A few examples of appraisal values for
ARDENT

• A GROUP OF FOUR PAINTINGS OF BEAUTIES
  A GROUP OF FOUR PAINTINGS OF BEAUTIES IN A GARDENA group of four paintings of beauties in a gardenTogether with a circular framed lithograph of similar subject matter. (5) four images 26 1/4 x 8 1/2in (66.5 x 21.5cm) Provenance:Property from the Es
• 20TH CENTURY SCHOOL: THE ITALIAN GARDEN
  20TH CENTURY SCHOOL: THE ITALIAN GARDEN WITH PAN; AND THE ITALIAN GARDENTwo gouache on paper, c. 1930, unsigned, The Italian Garden with Pan inscribed '155' lower right. 30 1/2 x 28 1/2 in. (sheet), unframed, 55 1/2 x 35 in. (sight), 60 x 39 in. (frame). Condition Both with various pencil marks and inscriptions. Creasing, staining, soiling, splits, tears and losses. Notwithstanding 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.
• FLORENCE ARQUIN (1900-1974), "AMMANN'S
  FLORENCE ARQUIN (1900-1974), "AMMANN'S BARN," WOODCUT ON THIN PAPER, IMAGE: 10" H X 13" W; SHEET: 12.5" H X 16.125" WFlorence Arquin, (1900-1974) "Ammann's Barn", Woodcut on thin paper From the edition of unknown size Signed, titled, and inscribed in pencil in the lower margin: Florence Arquin / To Fred Davis Woodcut on thin paper Dimensions: Image: 10" H x 13" W; Sheet: 12.5" H x 16.125" W Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Other notes: Arquin was a consummate scholar of Mexican art and culture. Friends with Fred Davis, Diego Rivera and Frida Kahlo, and the artistic elite of Mexico, Arquin would compile a vast collection of photographic imagery that would become the cornerstone of Latin American studies throughout North America. Her extensive travels and own artistic pursuits culminated in a 1943 exhibition at the Benjamin Franklin Library. Diego Rivera praised Arquin's "ardent work and exuberance of style," explaining, "Florence Arquin sees with every pore of her skin. Her nerves absorb the vibration of color, the inflections of the forms, the quality of the earth, of the air, and of the light, for the purpose of synthesizing all of these in her painting" in the catalog preface.
• FAMILLE ROSE 'EUROPEAN SUBJECT' PLATE QING
  FAMILLE ROSE 'EUROPEAN SUBJECT' PLATE QING DYNASTY, QIANLONG PERIOD ??? ??????????????????painted in the central medallion with an amorous couple, Acis and Galatea, the rim with puce panels reserved on a grisaille cell diaper(1)22.5cm diameterProvenance: Private Scottish collection, GlasgowNote: Observes by Cohen and Cohen inA Game of Bowls, 2014, pl. 69, pg. 100, the subject matter on this plate was originally thought to be Cupid and Psyche, it is now believed that this represents Acis and Galatea, though it could really be any excuse to show an amorous, partially clad couple embracing. The image is derived from a print by Edmé Jeaurat after a painting by Charles de la Fosse. The original image included Polyphemus who is omitted on the porcelain. There is another version with the image reversed and a Dutch ship in the distance, reminiscent of the ‘sailor’s farewell’.Galatea was a sea-nymph, the daughter of Nereus and Doris. She was in love with Acis, son of Pan but was ardently pursued by the Cyclops Polyphemus whom Galatea rejected. When the Cyclops discovered the couple together he crushed Acis under a rock. According to Ovid Galatea changed Acis into a river that bore his name. She made up with Polyphemus and bore him a son Galas, ancestor of the Gauls (Galatians). The harmonious scene portrayed here is the moment before an act of extreme violence and tragic loss.
• MARC QUINN (B. 1964): GARDEN; AND GARDENTwo
  MARC QUINN (B. 1964): GARDEN; AND GARDENTwo Lambda prints in colors, 2000; together with Marc Quinn exhibition catalogue, Fondazione Prada, Milan, 2000. Both 32 x 48 in. (sheet), 35 1/2 x 52 1/2 in. (frame). Condition Both with the sheets attached to the backboards around the reverse of the sheet edges. 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.
• ARTHUR BURDETT FROST (1851-1928)Autumn
  ARTHUR BURDETT FROST (1851-1928)Autumn Woodcock Shooting, 1895 signed "A.B. Frost" lower right watercolor and gouache, 13 1/2 by 21 1/2 in. titled on The Old Print Shop, New York label on back Charles Porter Schutt, known to friends and family as Porter, was an avid sportsman with a keen appreciation for sporting art. Born in 1911 in Wilmington, Delaware, in 1935, he married Phyllis Moxham du Pont, daughter of Eugene E. du Pont. Under her father’s champion tutelage, she became an accomplished shot at an early age. Together, Porter and Phyllis shared a profound love of the outdoors, respect for nature, and enjoyment of the sport of shooting. They spent countless days hunting quail, woodcock, dove, duck, and wild turkey at her parents’ two expansive sporting properties, Kinloch Plantation, on the Santee River outside Charleston, South Carolina, and Napley Green, on the Chester River near Rock Hall, Maryland. In addition to attending and hosting organized shooting parties on the East Coast, the couple regularly traveled to Scotland and Spain to enjoy “walked up” days flushing out partridge, pheasant, and woodcock with other experienced guns. In the late 1960s, the Schutts purchased a large tract of land in Alabama where they envisioned a shooting plantation of their own. “Gallio,” the result, is a pristine forested property, shaped over forty years into a shooting paradise, and designed to provide and protect a perfect natural habitat for game birds. Though the walls at Gallio and at Dogwood, in Wilmington, were covered with Audubons and Frosts, “Autumn Woodcock” had a place of pride in Porter’s library above his desk as his favorite and most prized work of art. It was the perfect painting to appreciate while sitting, nursing a scotch, and planning the next shooting party or yearly trip to Scotland. To Porter and Phyllis, Frost’s incredible eye for detail and ability to capture the spirit of the moment trumped all others. Porter Schutt died in 1999, and “Autumn Woodcock” descended in the family until being offered today. A. B. Frost was born in Philadelphia in 1851, but spent his most prolific years in New Jersey. Considered one of the great illustrators of the “Golden Age of American Illustration,” he illustrated more than ninety books and produced thousands of illustrations for “Harper’s Weekly,” “Scribner’s,” and “Life” magazines. Frost’s illustrative work chronicles the mood and details of the daily life of farmers, hunters, and fishermen, as well as barnyards and pastoral motifs. By 1876, he was on Harper’s staff working on many books including “Tom Sawyer,” “Uncle Remus,” and “Mr. Dooley.” He also illustrated Theodore Roosevelt’s sporting book, "Hunting Trips of a Ranchman." Frost was an ardent sportsman who spent his summers and autumns fishing, rowing, and hunting ducks and snipe. He is best known for his hunting and shooting prints which capture the drama of sport in realistic, detailed settings. Frost lived much of his life at his estate, Moneysunk, in Convent Station, New Jersey. This work, “Autumn Woodcock,” is the original watercolor reproduced by Charles Scribner’s Sons in Frost’s "Shooting Pictures," a portfolio of twelve chromolithograph prints. It is considered one of the artist's most iconic and recognized works. Of the thousands of works that Frost is known to have produced, "Autumn Woodcock," with its excellent composition and superb condition, ranks right at the top. The work reveals Frost as one of the greatest illustrators of his generation. The hunter is perfectly positioned as the setters come across the woodcock by a brook, a Frost masterwork in every sense. As Henry M. Reed notes, “Every scene portrayed is one that each of us who has hunted with dog and gun has experienced - the setter staunchly on point, the gun ready, thumb on the safety, and heart pounding as we await the explosive fluttering of wings as the bird flushes...all of these are situations which the artist handles with such realism and familiarity that the viewer is placed squarely in the center of the adventure...The pointing dogs are magnificent - sneaky, noses moist and low, and their weightless balance, with forefoot raised, is perfection. The landscape backgrounds for the shooting pictures signify autumn, with grey morning mist behind the birches, the fallen leaves wet with morning dew...” Provenance: Charles Porter Schutt Collection, acquired from The Old Print Shop, New York Sarah S. Harrison Collection, by descent Renee du Pont Harrison Collection, by descent Literature: Henry M. Reed, "The A. B. Frost Book," Charleston, SC, 1993, p. 87, illustrated. Henry M. Reed, "The A. B. Frost Book," Rutland, VT, 1967, illustrated. Henry W. Lanier, "A. B. Frost The American Sportsman's Artist," New York, 1933, illustrated.
• ARTHUR BURDETT FROST (1851-1928)"With
  ARTHUR BURDETT FROST (1851-1928)"With One Final Puff He Rolled Into the Trench," 1917 estate stamp "A B Frost" lower right ink wash, 17 1/2 by 12 1/2 in. Arthur B. Frost was born in Philadelphia in 1851, but spent his most prolific years in New Jersey. Considered one of the great illustrators of the Golden Age of American Illustration, he illustrated more than ninety books and produced thousands of illustrations for “Harper’s Weekly,” “Scribner’s,” and “Life” magazines. Frost’s illustrative work chronicles the mood and details of the daily life of farmers, hunters, and fishermen, as well as barnyards and pastoral motifs. By 1876, he was on Harper’s staff working on many books, including “Tom Sawyer,” “Uncle Remus,” and “Mr. Dooley.” He also illustrated Theodore Roosevelt’s sporting book, "Hunting Trips of a Ranchman." Frost was an ardent sportsman who spent his summers and autumns fishing, rowing, and hunting ducks and snipe. He completed hundreds of watercolors and oils of the New Jersey seaside. Frost is best known for his hunting and shooting prints which capture the drama of sport in realistic, detailed settings. Frost lived at his estate, Moneysunk, in Convent Station, New Jersey. A.B. Frost created this drawing as an illustration for the story "Wamble: His Day Out," which appeared in "Collier's Weekly" in 1917. Provenance: The Estate of the Artist Sotheby Parke Bernet, New York, Sale 3834, item 405, January 29, 1976 The Estate of Ann Dickinson Dale Literature: Samuel Hopkins Adams, "Wamble: His Day Out," Collier's Weekly, January 13, 1917, pp. 16-18, illustrated.
• DAVID A. MAASS (B. 1929)Alighting Woodcock signed
  DAVID A. MAASS (B. 1929)Alighting Woodcock signed "Maass" lower right oil on board, 24 by 32 in. An avid sportsman and ardent contributor to conservation organizations, David Maass has been actively painting game birds for more than fifty years. Over the decades, Maass has designed more than thirty conservation stamps and prints, a distinction few artists can claim. Ducks Unlimited, the National Wild Turkey Federation, and the Minnesota Wildlife Heritage Foundation have each named David Maass their Artist of the Year. Maass' original paintings and limited edition prints have been exhibited in galleries and shows throughout the country, including the Smithsonian American Art Museum in Washington, D.C. and the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin. Provenance: Private Collection, Wisconsin
• PR. RALPH E. EARL PORTRAITS, HARDY CRYER
  PR. RALPH E. EARL PORTRAITS, HARDY CRYER AND WIFEPair of Tennessee portraits by Ralph Eleaser Whiteside Earl (1788 - 1838) depicting the Reverend Hardy Murfree Cryer (b. 1792--1846), in dark coat with ruffled collar, and a woman believed to be his first wife Elizabeth Rice Cryer (b. 1793--1832) in black mourning dress with white lace collar and cap. Housed in black and gilt wooden frames. Both portraits measure 26 1/2" H x 21 1/2" W sight; 33" H x 28 1/2" W framed. Circa 1830. Provenance: Descended in subject's family to current consignor. Biography ( Courtesy of James C. Kelly, Virginia Historical Society, Tennessee Encyclopedia of History and Culture, 1998): Ralph E. W. Earl was the son of Connecticut painter Ralph Earl (1751-1801). Earl studied under his father in Northhampton, Massachusetts, before traveling to London in 1809 to study under Benjamin West and John Trumbull. In 1817, Earl arrived in Nashville to paint General Andrew Jackson, the hero of the battle of New Orleans. Later that year, in Natchez, he met and married Jane Caffrey, Rachel Jackson's niece. She died the next year, but Earl moved into the Hermitage would from then on remain in Jackson's circle, accompanying the newly elected president to Washington. During the next eight years, Earl turned out numerous paintings of Jackson. Politicians, especially Democrats, knew it "did not hurt to order a portrait of General Jackson from Earl." He painted many of Jackson's friends and a few of his foes. Earl returned to the Hermitage with Jackson in 1837 and died there in September 1838. Rev. Cryer was a close friend of Andrew Jackson who spent time at the Hermitage. According to the book "The Making the American Thoroughbred" (see book, also offered in this auction), Cryer was born in North Carolina in 1792, married Elizabeth Rice in 1812, was a member of the Tennessee Conference, Methodist Episcopal Church 1813-1816, and served one year on the Nashville district. "After withdrawing from the itinerant ranks, he served as a "local" preacher and continued to exercise the offices of a minister the remainder of his life. His many contributions to The Turf Register and The Spirit of the Times are rich in Biblical and classical allusions, after the style of that day; show much force and originality; and amply support the statement of McFerrin that he was of an ardent temperament and had a brilliant mind. His ardor distinguished him as a breeder no less than as a preacher. He kept more thorougbred stallions than any man of his time, except, perhaps, Thomas Alderson; owned a few blood mares; and took a great interest in turf sports." The book quotes stud books kept by Cryer which show that "Cryer's horses were patronized by practically all the prominent breeders and turfmen named heretofore in this volume, from Andrew Jackson and John Catron, down". Cryer's passion for horses seems to have gotten him into trouble only once with his church; he was charged with horse racing and summoned to a trial before a church tribunal. "The proof was clear and conclusive," wrote J.R. Hubbard in The Spirit of the Times, "but the evidence showed that the horse was raced in the name of Col. George Elliott, and that this gentleman owned one half of him." In Cryer's defense, he told the judge: "I would like for you to let me know how I can arrange it for my half of the horse to stand in the stable while Col. Elliott's half is racing." He was acquitted. Click here to view documents containing Andrew Jackson and Reverend Hardy Murfree Cryer correspondence. Condition: Blacklighting of portrait of Rev. Cryer indicates inpainting to perimeter of face including the left edge of forehead, lower right jaw line, spot to lower left edge of mouth and spot to the middle of the chin. Lighter area of fluorescence to forehead and background, possibly a varnish issue. Blacklighting of Mrs. Cryer indicates possible inpainting or varnish issue to a couple areas of forehead and chin. Possible inpainting or varnish issue to a couple areas of the background. Older relining, probably late 19th/early 20th century.
• DENTIST BEARDentist Bear. Japan: S&E,
  DENTIST BEARDentist Bear. Japan: S&E, ca. 1950s. Battery operated toy with a tin litho base, a bear ñdentistî with a light-up hand drill stands next to a crying baby bear in chair. 6 _ x 3 _ x 10î. Some scratches and oxidation related to paint, dentist bear missing right hand which usually holds drill and has some crazing on left rubber hand. Working. Good.
• [P&L] ULTRALIGHT ELECTRIC HAND MIRROR.P&L]
  [P&L] ULTRALIGHT ELECTRIC HAND MIRROR.P&L] Ultralight Electric Hand Mirror. New Haven: Petrie & Lewis (P&L), ca. 1930. Metal hand mirror with internal battery-powered light. Manufactured and invented by J.A. Petrie. 12” long. White paint chipped; good. Petrie, an ardent magic fan, was an inventor of several practical objects, including latches for car doors, and one of the first automatic starters for automobiles. This mirror is one such invention, and was modeled on another P&L product, the Ultralight flash light.
• DEAN ELLIS (1920 - 2009) "ROBERT E.
  DEAN ELLIS (1920 - 2009) "ROBERT E. LEE"Dean Ellis (American, 1920 - 2009) "Robert E. Lee" Signed middle right. Original Oil painting on Masonite. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork was originally published on the Fleetwood Commemorative Cover for The Shapers of America series issued in 1987. Distinguished in family, in presence, and in character, he seemed to have every virtue. His father was the famous "Lighthorse Harry" Lee of Revolutionary fame. His wife was the great-granddaughter of Martha Washington. He presided over a magnificent Arlington estate. He went through West Point without a single demerit and served with distinction in the Mexican War. He was -- almost inevitably -- Superintendent of West Point Academy. Robert E. Lee was, indeed, an ardent patriot, devoted to the Union. But when Beauregard fired on Fort Sumter, Lee made the only decision he could, siding with his home state and the cause of its people. But, throughout the war, he was free of any private hostility. He referred to the Union troops as "those people," not the enemy. As Commander in Chief of the Army of Northern Virginia, he proved himself a brilliant combat general and skillful strategist, loved by subordinates and soldiers alike. "I would go through Hell for General Lee," Stonewall Jackson said. Against odds sometimes of two to one, Lee repeatedly took the offensive, and shattered one Union Army after another. "It is well war is so terrible," he said, "else we should get too fond of it." When he was forced to surrender, Lee bade farewell to those who had been "faithful to the last." "Take satisfaction in the consciousness of duty faithfully performed," he said. After his retirement, Lee was appointed President of Washington College in Lexington, Virginia. Image Size: 18 x 21 in. Overall Size: 24 x 27 in. Unframed. (B11254) 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.
• 3 BACCARAT CRYSTAL PERFUME BOTTLES3
  3 BACCARAT CRYSTAL PERFUME BOTTLES3 Baccarat French crystal perfume bottles. Faceted bottle, with Ciro Paris France paper label on collar; fan form bottle, with partial L'Ardente Nuit label on stopper; Caron 1983 Fleur de Rocaille bottle, with etched Caron 1983 on underside. All signed on underside with etched Baccarat France marks. Tallest 7 1/4"H. Minor chips on inside end of stopper of faceted bottle.
• ENGLISH STERLING "YOUNG HOUNDS" TROPHY
  ENGLISH STERLING "YOUNG HOUNDS" TROPHY CHALICE London, c. 1864, maker's mark 'AI', diamond pattern with repousse florets, with central cartouche engraved "1st Prize, YOUNG HOUNDS, 1894, ARDENT, walked by A. Brooks", hallmarked along rim, 7.5"h x 3.5"dia, approx. 9ozt (total, remnant weighted material)
• LLADRO ORIENTAL GARDENThe underside
  LLADRO ORIENTAL GARDENThe underside marked, number 1775, limited edition of 750, issued 1993. Depicting numerous women and young girls dressed in kimonos, on an arched bridge, with exotic trees, cranes, deer and swans on both banks, with the original box. Height 19.25 in. Width 39 in. Depth 18 in. (Cond: good)
• BIRGER SANDZEN (1871-1954) OIL ON CANVAS
  BIRGER SANDZEN (1871-1954) OIL ON CANVAS DATED 1929Birger Sandzen (Kansas, 1871-1954)Golden Aspens (1929)The vertical format oil on canvas from the Sandzen's most desirable Middle Period is signed and dated lower right front.Paintings from, basically, 1910 to 1930 are considered more significant for their robust palette of unique and intense colors applied in 100s of broad, confident, one-and-done strokes of high-relief impasto, resulting in canvases that seem as much chiseled as painted.Numbered 2315 in the Sandzén card catalogue, and titled as above, the artist's notes reference a local Art Association's interest in ''acquiring another painting.'' Indeed, The Lindsborg Progress for Thursday, June 12, 1930 details the transaction: ''The purchase of Golden Aspens, on which members of the Art Association have set their hearts since its first showing here with the Sandzen exhibition early in the year, marks a significant change for the advancement of art in Salina, according to the Salina Journal. The picture is a fine example of the best work of the famous artist - strength of color and form, individuality. Mr. Sandzen has ardent admirers in Salina, both as an artist, and personally; he has done far more than any other person to make the beginnings of the Salina Art Association, a success, and it is fitting that a picture of his creation should be the first real stride forward, taken by the association in acquiring a permanent art collection of museum proportions.''The canvas measures 40.5 x 30 inches, framed size of 46 x 36 inches.Very good condition, professionally restored in limited areas and re-lined by Western Center For The Conservation Of The Arts in Denver, Colorado, March of 1999.Scattered areas of in painting, primarily in the upper 10 inches of the composition with a few more touches down the right side, and in the lower right area. One touch along the left where sky and horizon meet. approximately 5% or less of the total surface area with inpainting, 95% or more being original and untouched as shown in images.Overall very good condition, free from surface soiling, no paint loss, punctures, chipping, or other issues. The stretchers are original with pencil inscriptions in the artist's hand.Provenance: The property of a rural Kansas public library. Acquired directly from the artist.
• Attributed to Pierre Mignard (French,
  Attributed to Pierre Mignard (French, 1612-1695) Madame de Montespan (1640-1707) as Diana oil on canvas inscribed Françoise-Athénaïs de Rochechouart · Marquise de Montespan · Par Mignard (lower center, in a later hand) and SEMPER ARDENTES/ ACVUENS SAGITTAS/ CÔTE CRVENTA (lower right) 46 3/8 x 63 1/2 inches. Property from the Estate of Charles and Lorraine Janda, Hinsdale, Illinois
• HONORE DAUMIER, FRENCH (1808-1879),
  HONORE DAUMIER, FRENCH (1808-1879), OH! IT IS AS IF WE WERE THERE, PLATE 27, BOOK PLATE PRINT, 8 /4"H X 9 1/4"W (SIGHT), 13 3/4"H X 14 1/4"W (FRAME)Honore Daumier, French, (1808-1879) Oh! It is as if we were there, plate 27, book plate print Initialed in the plate lower left. Biography from the Archives of askART: Honore Daumier was born in Marseilles, France on February 26, 1808. He was the son of a Marseille glazier who wrote a little poetry on the side and who thought so much of his own talent that in 1816 he decided to move himself and his family to Paris. Over the next dozen years, the family lived in eight different apartments in Paris. There was never enough money, and the experience of hard times would mark Daumier for life. At the age of twelve, Honore became a messenger boy for a process server's office and then a clerk for a bookstore - jobs that opened up to him every corner of Paris. He sketched everything he saw and finally started studying art with an academician whose idea of instruction was to have his pupils copy plaster casts hour after hour. "This is not life," said Daumier, and he struck out on his own. A year later, the boy enrolled in the Academy Suisse, an informal school where students could draw from the model in the mornings and still hold down jobs. Though Daumier was never a flamboyant bohemian, he was soon part of a group of young artists from the school, some of whom became lifelong friends. If the teenager didn't have the money for oils or canvas (presumably why so little of his student work survives), in studios and cafes he drew the way other people talked. Daumier was on his way to becoming one of the greatest draftsman who ever lived. The lithograph was a comparatively new art in those days, but it quickly became Daumier's bread and butter. He began turning out political cartoons for an ardently antiroyalist magazine called La Caricature. One cartoon portrayed King Louis Philippe as Gargantua gobbling up every last sou in France. For such indiscretions Daumier spent six months in prison. He was the first French artist to get to the hall of fame because the people liked his little drawings, instead of the aristocracy liking his big salon paintings. No sooner was he out again than he started producing more cartoons for another magazine. In 1846, at the age of thirty-eight, he married a young seamstress called Didine and settled down in an apartment on the Quai d'Anjou. There, in a bare attic studio, using crayons until they were so worn he could no longer hold them, and whistling the latest music-hall tunes, Daumier turned out lithographs of arrogant aristocrats, greedy landlords, sour-faced men and nagging wives, sinister lawyers and pompous judges. Sometimes his humor was gentle; occasionally it was savage; it was always perceptive. Daumier made lithographs, 3958 in all, until he went blind at sixty-five. But all along he was painting, though no more than a handful of his canvases were shown in public before the last year of his life. Compared with the more spectacular romantics, he seemed rough and unfinished. Nor did he understand the work of the new impressionists. He was a superlative draftsman whose brush drew spare and strong, and whose preoccupation was people. No matter how ordinary their acts, Daumier gave drama and dignity to their lives. He was ruthless in his candor, but his candor was born of concern. The painter Daumier was a rotund gentle person who cared far more for others than for himself. There were never any extras for Daumier. A year before he died at seventy, a group of friends, led by Victor Hugo, arranged a show of his paintings. It closed dismally with a deficit of 4000 francs. Daumier's most celebrated work was a series of 'Robert Macaire' published in the 'Charivari'. His graphic works are unsurpassed for clarity, expressiveness, truth to type and nervously rhythmic life. He did not draw directly from nature, but from human nature, and this he did as fully as any artist who ever lived. But he was thought for years unworthy to occupy a single foot of space at the official Salon's shows. One Saturday night at Theodore Rousseau's barn in the village of Barbizon, a gathering that included Corot, Millet,Daubigny, Diaz and Bayre, along with Daumier himself, voted to form their own anti-Salon Independent Artists' Society. No one ever represented with greater truth the varied type of Parisian character. He became blind in 1877, then died suddenly in 1879 of a stroke at Valmondois (Seine-et-Oise) in a house given him by Corot, the landscape painter. Compiled and submitted August 2004 by Jean Ershler Schatz, artist and researcher from Laguna Woods, California Sources: Time Magazine, July 7, 1961 and October 1, 1979 Peter Plagens in Newsweek, March 8, 1993 Pete Hamill in Art & Antiques Magazine, February 1993. book plate print Dimensions: 8 /4"H x 9 1/4"W (sight), 13 3/4"H x 14 1/4"W (frame)
• TWO CHINESE-STYLE BLUE AND WHITE PORCELAIN
  TWO CHINESE-STYLE BLUE AND WHITE PORCELAIN GARDENTWO CHINESE-STYLE BLUE AND WHITE PORCELAIN GARDEN STOOLS AND VASE. The round and octagonal garden stools are both English Copeland Spode in Spode's Tower pattern circa 1903,, 16.75 and 17.75" heights; Doulton Burslem vase, English, c. 1886-1902, signed, 17"H.
• THE BOSTON CHRONICLE, AUGUST 17-21,
  THE BOSTON CHRONICLE, AUGUST 17-21, 1769 Original issue of THE BOSTON CHRONICLE, Vol. II, #34 (Boston: John Mein and Fleeming, 1769) folio; leading with an expose on violations of the Boston merchants' recent non-importation agreement, particularly by John Hancock and others; various other correspondence, and a few advertisements. Mein was a Scottish immigrant and ardent Loyalist. In October, the newspaper office was sacked by Boston patriots and Mein fled to England. This was the first semi-weekly newspaper printed in New England.
• JUDITH BLAM (AMERICAN 1913-2008), ARDENTOWN,
  JUDITH BLAM (AMERICAN 1913-2008), ARDENTOWN, MIXED MEDIA ON PAPER, FRAMED, 20-1/4 X 24-1/4 INCHESJudith Blam (American 1913-2008), Ardentown, Mixed Media on Paper, Framed, 20-1/4 x 24-1/4 inches
• EZRA STILES, AUTOGRAPHED LETTER SIGNED
  EZRA STILES, AUTOGRAPHED LETTER SIGNED TO REV. SAMUEL HAVEN REGARDING THE END OF THE AMERICAN REVOLUTION, JULY 10, 1782EZRA STILES, AUTOGRAPHED LETTER SIGNED TO REV. SAMUEL HAVEN REGARDING THE END OF THE AMERICAN REVOLUTION, JULY 10, 1782, two-sided letter and envelope, note with red seal Provenance: Catalogue Note: Ezra Stiles (1727-1795) was President of Yale College from 1778 to 1795, and an ardent Son of Liberty, serving as the first President of the Society of the Cincinnati in Connecticut, he was friends with Benjamin Franklin, published religious text throughout his lifetime. In the letter, Rev. Stiles reference the Battle of the Saintes (April 9-12, 1782) where the British defeated the French Navy in retaliation to their blockade during the Siege of Yorktown. He also references the Battle of Guilford Court House in March 1781.
• ART DECO CHROMED STEEL FOX TERRIER DOG
  ART DECO CHROMED STEEL FOX TERRIER DOG BOOKENDS, 2 Art Deco chromed steel Fox Terrier dog book ends, a pair each depicting an ardent Fox Terrier before a round background. 4.25" H x 4" W x 4.25" D
• HONORE DAUMIER, FRENCH (1808-1879),
  HONORE DAUMIER, FRENCH (1808-1879), OH! IT IS AS IF WE WERE THERE, PLATE 27, BOOK PLATE PRINT, 8 /4"H X 9 1/4"W (SIGHT), 13 3/4"H X 14 1/4"W (FRAME)Honore Daumier, French, (1808-1879) Oh! It is as if we were there, plate 27, book plate print Initialed in the plate lower left. Biography from the Archives of askART: Honore Daumier was born in Marseilles, France on February 26, 1808. He was the son of a Marseille glazier who wrote a little poetry on the side and who thought so much of his own talent that in 1816 he decided to move himself and his family to Paris. Over the next dozen years, the family lived in eight different apartments in Paris. There was never enough money, and the experience of hard times would mark Daumier for life. At the age of twelve, Honore became a messenger boy for a process server's office and then a clerk for a bookstore - jobs that opened up to him every corner of Paris. He sketched everything he saw and finally started studying art with an academician whose idea of instruction was to have his pupils copy plaster casts hour after hour. "This is not life," said Daumier, and he struck out on his own. A year later, the boy enrolled in the Academy Suisse, an informal school where students could draw from the model in the mornings and still hold down jobs. Though Daumier was never a flamboyant bohemian, he was soon part of a group of young artists from the school, some of whom became lifelong friends. If the teenager didn't have the money for oils or canvas (presumably why so little of his student work survives), in studios and cafes he drew the way other people talked. Daumier was on his way to becoming one of the greatest draftsman who ever lived. The lithograph was a comparatively new art in those days, but it quickly became Daumier's bread and butter. He began turning out political cartoons for an ardently antiroyalist magazine called La Caricature. One cartoon portrayed King Louis Philippe as Gargantua gobbling up every last sou in France. For such indiscretions Daumier spent six months in prison. He was the first French artist to get to the hall of fame because the people liked his little drawings, instead of the aristocracy liking his big salon paintings. No sooner was he out again than he started producing more cartoons for another magazine. In 1846, at the age of thirty-eight, he married a young seamstress called Didine and settled down in an apartment on the Quai d'Anjou. There, in a bare attic studio, using crayons until they were so worn he could no longer hold them, and whistling the latest music-hall tunes, Daumier turned out lithographs of arrogant aristocrats, greedy landlords, sour-faced men and nagging wives, sinister lawyers and pompous judges. Sometimes his humor was gentle; occasionally it was savage; it was always perceptive. Daumier made lithographs, 3958 in all, until he went blind at sixty-five. But all along he was painting, though no more than a handful of his canvases were shown in public before the last year of his life. Compared with the more spectacular romantics, he seemed rough and unfinished. Nor did he understand the work of the new impressionists. He was a superlative draftsman whose brush drew spare and strong, and whose preoccupation was people. No matter how ordinary their acts, Daumier gave drama and dignity to their lives. He was ruthless in his candor, but his candor was born of concern. The painter Daumier was a rotund gentle person who cared far more for others than for himself. There were never any extras for Daumier. A year before he died at seventy, a group of friends, led by Victor Hugo, arranged a show of his paintings. It closed dismally with a deficit of 4000 francs. Daumier's most celebrated work was a series of 'Robert Macaire' published in the 'Charivari'. His graphic works are unsurpassed for clarity, expressiveness, truth to type and nervously rhythmic life. He did not draw directly from nature, but from human nature, and this he did as fully as any artist who ever lived. But he was thought for years unworthy to occupy a single foot of space at the official Salon's shows. One Saturday night at Theodore Rousseau's barn in the village of Barbizon, a gathering that included Corot, Millet,Daubigny, Diaz and Bayre, along with Daumier himself, voted to form their own anti-Salon Independent Artists' Society. No one ever represented with greater truth the varied type of Parisian character. He became blind in 1877, then died suddenly in 1879 of a stroke at Valmondois (Seine-et-Oise) in a house given him by Corot, the landscape painter. Compiled and submitted August 2004 by Jean Ershler Schatz, artist and researcher from Laguna Woods, California Sources: Time Magazine, July 7, 1961 and October 1, 1979 Peter Plagens in Newsweek, March 8, 1993 Pete Hamill in Art & Antiques Magazine, February 1993. book plate print Dimensions: 8 /4"H x 9 1/4"W (sight), 13 3/4"H x 14 1/4"W (frame)
• TWO ANTIQUE EUROPEAN PRINTS, A CARICATURE
  TWO ANTIQUE EUROPEAN PRINTS, A CARICATURE AND A NAVAL PORTRAIT The first: T. J. (British, 19th Century), Ardent Spirits, hand-colored etching, 1826, published by Samuel William Fores, matted and framed; the second: Vincenzo Coronelli (Italian, 1650-1718), Nave di CIV cannoni colle sue proportioni tagliata à mezzo per vedere le di lei parti interne, engraving on laid paper, matted and framed.
• [JEAN ARP] LE CHEMIN RESSERRE, 1966,
  [JEAN ARP] LE CHEMIN RESSERRE, 1966, SIGNED P. A. Benoit. La Fenetre Ardente, number XXII of 30 with loose original woodcut signed by Arp, total edition of 300, softcover in glassine wrapper, 7.75"h x 5.5"w
• [JEAN ARP] CE CHANT ENTRE DEUX ASTRES,
  [JEAN ARP] CE CHANT ENTRE DEUX ASTRES, SIGNED Gaston Puel. Ce Chant Entre Deux Astres. Lan Fentre Ardente, 1962, number XXIV of 50 with a color serigraph signed in pencil by Arp, and signed by the author on the colophon, 7.5"h x 5.5"w
• WORKING MEN’S EDUCATIONAL UNION, LONDON SET
  WORKING MEN’S EDUCATIONAL UNION, LONDON SET OF THREE FRAMED EGYPTIAN 'DIAGRAMS', CIRCA 1855 printed and hand-coloured cotton, bears printed marks WORKING MENS EDUCATIONAL UNION/ KING WILLIAM STREET/ TRAFALGAR SQUARE/ LONDON, each later-framed, one numbered 441, 87cm x 120cm; another numbered 260, 89cm x 119.5cm; the other numbered 259, 119.5cm x 89cm(3)Note: The Working Men's Educational Union was 19th century English union, with rooms at 25 King William Street, Trafalgar Square, London. Founded in December 1851 by Benjamin Scott the union began producing 'diagrams', a series of large, coloured lithographs printed on calico, with eyelets on each corner, to illustrate lectures to their members. John Ruskin was an ardent supporter of the scheme.
• TWO 19TH C PARIAN BUSTS. ONE OF HENRY
  TWO 19TH C PARIAN BUSTS. ONE OF HENRY WILSON,18TH VICE PRESIDENT OF THE U.S. AND A SENATOR FROM MASSACHUSETTS (1873-1875). SCULT. H. F. LIBBY, 10" HIGH. THE OTHER IS CHARLES SUMNER, A SENATOR FROM MASSACHUSETTS, 10" HIGH. BOTH MEN WERE ARDENT ABOLITIONISTS AND FORCES IN THE ANTI-SLAVERY MOVEMENT.
• Romare Bearden New York (1911 - 1988)Artist
  Romare Bearden New York (1911 - 1988)Artist Name: Romare BeardenTitle:Falling Star Medium: Lithograph. Year: 1979 Edition Size: 175 Number 55Sheet Size 24''H x 18''WFramed Size: 34.5''H x 28''WProvinance Purchased from N' Namdi Gallery Birmingham Michigan.
• H C Preston Macgoun RSWQUEEN MARY'S
  H C Preston Macgoun RSWQUEEN MARY'S CHILD GARDENtwo illustrations for 'The Little Book of Children'initialled and inscribed on reversewatercolour 17cm x 12.75cm (6.75" x 5")
• Circa 1849 English Pop-Up Poetry Valentine
  Circa 1849 English Pop-Up Poetry Valentine Collected by Esther Howland English 19th century ?ca 1849. Pop-up valentine with a paper lace border a monochrome lithograph having a hand-colored floral bouquet at center between two verses of a poem is cut with a pop-up design with a pull string revealing a second hand-colored lithograph underneath of two turtle doves enclosed in a wreath with the text Love is Life's Fairy Flower below.? The Valentine is hand-addressed to Miss Parmelee The Oldest on the verso and the following poem is printed on the front:Lurking under fairy flowers Gayly love shall pass the hours On the land or on the stream Thou art still my own day dream.May the dearest gifts of life Like the tendrils of the vine Guard thee from the world's rude strife Thou--my chosen Valentine.According to the article "Old Lover Ardent Suitor" published February 14 1924 in The Toledo News Bee this Valentine was one owned by Esther Allen Howland (American 1828-1904) of Worcester Massachusetts a pioneer of the American Valentine industry.? Howland was inspired by English Valentines such as this one and began to create her own designs using imported supplies from England.? Her father owned a stationery store and her brother first obtained orders for her products while on sales trips for the store. Her designs rapidly gained in popularity and she began recruiting friends to assist her in production and first advertised her business in 1850.? Howland's innovative designs continued to grow and her business moved from her family's home to a rented building and became known as the New England Valentine Company.?She eventually retired in 1881 after selling the company to the George C. Whitney Company a stationery business located in Worcester that produced machine-made Valentines.Bibliography:"Old Lover Ardent Suitor" The Toledo Bee 14 February 1924."Mass Moments: First American-Made Valentines Sold 14 February 1849 " https://www.massmoments.org/moment.cfm?mid=52 Property of the Toledo Museum of Art Sold to Benefit the Acquisition Fund Condition: Small stain on left margin of paper lace.? A few small spots of foxing.? Creases remain from original folding when sent to addressee.
• Confederate General Order Books of Generals
  Confederate General Order Books of Generals Daniel Frost & Mosby Parsons 1st Brigade 2 bound volumes acquired from a family in Tennessee.The slender volumes in this lot relate to two of the most flamboyant and intriguing Confederate generals in Civil War Missouri Daniel M. Frost and Mosby Monroe Parsons.? Both had been officers in the Federal Army and both had served in the Mexican War.? Frost was a particular rarity a northerner and West Pointer (Class of 1844) who cast his lot with the rebels.? By the early 1850s both were settled in Missouri actively involved in the Missouri Militia.?Drawn to politics Frost was a virulent secessionist who had been involved in the effort to extend slavery to Kansas.? Well before the outbreak of hostilities he recruited militiamen to the Confederacy and in May 1861 he was arrested for a plot to attack the federal arsenal in St. Louis.? After being paroled he joined the Confederate army openly but in August 1863 when his wife was forced to flee for Canada due to her pro-southern sympathies Frost fled with her and was reported a deserter.? He was reported as returning late in the war apparently confirmed by these volumes.? Parsons for his part was appointed General in the militia and led his command from Wilsons Creek and Pea Ridge through the Red River Campaign and the end of the war.?The orderly books that comprise this collection were kept under the command of these ardent Confederates originating in the 1st Brigade (Missouri) Maj. Gen. Parson's Division.? While not initially part of the Confederate Army the Brigade coordinated with Confederate forces and served under CSA command at many points.? Even after other militia units were merged into the Confederate Army Parsons' Brigade remained independent right through the end of the war.? Covering the period December 1864 through April 1865 (during which Parsons was Commander of the District of Arkansas) the first of these orderly books apparently kept at headquarters of the 1st Brigade includes detailed records of transfers furloughs assignments and other deployments of soldiers providing the sort of elusive historical grit that is indispensable for documenting this far-from-the-ordinary outfit.The second volume labeled General Order book Insp. Gen. Department covers the late-war month of May 1865 for 18 pp (mostly logging requests for furloughs and similar) but the volume has a highly complex history of use and re-use for other purposes including 23 pages of a letterbook kept under Gen. Frost at Camp Kirby Smith headquarters 1st Brigade Parsons Div.? Of particular note is a lengthy (8pp) closely written and detailed history of the Brigade from the time of its organization in 1863 through May 1865.?Parsons' end as it turns out would not be pretty: he chose two losing sides back to back: with the crumbling of the Confederacy he joined the Imperial forces and was killed by Mexican cavalry. His family later successfully sued the Mexican government for compensation.?Rare survivals of Confederate activity in the Mississippi Valley kept by a distinctive and poorly documented unit these volumes are important relics of fascinating and perplexing men. ? Condition: Some wear and minor damage to the bindings of the volumes expected wear and soiling throughout.?
• Brevet Brigadier General James M. Ruggles
  Brevet Brigadier General James M. Ruggles 1st & 3rd Illinois Cavalry Civil War Archive 69 letters and documents; 1 diary; 2 presidential appointments; Veteran's hat; 2 shoulder straps; and coin purse with 19 coins. 1855-1900. An early and well-connected activist in the antebellum Republican Party and a strong supporter of Abraham Lincoln James Ruggles was born in Mansfield Ohio in 1818. Seeking a place in life he apprenticed as a printer and moved to Ogle County Illinois at 19 but went on to study law before finally settling into business in Bath Ill. An antislavery man from early on Ruggles was intensely interested in politics. An admirer of Daniel Webster and an ardent anti-Democrat he was elected to the state senate in 1852 and became a friend and supporter of Lincoln in the elections of 1856 through 1860. With the Civil War erupting he volunteered for service in July 1861 and after some wrangling secured a commission as Major in the 3rd Illinois Cavalry. His distinguished service under arduous conditions at Pea Ridge earned him a promotion to Lt. Col. after which he distinguished himself at Haines Bluff Arkansas Post and the siege of Vicksburg. After mustering out of the service at the expiration of his enlistment on Sept. 5 1864 he was brevetted Brig. Gen. for faithful and meritorious services. The Ruggles collection contains both pre-war political letters and war-time documents providing glimpses into Ruggles' world of power and influence the earliest days of the Republican Party and Ruggles??T relationship with Lincoln and Governor Richard Yates of Illinois. On Jan. 9 1860 for example Yates then a potential candidate for governor wrote Ruggles about whether he should run for office: The opinion is entertained by some friends of mine that I would run better in the center & south and as well in the north as any candidate yet named -- I confess that I feel conscious of some strength once before the people and have rather concluded to be a candidate before the convention unless advised differently by some friends... There is a second ALS from Yates dated Sept. 16 1855; and a printed flier issued under Yates??T name To the Voters of Morgan County May 31 1855 clarifying where he stands on temperance legislation (he was soberly in favor). In these early days the Party faithful were filled with optimism. As the election of 1856 approached William Kellogg (soon to be congressman) advised Ruggles on no count [to] connect yourself with the Filmore movement there is death it in to any man who espouses that faction at this juncture... but added: The Democracy are getting up Filmore Meeting as a last hope. We shall rout them all the true old Whigs will come back and the Pro-Slavery men will go to Buchanan. The Republican State Central Committee sounded almost millenarian: The day for the battle of freedom and freemen is close at hand and if the friends of Lincoln work until the night of the day of the election a triumph is sure and certain. An unscrupulous party is attempting by its imported hordes of traveling voting machines ?to subdue? and over-ride the fair expression of the legal voters of this state... Much more on illegal non-resident voters trying to sway the vote in the state (the letter is fragile separated at the folds and worn but a highly important relic of early Republican Party history). Rounding out the political content are two rare election tickets for the Republican slate headed by Gen. John A. Logan. Ruggles' war-time service is represented by eight fine letters that give a sense of then range of conflicting issues and emotions Ruggles was forced to confront. The earliest is a letter written after the first Battle of Bull Run describing the heroism of the famous 1st Minnesota Infantry Regiment: C. Hazlett wrote to Col. James Raguet to inform him that Samuel Raguet had been wounded by buckshot and had been operated on. Saml stood it manfully he is doing very well the shot entered the right side of his neck about 3/4 of an inch below the ear passing by the Jaw Bone without injuring it on around until it struck the bone in the back part of the neck. It made a very deep and severe-looking wound.... We have quite a number of patriotic northern Ladies who have come here as nurses. They are very kind... Saml. walked nearly the whole distance from the Battle to this city [Washington]... he was wounded in the second fire of the Traitors bur remained on the field and fought manfully all day. His sword was broken in the first of the fight. He has a sword that he took from a ?Secesh? cavalry man he held his revolver toward the above named Traitor and he fell Saml. having relieved him of the trouble of doing any more damage... I was on the ground during the whole of the Battle on the look out for my friends... Saml wishes you to tell Wm Wolf that Eugene Wilmer was shot through the head dead on the first fire.... It should not be surprising to find that Ruggles remained a political animal while under arms and the collection includes a fascinating letter from July 1 1862 rallying Ruggles??T support to get Illinois soldiers to defeat Democratic-inspired proposed changes to the Illinois constitution. Other war-date items include three superior letters from Henry G. Thomas an ambitious young officer (apparently a Brevet Colonel) looking to use family influence to advance in the army a printed copy of War Dept. General Order 126 Sept. 6 1862 specifying the composition of regiments in each line of service; half a dozen documents; an undated manuscript signed Maj. John Campbell regarding drafting men; a printed letter of transmittal accompanying Ruggles' Brevet to Brig. General Oct. 6 1866; and an interesting a manuscript circular Jan. 3 1862 declaring Pickets are not to go into houses nor tell Secessionists exactly where they are stationed where they are moved &c. and that they are not to be so careless as to allow persons to ride in among them before they know it... and much more to be learned by green recruits. Of special note are two Confederate items and two relating to some spectacularly poor discipline in the 3rd Illinois Cavalry almost amounting to mutiny. The Confederate pieces include a very rare manuscript oath of allegiance issued for a soldier from Nathan Bedford Forrest??Ts cavalry datelined La Grange Tenn. and reading in part I George H. Bennett a citizen of Fayette Co. Tenn. and conscript soldier of Forrest??Ts command having returned to my home where I wish to remain and take no farther part in the Rebellion... (marked duplicate at bottom left of document). Joining this is a particularly handsome and large printed Confederate States Loan certificate for $1 000 (very good condition and finely printed) issued Aug. 20 1862 slated to come due in July 1874. No warranties are made for exchange. The Ruggles' command was no Shangri-la appears in four documents beginning with a manuscript transcript of charges and specifications leveled against officers in the 3rd. The first a 7pp cites Captain Charles Dunbaugh for cowardice among many other things. The incidents detailed include Dunbaugh running away to the rear of the Battalion after a picket was fired upon leaving shamefully abandoning his post as commander of the company to which he did not return until some time after firing commenced); breaking down in tears when separated from his son and cried and bellowed shamefully saying ?My Georgy is lost ? ??" ?we are I an enemy??Ts country? ??" ?it will kill his mother?...; and shameful behavior at the Battle of Pea Ridge where he was so much under the influence of fear from the fire of the enemy that he repeatedly called upon the commander of the Battalion to move the command out of the range of the enemy??Ts guns... The charges go on to include malingering with an allegedly injured foot neglect of duty conspiracy and disrespect against his superiors drunkenness conduct unbecoming (falsely reporting himself wounded visiting a house of ill fame occupied by degraded and abandoned prostitutes repeatedly) and more. As might be expected the list of witnesses to the charges is nearly a page long (and a long page at that). As if that were not enough paired with Dunbaugh??Ts charges are charges against Capt. James Nichols for violating military orders and discipline leaving his command without authority in Nov. 1861 going AWOL insubordination conspiring with Dunbaugh to undercut Ruggles??T authority and conduct unbecoming an officer. Perhaps as evidence the collection also includes a fascinating letter written to send to Gen. Siegel but apparently not sent relating to an expedition under Dunbaugh that tore down a secession flag at a court house near Springfield Mo. that was appropriated by the Major in charge and not returned to the men who took it down. More ill discipline is documented in a letter from Col. L.F. McCrillis Jan. 30 1863 citing Capt. R.H. Carnahan for disrespectful and insolent language used while attempting to tender his resignation for want of confidence in his Colonel and Lt. Colonel and then corruptly and feloniously abstracting the paper from its proper place and requesting his dismissal from the service. Notably the dockets on the verso include signatures of Gen. John A. McClernand and U.S. Grant. Finally among the gems in the collection is a noteworthy closely-written 7pp detailed Historical Memoranda of the 3d Ills. Cav. Vols. possibly written by Capt. A.B. Kirkbride of the regiment in about 1864 describing the regiment's formation and service its battle record but also the controversies over its officers and political machinations. It ends Notwithstanding these efforts to break up and destroy the Regiment by intermeddling and malicious officers the remaining 83 men of the 3d Ill. Cavalry are as brave patriotic and well-disciplined men as are in the service and will again make their marks upon the enemy when opportunity affords. The lot also includes the following: 1860 newspaper clipping outlining delegates that attended the Republican Convention in Illinois making reference to J.M. Ruggles a Secretary at the Convention; two Presidential Appointments for Ruggles both for the rank of Colonel by Brevet one dated 3 July 1866 the other dated 3 August 1866. Each with Andrew Jackson??Ts stamped signature; Society of the Army of the Tennessee certificate recognizing Brvt. Brig. Genl. J.M. Ruggles as a member dated 15 October 1874 signed by President W. T. Sherman; Civil War veteran??Ts hat with braided cord with acorn drop and wreath and star insignia; Colonel??Ts and Lieutenant Colonel??Ts shoulder straps; and small coin purse containing 19 19th and early 20th century coins. With its balance of pre-war politics and wartime dramatics the Ruggles collection offers a marvelous opportunity for research into the personalities and events of a critical period in American history centered on an individual in the inner circles of power. Condition: Good condition throughout with expected signs of wear and age.
• Gilman Marston Civil War General and
  Gilman Marston Civil War General and Politician Manuscript Archive 233 letters 82 essays and speeches ca.80 deeds receipts and miscellaneous business records. Ca 1830-1900 (bulk 1834-1859). A son of Orford New Hampshire a graduate of Dartmouth and Harvard a Republican U.S. Congressman and Senator and Brigadier General during the Civil War Gilman Marston was among the most influential men in northern New England. This extensive collection of Marston??Ts pre-Civil War correspondence documents his rise to fame and prominence and his entry into the progressive politics of the early Republican Party. These superb letters often witty and always friendly come mostly from college friends Orfordians political compatriots and others with whom he had built connections in early life including several women among them. Together they tell the story of the antebellum years from the religious enthusiasm of the Second Great Awakening to the great questions of slavery and sectionalism. Marston??Ts friends are full of good-natured news of home and old friends and lots of local color mixed with a fixation on political affairs. John Dean writes in March 1834 You will perhaps be anxious to know how we get along at Meriden. We don??Tt have many scrapes of late but had one or two since you left. Got comfortable drunk mistook the floor for a chair a number of times and could not fund the door at all... Must close on politicks you know and what do you think of Jackson that old devil who tramples on all law and precept and talks about ''my government'' and ?I never will recharter the bank.? Hope he will put his threat into execution and go to ?desarts of Arabia.? In my opinion it would be a blessing to our country if he had gone years ago... Similarly a college friend G. F. Shepley wrote from Portland May 30 1838: What do you think of Levi Woodbury for chief justice of New Hampshire? Rather a powerful competition for Mr. Wilcox of Orford. The Feds here say he let Washington as rats leave a falling house. If that was the reason he must be a weak rat surely. And if Martin??Ts administration fall I sincerely think that with it fall the best interests of the people of this country but there we join issue I know. But in one point I know we agree that the western candidate for the presidential chair Madam Harrison will be permitted to wait till the reign of woman commences before she succeeds. One year later Shepley wrote an important letter regarding the border dispute with Canada/England that almost boiled over into warfare: The opinion of the governor as well as that of the legislature and the people of Maine seems to be that the troops in the service of the state should not be withdrawn until Sir John Harvey agrees not to attempt to carry his threats into execution. The question of war or no war rests entirely with Sir John Maine is only acting on the defensive. If Sir John attempts to invade our territory to drive off our troops and take ''military possession'' of that part of Maine sometimes called the disputed territory as he has avowed his intention of doing... then he will find a force ready and able to resist him... The movement west affected Marston??Ts generation profoundly. Marston himself moved to Indiana in 1838 -- about which a friend wrote The Yankees have been called a migratory people and in this point you seem to be the greatest Yankee of us all -- but others in his circle made the trek west too. N.W. Dewey newly arrived in Canton Ill. Feb. 1838 describes the journey from Terre Haute in poetical terms: A few miles east of Terre Haute we came upon the Prairie & it is not too much to quote here the well known lines altering one word: Then then a broad bright Eden land / Burst on my raptured view. I will not attempt to describe the scene or my thoughts & feelings as it opened upon me. Indeed I could not do it without more attention to my spiritual operations than I am inclined at present to bestow. And even if I could by one snap of my pen I would not thus forestall those feelings which will rush upon you in original freshness & power when mounted upon some gentle nag you come to visit me & see the wonders of this ocean-land. Some of Marston??Ts friends scattered in other directions with A.S. Wheeler removing to Orange County Virginia. Through him Marston received a taste of how far the south had diverged from the north. On March 6 1841 Wheeler wrote that he wished to learn more about southerners and that subject which has created so much excitement in the country slavery. Till I came here I had no idea how great a moral & political evil this is to the country. As to the slaves themselves they are much happier than if free but the effect of the system is ruinous to the whites & to the general interests of the South... Southerners shared some concerns Wheeler believed but the similarities masked deeper divides: (May 18 1841) If a bank is chartered Virginia will remain in the opposition. The people of this state are strongly opposed to any institution of the kind. I suppose three fourths of the farmers are democrats but a Virginia Democrat & N[ew] E[ngland] democrat are by no means similar. In N.E. I always regarded a democrat as a leveler but here it is totally different. For instance the gentleman I am with voted for Van Buren but in principle he is a monarchist... As an early and ardent convert to the Republican Party Marston was deeply interested in the slavery question and the collection includes some marvelous antislavery content. A.G. Johnson writes from Troy NY Feb. 17 1839: I have just read Henry Clay??Ts speech and I think the abolition question is just as far from being settled as it was before.... He takes it for granted that should the blacks be liberated there would at some future time be a struggle for supremacy between the races. How he has taken it upon him to prophecy and assuming that his prophetic visions will be fulfilled he draws out a long train of consequences to frighten us from abolition. Now is there any danger of such a result? Is it not a fact that in the few states the blacks increase in a much less rate than the whites while the contrary is true in the slave states? Then which race has the most to fear from abolition. And will not abolition be the quickest way to bring about an extermination of the blacks? But is it true that a bloody and exterminating war will be the necessary result of emancipation? The peaceful results in the West Indies affords no ground for forebodings like these. In my opinion a war or extermination will be much more likely to result from an obstinate continuance of the system than from its abandonment... Much more. Similarly there is much on early Republican politicals including seven fascinating printed forms and fliers from the Republican State Committee of New Hampshire 1857 through Jan. 26 1859 preparing for the election and for routing the sham Democracy that the pathway will be clear for the most decided and brilliant victories in 1859 an 1860. Also undated speech delivered by Marston to the Citizens of Orford. By December 1860 with the drive to secession beginning Marston learned from a friend in Iowa that the place was aflame: ?The Union ? ?The Whole Union.? God preserve it he wrote. Mr. Lincoln has my confidence as a man and I doubt not what his will and ability ro do justice to all portions of our loved country... The collection includes only a small amount documenting Marston??Ts distinguished war service through one document stands out for length and interest. Consisting of a series of documents pasted together into a scroll this item regards the case of James Richardson of Baltimore seeking compensation for timber cut from his land for use at the infamous (and nearby) Point Lookout Prison Camp. Among the documents comprising the scroll is a copy of Richardson??Ts oath of allegiance character references and testimony. Finally among the essays and speeches are several political speeches dating from the 1850s a handful of legal opinions and pleadings and at least 20 compositions done while a student at Dartmouth including a fascinating Influence of the imagination on the nervous system. At once personal and political this is an extraordinary collection from an extraordinary man offering a window onto the culture of mobile educated young men in the antebellum period each of whom harbored an intense interest in politics. Expected wear some tearing at folds but sound and relatively clean.
• [Autographs and Manuscripts] Thaddeus
  [Autographs and Manuscripts] Thaddeus Stevens Abolitionist Congressman ALS 1833  Thaddeus Stevens (1792-1868). Leading Republican figure in the House of Representatives during the Civil War and Reconstruction. Ardently abolitionist merciless to the South and credited with arranging the financing that paid for the war. 1p dated April 8 1833 at Gettysburg addressed to William C. Frazer. Condition: Toning one small tear at margin.