A few examples of appraisal values for
CORNERSTONE

• 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.
• Antique c1880 Contained Crazy Pieced
  Antique c1880 Contained Crazy Pieced Stars Quilt measures 90x98". Comprised 16 blocks, 18.5x20.5", set straight, 4x4 with 3.5" sashing, cornerstones and border. Hand pieced and hand quilted with thin cotton batting and madder print reverse. Edge is finished with the back brought to the front and applied by hand. The six pointed stars in the center of each block consists of 6 diamonds which are pieced crazy patchwork style. The star sits in an hexagon shape within the block. In fair condition with some spots, storage line discoloration, wear in the border and 2 fabrics with wear. If you have any doubt, please ask questions! We will provide extra pictures, or can schedule an in person or video conference preview at your convenience. In house Flat Rate Shipping of $25 is a domestic shipping estimate for first quilt and includes insurance. We will gladly combine multiple lots for your convenience and economy. Each additional quilt or quilt top we can pack in the same box is $5 each. Please feel free to contact us with any questions.
• Vintage c1960 Floral Wreath Applique
  Vintage c1960 Floral Wreath Applique Kit Quilt I believe to be a wreath with Poppies, measures 78x96". The quilt is a whole cloth but arranged in block format. The block areas measure 20x20", set straight, 3x4 with 4" quilted sashing, cornerstones and border. Hand appliqued, hand embroidered and hand quilted. There is a thin cotton batting and white cotton reverse. The edge is finished with an olive green applied binding. Good condition with a few small spots. If you have any doubt, please ask questions! We will provide extra pictures, or can schedule an in person or video conference preview at your convenience. In house Flat Rate Shipping of $25 is a domestic shipping estimate for first quilt and includes insurance. We will gladly combine multiple lots for your convenience and economy. Each additional quilt or quilt top we can pack in the same box is $5 each. Please feel free to contact us with any questions.
• Early 20th C. Colored pencil drawing,
  Early 20th C. Colored pencil drawing, desert landscape, inscribed lower left “8/19/13 San Juan, Cornerstone” and lower right “Sudden Storm Coming”. With Leonard Lester label on reverse, Image 11” x 14” Overall 13.5” x 16.5” Condition: slight warping to paper, wrinkles lower right. CT Transfer Fee $10
• RUFINO TAMAYO MIXED MEDIA ON CANVAS
  RUFINO TAMAYO MIXED MEDIA ON CANVAS BOARDRufino Tamayo (New York/Mexico, 1899 - 1991) colorful mixed media abstract portrait on canvas board, signed to upper right "Tamayo 0-81". Unframed, measures 20" in height with width of 16". In overall good condition. Provenance: from the estate of a prominent Texas collector. Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man withFlower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
• RUFINO TAMAYO "ESTUDIO" GRAPHITE ON
  RUFINO TAMAYO "ESTUDIO" GRAPHITE ON PAPERRufino Tamayo (New York/Mexico, 1899 -1991) unframed portrait portrayal of two ladies, signed to lower right "R. Tamayo" & measuring 20" in height with width of 16". Comes complete with Certificate of Authenticity (see photographs), & is in overall good condition. All measurements are approximate. Provenance: from the estate of a prominent Texas collector. Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man with Flower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
• ALEXANDER SAMOKHVALOV (RUSSIAN 1894-1971)ALEXANDER
  ALEXANDER SAMOKHVALOV (RUSSIAN 1894-1971)ALEXANDER SAMOKHVALOV (RUSSIAN 1894-1971) On the Bus , 1970 oil on canvas 90 x 102 cm (35 1/2 x 40 1/8 in.) signed, dated and titled on verso EXPERTISE Accompanied by a certificate of expertise from E. Petrova, State Russian Museum, St. Petersburg, 2007 LITERATURE L. Zinger, Alexander Samokhvalov (Moscow: Sovetsky khudozhnik, 1982) (illustrated) LOT NOTES Alexander Samokhvalov, one of the foremost representatives of the Leningrad school of painting, began his artistic career in 1914 at the Higher Art School at the Imperial Academy of Arts, where he studied under Kuzma Petrov-Vodkin. Unlike many of his peers at the academy and the Mir iskusstva circle, such as Eugene Lanceray, Anna Ostroumova-Lebedeva, or Alexander Osmerkin, in the late 1920s Samokhvalov enthusiastically embraced the development of Socialist Realism for which he is remembered. As in his most recognizable work - Girl in a Football Shirt , awarded the gold medal at the International Art Fair in Paris (which also exhibited Pablo Picasso's Guernica ) - his paintings from the 1930s often showcase the first generation of Soviet women as the face of modernity and strength. At first glance, the present painting, made in the year before Samokhvalov's death, appears divergent from the youthful athletic heroism associated with his oeuvre. Here, instead, the painter balances an illustration of working-class Soviet society with an introspective group portrait. The tightly cropped scene, while taking place among supposed strangers, is both a highly intimate and dynamic one. The expressions of the passengers - like the faraway gaze of the blonde man facing the viewer, or of the woman occupying the center left of the painting, or the man beside her glancing upward (as if about to start a conversation) - are oblique yet lively. Each is perpetually at the brink of action: take the woman in the lower right, hands placed on the handle of the seat in front, perhaps ready to disembark, or the one in a striped headscarf, lips questioningly parted. The legible dramatic narrative and typology of early Soviet painting is adapted here to a microcosmic snapshot of daily life, punctuated by an etherial ambiance awarded by the rain-blurred windows. Awash in hazy mauves and umbers, the bus interior, at Samokhvalov's hands, transforms into a meditative landscape. Indeed, public transit, that cornerstone of modern life, has long served as an artist's ideal venue for the convergence of public and private, interior and exterior. From the Socialist Realist subway scenes of the 1930s to the photorealistic paintings of Semen Faibisovich, the Russian painting tradition has never been able to abandon the hidden poetic potential of the day-to-day traveler. CONDITION Observed in frame, the work is in overall good condition. Inspection under UV light shows scattered areas of retouching, the largest one being a vertical repair, possibly to a tear, along the upper left corner, approximately 30 cm (12 in.) long, and to the center of the beige coat. No more than 5% of the canvas is inpainted. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
• MONUMENTAL HARRY BERTOIA "SUNLIT STRAW"
  MONUMENTAL HARRY BERTOIA "SUNLIT STRAW" SCULPTUREHarry Bertoia (Italian/American, 1915-1978). Monumental 45 foot sculpture titled "Sunlit Straw," 1964-65, comprised of thousands of interlocking brass-coated steel rods in seven segments. Six segments average approximately seven feet in length with one smaller segment measuring approximately three feet in length. The six longer segments each have a lift hook along the top for installation. Designed and installed specifically for the Northwestern National Life Building, now known as Voya Financial 20 Washington. According to promotional materials developed for the building's opening, "Bertoia gave up all other work for a year to concentrate on the sculpture, which in appearance suggests the gold grain of harvest time." This referenced directly to John Pillsbury whose office on the top floor contained a second Bertoia sculpture. Harry Bertoia is known for his large-scale metal sculptures, which demonstrate his impressive blend of artistic vision and technical skill. Born in 1915 in San Lorenzo, Italy, Bertoia moved to the United States in 1930 to stay with his older brother in Detroit. He enrolled in Cass Technical High School, where he studied jewelry making, and was immediately taken with the technical and artistic aspects of the craft. Following his high school graduation, he enrolled in the Art School of the Detroit Society of Arts and Crafts. After one year of study there, he received a scholarship to the Cranbrook Academy of Art. At Cranbrook, he helped reopen the school's metal shop, and became friends with many influential designers of the day, including Ray and Charles Eames, Eero Saarinen, and Florence Knoll. These friendships helped Bertoia to break into a successful design career, creating furniture with the Eameses and Knolls for their successful companies. He began studying welding during this period, a skill that soon would become a cornerstone of his artistic practice. Following professional success as a designer, he turned to sculpture full-time. Putting the metalworking skills gained earlier in his career to good use, he created massive metal constructions, using welded pieces to create dazzling forests of abstract forms. These works soon gained recognition throughout the art world, and he received many commissions for museums and public buildings. The present work is a stunning example of Bertoia's public art. Visually imposing, the sculpture catches the light and draws the eye, welcoming the viewer into the building. Its subtle depiction of straw is a testament Bertoia's ability as a storyteller, referencing the history and residents of the building and city without losing its modern edge. Total; height: 14 ft x width: 45 ft x depth: 40 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.
• FOSSILIZED THREE TOED HORSE UPPER SKULL
  FOSSILIZED THREE TOED HORSE UPPER SKULL & TEETHNorth America, Western United States, South Dakota, Pennington, Brule Formation, Oligocene, ca. 33 to 30 million years ago. A fossilized upper skull from a prehistoric equine known as the three-toed horse, Mesohippus bairdi- the translation means "middle horse" due to its place on the timeline of horse evolution! These animals were petite in comparison to their modern relatives - this upper is easily picked up in one hand, but the shift towards equines of today is quite pronounced in the teeth- here the well-preserved premolars can be viewed from the side, their teeth squarer than predecessors to grind grasses and leaves, but they still retain some primitive triangularity from pulverizing fruits and berries. This fossil rests on a flat base, as a perfect display piece and cornerstone specimen of horse evolution and early development. Size: 9" L x 4" W x 3" H (22.9 cm x 10.2 cm x 7.6 cm) Provenance: private New Jersey, USA collection 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. #172125 Condition: Professionally prepared and areas of restoration: nasal bone process, front incisor teeth and bone, zygomatic arch, and frontal bone. Clear fixative coating to bones. Upper skull only with great preservation to premolars / molars.
• (3) CORNERSTONE GLASSWORKS HIPPOCAMP
  (3) CORNERSTONE GLASSWORKS HIPPOCAMP WINDOWS(lot of 3) Architectural carved and etched glass hippocamp windows, Cornerstone Glassworks, McKinney, Texas, late 20th c., comprising: (2) approx 81"h, 13.5"w, (1) approx 81"h, 21.75"w
• PRESIDENT ULYSSES S. GRANT MONUMENT
  PRESIDENT ULYSSES S. GRANT MONUMENT EPHEMERA19th/20th Century. Including an invite from the Mayor William Layfette Strong, of New York City, 1895-1897, for the formal transfer of Grant's Tomb To the Monument in Riverside Park, dated 27th, April 1897, various tickets from numerous organizations to the groundbreaking ceremony and the laying of the cornerstone for Grant’s Tomb, a menu for a reception to General Grant’s Warren Point Farm, December 11, 1880, an In Memorial, State of New York pamphlet for General Grant and what appear to be modern copies of a translation of a group of letters written by General Grant. (Cond: some documents mildly damaged)
• POLYCHROME SCRIMSHAW WHALE'S TOOTH DEPICTING
  POLYCHROME SCRIMSHAW WHALE'S TOOTH DEPICTING LADY LIBERTY CIRCA 1830S LENGTH 5.5". WITH WOODEN STAND. HEIGHT ON STAND APPROX. 7.75".POLYCHROME SCRIMSHAW WHALE'S TOOTH DEPICTING LADY LIBERTY, Circa 1830s, Liberty, wearing a festooned hat and elaborate gown, stands on a monument while holding a large American flag on pole in one hand and a rolled parchment marked "Liberty or Death[?]" in the other. The monument's cornerstone has a ship portrait. Dimensions: Length 5.5". With wooden stand. Height on stand approx. 7.75".
• (VIEW) CAPE COD - PROVINCETOWN - REAL
  (VIEW) CAPE COD - PROVINCETOWN - REAL PHOTO VIEWS: 48 POSTCARDS EARLY 20TH CENTURY(VIEW) CAPE COD - PROVINCETOWN - REAL PHOTO VIEWS: 48 POSTCARDS, Early 20th Century, Includes a few published by Shiff. Of note: launching the life boat, Long Point Light, six "Welcome Home Parade/Veteran's Day Parade" as identified in pencil on the backs, two parade floats (possibly the same one), parade to commemorate the laying of the cornerstone, street scenes, Red Inn interiors, Tree Tops, artists at work, Mayflower Heights view, dock and harbor scenes, houses and buildings, aerial views, dunes with vehicles and more.
• (VIEW) CAPE COD - PROVINCETOWN- MONUMENT
  (VIEW) CAPE COD - PROVINCETOWN- MONUMENT AND ROOSEVELT/TAFT: 98 POSTCARDS EARLY TO LATE-20TH CENTURY(VIEW) CAPE COD - PROVINCETOWN- MONUMENT AND ROOSEVELT/TAFT: 98 POSTCARDS, Early to Late-20th Century, Several real photo. Publishers include: The Advocate, Mayflower Sales, Dickerman, E.D. West, New Bedford News, American Art and more. Laying of cornerstone (18): six Commercial Street parade, two Roosevelt seated, one of Roosevelt en route in carriage, one three-fold, two of Ryder Street parade and six with Roosevelt presiding over ceremony. Three cards of the dedication in 1910 featuring President Taft.
• (VIEW) CAPE COD - PROVINCETOWN - MISCELLANEOUS:
  (VIEW) CAPE COD - PROVINCETOWN - MISCELLANEOUS: 150 POSTCARDS EARLY TO LATE 20TH CENTURY(VIEW) CAPE COD - PROVINCETOWN - MISCELLANEOUS: 150 POSTCARDS, Early to Late 20th Century, Early: "The 'Pilgrim' Nickerson's Auto Street Car", Dickerman of "A Message From", two cranberry picking, "The Bars", shell-form "souvenir" card, Dedication of Pilgrim Monument, Railroad Station, "Accommodation Wagon", "D.C. Stull...cutting up blackfrish...", Commercial Street with sailors, "Laying The Cornerstone", "Star Theatre and Wippich Jewlery" and more. Includes 30 unused "The American Scene" Provincetown series, ephemera and several photos of Paige Brothers Garage with transparency. Includes 43 chromes.
• CALIFORNIA WINE COLLECTION: 1 BOTTLE
  CALIFORNIA WINE COLLECTION: 1 BOTTLE A. RAFANELLICALIFORNIA WINE COLLECTION: 1 bottle A. Rafanelli Cabernet Sauvignon, 1989. 1 bottle Beaulieu Vineyard (BV) Georges de Latour Private Reserve CS, 1985. 1 bottle Beringer Knights Valley Alluvium Blanc, 1996. 12 bottles Bogle Zinfandel Reserve, 1999. 3 bottles Clos du Bois Merlot, 1999. 3 bottles Cornerstone Cellars Cabernet Sauvignon, 1992. 3 bottles Cosentino Crystal Valley Cellars Cabernet Sauvignon, 1985. 2 bottles De Loach Vineyards Russian River Valley Chardonnay MAGNUM, 1989. 1 bottle Dry Creek Vineyard Cabernet Sauvignon, 1985. 1 bottle Duckhorn Vineyards Merlot, 1990. 1 bottle Electric Reindeer White Zinfandel Reserve, NV. 2 bottles Estancia Estates Cabernet Sauvignon, 1990. 1 bottle Far Niente Winery Chardonnay, 1989. 1 bottle Fetzer Vineyards Valley Oaks Gewurztraminer, 2006. 6 bottles Guenoc Estate Petite Sirah, 1995. 1 bottle Guenoc Estate Petite Sirah, North Coast, 1991. 1 bottle Gustave Niebaum Collection Reference CS, 1985. 2 bottles Heitz Cellar Cabernet Sauvignon, 1985. 1 bottle Heitz Cellar Cabernet Sauvignon, 1988. 2 bottles Heitz Cellar Cabernet Sauvignon, 1991. 1 bottle Heitz Cellar Cabernet Sauvignon, 1990. 1 bottle Heitz Cellar 'Cellar Treasure Angelica' red blend, NV. 1 bottle Karly Wines 'Not So' Petite Sirah, 1988. 1 bottle Kendall-Jackson Buckeye Vineyard CS, 1995. 2 bottles Kenwood Vineyards Artist Series CS, 1991. 2 bottles Kenwood Vineyards Artist Series CS, 1990. 1 bottle Kenwood Vineyards Artist Series CS, 1992. 1 bottle Kenwood Vineyards Cabernet Sauvigon, 1986. 1 bottle Kenwood Vineyards Jack London CS, 1985. 1 bottle Kenwood Vineyards Jack London CS, 1987. 1 bottle Kenwood Vineyards Jack London CS, 1988. 1 bottle Kenwood Vineyards Jack London CS, 1979. 1 bottle Marines' Memorial Club Chardonnay, 2005. 1 bottle Marines Memorial Club Merlot, 2004. 6 bottles Mario Trinchero Founder's Estate CS, 1996. 2 bottles Montevina Terra d'Oro Zinfandel, 1993. 10 bottles Montevina Terra d'Oro Zinfandel, 1995. 1 bottle Montevina Terra d'Oro Zinfandel, 1996. 1 bottle Mount Eden Vineyards Santa Cruz Mountains CS, 1993. 1 bottle Optima Cabernet Sauvignon, 1985. 1 bottle Optima Cabernet Sauvignon, 1989. 2 bottles Optima Cabernet Sauvignon, 1992. 1 bottle Pahlmeyer Chardonnay, 1993. 12 bottles Quail Ridge Cabernet Sauvignon, 1997. 4 bottles Renwood 'Jack Rabbit Flat' Fox Creek Vineyard Zinfandel, 1996. 2 bottles Renwood Old Vine Zinfandel, 1996. 3 bottles Rusissow-Sargent Les Trompettes red blend, 1991. 3 bottles Sausal Winery Century Vines Zinfandel, 1993. 3 bottles Sausal Winery Private Reserve Zinfandel, 1994. 1 bottle Sebastiani Vineyards Cabernet Sauvignon Reserve, 1985. 10 bottles Sebastiani Vineyards Sonoma Cask Cabernet Sauvignon, 1997. 2 bottles Spring Mountain Vineyard Miravalle - Alba - Chevalier, 1993. 3 bottles St. Supery Cabernet Sauvignon, 1994. 1 bottle St. Supery Merlot, 1994. 1 bottle Straus Vineyards Merlot MAGNUM, 1987. 1 bottle William Hill Winery Cabernet Sauvignon Reserve, 1997. 1 bottle Windsor Vineyards North Coast Petite Sirah, 1994.
• TIFFANY & CO. COMMEMORATIVE PLATE AND
  TIFFANY & CO. COMMEMORATIVE PLATE AND A SMALL RORSTRAND BOWLTIFFANY & CO. COMMEMORATIVE PLATE AND A SMALL RORSTRAND BOWL, the Tiffany & Co. dish marked to reverse with an image of the Capitol Dome, 'Commemorating the 200th anniversary of the laying of the cornerstone of the United States Capitol", and Tiffany & Co. and dated 1993, the decoration centered by a yellow and gold painted variant of The Great Seal and enclosed within a wide green border with alternating stars and Shields and the rims painted with a narrow navy blue band with spaced stars on the rims, in Tiffany & Co. blue card box, dia: 8.25 in.; together with a modern Rorstrand bowl, the interior with three star Rorstrand symbol and the exterior decorated with two rows of crowns, gilt rims, dia: 5.5 in. (2)
• RARE 1825 BROADSIDE PRINTED DIRECTLY
  RARE 1825 BROADSIDE PRINTED DIRECTLY FROM THE ENGRAVED SILVER PLAQUE ON THE BUNKER HILL MONUMENT CORNERSTONE From the Masonic laying of the cornerstone in the presence of the Marquis de Lafayette, who was a Mason, and Daniel Webster, who was the President of the Association. In reverse text, as it would be printed from the plaque, laid to board long ago, 12 1/2" x 8 1/2" sheet of laid paper, foxed, heaviest at edges, edge loss, text fully intact.
• MATTHEW GAULT EMERY 1871 PROMISSORY
  MATTHEW GAULT EMERY 1871 PROMISSORY NOTEA 19th C. handwritten promissory note by the last popularly elected mayor of Washington, D.C. Emery was a well known builder and architect who remodeled many of the buildings in the nation's capitol, including the White House under President Pierce. He prepared, cut, squared, and laid the cornerstone for the Washington Monument and also served as a Marshal at the Inauguration of President Lincoln in 1861. At the beginning of the Civil War he served in the D.C. Militia and defended the city.When he was elected, in 1870, as the last mayor of the nation's capitol he inherited a city in serious debt. With no money left in the treasury suits were frequently filed and even the Mayor's office furniture had been levied against debts. This Promissory Note is a rare look into the actions taken to deal with this indebtedness. The upper edge has been torn and the name is illegible, but the note is for "fifty dollars in full of the above bill". Dated May 29 1871 and signed by the Mayor. Overall 8" L x 2-3/8" H. Pencil in the lower right corner. See images for further details. shipping info This item can be shipped in-house.
• EDGAR LOUIS YAEGER, MICHIGAN / FRANCE
  EDGAR LOUIS YAEGER, MICHIGAN / FRANCE (1904 - 1997), UNTITLED ABSTRACT, 1937, OIL ON CANVAS, 20 1/2"H X 27 1/2"W (SIGHT), 25"H X 32"W (FRAME)Edgar Louis Yaeger, Michigan / France, (1904 - 1997) untitled abstract, 1937, oil on canvas signed lower right. Biography from the Archives of askART: Biography from Papillon Gallery Edgar Louis Yaeger was born in 1904 in Detroit, Michigan, the son of a shoe store owner and the fourth generation of his family to live in the area. Yaeger's family was hesitantly supportive of his artistic pursuits. In the early years of his life, Yaeger learned a succession of skills from his beloved grandfather, who taught him to draw, to carve figures from blocks of soap and to paint using discarded paints found in an alley, thus laying the foundation for capabilities Yaeger would use throughout his life. By his own account, Yaeger showed little interest for any vocation apart from art; while his father was disappointed that his son wouldn't follow him into the family shoe business, he lent his grudging support to Yaeger's artistic pursuits, saying that so long as he was able to earn a living he was free to continue. ?Yaeger's talent began to emerge in earnest during his high school years as he started winning prizes for his drawings and paintings. Scholarships enabled him to pursue his formal artistic training at the University of Detroit, the John P. Wicker School of Fine Arts, and Robert Herzberg's Detroit School of Fine and Applied Arts. Both to economize and to support himself, Yaeger ground paints for his own use and for sale to fellow students. Concurrently, his work began to attract the attention of a broader audience of influential art patrons. Early recognition arrived in the form of acceptance into the Carnegie International Exhibition in 1930 – a show juried by Henri Matisse. In 1932, Yaeger won two prizes which would provide a significant boost to his budding career: The Detroit Institute of Arts' Founders' Society Purchase Prize and the Detroit News'Anna Scripps Whitcomb Traveling Scholarship. Apart from the increased public profile and prestige afforded by the awards, the $500 Scripps cash award enabled Yaeger to pursue his art education overseas. Yaeger departed for Paris, then still the center of European artistic activity and the home to legions of American expatriates, where he studed at the Academe Andre L'hote and the Ecole Scandinav, where he received instruction from L'hote, Marcel Gromaire and Orthon Friesz. Yaeger embraced the opportunities for education and inspiration afforded him by life in Paris, relishing the chance to meet other artists, peruse cutting-edge Paris galleries, and to paint in the French countryside as well as the advanced education provided by his European instructors. Forced by economics to return home midway through his European tenure, Yaeger was awarded an additional $500 by the Whitcombs in recognition of his talent and thrift, enabling him to return to France, Yaeger purchased a $10 bicycle upon which he traveled across the continent, drawing, sketching and painting directly from life in a panoply of European settings. ?A confluence of factors including escalating tensions in prewar Europe and the American economic depression led Yaeger to return to the United States in 1935. Yeager settled once again in Detroit, taking up residence in his family home where he would remain for the rest of his life. Shortly after his return, Yaeger began to work on a succession of murals commissioned by Franklin Roosevelt's Works Progress Administration and its landmark Federal Arts Project. While not enamored of the officially-sanctioned Social Realist style favored by program administrators, Yaeger nonetheless joined the ranks of American artistic luminaries commissioned by the FAP to create murals, paintings, and sculptures for WPA sites in Detroit and Ann Arbor. Yaeger's FAP commissioned works included murals for Detroit Receiving Hospital's Children's Ward, the Ford Grammar School in Highland Park, and Western Market (all now destroyed). A commission for the Detroit Public Lighting Commission, a landmark mural celebrating the historical development of electric light, was partially saved from oblivion prior to the building's 1977 demolition and is now visible at Michigan State University's Kresge Art Museum. Surviving Yaeger WPA murals exist at the Brodhead Naval Armory (now closed), Grosse Pointe South High School in Grosse Pointe, and the University of Michigan's West Quad Dormitory. ?Yaeger was somewhat dismissive of his WPA-era projects; his reluctance to embrace social realism and his resistance to the influence of program administrators and site managers led him to leave many of these works unsigned. Ironically, they become a cornerstone of his artistic reputation, and likely to his regret, a prism through which the remainder of his life's work would be perceived by critics and the public. He became pigeonholed in the eyes of some as a "WPA" artist, and with Social Realism's fall from stylistic favor he received a corresponding lessening of attention and appreciation. ?Nonetheless, Yaeger continued to work at a frenetic pace, completing private commissions including mosaics for churches and murals for private clients as well as an endless succession of paintings and drawings. Prizes, gallery exhibitions, and purchases continued to accrue, albeit at a lessened frequency, through the 1960s—even during the Abstract Expressionist, Pop, and Op-Art eras. With the ascendence of conceptualism in the late 1960s-early 1970s and its attendendant dismissal of both painting and representationalism in favor of pure abstraction, Yaeger began to recede into obscurity. ?The mid-1980s, however, witnessed something of an Edgar Yaeger renaissance. As conceptualism fell from style and interest in painting returned —thanks in large measure to American Neo-Expressionists such as Julian Schnabel and Jean-Michel Basquiat and Europeans such as Gerhard Richter and Sigmar Polke— stylistic devices favored by Yaeger came once again into vogue. Simultaneously, a Detroit-based group of Yaeger fans led by Yaeger's friend and agent John Joseph Jr. began evangelizing the artist's work on his behalf, a practice never undertaken in earnest by the modest Yaeger. A flurry of press attention and new public commissions followed, including an outdoor mosaic on the facade of Detroit's Scarab Club. For the majority of his remaining years, Yaeger's work continued to receive steady if low-key attention within Detroit and regional artistic and press circles. Yaeger's artistic reputation was also bolstered by growing appreciation for his craftsmanship. His patience and dedication to craft are evidenced by the meticulously created handmade frames he made for many of his paintings. Yeager's method involved assembling dozens of individually cut, sized, and carved pieces of wood into a single frame, carefully combing, filing and finishing the frame until it perfecty suited the picture it housed. Yaeger refused to use power tools for any of these creations, insisting upon a deliberate, careful process of gradual refinement. His exacting standards often resulted in more time being taken in the creation of a frame than in painting the picture itself. ?Yaeger's friends and business associates usually could count on a special annual treat: The arrival of one of his original Christmas cards. Yaeger's colorful hand-tinted cards were produced through the laborious linocut process; after making his initial sketches, Yaeger would hand-carve his design in reverse onto a piece of linoleum, which he would then ink and press into the individual sheets of paper. Once the ink dried, Yaeger would patiently hand-color each one. Edgar Yaeger died in 1997 at the age of 93, leaving behind thousands of completed paintings and drawings, a smaller number of reliefs and mosaics, and his legendary murals. Art historians and curators continue to wrestle with Yaeger's placement in the modernist pantheon, seemingly disinclined to rewrite an official 20th century art narrative which largely excluded him, but institutional support – notably from East Lansing's Kresge Museum – continues to reaffirm Yaeger's rightful status as an unheralded modernist master. Such a stature may have been something this introspective master craftsman never expected or pursued, but it is a position he richly deserves. oil on canvas Dimensions: 20 1/2"H x 27 1/2"W (sight), 25"H x 32"W (frame)
• ART NOUVEAU OWL BRONZE MOUNTED ART GLASS
  ART NOUVEAU OWL BRONZE MOUNTED ART GLASS VASE Austria,Early 20th CenturyTapered square iridescent vase mounted with a patinated and reticulated grape leaf and vine bronze rim with figural owl head cornerstones and laurel wreath ring handles.
• MELISSA'S EASTSIDE DELICornerstone series
  MELISSA'S EASTSIDE DELICornerstone series of Melissa's Eastside Deli with big hanging sign for the front which you can customize with colorful stickers 0/027 gauge 8''H X 9.7/8''L X 5.3/4''W. Private collection Oxford MI.
• Fine Group of Abraham Lincoln CDVs &
  Fine Group of Abraham Lincoln CDVs & Cabinet Photographs Plus Lot of 13 including: CDV of President Lincoln reading to Tad anonymous publisher; CDV of a similar scene stamped Lincoln and Family with childlike signatures Emma Brown and William on verso and the stamp of a notary public attesting that the signatures are from Lincoln's (illegible); CDV of George Washington with embossed patriotic border anonymous; CDV of an engraving of General Phil Sheridan anonymous; silver gelatin cabinet card of a painting of Lincoln meeting with General McClellan by Handy of Washington DC; CDV of the Currier & Ives print The Old Bull Dog On The Right Track; cabinet card of Lincoln's horse a copy published by Our Gallery of Springfield; 4.25" x 5.25" mounted photograph of the Lincoln Tomb at Springfield; a 1905 copy photograph of a seated Lincoln; a photograph of a print titled Mr. Lincoln On Horse At His Old Residence; CDV of eccentric financier James Fisk Jr. wearing the "colonel's" uniform of the 9th New York National Guard Infantry Regiment; Address Delivered by Uriel Wright Esq. on Occasion of Laying the Corner Stone of the Theatre of the St. Louis Dramatic Varieties Association August 18 1851; and Chicago Historical Society Program. Saturday November 12th at 3 P.M. for the laying of the cornerstone of the their new building.NOTE: The Lincoln and Family CDV Lincoln's horse cabinet card and St. Louis theatre dedication booklet
• JULIAN LAVERDIERE (AMERICAN b. 1971):
  JULIAN LAVERDIERE (AMERICAN b. 1971): ''LOST CORNERSTONE STUDY'' Graphite on vellum signed lower right. Label from Lehman Maupin New York. 23 1/2 x 17 1/2 in. (sight sheet) 31 1/2 x 25 1/8 x 2 in. (frame).
• Two William T. Sherman letters: nine-line
  Two William T. Sherman letters: nine-line autograph letter, lined stationery "Headquarters Army of the United States/Washington, D.C." (printed), June 25, 1878, regarding a speech he had given in New York, 8 x 5 in., edges darkened ; eight secretarily written lines to S. V. White, Union League Club, New York, October 2, 1889, turning down an invitation to attend the laying of a cornerstone, 8 x 5-1/4 in., each signed "W.T. Sherman" (William Tecumseh Sherman, 1820-1891, Union Civil War general); with clipped inscription on blue paper, "Saint Louis Mo./May 8, 1861/W.T. Sherman", 3-3/8 x 9-3/4 in., all with folds, toning, minor soiling ; cabinet card of Sherman standing in uniform, 6-1/2 x 4-1/4 in., minor corner loss, toning ; black and white lithograph of Sherman, 7 x 5-1/2 in., pencil marks, stains . (Five items.) Collection of H. Donald Nelson, Williamsburg, Virginia.
• Newcomb College Pottery Matte-Glazed
  Newcomb College Pottery Matte-Glazed Vase, decorated by Sadie Irvine with a scenic design of a moon and moss-laden oak trees, bearing the NC cypher and the date mark AA for 1903, h. 5-3/8". Provenance: Amanda Pipes Davis, New Orleans, Louisiana. Sadie Agnes Estelle Irvine (1887-1970) worked as a Newcomb craftsman longer than any other woman. She was a virtual cornerstone of the program, serving as an Art Craftsman from 1908-1929. During her tenure she served in the capacity of pottery decorator, assistant, assistant instructor and instructor. Sadie Irvine retired in 1952.