A few examples of appraisal values for
WESTWARD

• DANIEL MACMORRIS (1893-1981) KC LIBRARY
  DANIEL MACMORRIS (1893-1981) KC LIBRARY MURAL STUDYDaniel MacMorris (1893-1981) (1960)The oil on canvas study from a series of four illustrates from left to right westward expansion, homesteading pioneers, settlement with a church and military themes appear far right while Native Americans and a mountain man witness change.Before he began working on the Kansas City Public Library's Missouri History murals, Daniel MacMorris painted a series of 8-inch by 30-inch canvases to serve as preliminary studies for what he would paint in monumental proportions on the walls of the downtown library's Missouri Valley Room. Each painting employs symbolism, allegory and historical figures to tell the region's story. This work, the second of four, is signed by Daniel MacMorris lower right and dated 1960. The finished mural would tell the story of the people and the culture of the Missouri Valley region from before statehood to the early 20th century.Sight size measures 8.25 x 31.75 with a framed size of 11.25 x 34.75 inches.Very good original untouched condition. There are no issues of major scratches, losses, repairs, in-painting or touch-up.Provenance: Helen Culbertson Stubbs Snyder, wife of Judge Tom Stubbs and library committee member at the time of commission sought out Daniel MacMorris following the project and purchased these four studies on canvas.
• ERIC SLOANE (1905-1985): WESTWARD FLIGHTOil
  ERIC SLOANE (1905-1985): WESTWARD FLIGHTOil on Masonite, signed 'Eric Sloane' lower left, signed and titled on the reverse. 21 x 43 1/2 in., 28 x 49 1/2 in. (frame). Property from the Collection of Florence de Dampierre, Litchfield, CT Condition In very good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold ""as is"" in accordance with our conditions of sale.
• CARDUCIUS PLANTAGENET REAM (AMERICAN,
  CARDUCIUS PLANTAGENET REAM (AMERICAN, 1837-1917), WESTWARD HO! Oil on board, signed and dated 1867 at lower center, presented in a period gilt composition frame.
• TWO PISGAH FOREST POTTERY VESSELS Walter
  TWO PISGAH FOREST POTTERY VESSELS Walter Stephen, (IA/NC, 1876-1971), matte glaze with cameo painting, Westward Ho, a vase impressed with date 1953 (71/2 in.) and a low bowl dated 1951 (2x 6 in.). Impressed Pisgah Forest stamp on the undersides.
• COLLECTION OF 36 WESTWARD JOURNEY COIN
  COLLECTION OF 36 WESTWARD JOURNEY COIN PACKS Large Collection of 3 Commemorative Westward Journey Coin Packs, Nickels and Sacagawea Dollars: 12 Gold Plated (3 packs each with P/D Nickels) 2004 Keelboat, Peace Medal 2005 Bison, Ocean View 8 Platinum editions) 2 each or Keelboat, Ocean View, Bison, Peace Medal; Regular 1 pack from each 4 versions; 2006 Gold plated Return to Monticello two packs and one platinum, eight packs of Sacagawea Dollars P/D 2000-2001-2002-2004, 2005, 2008 and two Satin finish 2005/2008); Large Collection of 38 Commemorative Westward Journey Coins 12 Gold Plated (three packs each with P/D Nickels) 2004 Keelboat,Peace Medal 2005 Bison, Ocean View eight Platinum editions) two each or Keelboat, Ocean View, Bison, Peace Medal; Regular one pack from each four versions; 2006 Gold plated Return to Monticello two packs and one platinum, eight packs of Sacagawea Dollars P/D 2000-2001-2002-2004, 2005, 2008 and 2 Satin finis 2005/2008).
• JOHN SUDY (1880-1960)Quail Shooting signed
  JOHN SUDY (1880-1960)Quail Shooting signed "J. Sudy" lower right watercolor, 17 3/4 by 23 1/2 in. titled on label on back Excerpts from Sudy's obituary reveal that he was born just outside Prague and began his art studies in Berlin at the age of 9. At the outbreak of World War I, he was painting in Rome, when Bohemia, as part of the Austrian empire, went to war against Russia. Sudy would go on to become a captain in the infantry, but when his outfit was captured in the early fighting his unit was shipped to an internment camp in Siberia. As the only officer in the camp, he led a mass escape of 2,300 prisoners. From Siberia the group marched westward and two years later Sudy and four other survivors of the original group arrived in Turkey. There, Sudy painted pictures of veiled dancing girls for British sailors and eventually made enough money to finance a trip to the United States in 1921. Settling on Maryland's Eastern Shore, he began studying and painting wildlife. His works are now held in private collections throughout the US and in Europe. He counted among his close friends such financial greats as J. Pierpont Morgan, John J. Raskob, and George M. Offett. This well-executed watercolor is perhaps the artist's finest work to ever come to auction.
• THOMAS HART BENTON "RUNNING HORSES"
  THOMAS HART BENTON "RUNNING HORSES" 1955 SIGNED LITHOGRAPHThomas Hart Benton (American, 1889-1975) Running Horses , 1955 Lithograph on paper 12 1/2" x 16 1/2" (image) Edition of 100 Pencil-signed to the bottom right margin. The period glazed walnut frame measures 19 1/2" x 23 1/2". The second Benton lithograph to prominently juxtapose the steam train with horses at full sprint, Running Horses follows in the footsteps of The Race (1942). The former prompted Benton to wonder "Why did horses so often run with the steam trains while they now pay no attention to the Diesels?" Billowing steam engines inhabit many of Benton's most beloved lithographs, from Going West (1934) and Jesse James (1936) to Wreck of the Ol' 97 (1944) and Ten Pound Hammer (1967); the imposing trains strike the figure of relentless progress: the inevitability of westward expansion, of industry, and of modernism. From an edition of 100, circulated by Associated American Artists. Literature: The Lithographs of Thomas Hart Benton By Creekmore Fath - #78. Condition Good condition. The sheet is not laid down. There is a faint horizontal crease at the right edge of the image. Typical minor toning inside the mat window. A few thin tape shavings are caught between the frame's glass and the top of the mat.
• ANNE COE (AMERICAN, B. 1949) 18 ?" x
  ANNE COE (AMERICAN, B. 1949) 18 ?" x 22 ?" "Westward Ho the Wagons!". Acrylic on paper, signed lower right, titled verso, hinged to mat board, under plexiglass in metal section frame, overall 26" x 27 ½"
• Robert Henry Barnes b.1934. Thoughts
  Robert Henry Barnes b.1934. Thoughts on the Passage Westward. 1958, oil on canvas laid to panel. 47½ dia in. estimate: $800–1,200. Signed, titled and dated to verso ‘Robert Barnes Thoughts on the Passage Westward 6/58’.
• GOEBEL MONUMENTAL AMERICANA FIGURE,
  GOEBEL MONUMENTAL AMERICANA FIGURE, WESTWARD BOUNDLimited Edition. White bisque. Artist signed by Gerhard Skrobek. An exemplary monumental Goebel white bisque porcelain group figurine depicting western pioneers leading oxen and a covered wagon. Commemorative metal plate incised WESTERWARD BOUND SCULPTED BY GERHARD SKROBEK FOR W. GOEBEL. Set upon a wooden base plinth with plaque edition number. The artist, Gerhard Skrobek (1922-2007), was the master sculptor at the Goebel porcelain factory and the premier postwar artisan of Hummel figurines. Damage to one ox horn. Artist: Gerhard Skrobek Issued: c. 1970 Dimensions: 11"H x 21.5"W Edition Number: 310 Edition Size: 400 Manufacturer: W. Goebel Country of Origin: West Germany
• MIXED LOT OF CASINO CHIPSDESCRIPTION:
  MIXED LOT OF CASINO CHIPSDESCRIPTION: Lot includes: (1) $5 Westward-Ho Casino Chip (1) $5 Westward-Ho Casino Puttin on the Ritz Chip (1) $5 Westward-Ho Casino Hawaiian Luau Chip (1) $5 Westward-Ho Casino Grubstake Jamboree Chip (1) $1 Westward-Ho Casino Cip (1) $1 B.B. Cody's Casino Chip (1) $1 The Anaconda Casino Chip (1) $1 Bella Union Casino Chip (1) $1 Bodega Casino Chip (1) $1 Bella Union Saloon Casino Chip (1) $10 1995 Binion's Horseshoe Casino Chip (1) $5 Riviera Casino Chip (10) $2.50 Binion's Horseshoe Gallery of Champions 1994 World Series of Poker Silver Anniversary Chip (1) $2.50 Binion's Horseshoe Gallery of Champions 1995 World Series of Poker Silver Anniversary Chip (2) $5 Binion's Horseshoe Casino Poker Hall of Fame Chip (# 1/2000 and 1086/2000) (3) $5 Orleans 1996 Casino Chip (2) $5 Bird Cage Casino Chip (2) $5 Riviera Casino 1955 Happy 40th Anniversary Chip (1) $100 Orleans Casino Chip (1) $25 Orleans Casino Chip (1) $5 First Annual Orleans Poker Tournament Chip (1) $5 Binion's Horseshoe Casino Rodeo Commemorative Chip (1) $100 Bob Stupak's Sinabar Chip (4) $1 Boomtown Casino Chip (1) $100 Riviera Casino Chip (1) $1 Riviera Casino Chip (1) $5 Barbary Coast Live the Legend Chip (1) $1 Barbary Coast Live the Legend Chip (1) $5 Barbary Coast Chip (1) $5 Opera House Casino 1997 Fourth of July Chip (1) $5 Opera House Casino Luck O'Irish Chip (Limited to 1,000 chips) (1) $5 Opera House Casino 1998 St. Patrick's Day Chip (1) $5 Opera House Casino 1997 Thanksgiving Chip (Limited to 888 Chips) (1) $5 Opera House Casino 1997 April Fool's Day Chip (Limited to 1,000 Chips) (1) $5 Opera House Casino 1997 Memorial Day Chip (Limited to 1,200 Chips) (1) $5 Opera House Casino 1997 Halloween Chip (Limited to 1,000 Chips) (1) $5 Opera House Casino 1998 Valentine's Day Chip (Limited to 888 Chips) (1) $5 Opera House Casino 1996 St. Patrick's Day Chip (1) $5 Aladdin New Years Eve Chip (2) $5 Aladdin 1995 3rd Annual Convention Chip (1) $5 Aladdin 1996 Miss Universe Pageant (1) $5 Aladdin 1996 4th Annual Convention Chip (1) $5 Aladdin Casino Chip (1) $5 Aladdin 1995 New Years Chip (1) $5 Bellagio Chip (1) $1 Bellagio Chip (1) $25 Bellagio Chip (1) $5 O'Sheas Chip (7) $5 Caesars AC Caesars Celebrity Series 1992 Chip (4) $5 Caesars AC Caesars Celebrity Series 1993 Chip (1) $5 Caesars AC 1999 Madison Square Garden Chip (1) $20 Caesars Casino Chip (5) $5 Cactus Jack's 1992 - 1996 Chip (5) $5 Cactus Jack's Nevada Gaming Pioneers 1997 - 2001 Chip (1) 50c Union Plaza Chip (1) $5 Union Plaza Chip (1) $5 Windflower Chip (1) $1 "21 Club" Chip (1) $1 Boulder Station Chip (1) Limited Edition $5 Boulder Station 1994 Grand Opening Chip (1) $5 Boulder Station Chip (1) $25 Boulder Station Chip CIRCA: 20th Century ORIGIN: USA DIMENSIONS: CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• MICHAUX: TRAVELS ALLEGANY OHIO TENNESSEE
  MICHAUX: TRAVELS ALLEGANY OHIO TENNESSEE W/ 1805 MAPMichaux, F. A. TRAVELS TO THE WESTWARD OF THE ALLEGANY MOUNTAINS, IN THE STATES OF OHIO, KENTUCKY, AND TENNESSEE, IN THE YEAR 1802, Containing accounts relative to the present state of agriculture, and the natural productions.... London: Printed for Richard Phillips, 1805. Folded map present before title page. 96pp. This is the abridgment of the second English Edition. Book - 9" H x 5 7/8" W x 1/2" D. Map - 16" H x 13" W. Provenance: The living estate of Dr. and Mrs. Benjamin H. Caldwell, Nashville, TN. (Higher-resolution photos are available at www.caseantiques.com) Condition: 1/4 leather binding by Root, London (signed) with marbled paper boards in good condition with just some rubbing. Text has a few check marks and a few short underlinings in pencil.
• 4 EARLY AMERICAN MAPS: OVERTON, THIERRY,
  4 EARLY AMERICAN MAPS: OVERTON, THIERRY, CAPTAIN COOK, ...1st item: AN ACCURATE MAP OF THE ENGLISH COLONIES IN NORTH AMERICA BORDERING ON THE RIVER OHIO. Printed map describing New England, New York, New Jersey, Pennsylvania, Maryland, Virginia, North Carolina and Carolina, the Appalachian Mountains, and the Great Lakes as far as Lake Michigan. Tribal lands including those of the Cherokee, Miami, and Iroquois are also noted. With unusual north-south boundary lines as opposed to the now standard westward lines. Published in The Universal Magazine of Knowledge and Pleasure, London, 1754. This map is a truncated version of the undated broadside map of the same name published by Henry Overton earlier in 1754. Housed in a plastic sleeve with print-outs of text from The Universal Magazine and a description of the map. Sheet: 8" H x 10" W. Sleeve: 17 6/16" H x 15 1/4" W. 2nd item: CARTE DES ETATS-UNIS D'AMERIQUE. Hand-colored French map describing the United States just prior to Texas declaring its independence from Mexico, with Missouri Territory extending from Arkansas and Missouri to the Pacific Ocean and Canadian boundary extending into modern-day British Columbia. Two spurious rivers in Utah's Great Basin connect Lake Timpanogos and Lake Teguayo to the Pacific Ocean. Published in Geographie Moderne, Paris, c. 1835, by Thierry. Plate: 10" H x 13" W. Sheet: 11 5/8" H x 15" W. 3rd item: A CHART OF THE WORLD, ACCORDING TO MERCATORS PROJECTION SHEWING THE LATEST DISCOVERIES OF CAPT. COOK. Hand-colored map of the world charting the three voyages of Captain James Cook, first on the HMS Endeavor and later the HMS Resolution. With defunct American locations including Sir Francis Drake's New Albion, New Louisiana, and East and West Florida. Published by C. Dilly and G. Robinson, London, 1785. 16 1/4" H x 21" W. 4th item: NORTH AMERICA SHEET VI NEW YORK, VERMONT, MAINE, NEW HAMPSHIRE, MASSACHUSETTS, CONNECTICUT, RHODE ISLAND, AND NEW JERSEY. Hand-colored and exceptionally detailed map describing the titular states along the North Atlantic coast. Published by the Society for the Diffusion of Useful Knowledge and by Baldwin & Cradock, London, 1832. 15 7/8" H x 13 5/16" W. Condition: 1st item: Overall excellent condition. Some of the upper right and lower left marginal border lines are missing along with part of the 65 longitudinal degree. Missing areas have been replicated in pencil on adhered paper. 2nd item: Very good condition with wide margins. Some pencil notations and slight foxing throughout and losses to lower edge of sheet. 3rd item: Overall good condition, with folds and reinforcement affixed to verso to stabilize partially torn fold line at center left. Some staining and pencil notations. 4th item: Overall excellent condition, with negligible, scattered foxing and pencil inscriptions to upper left corner and verso.
• BRITANNIA WOOD SHIP PLAQUEVintage hand
  BRITANNIA WOOD SHIP PLAQUEVintage hand painted, deeply carved wood wall plaque depicting ships in harbor titled -BRITANNIA & WESTWARD PASSING ROYAL LONDON FLAGPOLE AT COWES - Signed LD&Sons. Size: 23 x 35 inches.
• AN ANTIQUE MAP, "MAP OF ABILENE," GALVESTON,
  AN ANTIQUE MAP, "MAP OF ABILENE," GALVESTON, 1881-1883,...AN ANTIQUE MAP, "Map of Abilene," GALVESTON, 1881-1883, lithograph on paper, drawn by A.H. Kirby, compiled by J. A. Thomas, printed by Clark & Courts, Galveston, Texas, and published for Carter & Carter: Land, Loans & Stock. 23 1/2" x 25 1/4" Note: "...When the Texas & Pacific Railway began to push westward in 1880, several ranchers and businessmen, including Claiborne W. Merchant, John Merchant, John N. Simpson, John T. Berry, and S. L. Chalk, met with H. C. Whithers, the Texas & Pacific track and townsite locator, and arranged to have the railroad bypass Buffalo Gap, the current County Seat. They agreed that the route would traverse lands which the group owned in the northern part of the county, and that a new town would be established between Cedar and Big Elm creeks east of Catclaw Creek. C. W. Merchant apparently suggested the name Abilene, after the Kansas cattle town....The Texas and Pacific arrived at the site in January 1881 the railroad promoted Abilene as the "Future Great City of West Texas." J. Stoddard Johnston and other railroad officials platted the townsite. Several hundred people arrived in Abilene before the sale of town lots and began to establish businesses and a church. The lots were auctioned on March 15, 1881; in two days buyers purchased more than 300 lots, and Abilene was officially established. On January 2, 1883, the residents voted to incorporate, and in an election held on October 23, 1883, Abilene became the county seat. ..The map was published by Clarke & Courts, on what is believed to be the oldest lithographic printing press in the State of Texas. Clarke and Courts traces its roots to M. Strickland and Company, organized at Galveston by Miles Strickland in 1857. Strickland moved his printing press to Houston, but subsequently returned to Galveston. Robert Clarke became a partner in the firm in 1870. In 1877, George M. Courts purchased Strickland's interest. In 1877, the two printers brought the first lithograph press in the state to Galveston..." Courtesy: Barry Lawrence Ruderman Antique Maps Inc. Provenance: Property from a Fortune 500 Energy Company, Houston, Texas. Condition: Some tears, creases throughout, apparent repairs, 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."
• GRP: ASSORTED BOOKS ON EUROPEAN ART
  GRP: ASSORTED BOOKS ON EUROPEAN ART HISTORY AND EXPLORA...Large lot of miscellaneous books, dealing primarily with European exploration, art, and history. Titles include "The British Empire before the American Revolution volume II;" The British Isles and the American Colonies, The Southern Plantations 1748-1754 by Lawrence Henry Gipson; The British Empire before the American Revolution volume IV, Zones of International Friction: North America, south of the Great Lakes region 1748-1754 by Lawrence Henry Gipson (two copies); The British Empire before the American Revolution volume V, Zones of International Friction: The Great Lakes Frontier, Canada, The West Indies, India 1748-1754 by Lawrence Henry Gipson (two copies); The British Empire before the American Revolution volume IX, The Triumphant Empire: New Responsibilities within the Enlarged Empire 1763-1766 by Lawrence Henry Gipson (two copies); The British Empire before the American Revolution volume XI, The Triumphant Empire: The Rumbling of the Coming Storm 1766-1770 by Lawrence Henry Gipson; The British Empire before the American Revolution volume XIII, The Triumphant Empire: The Empire beyond the Storm 1770-1776 Summary of the Series Historiography by Lawrence Henry Gipson; The British Empire before the American Revolution volume XIV, A Bibliographical Guide to the history of the British Empire 1748-1776 by Lawrence Henry Gipson; The British Empire before the American Revolution volume XV, A Guide to Manuscripts: Relating to the History of the British Empire 1748-1776 by Lawrence Henry Gipson (two copies); The Complete Guide to Prints and Printmaking edited by John Dawson; A Plan of the Cities of London and Westminster, and Borough of Southwark; membership directory for Fine Arts Philatelists; FAP Journal vol. 17 no. 1 & 2 edited by Clare McAlister, Kay Ziegler, and Katie Berry; The Art of Calligraphy a Practical Guide by Marie Angel; Bicentennial Engagement Calendar 1776*1976 from Colonial Williamburg; The Old World and The New 1492-1650 by J. H. Elliott; Sir Walter Ralegh by Robert Lacey; The British Library The Reference Division Collections; "Four Rare Books Selected for Sale on the World Book Fair at Earls Court, London"; The First Annual Frederic W. Goudy Award presented to Hermann Zapf 1969; "The Parcae" Two Marble Busts by Michelangelo for the Tomb of Julius II published by Paul Rosenberg & Co.; Prints of the Italian Renaissance by Jay A. Levenson; Battles of the Nudes by Evelyn Ehrlich and John H. Neff; Printmaking Today a studio handbook by Jules Heller; Rand McNally, "Atlas of the American Revolution" (two copies); Bruce L. Larson, "Lindbergh of Minnesota. A Political Biography"; "Raleigh & Roanoke," The New York Public Library; Stefan Lorant, "The New World"; W.P. Cumming, S.Hillier, D.B. Quinn, G.Williams, "The Exploration of North America 1630-1776"; edited by Michael Alexander, "Discovering the New World"; edited and annotated by Stefan Lorant, "The New World"; W. P. Cumming, R. A. Skelton, D. B. Quinn, "The Discovery of North America," American Heritage Press, New York (two copies); based on the works of Theodore de Bry, edited by Michael Alexander, "Discovering the New World" (four copies); Hugh Honour, "The New Golden Land. European Images of America from the Discoveries to the Present Time"; Ernst and Johanna Lehner, edited by Gerard L. Alexander, "How They Saw the New World," Tudor Publishing Company; Roswin Finkenzeller, Wilhelm Ziehr, Emil M. Buhrer, "Chess. A Celebration of 2,000 Years"; "Man of the House. The Life and Political Memoirs of Speaker Tip O'Neill with William Novak," Random House, New York; Peter Jowett, "Introducing Kittens"; "Appearance and Reality. Recent Studies in Conservation," The Metropolitan Museum of Art; "FAP Journal volume 17 no. 3, May/June, 1971"; "FAP Journal volume 17 no. 5, November/December 1971"; "Ivory: The Sumptuous Art. Highlights from the COllection The Walters Art Gallery, Baltimore"; "Sotheby's Preview, September 1997"; "Prestype. The quality leader in Lettering, Symbols, Shading Patterns, Tapes"; Fred Eager, "The Italic Way to Beautiful Handwriting Cursive & Calligraphic"; Roy Brewer, "Eric Gill: The Man wh Loved Letters"; Shipley, "The English Rediscovery of America"; I. C. S. Staff, "Perspective and Freehand Drawing"; Lee M. Hollander, "The Skalids. A Selection of their Poems, with Introduction and Notes"; edited by Ernst Cassirer, Paul Oskar Kristeller, John Herman Randall, Jr., "The Renaissance Philosophy of Man"; Frances and Joseph Gies, "Omen in the Middle Ages. The Lives of real Women in a Vibrant Age of Transition"; "1983-84 Collection of Gifts and Books Inspired by the Renaissance," The Folger Shakespeare Library; Margaret Bartran, "The Guide to Color Reproductions," The Scarecrow Press, Inc., New York and London, 1966; illustrated by Folon, "Passport for Human Rights"; Frederick Copleston, S. J., "A History of Philosophy: volume 3, Late Mediaeval and Renaissance Philosophy, part I, Ockham to the Speculative Mystics"; Eileen Power, "Medieval People"; Ray ALlen Billington, "Westward to the Pacific. An Overview of America's Westward Expansion"; "The Chess Bookman, September 1978, No. 14. A list of antiquarian, scarce, used and new chess publications and a magazine for chess collectors"; compiled by Henry Hunvald and with illustrations by Jeff Hill, "Chess, quatations from the Masters"; Carl Zigrosser and Christa M. Gaehde, "A Guide to the COllecting and Care of Original Prints"; Gemalde, Aquarelle, Zeichnungen, "Gerhard Rechenbach"; "Nathan Cabot Hale scultor on The Removal of Fig Leaves ..." SKU: 02316 Follow us on Instagram: @revereauctions Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• A LATE MEXICAN-AMERICAN WAR ERA MAP,
  A LATE MEXICAN-AMERICAN WAR ERA MAP, "MAPA DE LOS ESTAD...A LATE MEXICAN-AMERICAN WAR ERA MAP, "Mapa de los Estados Unidos de Mejico, Revised Edition," JOHN DISTURNELL, NEW YORK,1848-1850, hand colored copper plate engraving on paper, the Gulf of Mexico with four inset maps, "Map Showing the Battlegrounds of (Palo Alto) the 8th and 9th, May 1846, by J.H. Eaton," "Plan of Monterrey and its Environs," "Chart of the Bay of Veracruz," and "Tampico and its Environs," at far right, "Diagram of the Battleground (of Buena Vista) February 22nd and 23rd 1847," in the lower left, "Table de Distancias.," "Tabla Estadistica.," and "Carta de los Caminos & Desde Vera Cruz Y Alvarado a Méjico," accompanied by two profiles of the routes "...between Mexico and Veracruz," and "...between Mexico and Acapulco," the upper right with engraving of Mexican eagle with snake in its beak, perched on cactus with names of Mexican states lettered on pads, above a bow and arrow; the hand coloring ordered as follows: Green-Spanish Boundary 1786, Blue-Boundary Proposed by Mexican Commissioners, Yellow-Boundary Claimed by the United States," with quotation, "Prior to the Revolution Texas and Coahuila were united to form one of the Federal States of the Mexican Republic," Red- Route of Gen. Taylor in south Texas and north Mexico, and Gen. Kearny's Route in the north tracking his "March of the 1st Dragoons" from Fort Leavenworth, Kansas, Pink-Boundary Proposed by Mr. Trist U.S. Commissioner, presented with a gilt embossed green cloth cover board, "Map of the Republic of Mexico, Published by J. Disturnell, New York." 30" x 42" Note: The particular map noted for numerous editions with notable mistakes; this map is a rare example of a map that both has gross inaccuracies and served as an important tool for the United States and Mexican governments during land disputes and negotiations at the end of the Mexican American War. The present map includes detailed hand-drawn routes and boundaries that formed the face of the modern American landscape.The red route indicated in the Southern Texas/Northern Mexico area tracks future President Zachary Taylor's military expeditions during the Mexican-American War. "In the summer of 1845, Taylor, now sixty years old and stationed again at Fort Jesup, was ordered by the Polk administration to defend the recently annexed Texas republic. Commanding what would now be called the "Army of Occupation," Taylor moved his troops to Corpus Christi, at the mouth of the Nueces River, where he awaited reinforcements. By March 1846, with an army that now numbered 4,000, he moved further south, to the Rio Grande. When Mexican troops attacked U.S. forces in late April, President James K. Polk used the attack to ask Congress for a declaration of war. On May 18, though heavily outnumbered, Taylor defeated Mexican forces at Palo Alto; the following day he engaged the Mexican army again at Resaca de la Palma, driving it back to Matamoros. With the United States and Mexico now at war, Taylor established a base of operations at Camargo, on the Rio Grande, while he awaited reinforcements from the War Department, which had issued a call for volunteers. In September 1846, his army now numbering 6,500, Taylor marched south to lay siege to Monterey, Mexico's largest northern city, which was garrisoned by the 5,000-man Army of the North, commanded by General Pedro Ampudia. After three days of fighting, Taylor took the city, signing an eight-week armistice with Ampudia, who was allowed to withdraw. The news of the victory was offset in Washington by President Polk's belief that Taylor had missed an opportunity to end the war by allowing Ampudia to evacuate the city. The War Department ordered Taylor to terminate the armistice immediately, and pointedly refrained from congratulating the general on his victory. This brought an immediate chill to relations between Taylor and the Polk administration, which was undoubtedly aggravated by reports that the general was being courted by the Whig Party as a possible candidate for the presidency in 1848. The rift between Polk and Taylor became even wider when Washington decided at year's end to open up a new theater of operations in the south, under the command of Winfield Scott. Ordered to assume a defensive position and place a large portion of his army under Scott's command in anticipation of an amphibious landing at Vera Cruz, Taylor refused to be relegated to a secondary role. In defiance of orders from both Scott and the War Department, Taylor pushed south, encountering the Mexican army at Buena Vista, below Saltillo. Taylor's army repulsed several Mexican assaults on February 22 and 23. Although both sides claimed victory, the battle ended in a stalemate. Nonetheless, Taylor's Army of Occupation remained firmly in control of northern Mexico, and the battle was hailed as a great victory by the American press. The Battle of Buena Vista added further luster to Taylor's political fortunes. Known as 'Old Rough and Ready' for his simple manner and modest appearance, Taylor was now the most celebrated hero of the war. Still bristling at his treatment by the Polk administration, Taylor agreed to accept the nomination of the Whig party, despite the fact that he had not been active in politics, nor did he appear to hold particularly strong political convictions. Indeed, Taylor did not share many of the core Whig beliefs, such as support for a protective tariff, the national bank, and internal improvements. Nonetheless, the war hero easily defeated the Democratic candidate, Lewis Cass, whose support in the North was undercut by the Free Soil party, headed by long-time Democratic standard-bearer Martin Van Buren." - an excerpt from UT Arlington Library's Special Collections, A Continent Divided: The U.S. Mexico War, and with special thanks. The route of General Stephen W. Kearny in the north indicated, also in red in the north, established for the first time the United State's military control of the lands spanning from Fort Leavenworth, Kansas westward to Los Angeles. "The start of the U.S.-Mexico War found Kearny at Fort Leavenworth, where in May 1846 he gathered troops charged with conquering New Mexico and California. Kearny's forces left Fort Leavenworth in June 1846. Numbering 1,558 men, the "Army of the West" consisted of a battalion of Missouri Volunteers, two companies of regular infantry, five squadrons of the First Dragoons, Doniphan's Regiment of Missouri Mounted Volunteers, an interpreter, about fifty Indian guides, and a small body of Army Topographical Engineers. On July 22, the army reached Bent's Fort. Soon afterward, Kearny sent word to New Mexico Governor Manuel Armijo that the Americans intended to take possession of New Mexico. On August 15 the Americans entered Las Vegas, New Mexico, and three days later entered Santa Fe without opposition, Armijo having fled. Promising to respect New Mexican property and religion, Kearny established a legal code for New Mexico and installed Charles Bent, an American trader, as territorial governor. Kearny now received new orders from Washington, promoting him to the rank of brigadier general and instructing him to aid in the conquest of California...As Kearny headed west, resistance to U.S. rule flared in California. As his small force approached San Diego, where it planned to link up with Commodore Robert F. Stockton's marines, Kearny's weary dragoons encountered a force of 150 Californios. At the Battle of San Pascual on December 6, Kearny was seriously wounded and 18 of his men killed. The force was rescued the following day by the timely arrival of a relief column led by Stockton. While the dragoons rested, Stockton prepared to retake Los Angeles. In late December he and Kearny led a joint Army-Navy force of about 600 men out of San Diego. Defeating Mexican and California troops at the battles of Rio San Gabriel and La Mesa, Stockton and Kearny's troops entered Los Angeles. Signing the Treaty of Cahuenga, which ended Californian resistance to U.S. occupation, Stockton turned over military command to Kearny and appointed John C. Fremont governor."- an excerpt from UT Arlington Library's Special Collections, A Continent Divided: The U.S. Mexico War, and with special thanks. Layering each territory boundary by color gives the viewer an instant look at the intense negotiations that took place between Nicholas Trist in pink and the Mexican government in blue. The University of Texas at Arlington writes, "Nicholas P. Trist, the American diplomat who negotiated the treaty that ended the U.S.-Mexico War...Just as he was beginning to enter into negotiations with the provisional Mexican government that had been hastily organized at the town of Querétaro under a new President, Manuel Peña y Peña, Trist received word from Secretary of State James Buchanan that he (Trist) had been recalled by an impatient President Polk. Buchanan's dispatch stated further that if the Mexicans wanted peace, they would have to send an emissary to the United States. Realizing that to abandon his work and leave Mexico at that crucial juncture would almost certainly have negative consequences for both countries, Trist decided to ignore the recall, which General Scott and all three Mexican negotiators, Luis G. Cuevas, Bernardo Couto, and Miguel Atristain, encouraged him to do. On February 2, 1848, Trist signed the Treaty of Guadalupe Hidalgo on behalf of the United States while Cuevas, Couto, and Atristain signed for Mexico. The treaty's most far-reaching provisions included recognition by Mexico of the Rio Grande as the boundary of Texas, the United States government's assumption of $3 million Mexico owed to private U.S. citizens, and Mexico's agreement to sell Upper California and New Mexico, a vast expanse that makes up the present-day states of California, Arizona, Nevada, Utah, New Mexico, and part of Colorado, for $15 million. When the treaty reached Washington, Polk was outraged that Trist, who technically had no authority to make an agreement with Mexico on account of his recall, had ignored the President's order. At first, Polk considered discarding the agreement but realizing that all his principal war goals had been accomplished and that the country was in no mood to prolong the conflict, he sent it to the Senate, which ratified the treaty on March 10, 1848. Both houses of the Mexican Congress ratified it on May 19." -an excerpt from UT Arlington Library's Special Collections, A Continent Divided: The U.S. Mexico War, and with special thanks.Attributed as an eighth edition or later, with special consideration to the appearance of the inset maps in the Gulf of Mexico. This revision containing the inset maps in the Gulf coinciding with the Presidential term of Zachary Taylor and the end of the Mexican-American War. The inset maps celebrate Zachary Taylor's many military achievements. The present map with special hand coloring notes the fundamentally transformative time for the United States at the end of the Mexican-American War, which effectively established the United States of America from coast to coast, fulfilling Manifest Destiny. No longer would the United States boundary ever change or waver as much as this map with hand color indicates it once did. An invaluable and education addition to any American map collection. Condition: Some stains, losses, creases, joined neat line, tears at edges, float mounted with repairs and indrawing, waving, 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 GROUP OF FIFTY-FIVE CHILDREN'S BOOK
  A GROUP OF FIFTY-FIVE CHILDREN'S BOOK TITLES, EASTON PR...A GROUP OF FIFTY-FIVE CHILDREN'S BOOK TITLES, EASTON PRESS, HORNBLOWER SERIES AND ANTIQUE INTEREST, 19TH/20TH CENTURY, comprising selected titles, many Collector Editions with gilt edges and leather bound, "The Mysterious Island," Verne, Wyeth, Illus., Easton Press, 1997; "Robinson Crusoe," Defoe, Wyeth, Illus., Easton Press, 1998; "Treasure Island," Stevenson, Wyeth, Illus., Easton Press, 1997; "The Last of the Mohicans," Cooper,Wyeth, Illus., Easton Press, 1998; "The Black Arrow," Stevenson, Wyeth, Illus., Easton Press, 1991; "Kidnapped," Stevenson, Wyeth, Illus., Easton Press, 1991; "The Deerslayer," Fenimore Cooper, Wyeth, Illus., Easton Press, 1998; "The Arabian Nights," Wiggin and Smith, Parrish, Illus., Easton Press, 1996; "Moby Dick or the Whale," Melville, Easton Press, 1977; "Tanglewood Tales," Hawthorne, Dulac, Illus., Easton Press, 2002; "The Fairy Tales of Charles Perrault," Clarke, Illus., Easton Press, 2002; "The Endurance," Alexander, signed edition, "Caroline Alexander," in blue ink, Easton Press, 1999; "Westward Ho!," Kingsley,Wyeth, Illus., Easton Press, 1997; "Robin Hood," Creswick, Wyeth, Illus., Easton Press, 1991; "The Fairy Tales of the Brothers Grimm," Lucas, trans., Rackham, illus.,Easton Press, 2002; "Fairy Tales by Hans Andersen," Nielsen, illus., Easton Press, 2002; "The Fables of Aesop," Detmold, illus., Easton Press, 2002; "Dorothy and the Wizard in Oz," Baum, Neill, Illus., Easton Press, 1993; "The Emerald City," Baum, Neill, Illus., Easton Press, 1993; "The Marvelous Land of Oz," Baum, Neill, Illus., Easton Press, 1989; "The Great Gatsby," Fitzgerald, Easton Press, 1991; "Tender is the Night," Fitzgerald, Easton Press, 1991; "The Last Tycoon," Easton Press, 1991; a group of eleven Hornblower titles, Forester, Easton Press, 2001; "Boys Book of Famous Rulers," Famer, New York, 1886; "The Poetical Works of John Milton," New York, circa 1880; "Gulliver's Travels into Several Remote Nations of the World," Browne, Illus., New York, 1877; "The Poems of Schiller," Bowring, trans., New York, 1880s; "The Fifteen Decisive Battles of the World: From Marathon to Waterloo," Creasy, London, 1887; "The Poetical Works of John Milton," New York, 1887; "Familiar Quotations," Bartlett, Boston, 1870, and other title selections by various printers and publishers. Condition: Some page toning, smudges, tears, bends, spine damages to older texts, scuffs, inscriptions and dedications and other expected 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.”
• DANIEL BOONE, BUFFALO BILL & INDIANS
  DANIEL BOONE, BUFFALO BILL & INDIANS BOOKS (3)For your consideration is this collection of three (3) vintage Western books from various authors. First book in this collection is titled "Indians of America" by Lillian Davids Fazzini, published by Whitman Publishing, Racine, Wisconsin. An accounting of major Indian tribe in a small 3x5 field guide with 94 color illustrations and with 47 tribes listed in the index; and shows 94 colored pictures and foreword by Dan Beard. The condition of this book is good with slight wear to the cover of the book and to the spine of the book. Intact pages exhibit age tanning good overall condition. The measurements of this book 3.5"W x 5.5"L. The second book is titled "The Adventures of Buffalo Bill" by Col. William F. Cody (Buffalo Bill Cody), copyright 1904, Harper & Brothers publishers. The book chronicles the thrilling life and times of one of the greatest adventurers of the late 1800's and early 1900's. From his start as an army scout during the westward expansion to the Buffalo Bill's Wild West, this book is an exciting read as Buffalo Bill's own words grace its pages. The book features numerous black and white illustrations depicting Buffalo Bills adventures. This red cloth bound stamped illustration hardcover is in good overall condition, intact pages exhibit age tanning and very slight foxing. Measures 5"W x 7.5"L. The third and final book in this collection is titled "With Boone on the Frontier" by Capt. Ralph Bonehill, 1905, Grosset & Dunlap publishers New York. The adventures of two youths who, with their families, go westward into what was at the time the wilderness of Kentucky, to join Daniel Boone in settling what has since become one of the richest and most prosperous of our states. Daniel Boone was a character almost unique in American history, a man who was the very embodiment of pluck and energy, and one who knew neither fear nor the meaning of the word fail.This tan cloth bound stamped illustration hardcover is in good overall condition, scuffing noted to cover edges. Intact pages exhibit age tanning and foxing. Measures 5"W x 7.5"L.
• "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
• 1877 1ST ED. WESTERN WILDS BY J.H. BEADLEFor
  1877 1ST ED. WESTERN WILDS BY J.H. BEADLEFor your bidding consideration is a Leather Bound Illustrated, 1877 First Edition of "Western Wilds and the Men Who Redeem Them" by J.H. Beadle. This is a late 19th-century account of early American figures and their accomplishments, explorations, and events. This first edition book follows the lives of men at the Alamo, the westward voyages of the Mormons, Native American Indians, geographical phenomena in the West, and much more. Described, by the author, as an authentic narrative embracing an account of seven years travel and adventure in the far west; wild life in Arizona; perils of the plains; life in the canon and death in the desert; thrilling scenes and romantic incidents in the lives of western pioneers; adventures of the red and white savages of the west; a full account of the mountain meadow massacre; the Custer defeat; life and death of Bringham Young. The book is illustrated throughout and features a wonderful gilt decorated cover. The full colour map of Aboriginal America in the front is present. This leather bound illustrated gold gilt hardcover is in fair to good condition, scuffing noted to cover edges, marble boards and end papers. Intact pages exhibit top, bottom and fore edge painting, age tanning and slight foxing observed throughout. No other obvious marring noted. Measures 7"W x 9.5"L x 1.75"D approximately. Weight approximate 3lb
• 1902 LIFE OF KIT CARSON BY CHARLES BURDETTFeatured
  1902 LIFE OF KIT CARSON BY CHARLES BURDETTFeatured in this lot is this 1902 edition of The Life of Kit Carson: The Great Western Hunter and Guide by Charles Burdett. The book chronicles the life and adventures of Christopher "Kit" Carson as one of the Old West's most famous hunter, guide and scout. Burdett portrays Carson as a classic American folk hero, describing his expeditions westward, his trade ventures, learning to fight from Native American Indians, and his settling in Indian cultures. Other notable topics include Carson's buffalo and bear hunting excursions, accounts of his involvement in John C. Fremont's expeditions, thrilling adventures and hair breadth escapes among the Indians and Mexicans, as well as his daring and invaluable services as a guide and scout. This green cloth bound hardcover is in good overall condition, very slight scuffing observed on cover edges, faded spine colour. Intact pages exhibit age tanning and foxing throughout. No other obvious marring noted. Measures 5.5"W x 8.25"L x 1.25"D
• THREE PIECES OF PISGAH FOREST POTTERY(Arden,
  THREE PIECES OF PISGAH FOREST POTTERY(Arden, North Carolina, 1921-1962) bowl and creamer with matte green glazes, pink glazed interiors, applied cameo "Westward Ho!" scenes, both with "1953 Cameo Stephen Longpine Arden N.C." marks on bases, bowl 2-1/4 x 6-1/4 in., creamer 3 in.; aubergine glazed baluster form vase, indiscernible "Pisgah Forest" mark on base, 5-1/4 in. Provenance: Humber Family, North Carolina Condition: glaze anomalies as made, grime to exterior of bowl, vase with base edge glaze chips as made, otherwise good condition
• TWO PIECES OF PISGAH FOREST POTTERY(Arden,
  TWO PIECES OF PISGAH FOREST POTTERY(Arden, North Carolina, 1921-1962) two collared vases with applied cameo "Westward Ho" scenes, taller vase with runny cream and green crystalline glaze to lower body over yellow glaze, neck with dark green glaze and signed "W.B. Stephen" in cameo, pink glazed interior, "potter at wheel" mark on base "Pisgah Forest, 1936, W.B. Stephen", 7-3/8 in.; small vase with mottled blue and green glaze to lower body, olive green glaze at neck signed "Stephen" in cameo slip, pink and black speckled glaze in interior, "Cameo Stephen Long Pine" mark on base, 4-1/2 in. Provenance: North Carolina Collection Condition: glaze voids and anomalies as made, residue to interior of taller vase, slight surface wear to dark green of tall vase, otherwise both in good condition
• EIGHT PIECES OF PISGAH FOREST POTTERY(Arden,
  EIGHT PIECES OF PISGAH FOREST POTTERY(Arden, North Carolina, 1921-1962) light blue glazed creamer and sugar jar, pink and white interiors, both with applied cameo "Westward Ho" scenes signed "Stephen", 3 and 3-1/2 in.; two black glazed mugs, white interiors, both with applied "Cabin" scenes, one with weaver, one with fiddler dated "1953", both signed "Stephen",; dark green glazed creamer, orange interior, applied "Westward Ho" scene, signed "W.B. Stephen", 3-1/2 in.; dark green glazed bowl, pink interior, applied cameo "Buffalo Hunt" scene with "Tepee", signed "W.B. Stephen" in blue on base, 2-3/4 x 6 in.; light green glazed mug, white interior, applied cameo "Plow" scene, 3-1/4 in.; white glazed low vase, pink interior, applied dogwood motif to exterior, inscribed "SA" on base, all with makers marks on bases, dated from the 1930s to 1961 Provenance: North Carolina Collection Condition: glaze voids and anomalies as made, overall good condition
• FIVE PIECES OF PISGAH FOREST CAMEO POTTERY(Arden,
  FIVE PIECES OF PISGAH FOREST CAMEO POTTERY(Arden, North Carolina, 1921-1962) all with blue glazes and pink glazed interiors, all with applied "Westward Ho" scenes and "Stephen" script, the teapot and center bowl also have applied "Cabin" scenes, four pieces with "1953 Cameo Stephen Long Pine Arden N.C." marks on bases, small navy blue pitcher with "K" mark on base, size ranges 3-1/4 to 4-1/2 in. tall, center bowl 9-1/4 in. wide Provenance: North Carolina Collection Condition: glaze voids and anomalies as made, three chips to rim of teapot, repair to spout of creamer, other possible hairline at side, glaze anomaly to spout of small pitcher, kiln debris and 1-1/2 in. glaze loss to interior of center bowl
• LARGE PISGAH FOREST CAMEO VASE(Arden,
  LARGE PISGAH FOREST CAMEO VASE(Arden, North Carolina, 1921-1962) mottled and bubbly bluish green glaze to lower body and flared neck of baluster form vase, dark green glaze at shoulder of jar with "Westward Ho" and "Cabin" cameo scenes, "Stephen" signed in cameo at bottom of scene, white glazed interior, "potter kneeling at wheel" mark on base dated "1935" with "Pisgah Forest, West Asheville, Route 191" script, 13-1/4 in. Provenance: North Carolina Collection Condition: glaze voids and anomalies as made, lots of air bubbles to greenish blue glaze throughout, firing crawl to areas of cameo, crackle and glaze bubbles in interior, firing crack in interior base likely as made, hairline on exterior base likely as made
• JAMES HENRY BEARD (AMERICAN 1811 - 1893)James
  JAMES HENRY BEARD (AMERICAN 1811 - 1893)James Henry Beard (American 1811 - 1893), "Moving Further Westward" 1882, oil on canvas, signed and dated lower right, relined, 27" x 36". Provenance: Kennedy Galleries Inc., label on back along with artist's biography, Christie's Sale 2015 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. Condition: Reports are available by request and answered in the order they are received
• "WESTWARD HO" CANDY DISHProbably the
  "WESTWARD HO" CANDY DISHProbably the ca 1900 edition, with an Indian atop and animals, log cabin, and buffalo on the lower section. The Indian and the pictorial section are done in frosted glass, fine condition, 9"x7"
• KEITH REYNOLDS (B. 1929) "GOLDEN HINDE"
  KEITH REYNOLDS (B. 1929) "GOLDEN HINDE" OILKeith Reynolds (American, B. 1929) "Golden Hinde" Signed lower right. Original Oil painting on Canvas Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. On December 13, 1577, in a boat less than the size of a small modern tug, Francis Drake set sail from England on a daring three-year odyssey that would take him into oceans hitherto explored only by the Spanish. Drake and about 160 men ventured forth in five vessels: the Pelican (which he later renamed the Golden Hinde), the Elizabeth, the Marigold, and the supply ships Swan and Benedict. Of the five, only the Golden Hinde, with a crew of about 50, completed the voyage. After passing safely through violent storms in the Strait of Magellan, Drake raided Spanish settlements along the west coast of South America. Drake captured two vessels with cargoes of gold, silver and jewels that were so heavy, they caused the Golden Hinde to sail below her watermark. Continuing northward, Drake sighted what is now Canada's west coast. But bitter cold forced him to turn back, and he set a course south and westward to the Philippines and Molucca (the Spice Islands), where he negotiated a trade treaty with the local sultan. From Java to Sierra Leone on the Cape of Good Hope -- 9,700 miles -- Drake sailed without a port of call or a stop for maintenance. On his return to England in September of 1580, he was greeted as a national hero. Queen Elizabeth I came on board his ship to dub him Sir Francis Drake. His fortune and reputation as a brilliant navigator were made -- and the way was opened to England to become a global superpower. Image Size: 15 x 12.5 in. Overall Size: 16.5 x 14.5 in. Unframed. (B06810) Condition: - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
• KATHRYN STEDHAM PAINTING - "SOUTH SHOULDER
  KATHRYN STEDHAM PAINTING - "SOUTH SHOULDER ECHO" (2018)...Kathryn Stedham (American, Contemporary). "South Shoulder Echo" oil on canvas, 2018. Signed on lower right as well as verso with title and date. A stunning Southwest landscape painting by Kathryn Stedham. Stedham blends figurative interpretation with abstraction, depicting a grand red rock precipice rising toward the big blue sky. Passages of verdant foliage dot the foreground and interrupt the rocky crags and ridges above, while feathery clouds emerge from the azure atmosphere. All is delineated with Stedham's gestural Alla Prima painting technique - a method where paint is applied wet on wet rather than letting the earlier layers dry, enabling the artist to capture brilliant light and color. A beautiful example of Kathryn Stedham's dazzling artistry set in a custom frame. Size (painting): 29.7" L x 35.5" W (75.4 cm x 90.2 cm) Size (frame): 35.875" L x 41.76" W (91.1 cm x 106.1 cm) This painting was acquired from Blue Rain Gallery in Santa Fe, New Mexico. The following is Blue Rain's informative artist biography for Kathryn Stedham: "Moving to the West in 2005 was a life-changing event that brought Kathryn Stedham face-to-face with a true calling: painting the infinite spaces of the American Southwest. Little did she realize at the time, that this would combine two personal rudiments: painting and contemplation. Forever fascinated with stories about the West and Westward Expansion she explains, 'I would happily board a time machine, if there were such a thing, to experience first-hand this important period in American history and our connection to the land.' Feeling an urgency to portray this space, rooting out the mystic snippets of a quickly vanishing landscape, Stedham seeks to capture its raw elegance in the rapidly changing light, vast distances, rugged escarpments, colorful mesas and hidden arroyos—to excavate the bones of existence in this terrain where the West is still wild and free and to be an explorer of this ineffable mystery. Trained as an Academic Realist, Stedham began her career as a figurative painter. But her interest evolved, through a period of pure abstraction, into the gestural Alla Prima painting style for which she is known today. This approach combines representational landscape forms with an expressionistic modernist sensibility. Stedham has exhibited as an artist for over 35 years and her paintings have been featured in public and private collections throughout the United States, Europe, Japan, and Canada. She is a long-time student in the Sanbo lineage of Zen Buddhism. In addition to her studio practice, Stedham travels internationally, rides horses and teaches oil painting workshops. Stedham currently lives and works in Santa Fe, New Mexico." Provenance: private Albuquerque, New Mexico, USA collection; ex-Hugh K. Terrell estate, representative Priscilla T. Bisher, , purchased from Blue Rain Gallery, Santa Fe, New Mexico, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #175543 Condition: Painting is overall excellent. Signed on lower right and verso with title and date. Mounted in museum-quality frame which is also excellent save a few minute, nearly invisible scuffs. Fit with suspension wire and ready to display.
• BIERSTADT - "STORM IN THE ROCKIES, MT.
  BIERSTADT - "STORM IN THE ROCKIES, MT. ROSALIE" (1869)**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding. Albert Bierstadt (German-American, 1830-1902). "Storm in the Rocky Mountains, Mt. Rosalie" chromolithograph by H.M. Long, published by Thomas McLean, London, UK, 1869. Signed & dated 1866 (date for the original painting) in plate. A grand chromolithograph of Albert Bierstadt's "Storm in the Rocky Mountains, Mt. Rosalie" presenting a landscape inspired by sketches created during an 1863 expedition to the Colorado Rockies capturing Mt. Rosalie (now Mount Evans). The composition features a Native American hunting scene in the foreground, a waterfall leading to a lake (based on the Upper and Lower Chicago Lakes near Denver) in the middle ground, and Mt. Rosalie (now Mt. Evans) amidst threatening storm clouds but spot lit by a magical break in the clouds at the upper left. A grand landscape of the American West that reflects Bierstadt's understanding of Manifest Destiny as well as his audience's appetite for the dramatic sublime and, somewhat paradoxically, nearly photographic details, set in a custom, museum-quality frame behind glass. Size (sight view): 18" L x 32" W (45.7 cm x 81.3 cm) Size (frame): 32.75" L x 46.75" W (83.2 cm x 118.7 cm) Albert Bierstadt (1830-1902) was born in Germany, near Dusseldorf; however, he grew up in the United States. In his twenties he returned to Germany to study at the reputable Dusseldorf Academy. In addition to this school's tradition of heroic painting, the Hudson River School tradition would greatly impact the young Bierstadt who would go on to be best known for his grand paintings of the American West. Depicting the breathtaking beauty of such awe-inspiring locales as the Rocky Mountains and Yosemite Valley, Bierstadt's art also reflected the notion of Manifest Destiny in support of westward expansion. The original painting "Storm in the Rocky Mountains, Mt. Rosalie" is in the collection of the Brooklyn Museum of Art (accession number 76.79). As noted on their website, "In 1863, Albert Bierstadt made an arduous expedition to Colorado in order to gather studies of the region for this monumental painting, executed three years later in his New York studio. For the final canvas, he exercised artistic license-rearranging some landmarks and exaggerating the scale of others-to maximize the visual interest of this Rocky Mountain landscape. The picture toured the country on a yearlong exhibition and thrilled audiences with its dual effects of sublime grandeur and reportorial detail. Soaring peaks, expansive valleys, and turbulent weather conditions create a dramatic backdrop for the meticulously detailed flora and a Native American hunting scene in the foreground. Mt. Rosalie (now Mt. Evans) appears in spotlight within a ring of dark clouds in the upper left corner of the composition. Bierstadt established his artistic reputation with 'Great Pictures' of the American West that embodied the national agenda of expansionism known as Manifest Destiny." Of note: According to the Brooklyn Museum of Art, "The painting had a personal significance, for 'Mt. Rosalie' (now Mount Evans) was named by the artist in honor of his traveling companion's wife, Rosalie Osborne Ludlow, whom Bierstadt would marry in 1866 following her divorce." An invoice from Selker Fine Art, Cleveland, Ohio dated December 16, 2006 lists the price of this chromolithograph (with a different frame) at $9500. Provenance: private Albuquerque, New Mexico, USA collection; ex-Hugh K. Tirrell estate, representative Priscilla T. Bisher, purchased from Selker Fine Art, Cleveland, Ohio, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #175644 Condition: Signed and dated 1866 in the plate (one boulder at lower right). Mounted in a custom, museum-quality frame with a linen matte behind glass. Chromolithograph has not been examined outside the frame but appears to be in overall excellent condition. Framing is excellent. Professional suspension hardware (Wallbuddies) on verso and ready to display.
• BIERSTADT - "THE ROCKY MOUNTAINS LANDERS
  BIERSTADT - "THE ROCKY MOUNTAINS LANDERS PEAK" (1869)**This is an oversized piece that may require special shipping. Please inquire for a quote prior to bidding. Albert Bierstadt (German-American, 1830-1902). "The Rocky Mountains Landers Peak" chromolithograph by H.M. Long, published by Thomas McLean, London, UK, 1869. Signed and dated in the plate. A grand chromolithograph of Albert Bierstadt's famous "The Rocky Mountains, Lander's Peak" - the landscape that established Bierstadt as the most beloved painter of the American West during the 19th century. In 1863, nearly 1,000 people attended the exhibition of this painting, and in 1865 it sold for an impressive $25 000. The composition features a Native American campsite, including figures in traditional dress, tepees, and horses occupying the verdant meadow in the foreground as well as the majestic snow-peaked Rocky Mountains beyond, all delineated in Bierstadt's remarkably realistic style. A very special piece set in a custom, museum-quality frame behind glass. Size (sight view): 19" L x 32" W (48.3 cm x 81.3 cm) Size (frame): 33.75" L x 46.75" W (85.7 cm x 118.7 cm) Albert Bierstadt (1830-1902) was born in Germany, near Dusseldorf; however, he grew up in the United States. In his twenties he returned to Germany to study at the reputable Dusseldorf Academy. In addition to this school's tradition of heroic painting, the Hudson River School tradition would greatly impact the young Bierstadt who would go on to be best known for his grand paintings of the American West. Depicting the breathtaking beauty of such awe-inspiring locales as the Rocky Mountains and Yosemite Valley, Bierstadt's art also reflected the notion of Manifest Destiny in support of westward expansion. Despite spending his formative years in Europe, Albert Bierstadt was best known for his mesmerizing landscape paintings of the American West. Bierstadt's painting "The Rocky Mountains, Lander's Peak" (1863) was collected by the Metropolitan Museum of Art (accession number 07.123). The Met's curatorial department provides the following description, "This and other popular canvases by the German-born Albert Bierstadt shaped the visual identity of the American West in the United States and abroad. In early 1859 he accompanied a government survey expedition, headed by Frederick W. Lander, to the Nebraska Territory. By summer, the party had reached the Wind River Range of the Rocky Mountains in present-day Wyoming. Painted in New York after Bierstadt’s return from these travels, this work advertised the landscape as a frontier destined to be claimed by White settlers, according to the doctrine of Manifest Destiny. This belief that Americans were the divinely ordained "masters" of the continent systematically ignored with dire consequences the presence of Indigenous populations, such as the Shoshone peoples depicted in the picture’s foreground. Publicly exhibited to great acclaim, this monumental painting established Bierstadt as a key competitor of the preeminent landscape painter, Frederic Edwin Church (see, for example, 09.95). It was purchased in 1865 for the then-astounding sum of $25,000 by James McHenry, an American living in London. Bierstadt later bought it back and gave or sold it to his brother Edward." Provenance: private Albuquerque, New Mexico, USA collection; ex-Hugh K. Tirrell estate, representative Priscilla T. Bisher 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. #175645 Condition: Signed and dated in the plate. Mounted in a custom, museum-quality frame with a linen matte behind glass. Chromolithograph has not been examined outside the frame but appears to be in overall excellent condition. Framing is excellent. Professional suspension hardware (Wallbuddies) on verso and ready to display.
• KATHRYN STEDHAM PAINTING - "GHOST RANCH
  KATHRYN STEDHAM PAINTING - "GHOST RANCH SHADOWS" (2020)...**First Time At Auction** Kathryn Stedham (American, Contemporary). "Ghost Ranch Shadows" oil on canvas panel, 2020. Signed on lower right. A stunning painting of New Mexico's Ghost Ranch by Kathryn Stedham. Stedham blends figurative interpretation with abstraction in this piece, delineating verdant passages leading to the sublime cliffs of renowned Ghost Ranch beneath an azure sky. All is rendered with her gestural Alla Prima painting technique - a method where paint is applied wet on wet rather than letting the earlier layers dry, enabling the artist to capture brilliant light and color. While the scene depicts a site where ancient history has been unveiled via the discoveries of dinosaur fossils, Stedham interpreted it with a modern sensibility and a vibrant color palette that is fresh and current. A beautiful example of Kathryn Stedham's impressive artistry set in a custom frame. Size (painting): 30" L x 36" W (76.2 cm x 91.4 cm) Size (frame): 33.2" L x 39.2" W (84.3 cm x 99.6 cm) This painting was acquired from Blue Rain Gallery in Santa Fe, New Mexico. The following is Blue Rain Gallery's informative artist biography for Kathryn Stedham: "Moving to the West in 2005 was a life-changing event that brought Kathryn Stedham face-to-face with a true calling: painting the infinite spaces of the American Southwest. Little did she realize at the time, that this would combine two personal rudiments: painting and contemplation. Forever fascinated with stories about the West and Westward Expansion she explains, 'I would happily board a time machine, if there were such a thing, to experience first-hand this important period in American history and our connection to the land.' Feeling an urgency to portray this space, rooting out the mystic snippets of a quickly vanishing landscape, Stedham seeks to capture its raw elegance in the rapidly changing light, vast distances, rugged escarpments, colorful mesas and hidden arroyos—to excavate the bones of existence in this terrain where the West is still wild and free and to be an explorer of this ineffable mystery. Trained as an Academic Realist, Stedham began her career as a figurative painter. But her interest evolved, through a period of pure abstraction, into the gestural Alla Prima painting style for which she is known today. This approach combines representational landscape forms with an expressionistic modernist sensibility. Stedham has exhibited as an artist for over 35 years and her paintings have been featured in public and private collections throughout the United States, Europe, Japan, and Canada. She is a long-time student in the Sanbo lineage of Zen Buddhism. In addition to her studio practice, Stedham travels internationally, rides horses and teaches oil painting workshops. Stedham currently lives and works in Santa Fe, New Mexico." Provenance: Private Albuquerque, New Mexico, USA collection; ex-Hugh K. Tirrell estate, representative Priscilla T. Bisher, purchased at Blue Rain Gallery, Santa Fe, New Mexico, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #176364 Condition: Painting is overall excellent and signed at the lower right. Also signed, titled, and dated on verso. Mounted in a beautiful custom frame with a lovely finish. Fit with suspension wire and ready to display.
• KATHRYN STEDHAM PAINTING - ORPHAN MESA
  KATHRYN STEDHAM PAINTING - ORPHAN MESA (2021)Kathryn Stedham (American, Contemporary). "Desert Waves, Orphan Mesa" oil on canvas, 2021. Signed on lower right as well as verso with title and date. A stunning painting of Orphan Mesa in Georgia O'Keeffe's Ghost Ranch region of New Mexico by contemporary artist Kathryn Stedham. Masterfully blending figurative interpretation with abstraction, Stedham has captured the impressive red rock mesa rising toward the blues and greens of the big open sky as sunlight dramatically illuminates the topographical landscape. A band of shadows in the foreground contrasts with the luminous scene beyond. All is delineated with Stedham's gestural Alla Prima painting technique - a method where paint is applied wet on wet rather than letting the earlier layers dry, enabling the artist to capture brilliant light and color. A beautiful example of Kathryn Stedham's dazzling artistry set in a custom frame. Size (sight view): 22.125" L x 27.75" W (56.2 cm x 70.5 cm) Size (frame): 24.75" L x 30.7" W (62.9 cm x 78 cm) This painting was acquired from Blue Rain Gallery in Santa Fe, New Mexico. The following is Blue Rain's informative artist biography for Kathryn Stedham: "Moving to the West in 2005 was a life-changing event that brought Kathryn Stedham face-to-face with a true calling: painting the infinite spaces of the American Southwest. Little did she realize at the time, that this would combine two personal rudiments: painting and contemplation. Forever fascinated with stories about the West and Westward Expansion she explains, 'I would happily board a time machine, if there were such a thing, to experience first-hand this important period in American history and our connection to the land.' Feeling an urgency to portray this space, rooting out the mystic snippets of a quickly vanishing landscape, Stedham seeks to capture its raw elegance in the rapidly changing light, vast distances, rugged escarpments, colorful mesas and hidden arroyos—to excavate the bones of existence in this terrain where the West is still wild and free and to be an explorer of this ineffable mystery. Trained as an Academic Realist, Stedham began her career as a figurative painter. But her interest evolved, through a period of pure abstraction, into the gestural Alla Prima painting style for which she is known today. This approach combines representational landscape forms with an expressionistic modernist sensibility. Stedham has exhibited as an artist for over 35 years and her paintings have been featured in public and private collections throughout the United States, Europe, Japan, and Canada. She is a long-time student in the Sanbo lineage of Zen Buddhism. In addition to her studio practice, Stedham travels internationally, rides horses and teaches oil painting workshops. Stedham currently lives and works in Santa Fe, New Mexico." Provenance: Private Albuquerque, New Mexico, USA collection; ex-Hugh K. Tirrell estate, representative Priscilla T. Bisher, purchased from Blue Rain Gallery, Santa Fe, New Mexico, USA, July 28, 2021 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. #175414 Condition: Painting is excellent overall. Signed on lower right and verso with title and date. Mounted in museum-quality frame which is also excellent save a few minor scuffs and one minute nick that is difficult to see. Fit with suspension wire and ready to display.
• TAMPA, FL YARD-LONG PRINT RIVER & TAMPA
  TAMPA, FL YARD-LONG PRINT RIVER & TAMPA BAY HOTELThis nicely framed under glass, yard-long print looks westward across the Hillsboro river near the Lafayette St. bridge and covers the whole expanse of the Tampa Bay Hotel and its grounds. The is the third bridge at this site, and looks quite new in the photo. It was built in 1913, dating this print to shortly after this time. The framed piece is 36-1/2" x 7" and is in excellent condition, unfaded, flat, showing no fold lines,