum In Britain, Bath, England; Ronald Reagan Presidential Library, Simi Valley, California; and the Lyndon B. Johnson Presidential Library, Austin, Texas.
Provenance: private Erie, Colorado, USA collection; purchased at Call of the Wild Gallery, Dallas, Texas, USA in 1983
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.
#179672
Condition:
Excellent overall condition. Foundry stamp as well as signature, date, and edition number on bronze integral base. Brass plaque reading "WASHAKIE SECOND STATE HARRY JACKSON" on stone base.
- ROBERT GORDY (AMERICAN, 1933-1986)Robert
ROBERT GORDY (AMERICAN, 1933-1986)Robert Gordy
American, 1933-1986
Study for "The Meeting" , 1980
Marker, ink, and colored pencil on paper, signed and dated lower left
Four silhouetted figures against tiles, set behind glass and framed, Galerie Simonne Stern, New Orleans, LA label to verso.
Education:
1956 M.A., Louisiana State University, Baton Rouge, LA
1955 B.A., Lousiana State Univeristy, Baton Rouge, LA
1953 Studied with Hans Hoffman
Professional Experience:
1965 Instructor, University of New Orleans, LA
1963 Instructor, The Putney School, Putney, VT
1962 Instructor, Sterling College, Sterling, KS
1957 Instructor, University of Southern Louisiana, Lafayette, LA
Selected Awards:
1978, 1967 Fellowship, National Endowment of the Arts Purchase Award, Dallas Museum of Fine Arts, Dallas, TX
1973 Award Winner, "Artists Biennial," New Orleans Museum of Art, New Orleans, LA
1971 Purchase award, "Artists of the Southeast and Texas Biennial," New Orleans Museum of Art, New Orleans, LA
1971 Ford Foundation Fellowship
1954 Yale-Norfolk Fellowship, Yale University, New Haven, CT
Selected Solo Exhibitions:
1992, 1988, 1986, 1984 Arthur Roger Gallery, New Orleans, LA
1987 Texas Gallery, Houston, TX
1986 New Orleans Museum of Art, New Orleans, LA
1986 Masur Museum of Art, Monroe, LA
1985-86 "Monotypes of Robert Gordy," University of South Florida, Tampa, FL (traveling exhibition)
1985, 1979 Phyllis Kind Gallery, New York, NY
1984-85 "Prints and Paintings of Robert Gordy," New Orleans Museum of Art (traveling exhibition)
1984 The Fine Arts Museum of the South, Mobile, AL
1984 "Artworks '84," Louisiana World Exposition, New Orleans, LA
1983 Carol Shapiro Gallery, St. Louis, MO
1982-81 "Robert Gordy, Paintings and Drawings: 1960-1980," New Orleans Museum of Art, New Orleans, LA
1982-81 Montgomery Museum of Fine Arts, Montgomery, AL
1982-81 Jacksonville Museum of Fine Arts, Jacksonville, FL
1982-81 Southeastern Center for Contemporary Art, Winston-Salem, NC
1982-81 Cincinnati Museum of Contemporary Art, Cincinnati, OH
1982-81 Contemporary Arts Museum, Houston, TX
1979, 1977 Delahunty Gallery, Dallas, TX
1976 Phyllis Kind Gallery, Chicago, IL
1975 Long Beach Museum of Art, Long Beach, CA
1974, 1972 New Orleans Museum of Art, New Orleans, LA
1974 Pyramid Galleries, Washington, D.C.
1973, 1971, 1969 Galerie Simonne Stern, New Orleans, LA
1973, 1971, 1969 Hank Baum Gallery, San Francisco, CA
1972 "Drawings and Prints," Glascow College of Arts, Scotland
1970 Cranfill Gallery, Dallas, TX
1968 Atelier Chapman Kelley, Dallas, TX
1968, 1967 Glade Gallery, New Orleans, LA
Selected Group Exhibitions:
1986 "Artist/Printmaker," The Maryland Institute, College of Art, Baltimore, MD
1985 "The Exhibition at 112 Greene Street," Arthur Roger Gallery, New York, NY
1984 "Monotypes," The Weintraub Gallery, New York, NY
"The Art of New Orleans," Southeastern Center for Contemporary Art, Winston-Salem, NC
1983 "The Human Figure," Contemporary Arts Center, New Orleans, LA
"New Decorative Art," The Berkshire Museum, Pittsfield, MA and The University Art Gallery, State University of New York at Albany, Albany, NY
"Southern Fiction," Contemporary Art Museum, Houston, TX
"The American Artist as Printmaker: 23rd National Print Exhibition," Brooklyn Museum of Art, Brooklyn, NY
1980 "Image into Pattern," P.S.1 Gallery, New York, NY
"American Painting of the Sixties and Seventies: The Real, The Ideal, The Fantastic-Selections from the Whitney Museum of American Art," Montgomery Museum of Fine Arts, Montgomery, AL
"The Figurative Tradition: Paintings and Sculpture from the Permanent Collection," Whitney Museum of American Art, New York, NY
"American Figure Painting: 1950-1980," Chrysler Museum, Norfolk, VA
"American Drawings in Black and White: 1970-1980," Brooklyn Museum, Brooklyn, NY
"Louisiana Major Works," Contemporary Arts Center, New Orleans, LA, curated by Linda L. Cathcart, Contemporary Art Museum, Houston, TX
1978 "21st National Print Exhibition," Brooklyn Museum, Brooklyn, NY
"The 1970's: New American Painting," The New Museum, New York, NY (traveling exhibition)
1975 "Art USA: The South," New Orleans Museum of Art, New Orleans, LA (traveling exhibition)
1973 "Biennial Exhibition of Contemporary American Art," Whitney Museum of American Art, New York, NY
"Divergent Representation: Five Contemporary Artists," National Collection of Fine Arts, Washington, D.C.
"Extraordinary Realities," Whitney Museum of American Art, New York, NY
1968 "14 Artists, Award Winners in the Southeast and Southwest Regions Selected by the National Endowment for the Arts," Witte Memorial Museum, San Antonio, TX
"New Acquisitions," Whitney Museum of American Art, New York, NY
1967 "Annual Exhibition of American Painting and Sculpture," Whitney Museum of American Art, New York, NY
Selected Collections:
Alexandria Museum and Visual Art Center, Alexandria, LA
American Express Corp, New York, NA
Chicago Museum of Contemporary Art, Chicago, IL
Dallas Museum, Dallas, TX
Fort Worth Art Center, Fort Worth, TX
Gibber Museum of Art, Charleston, SC
Museum of Modern Art, New York, NY
Metropolitan Museum, New York, NY
National Collection of Fine Art, Washington, D.C.
Oklahoma Fine Arts Center, Oklahoma City, OK
Whitney Museum of American Art, New York, NY
Sight: 16 3/4 x 17 3/8 in. (42.5 x 44.1 cm.), frame: 22 1/2 x 22 1/2 in. (57.2 x 57.2 cm.)
The Artist,
Galerie Simonne Stern, New Orleans, LA;
Ex Iowa Wesleyan University collection;
Bequeathed by the Alden Lowell Doud Estate, Washington D.C.
Alden Lowell Doud (American, 1935-1912) of Iowa City, formerly of Douds, was a former First Lieutenant and Captain of the U.S. Army Judge Advocate General Corp. After serving in the military, he joined the Office of the Legal Adviser in the U.S. State Department in 1967 where he became the first Assistant Legal Adviser for Environmental Affairs. He authored the first drafts of several important environmental treaties including the World Heritage Convention. He was also a member of the U.S. delegation in the negotiations forming the International Telecommunications Satellite Consortium (INTELSAT).
In 1973, Mr. Doud joined the World Bank Legal Department as its principal administrative attorney and rose to the title of Chief Counsel until his retirement in 1996. Post retirement,
he studied at the Courtlaud Institute of Art in London and continued art studies at Bard Graduate Center in New York City.
He moved to Iowa City in 1998 and served as Chairman of Board of Trustees of Iowa Wesleyan until 2005 when he received an honorary degree Ll. D. and was made Chairman Emeritus. He was a member of University of Iowa President's Club, the Members Council of the University Museum of Art, the Harvard Club of New York City, and other arts related organizations.
Condition:
Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.
- LARGE FOX HUNTING PRINT AFTER HERRING:
LARGE FOX HUNTING PRINT AFTER HERRING: From Fores's National Sports, titled Fox-Hunting Plate 1, The Meet, 25.5'' x 45.5'', framed 31.5'' x 51.5''.
CONDITION: Pale, scattered foxing.
- SIX FOX & HOUND PRINTS Includes four
SIX FOX & HOUND PRINTS Includes four by E. L. Voss: "Full Cry," "The Meet," "Stiff Timber," "Off to Draw," all sight size 14 x 16 in.; and two measuring sight size approximately 4 1/4 x 13 1/2 in.
- CARL EVERTON MOON, (AMERICAN, 1879-1949),
CARL EVERTON MOON, (AMERICAN, 1879-1949), EIGHT PHOTOGRAPHS: - THE FIRST RIDING LESSON - YAZ-YAH CHEE - BEFORE THE DANCE - THE DANCING LESSON - THE GUIDE - THE MEETING PLACE - THE LAST OF THE COUNCIL - CHO-BAH-BEGAY (...CARL EVERTON MOON, (American, 1879-1949) Eight Photographs: - The First Riding Lesson - Yaz-Yah Chee - Before the Dance - The Dancing Lesson - The Guide - The Meeting Place - The Last of the Council - Cho-Bah-Begay (The Wolf), each 6 x 9 or 9 x 6 in.; each sheet 10 x 12 or 12 x 10 in. Provenance: By descent to a Massachusetts Lady. Condition: Condition: Works are unsigned. Each has title written in blue ink in lower margin. Images appear to be in generally good condition. Paper toned at edges, but not as intensely as it appears in online images. Two smudges (likely finger prints) on righthand margin of "Yaz-Yah Chee."
- JFK WIFE JACKIE KENNEDY AUTOGRAPHJacqueline
JFK WIFE JACKIE KENNEDY AUTOGRAPHJacqueline Kennedy Onassis autograph on plane ticket jacket. The 1966 Tampa Tribune newspaper article with photos, explains the meeting of Jackie O and Mrs. Gene Newsome. Photos show Mrs. Newsome with signature of wife of the late President John F. Kennedy. Framed to 14 1/4" x 18 1/2". shipping info This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
- J.F. HERRING (AFTER), (4) LARGE FOLIO
J.F. HERRING (AFTER), (4) LARGE FOLIO ENGRAVINGS John Frederick Herring (British, 1795-1865) , full set of "Herring's Fox-Hunting Scenes" including "The Meet", "Breaking Cover", "Full Cry", and "The Death", color aquatint, published 1867 by R. Dodson, London, matted and framed under glass, each 24"h x 37"w (sight), 35"h x 48"w (frame)
- J. F. HERRING, SR., (3) AQUATINT ENGRAVINGS,
J. F. HERRING, SR., (3) AQUATINT ENGRAVINGS, 1867 Herring's Fox-Hunting Scenes, engraved by J. Harris, pub. by R. Dodson, London, incl. "The Meet", "Breaking Cover", and "The Death", each 21.5"h x 33"w (sight), 24.5"h x 36.25"w (frames)
- TEN BOOKS/MAGAZINES RELATING TO ROBERT
TEN BOOKS/MAGAZINES RELATING TO ROBERT WOODRUFF Assortment of ten books or magazines relating to Robert Winship Woodruff comprising: "Holiday" magazine, The Curtis Publishing Company, May, 1961, hardbound with "Robert Woodruff" in gilt letters to cover; "Premier World Atlas", Rand McNally & Company, New York, Chicago, and San Francisco, 1953, hardbound with "Robert W. Woodruff" in gilt letters to cover; Martin Hurlimann, "Europe", Thames & Hudson, London, 1957, with custom dedication page, "Presented On His 70th Birthday/To/Robert Winship Woodruff/With The/Congratulations And Affectionate Greetings/Of His Many Friends/In The Western European Area Of/The Coca-Cola Export Corporation/6 December, 1959" with facsimile signatures, hardbound with "R.W. Woodruff" in to cover, in slipcase; Charles Elliott, "A Biography Of The Boss: Robert Winship Woodruff", Robert W. Woodruff, 1979, with "Compliments of R.W. Woodruff" card, hardcover in slipcase, Great Britain Foreign Office, "Correspondence Respecting The European Crisis: Presented To Both Houses Of Parliament By Command Of His Majesty. August 1914", Harrisons and Sons, London, soft leather bound with "Robert Woodruff" in gilt lettering; "The Arsenal", Georgia Military Academy, 1921; Charles Elliott, "Ichauway Plantation", Robert W. Woodruff, 1974, hardbound with "Robert Woodruff" in gilt letters to cover, together with an invitation card; "To R.W. Woodruff A Tribute: Record Of The Meeting O The Board Of Directors Of The White Motor Company Held On The Fifteenth Day Of December Nineteen Hundred Thirty", hand illustrated and leather bound volume accepting the resignation of Woodruff as president, with signatures; "As You Were", commerative booklet from the White Company branch managers and home officials annual dinner, July 13, 1921; and "Legal Forms For Common Use In Georgia: Arranged By A Member Of The Macon Bar", S. Rose & Company, Macon, 1853, with ink inscription, "Robt Winship/Atlanta/Geo/1854" and William Kays retail stamp. Note: An article on the city of Atlanta featuring Robert Winship Woodruff appears in "Holiday magazine. A dedication to Woodruff appears in the 1921 "Arsenal" annual year book. The inscription on "Legal Forms For Common Use In Georgia: Arranged By A Member Of The Macon Bar" is for Robert Winship, grandfather of Robert Winship Woodruff.
- EIGHT BOOKS ON ASIAN DECORATIVE ARTS
EIGHT BOOKS ON ASIAN DECORATIVE ARTS AND DESIGN Assortment of eight books on Asian decorative arts and design comprising: "The Freer Gallery Of Art: I China", John A. Pope, "Monks And Merchants: Silk Road Treasures From Northwest China", Annette L. Juliano and Judith A. Lerner, "The Choice Of The Private Trader: The Private Market In The Chinese Export Porcelain Illustrated From The Hodroff Collection", David S. Howard, "Japanese Art After 1945: Scream Against The Sky", Alexandra Munroe, "Japanese Porcelain", Nancy Schiffer, "Satsuma: Masterpieces From The World's Important Collections", Louis Lawrence, "Katachi: Classic Japanese Design", Takeji Iwamiya and Kazuya Takaoka, and "The Meeting Of Eastern And Western Art", Michael Sullivan. Most with dust jackets. Dimensions: Approx. of the largest, h. 1.75", w. 10.5", d. 1".
- MOTHER-OF-PEARL & SILVER MOUNTED SNUFF
MOTHER-OF-PEARL & SILVER MOUNTED SNUFF BOXContinental carved mother-of-pearl and silver mounted snuff box, 19th c., lid with relief scene depicting the meeting of Dido and Aeneas, side panels with putti gathering tinder, building a fire, riding a goat, plaques loose within frame, front plaque with chip to lower right corner, approx 2"h, 3"l, 2.5"w, 0.25lbs (inclusive of all materials) **Provenance: from the estate of a German antiques dealer who immigrated to the United States post World War II**
- FRAMED PRINT EQUESTRIAN HUNT WITH FOXHOUNDSFramed
FRAMED PRINT EQUESTRIAN HUNT WITH FOXHOUNDSFramed print, "Hunting Plate 1 - The Meeting," after J.N. Sartorius (John Nost Sartorius, English, 1759-1828), sight: approx 18.5"h, 24"w, overall: 23"h, 28.5"w, 9.5lbs
- THOMAS HART BENTON (1889-1975) PENCIL
THOMAS HART BENTON (1889-1975) PENCIL SIGNEDThomas Hart Benton (1889-1975)The Meeting (1941)The lithograph published by Associated American Artists in an edition of 250 prints is signed by the artist in pencil below the image lower right and listed as Fath catalog number 47.Benton's comments in Fath read: This print is more like a drawing than are other lithos and shows the interior of a country church with a man preaching. Meeting house in the mountains of West Virginia. Drawing made in 1928. Litho reproduces drawing almost exactly. Litho probably made in '38.Image measures 9 x 11.5, sheet is 11 x 13.5, and frame is 18 x 21 inches.The sheet with good margins is free from structural damage but heavily foxed and toned as shown here outside the frame and mat.
- WATERCOLOR LANDSCAPE LATE 19TH CENTURY
WATERCOLOR LANDSCAPE LATE 19TH CENTURY 8.75” X 11”. FRAMED 17” X 21”.WATERCOLOR LANDSCAPE, Late 19th Century, The Meeting House in Middleborough, Massachusetts. Initialed lower left "AAB". Dimensions: 8.75" x 11". Framed 17" x 21".