A few examples of appraisal values for
COMES THE STORM

• A NAVAJO TWO GREY HILLS STORM
  A NAVAJO TWO GREY HILLS STORM PATTERN RUGA Navajo Two Grey Hills Storm Pattern rug, Mid-20th century, Diné Woven in black, grey, yellow, and brown wool in a Storm Pattern motif with stepped borders Dimensions: 61" H x 41" W Provenance: Private Collection, Southern California
• GROUP OF BOOKS ABOUT THE GULF
  GROUP OF BOOKS ABOUT THE GULF WARGROUP OF BOOKS ABOUT THE GULF WAR, titles include: Desert Storm Journal: A Nurse's Story; Needless Deaths in the Gulf War: Civilian Casualties During the Air Campaign and Violations of the Laws of War; From the Fulda Gap to Kuwait: U.S. Army, Europe and the Gulf War; Crusade: The Untold Story of the Persian Gulf War; The Gulf Conflict 1990-1991; On Course to Desert Storm: The United States Navy and the Persian Gulf; Certain Victory: The US Army in the Gulf War; Thunder and Lightning: A Collection of Desert Storm Cartoons by Don McCoy (8) Provenance: Estate of General Colin L. Powell, to benefit America's Promise Alliance and the Colin Powell School at City College of New York.
• VINTAGE ERIC HOLCH ORIGINAL SILK
  VINTAGE ERIC HOLCH ORIGINAL SILK SCREEN "STORM WARNINGS...Vintage Eric Holch Original Silk Screen "Storm Warnings" , depicting "Hurricane, Storm, Gale and Small Craft", pencil signed and titled lower center, matted and framed 14.5 in. x 4.5 in. Framed 19.5 in. x 9.75 in. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• A NAVAJO STORM PATTERN VARIANT RUGA
  A NAVAJO STORM PATTERN VARIANT RUGA Navajo Storm Pattern variant rug, Mid/late 20th century, Diné Woven in grey, cream, rust, orange, and black wool with an elaborate Storm Pattern motif and feathers Dimensions: 71" H x 48" W
• SAM SCOTT (AMERICAN B. 1940) TWO
  SAM SCOTT (AMERICAN B. 1940) TWO PAINTINGS, "STORM CLOU...SAM SCOTT (American b. 1940) TWO PAINTINGS, "Storm Clouds Clearing After Rain I," AND "Storm Clouds Clearing After Rain II," watercolor on paper, signed L/R, "Scott," verso a paper gallery label. 18" x 24" and 14" x 20" Provenance: James/Schubert Gallery, Houston, Texas; Property from a Private Collection, Houston, Texas. Condition: In very good condition, presented in well appointed matching frames, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• NAVAJO WARBONNET STORM PATTEN
  NAVAJO WARBONNET STORM PATTEN HAND WOVEN RUGFeatured in this lot is this Navajo Warbonnet storm pattern hand woven rug circa 1960's. The rug features a wonderfully and professionally crafted wool construction. The rug shows storm pattern to the design with coloration of black, red, and off white in a eye dazzler decoration and shows all four tassels. The rug is complete with an original Warbonnet display tag that reads as follows: Warbonnet - Authentic Navajo Hand Woven Rug - Weaver: Gueagne Yazzie - Style: Storm Pattern - Size 24" x 29 1/2" - Price: $670 NAT. The condition of this rug shows a tight weave with sharp lines and includes all four tassels with no obvious bleeding or signs of wear. The measurements of this rug is 29 1/2" x 24". The thread count is 209 threads per square inch.
• A NAVAJO STORM PATTERN VARIANT RUGA
  A NAVAJO STORM PATTERN VARIANT RUGA Navajo storm pattern variant rug, Early/Mid-20th century; Dine Woven in natural grey, dark brown, cream, and red wool in a storm pattern Dimensions: 78" H x 52.25" W
• JAMES FAIRMAN, AMERICAN
  JAMES FAIRMAN, AMERICAN (1826-1904), STORM KING ON THE HUDSON, 1867, OIL ON CANVAS, 12 1/4 X 14 1/4 INCHESJAMES FAIRMAN, American, (1826-1904) Storm King on the Hudson, 1867, oil on canvas signed with artist's monogram lower right, initialed, titled and dated on the reverse "18 JF 67 / Storm King / On the Hudson River", inscribed on the stretcher "Jas. Fairman / 212 5th Avenue / New York" oil on canvas Dimensions: 12 1/4 x 14 1/4 inches Provenance: Questroyal Fine Art, New York, New York; Godel and Co., New York, New York, 2001; Private Collection, Georgia Framed Dimensions: 18 x 20 x 3 1/2 inches Tags: seascape / coastal / marine, 19th century, Hudson River School, sailing, Luminist, Luminism, oil painting, listed artist Condition: in very good overall condition; a few very minor areas of restoration apparent under UV; unlined canvas We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
• Civil War Stereo Views
  Civil War Stereo Views "Photographic History - War for the Union", series published by E & H.T. Anthony & Co., New York, 1865, after Brady, 32 stereo views on yellow mounts, images include Union officers, living and deceased soldiers, battle sites, forts and other buildings, fortifications and earthworks, southern views in Virginia, South Carolina, Tennessee and Georgia, one view of General Grant and family signed verso by his son, Frederick Grant, all with paper labels verso describing scene, each approximately 3-1/4 x 6-3/4 in.; detailed listing: #1994: Aqueduct Bridge above Georgetown, on the Potomac. Government Vessels and Canal boats filled with Stores, escaping the Raiders, July 12, 1864.#2296: Slave Pen, Alexandria, Va.#2330: Hanover Junction, 20 miles from Richmond; a point of note in McClellan’s and Grant’s Campaigns.#2365: Fortifications near Yorktown, Va.#2428: Lieut. Gen. Grant and chief of staff, Gen. Rawlins, at his Head Quarters, at Cold Harbor, Va. Taken June 14th, 1864.#2432: Group of Generals: Hancock, Birney, Gibbon and Barlow, in the field, near Richmond, Va.#2549: Gen. Butlers’ Dutch Gap Canal. In the centre is a dam to keep out the water, and passage way for workmen; on the left is a railroad track for drawing out the dirt; in the foreground a mud scow.#2590: Gen. Grant’s favorite filed horse Cincinnati. Taken at City Point, Va.#2591: Jeff. Davis, one of Gen. Grant’s saddle horses. Taken at City Point, Va.#2610: Dutch Gap Canal and Group of Soldiers. Taken after the bank was blown out. On the extreme end a portion of the bank remains, which forms a profile, which the soldiers call Jeff. Davis.#2691: Gun boat Kansas. Officers in the foreground. James River, Va.#3094: Group of Relics in Charleston, SC, Arsenal, showing Rebel torpedoes, shot, shell, and breach of the 600 lb. Blakely Gun.#3103: Broad St., Charleston SC, looking East, with the ruins of the Roman Catholic Cathedral and St. Michael’s church in the distance.#3127: Fort Sumpter, east face, Charleston Harbor, SC showing the Palmetto Works erected to strengthen the fort.#3139: Interior of Fort Sumpter, Charleston Harbor, Sc, April 14th, 1865, pending the ceremony of raising the old Flag.#3175: A Dead Rebel Soldier, as he lay in the Treches of Fort Mahone, called by the Soldiers “Fort Damnation.” The View was taken the Morning after the storming of Petersburgh, Va., April 2d, 1865.#3177: C.S. Soldier killed by a shell in the Trenches of Fort Mahone, called by the Soldiers “Fort Damnation.” This View was taken the morning after the storming of Petersburgh, Va., April 2d, 1865.#3182: Rebel Soldiers killed in the Trenches of Fort Mahone, called by the Soldiers “Fort Damnation.” The view shows the construction of their Bomb Proofs and Covered passages, which branch off in every direction. Taken the morning after the storming of Petersburgh, Va., April 2d, 1865.#3183: This Picture is a good view of the Covered Ways inside the Rebel Fort Mahone, called by the Soldiers “Fort Damnation.” The Union Soldiers had to charge up and down these obstructions. In the foreground centre is a dead Rebel Soldier sticking out through the debris, and further on lies another Confederate Soldier. This View was taken the morning after the storming of Petersburgh, Va., April 2d, 1865.#3184: Rebel Soldier killed in the Trenches of Fort Mahone, called by the Soldiers “Fort Damnation.” This View was taken the morning after the storming of Petersburgh, Va., April 2d, 1865.#3192: Chevaux de fries, and breast works in the Union Fort Sedgwick, called by the Rebels “Fort Hell,” showing two wounded soldiers. This view was made the morning after the storming of Petersburgh, Va., April 2d, 1865.#3198: Rebel Prisoners on their way to the rear, captured by Gen. Sheriden at Five Forks April 3d 1865. This View was taken April 3d, after the storming of Petersburgh, Va.#3243: Ruins in the burnt district, from the Petersburgh railroad Depot, showing a portion of the Arsenal grounds, Richmond, Va.#3285: Park of Captured Guns at Rocketts, Richmond, Va.#3362: “Castle Thunder,” Cary St., the place where so many Union prisoners suffered. Richmond, Va.#3288: Residence of Gen. Robert E. Lee, Franklin St., Richmond, Va.#3365: Libby Prison, Richmond, Va.#3366: St. John’s Church, Church Hill, Richmond, Va. This church is the place where Patrick Henry made his immortal speech. #3376: Mansion occupied by Jeff. Davis, during the Rebellion, cor. Clay and Twelfth St. Richmond, Va.#3399: Lieut. Gen. Grant, Wife and Son at his Head Quarters, City Point, Va. (signed)#3624: Maj. Gen. W. T. Sherman and Horse. This View was taken in the Trenches before Atlanta, Ga.#3652: Lulu Falls, on top of Lookout Mountain, Tenn.
• ICONIC SIGNED ARTHUR ROTHSTEIN
  ICONIC SIGNED ARTHUR ROTHSTEIN PHOTO, DUST STORM (1936)...Arthur Rothstein (American, 1915-1985). "Dust Storm, Cimarron County, Oklahoma" gelatin silver print, 1936 printed 1981, edition 107/300. An iconic photograph by Arthur Rothstein that he shot for the Resettlement Administration, an American federal agency (later known as the Farm Security Administration or FSA) designed to address the harsh effects of the Depression Era. Arthur Rothstein was one of the most important photographers of this period. In this black and white, large-scale photograph Rothstein depicted a farmer and his two children struggling to combat the elements during a severe dust storm typical of The Dust Bowl which devastated the farmlands of the Great Plains throughout the 1930s, transforming verdant prairies into deserts and unleashing catastrophic dust storms that tested farmers' resolve. Size of image: 19" L x 18.875" W (48.3 cm x 47.9 cm) Size of sheet: 24" L x 20.125" W (61 cm x 51.1 cm) According to Phaidon Press' The Photography Book, "The farmer and his eldest son are pressing forward energetically into the wind, while the younger child - struggling to keep up - shields his eyes to protect them from the dust. The child's gesture is the key to this scene, for it makes sense of the abraded foreground and the bleak, dust-filled sky. Without that defensive gesture, the whole picture would amount to little more than a fragment of derelict countryside. Rothstein asks his audience not to stand back and analyze but to imagine in their bodies what it might actually feel like to live in such a pitiless landscape. The photographer himself suffered eye damage due to exposure to the dust of Oklahoma, an area badly affected by drought and dust storms. This picture, taken by Rothstein for the Resettlement Administration (an American government agency set up to cope with the impact of the Depression and later known as the Farm Security Administration), became an American icon and one of the great motifs of the 1930s." (The Photography Book, Phaidon Press) In Rothstein's words, "The farmer and his two little boys were walking past a shed on their property, and I took a photograph of them with the dust swirling all around….it showed an individual in relation to his environment." Interestingly, Rothstein later noted that this dust storm scene was actually a reenactment designed to present the harrowing conditions many farmers faced during the Dust Bowl. According to the Middlebury College Museum of Art, "A few years after taking the picture, the photographer described how he directed the man and his boys to act out what a storm would be like. He asked the boy on the right to put his arms over his eyes and the father and older son to lean forward as if walking into a powerful storm. The dilapidated shed behind them speaks to the poverty of the times, although in reality the family's barn and farmhouse were much sturdier structures. While the photograph captures the dire circumstances in which many farmers found themselves, it is the result of what Rothstein called 'direction in a picture story' rather than a document of an actual dust storm." This photograph was in the collection of pioneering patron of the arts, Ginny Williams. Sotheby's hosted a series of auctions featuring art and photography in the Ginny Williams Collection in June and July of 2020. Their press release began as follows, "Born in rural Virginia in 1927, Ginny moved to Denver, Colorado in the late 1950s with her husband, Carl Williams. An avid photographer herself, who studied with Austrian-American photojournalist and photographer Ernst Haas, her collecting journey began with classical figurative photography. Her passion and keen eye eventually prompted her to open her namesake gallery in Denver in the 1980s. While her passion for photography never waned, remaining a primary focus of both her gallery and private collection, her voracious curiosity quickly widened her curatorial focus. Over time, Ginny became increasingly courageous and experimental in her selections, venturing into Abstract Expressionism and Contemporary Art and following her artists themselves through gallery shows and museum exhibitions. As the years passed, Ginny became as much of a trailblazer as the artists she collected." Provenance: private Idledale, Colorado, USA collection; ex-Ginny Williams collection of Denver, Colorado All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #171277 Condition: Hand signed and numbered in pencil on lower right margin. "FALK LEEDS" embossed stamp on lower left margin. Crease marks here and there, most to margins and peripheries as shown.
• A NAVAJO STORM PATTERN VARIANT RUGA
  A NAVAJO STORM PATTERN VARIANT RUGA Navajo Storm Pattern variant rug, Late 20th century, Diné A finely woven narrow pictorial rug woven in black, red, grey, and cream wool in a Storm Pattern with waterbug and feather motifs Dimensions: 47" H x 23" W Provenance: Private Collection, Southern California
• A MEXICAN STORM PATTERN VARIANT
  A MEXICAN STORM PATTERN VARIANT TEXTILEA Mexican Storm Pattern variant textile, Mid-20th century Woven in dark brown, cream, grey, and ochre wool with a large central storm motif with interior feathers and stepped borders Dimensions: 102" H x 46.25" W
• GRANT WOOD "APPROACHING STORM"
  GRANT WOOD "APPROACHING STORM" LITHOGRAPHGrant Wood (American, 1891-1942). Lithograph on paper titled "Approaching Storm," 1940. Depicting farmers in the field as a looming storm approaches the group. Signed in pencil along the lower right. From the edition of 250; published by Associated American Artists, New York. Sight; height: 12 3/4 in x width: 9 1/2 in. Framed; height: 20 3/4 in x width: 17 in. 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 LARGE FRAMED NAVAJO TEEC NOS
  A LARGE FRAMED NAVAJO TEEC NOS POS STORM PATTERN RUGA large framed Navajo Teec Nos Pos storm pattern rug, Mid/late 20th century; Dine Woven in red, cream, black, and grey wool with a double storm pattern motif and additional pictographic elements throughout in an elaborate all-over design, professionally framed and mounted within a custom plexiglass frame Dimensions: 96" H x 61" W approximately
• NORMAN KENYON (MASSACHUSETTS,
  NORMAN KENYON (MASSACHUSETTS, 1901-2001), “‘STORM THREAT’ WATCH HILL ‘79”, WATERCOLOR, 13” X 17” SIGHT. FRAMED 20” X 24”.NORMAN KENYON, Massachusetts, 1901-2001, "‘Storm Threat' Watch Hill ‘79", depicting a lighthouse in a storm. Signed lower right "Norman Kenyon A.W.S." Dimensions: Watercolor, 13" x 17" sight. Framed 20" x 24".
• ENAMELED BRONZE 'BULL & BEAR,'
  ENAMELED BRONZE 'BULL & BEAR,' PRESENTED TO GENERAL POWELL 'IN DEEP GRATITUDE TO THE MEN AND WOMEN OF OPERATION DESERT STORM, 1991 HEIGHT: 8 3/4 IN. (22.23 CM.), WIDTH OF BASE: 9 1/4 IN. (23.50 CM.)ENAMELED BRONZE 'BULL & BEAR,' PRESENTED TO GENERAL POWELL 'IN DEEP GRATITUDE TO THE MEN AND WOMEN OF OPERATION DESERT STORM, 1991, the bull and bear sculpture being a copy of the original by Isidore Bonheur at the New York Stock Exchange, on a white plinth, all atop a wood base, the front side with metal plaque 'General Colin L. Powell/ Chairman, Joint Chiefs of Staff/ In deep gratitude to the men and women of/ Operation Desert Storm/ June 10, 1991', the underside with plaque describing the original sculpture at the New York Stock Exchange Dimensions: Height: 8 3/4 in. (22.23 cm.), Width of base: 9 1/4 in. (23.50 cm.) Provenance: Estate of General Colin L. Powell, to benefit America's Promise Alliance and the Colin Powell School at City College of New York.
• CAMERON TELLER, EVENING STORM /
  CAMERON TELLER, EVENING STORM / GRAND CANYONCameron Teller, (20th/21st Century) Evening Storm / Grand Canyon, platinum palladium print, edition 3 of 12 editioned lower left: 3/12 titled lower left: EVENING STORM / GRAND CANYON signed lower right: -CAMERON TELLER- platinum palladium print, edition 3 of 12 Dimensions: 9 x 9 in. (22.86 x 22.86 cm.), Frame: 19 1/4 x 15 1/4 x 1 in. (48.90 x 38.74 x 2.54 cm.) Provenance: The Artist Private Collection, New Mexico
• A NAVAJO STORM PATTERN VARIANT RUGA
  A NAVAJO STORM PATTERN VARIANT RUGA Navajo storm pattern variant rug, Early/mid-20th century; Dine Woven in brown, cream, red, and grey wool in a stylized storm pattern with central diamond and with whirling logs and arrow motifs Dimensions: 53" H x 41.5" W
• U.S. $1 CATTLE IN THE STORM STAMP
  U.S. $1 CATTLE IN THE STORM STAMP U.S. $1 Cattle in the Storm Stamp: mint $1 Trans-Mississippi "Cattle in the Storm" Scott #292, hinged, fine to very fine.
• CHARLES GREEN SHAW OIL ON BOARD,
  CHARLES GREEN SHAW OIL ON BOARD, "BEFORE THE STORM", CI...Charles Green Shaw Oil on Board, "Before The Storm", circa 1963, signed lower right Shaw, with original artist's jelly label on reverse, signed and dated, "Before The Storm By Charles Shaw 1963". 12 in. x 16 in. Overall 16.5 in. x 20.5 in. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• RUSSIAN HAND-PAINTED LACQUER BOXES,
  RUSSIAN HAND-PAINTED LACQUER BOXES, FOUR LANDSCAPE THEMED PIECES, INCLUDING: "STORM" BY NIKITIN, SIGNED LOWER RIGHT, DEPICTS STORM W...Russian hand-painted lacquer boxes, four landscape themed pieces, including: "Storm" by Nikitin, signed lower right, depicts storm with crashing waves and lightning striking a tree in half against mother-of-pearl inlaid sky, 5 3/4" l. x 3 3/4" w.; "Rooks are Returning", signed lower right, depicts winter village scene with many black birds in leafless trees, 5 1/4" l.; "Thaw" by Morozov V., signed lower right, depicts river running through thawing snow and trees, 4 1/2" l.; along with box depicting dirt road though golden fields and tall trees against dawning sky, signed lower right, 3 1/2" l.; all pieces with wear consistent with age and use.