A few examples of appraisal values for
JAMES WHITCOMB RILEY

• JAMES WHITCOMB RILEY, HANDWRITTEN AND
  JAMES WHITCOMB RILEY, HANDWRITTEN AND SIGNED POEM James Whitcomb Riley (1849-1916). There! Little Girl; Don't Cry! Poem written in his hand with a signature at the bottom. AMsS, 1p, Elegantly penned verse in seven lines. Comes with a certificate of authenticity from Signature House.
• CHARLES SCRIBNER II, PERSONALLY SIGNED
  CHARLES SCRIBNER II, PERSONALLY SIGNED LETTER A personally signed letter to Mary Riley Payne (1864-1936) by Charles Scribner (1854-1930). Mary is author James Whitcomb Riley?s sister. The letter?s contents entails Scribner and Sons attempting to obtain the rights to print a manuscript by James Whitcomb Riley. ALD in purple ink and signed by Charles Scribner II. 2pp. An interesting signed document from a giant in the publishing world.
• JAMES WHITCOMB RILEY, INTERESTING DOCUMENT
  JAMES WHITCOMB RILEY, INTERESTING DOCUMENT GROUP A substantial offering of letters and paperwork regarding the estate of James Whitcomb Riley. Riley's poems were the inspiration for Raggedy Ann dolls and Little Orphan Annie dolls. Contains letters and documents by his niece discussing the publishing of his poems as well as original contracts related to the Raggedy Ann doll. Includes a signed Madame Alexander document granting permission to make dolls for the estate and receive royalties from them. In addition to this is over 100 pages of documents and correspondence relating to Riley, many are legal inquiries as to royalties. Most was under the direction of Riley's niece, Miss Lesley Payne.
• 2VOL JAMES WHITCOMB RILEY SIGNED BOOKS
  2VOL JAMES WHITCOMB RILEY SIGNED BOOKS Two books by James Whitcomb Riley: Flying Islands of the Night by James Whitcomb Riley. Published 1892 by Bowen-Merrill Company. 8vo. 88pp. Quarter bound in tan calf with marbled boards. Book is inscribed and signed by James Whitcomb Riley and dated 1891. An Old Sweetheart of Mine by James Whitcomb Riley and Illustrated by Howard Chandler Christy. Published 1902 by The Bowen-Merrill Company. Book is bound in dark red with an illustrated front board and gilt titling. 4to. Signed by illustrator Howard Chandler Christy on the title page with a date.
• LOT OF 12 ANTIQUE BOOKS; LEW WALLACE
  LOT OF 12 ANTIQUE BOOKS; LEW WALLACE AUTOBIOGRAPHY, JAMES WHITCOMB RILEY, 19TH CENTURY NOVELS. 8 1/2"H X 5 1/2"W X 1 1/4"D (LARGEST)Lot of 12 antique books; Lew Wallace Autobiography, James Whitcomb Riley, 19th Century novels., Dimensions: 8 1/2"H x 5 1/2"W x 1 1/4"D (largest)
• 2 SETS LEATHER BOOKS: FIELD & RILEY2
  2 SETS LEATHER BOOKS: FIELD & RILEY2 sets leather bound books: 16 volumes James Whitcomb Riley Works by Scribner's Sons 1910 after Riley 1898, about 6 loose bindings; plus 12 volumes Works of Eugene Field by Scribner's NY 1911 after Field 1892 - about 5 loose bindings.
• (26) LIBRARY SHELF BOOKS DICKENS, WHITCOMB
  (26) LIBRARY SHELF BOOKS DICKENS, WHITCOMB RILEY(lot of 26) Library shelf books, including: (10 volumes) "Complete Works of James Whitcomb Riley," memorial edition, published by Harper & Brothers, last copyright date 1916, approx 8.5"h, 5.75"w, (16 volumes) Works of Charles Dickens, published by Odham Press Limited, printed by The Greycaine Book Manufacturing Company Limited, approx 7"h, 5"w; 31lbs total **Provenance: from an important Horseshoe Bay, Texas estate**
• LEATHER BOUND WORKS OF INDIANA POET
  LEATHER BOUND WORKS OF INDIANA POET JAMES WHITCOMB RILEY (New York: Charles Scribner's Sons, 1900), 12 volumes, small octavo (8 in.), three-quarter leather over printed boards with matching endpapers, gilt to spine having raised bands.
• MYRA REYNOLDS RICHARDS, AMERICAN (1882-1934),
  MYRA REYNOLDS RICHARDS, AMERICAN (1882-1934), JAMES WHITCOMB RILEY, PLASTER BUST MAQUETTE WITH BRONZE WASH, 6 3/4"H X 4 1/4"W X 4 1/4"DMyra Reynolds Richards, American, (1882-1934) James Whitcomb Riley, plaster bust maquette with bronze wash inscribed signature, 1916 copyright on back near base. plaster bust maquette with bronze wash Dimensions: 6 3/4"H x 4 1/4"W x 4 1/4"D
• WAYMAN ADAMS, AMERICAN (1883-1959),
  WAYMAN ADAMS, AMERICAN (1883-1959), JAMES WHITCOMB RILEY, 1916, PLASTER BUST MAQUETTE, 7 1/4"H X 6"W X 4"DWayman Adams, American, (1883-1959) James Whitcomb Riley, 1916, plaster bust maquette signed and dated. Biography from The Heritage Society Born in the small town of Muncie, Indiana, Wayman (by age 14) was known throughout his home state as a "boy wonder" because of his painting abilities. His father, a stock raiser by profession, was also an artist. While Wayman's creative interests were supported by his parents, he had no choice but to pay his own way through art school. The young Adams worked at a dairy daily from 6pm to 6am., managing to arrive at art class by 9am. Eventually, Wayman was able to quit his night job and make a living as a portrait painter. He went on to study in New York, Italy, Spain, and Philadelphia. In 1918 he married Margaret Boroughs of Austin, Texas, a fellow pupil whom he had met in Italy. By this time he had won many awards. In 1919 he was asked by the French government to exhibit at the Luxemburg Museum in Paris. Adams made Austin his home around 1920 and began painting several Austinites and other celebrities. Later that decade he won a Gold Medal from the Pennsylvania Academy of Fine Arts for watercolor. In 1933 he and his wife opened an art school in Elizabethtown, NY. They continued to live in Austin, spending their summers up North. The couple retired from teaching in 1945. In a late 1950's newpaper article, the accomplished artist reflects on his early struggles in the profession: "I haven't had a hard time of it, at all," he states matter-of-factly. plaster bust maquette Dimensions: 7 1/4"H x 6"W x 4"D
• GLENN COOPER HENSHAW, AMERICAN / INDIANA
  GLENN COOPER HENSHAW, AMERICAN / INDIANA / NEW YORK / MARYLAND (1880-1946), THE TOMBOY, PORTRAIT OF A YOUNG GIRL, OIL ON CANVAS, 27 1/2"H X 21 1/2"W (SIGHT), 32 1/4"H X 26 1/4"W (FRAME)Glenn Cooper Henshaw, American / Indiana / New York / Maryland, (1880-1946) The Tomboy, portrait of a young girl, oil on canvas unsigned. Biography from the Archives of askART: Henshaw, born in Windfall, Indiana on 8 August 1880 (reportedly as Hinshaw), was a descendant of Francis Scott Key. At the John Herron School of Art in Indianapolis he studied under Otto Stark, J. Ottis Adams and William Forsyth. After a year in Germany with Carl von Marr, Henshaw went to Paris. Although he enrolled in the Académie Julian and the Ecole des Beaux-Arts, Henshaw was attracted to impressionism. In London, he was commissioned to execute portraits and illustrations. Back in America, he established studios in New York and Indianapolis and in 1912 he painted a portrait of James Whitcomb Riley. Henshaw received praise from the art critic Joseph Lewis French in 1914, who admired how the artist strictly followed his own vision. Apparently, the name Henshaw was associated with good taste, for French declared, "To own a 'Henshaw,' even one of the smaller examples, was something that those in the know in New York had long coveted" (French, 1914). In addition, Henshaw was praised in International Studio (Harrington, 1917). He exhibited his works at the Corcoran Gallery, the Brooklyn Museum, and elsewhere. Around 1930, Henshaw moved to Baltimore where he developed an affinity for Edgar Allan Poe: "his paintings tended toward the fantastic as he experimented with hidden images and double faces" (Letsinger-Miller, 1994, p. 172). In 1941, Henshaw, now out of favor with critics who had been swayed by modernism, returned to his Indiana roots, moving to Nashville. Local critics supported his art, which, for them, represented a defense of beauty against the overall threat of the avant-garde. Upon his death, it was decided to make his gallery in the Odd Fellows Building in Nashville into a memorial. Today, the Brown County Art Gallery has a Henshaw Room, dedicated to the preservation of his works that survived a fire in his old studio in 1966. Although Henshaw was by no means an impressionist in the strict sense of the term, his art does show an absence of contours, exuberantly free brushwork, and a love of spontaneous lighting effects, which owe a lot to Monet's original aesthetic. The artist died in Baltimore, on 5 April 1946. Sources: French, Joseph Lewis. Glen Cooper Henshaw, an Appreciation: Painter of New York Nocturnes. New York: 1914; Harrington, Mary. "Glen Cooper Henshaw." International Studio 62 (October 1917): 97-101; Letsinger-Miller, Lyn. The Artists of Brown County. Bloomington, IN: Indiana University Press, 1994. Submitted by Michael Preston Worley, Ph.D. oil on canvas Dimensions: 27 1/2"H x 21 1/2"W (sight), 32 1/4"H x 26 1/4"W (frame)
• GLENN COOPER HENSHAW, AMERICAN / INDIANA
  GLENN COOPER HENSHAW, AMERICAN / INDIANA / NEW YORK / MARYLAND (1880-1946), PORTRAIT SKETCH OF A MAN IN HAT READING A BOOK, 1909, GRAPHITE ON PAPER, 11 3/4"H X 8"W (SIGHT), 17 1/4"H X 13 1/4"W (FRAME)Glenn Cooper Henshaw, American / Indiana / New York / Maryland, (1880-1946) portrait sketch of a man in hat reading a book, 1909, graphite on paper signed and dated lower right. Biography from the Archives of askART: Henshaw, born in Windfall, Indiana on 8 August 1880 (reportedly as Hinshaw), was a descendant of Francis Scott Key. At the John Herron School of Art in Indianapolis he studied under Otto Stark, J. Ottis Adams and William Forsyth. After a year in Germany with Carl von Marr, Henshaw went to Paris. Although he enrolled in the Académie Julian and the Ecole des Beaux-Arts, Henshaw was attracted to impressionism. In London, he was commissioned to execute portraits and illustrations. Back in America, he established studios in New York and Indianapolis and in 1912 he painted a portrait of James Whitcomb Riley. Henshaw received praise from the art critic Joseph Lewis French in 1914, who admired how the artist strictly followed his own vision. Apparently, the name Henshaw was associated with good taste, for French declared, "To own a 'Henshaw,' even one of the smaller examples, was something that those in the know in New York had long coveted" (French, 1914). In addition, Henshaw was praised in International Studio (Harrington, 1917). He exhibited his works at the Corcoran Gallery, the Brooklyn Museum, and elsewhere. Around 1930, Henshaw moved to Baltimore where he developed an affinity for Edgar Allan Poe: "his paintings tended toward the fantastic as he experimented with hidden images and double faces" (Letsinger-Miller, 1994, p. 172). In 1941, Henshaw, now out of favor with critics who had been swayed by modernism, returned to his Indiana roots, moving to Nashville. Local critics supported his art, which, for them, represented a defense of beauty against the overall threat of the avant-garde. Upon his death, it was decided to make his gallery in the Odd Fellows Building in Nashville into a memorial. Today, the Brown County Art Gallery has a Henshaw Room, dedicated to the preservation of his works that survived a fire in his old studio in 1966. Although Henshaw was by no means an impressionist in the strict sense of the term, his art does show an absence of contours, exuberantly free brushwork, and a love of spontaneous lighting effects, which owe a lot to Monet's original aesthetic. The artist died in Baltimore, on 5 April 1946. graphite on paper Dimensions: 11 3/4"H x 8"W (sight), 17 1/4"H x 13 1/4"W (frame)
• LOT OF 9 ANTIQUE BOOKS: INCLUDING JAMES
  LOT OF 9 ANTIQUE BOOKS: INCLUDING JAMES WHITCOMB RILEY, THOMAS NAST. 7 1/2"H X 5"W X 7/8"D (PIPES O'PAN AT ZEKESBURY)Lot of 9 antique books: including James Whitcomb Riley, Thomas Nast., French Revolution, Thomas Carlyle, Hurst & Company, NY. Pipes O'Pan at Zekesbury, James Whitcomb Riley, Bowen Merrill Co., Indianapolis, 1892. John Charles Fremont, The Ninth Medal issued by the Circle of Friends of the Medallion, Manhattan, 1913. Sketches of Creation, Alexander Winchell, Harper & Brothers, NY, 1870. Common Contagious Diseases, Philip Moen Stimson, Lea & Febiger, Philadelphia, 1931. Looking Backward 2000-1887, Edward Bellamy, Houghton, Mifflin, and Company, Boston and NY, 1890. The Book of Life: The Nature and Destiny of Man, Sivartha, Health and Home, Chicago, 1887. Farmer Kilroy on "Ivilooshin", Kilroy Banks (Dr. Sanderson Christison), signed copy, W.T. Keener & Co., Chicago, 1903. The Fight of Dame Europa's School, Thomas Nast, Francis B. Felt & Co., NY, 1871. Dimensions: 7 1/2"h x 5"W x 7/8"D ( Pipes O'Pan at Zekesbury)
• BOOKS: RILEY, JAMES WHITCOMB, THE POEMS
  BOOKS: RILEY, JAMES WHITCOMB, THE POEMS AND PROSE SKETCHES OF JAMES WHITCOMB RILEY, N. Y. 1897 – 1917. THE HOMESTEAD EDITION, SIXTEEN VOLUMES, ½ GREEN LEATHER, SPINES FADED TO BROWN, VOLUMES ELEVEN – SIXTEEN ISSUED IN...BOOKS: Riley, James Whitcomb, The Poems and Prose Sketches of James Whitcomb Riley, N. Y. 1897 – 1917. The Homestead Edition, sixteen volumes, ½ green leather, spines faded to brown, volumes eleven – sixteen issued in 1917 are faded to a lighter shade of brown than volumes one – ten, otherwise the set is in very good condition.
• EIGHT CLASSIC LITERATURE BOOKS: FELIX
  EIGHT CLASSIC LITERATURE BOOKS: FELIX SALTEN'S BAMBI A LIFE IN THE WOODS, JAMES WHITCOMB RILEY'S ARMAZINDY,TWAIN'S A CONNECTICUT YANKEE IN KING ARTHUR'S COURT, KIPLING'S UNDER THE DEODARS, STEVENSON'S VIRGINIBUS PUERISQUEight classic literature books: Felix Salten's Bambi A Life In The Woods, James Whitcomb Riley's Armazindy,Twain's A Connecticut Yankee in King Arthur's Court, Kipling's Under the Deodars, Stevenson's Virginibus Puerisque, Tarkington's Monsieur Beaucaire, Blatchley's Woodland Idyls. Wear and loss as shown. Full Descriptions: ARMAZINDY by James Whitcomb Riley, Indianapolis, The Bowen-Merrill Co., 1894. BAMBI A LIFE IN THE WOODS by Felix Salten Foreword by John Galsworthy, Simon and Schuster New York, 1928. A CONNECTICUT YANKEE IN KING ARTHUR'S COURT by Mark Twain (Samuel L. Clemens), Harper & Brothers Publishers, New York and London, The Writings of Mark Twain, Limp Leather, 1899 UNDER THE DEODARS, Rudyard Kipling, Copyright, 1899 by H. M. Caldwell Company, New York and Boston. BIOGRAPHICAL EDITION VIRGINIBUS PUERISQUE AND OTHER PAPERS by Robert Louis Stevenson, New York, Charles Scribner's Sons, 1918. MONSIEUR BEAUCAIRE by Booth Tarkington, Illustrated by C. D. Williams, New York, McClure, Phillips & Co., 1900. THE HOOSIER SCHOOLMASTER A STORY OF BACKWOODS LIFE IN INDIANA by Edward Eggleston with an introduction by Emory Hollloway Professor of English at Adelphi College, The Macmillan Company Publishers, New York, MCMXXVIII. WOODLAND IDYLS by W. S. Blatchley, Indianapolis, The Nature Publishing Company, 1912. 1/2"H x 5"W x 7 1/2"W (Armazindy) Dimensions: 1/2"H x 5"W x 7 1/2"W (Armazindy)
• SEVENTEEN VINTAGE & ANTIQUE POSTCARDS:
  SEVENTEEN VINTAGE & ANTIQUE POSTCARDS: GEN. LEW WALLACE AND JAMES WHITCOMB RILEY, THREE HUMOROUS LEATHER POSTCARDS, SIX HAND-COLORED MIDWESTERN CARDS, MILITARY & POLITICAL PHOTO CARDS. 5 1/2"H X 3 1/2"W (AVERAGE SIZE)Seventeen vintage & antique postcards: Gen. Lew Wallace and James Whitcomb Riley, three humorous leather postcards, six hand-colored midwestern cards, military & political photo cards. Hand colored cards include Park Hotel, Park Mt. Clemens, Mich; Olentangy Park Theatre, Columbus, OH; Dayton, OH; Hemlock Falls, Butler, OH; Zanesville, OH, view on Licking; Cincinnati, Garfield Place Park; Rock of Ages, Cave of the Winds, Niagra Falls. Also "From Refreshment to Labor" cartoon; Ferry from Owensboro, KY to Rockport, IN. Military images include Piasecki HRP-2 Helicopter, USN, Parachute Troops Beneath Wings of Transport Plane, 5 1/2"H x 3 1/2"W (average size) Dimensions: 5 1/2"H x 3 1/2"W (average size)
• MYRA REYNOLD RICHARDS, AMERICAN (1882-1934),
  MYRA REYNOLD RICHARDS, AMERICAN (1882-1934), BUST OF A MAN, WILLIAM H. LEEDY, (INDEPENDENT ORDER OF ODD FELLOWS), 1923, BRONZE, 27"H X 18"W X 11 1/2"DMyra Reynold Richards, American, (1882-1934) bust of a man, William H. Leedy, (Independent Order of Odd Fellows), 1923, bronze William H. Leedy, (1855-1922), Grand Secretary, Grand Lodge I.O.O.F. Indiana, Grand Scribe of Grand Encampment. Signed and dated. Roman Bronze Works, NY. Includes framed original IOOF photograph of the sculpture in situ. Additional biographical information including copy of photo of the artist sculpting James Whitcomb Riley. Provenance: From a private collector, Indianapolis. Born in Indianapolis, Richards studied art at the JOHN HERRON ART INSTITUTE under painter J. OTTIS ADAMS and sculptor RUDOLF SCHWARZ. From 1918 to 1929, Richards was a teacher at Herron, heading the anatomy and sculpture department. During her lifetime, Richards' bronze work was widely exhibited in such shows as the HOOSIER SALON in Indianapolis, A Century of Progress (Chicago), and the Pennsylvania Academy of Fine Arts in Philadelphia. In Indiana, permanent installations of her work include a statue of JAMES WHITCOMB RILEY at Court House Square in Greenfield; fountain figures in UNIVERSITY PARK and FOUNTAIN SQUARE in Indianapolis; and a group of figures representing the advancement of women in Turkey Run State Park. Richards also executed bronze busts of such notable individuals as Russian pianist Jan Cherniavsky, writer MEREDITH NICHOLSON, attorney John S. Duncan, Indianapolis News founder JOHN H. HOLLIDAY, and judge Napoleon Taylor. In 1929, Richards left her teaching post at the John Herron Art Institute and traveled to Paris to continue her study of sculpture under G. J. Zolnay. In 1933, she returned to the United States, opening a studio in New York City before her death a year later. FRANK N. OWINGS JR. (1994) Revised February 2021 bronze Dimensions: 27"H x 18"W x 11 1/2"D
• ADAM EMERY ALBRIGHT, AMERICAN (1862-1957),
  ADAM EMERY ALBRIGHT, AMERICAN (1862-1957), THE BUTTERFLY, OIL ON CANVAS, 23 1/2"H X 15 1/2"W (SIGHT), 31 1/2"H X 23 1/2"W (FRAME)Adam Emery Albright, American, (1862-1957) The Butterfly, oil on canvas signed lower right. AskArt: Born in Monroe, Wisconsin, Adam Albright was one of the first students at the newly established Art Institute of Chicago from 1881 to 1883 and went on to become a noted landscape, still life, and figure painter, especially of country children. Likely some of his earliest work was done in Kansas because he was a graduate of Kansas University. His style was Impressionism mixed with Realism, and strongly opposing the Modernism of the early 20th century, he said: "They give you boiled squash with a mule's foot on it and call that art." (Richter 24) At the Chicago Art Institute, he was a student of Henry Fenton Spread and John Vanderpoel. He also studied at the Pennsylvania Academy of Fine Arts from 1883 to 1886 with Thomas Eakins, and in Paris with Benjamin Constant and also in Munich. He established his studio in Chicago in 1888 and became President of the Chicago Watercolor Club and was a member of the Chicago Academy of Design. Apparently early in his career, he chose his subject of juvenile subjects for which he became famous, and after the Columbian Exposition when he was exposed to Impressionism, his work became more colorful and sun filled. From 1908, he spent many summers at the art colony of Brown County, Indiana, and from 1917 frequently spent winters in Arizona where he painted desert landscapes and figures. He was a teacher at the Albright Atelier, in Lamar, Missouri and also lived in Winnetka and Warrenville, Illinois. About him, William Gerdts wrote: "No other Chicago artist's work was so widely exhibited at the Art Institute; . . . A constant flow of articles appeared about the artist and his work, all praising his innate sympathy with childhood and with the rural environment and referring to him as the 'James Whitcomb Riley of the Brush.' " (Art Across America, Vol 2). oil on canvas Dimensions: 23 1/2"H x 15 1/2"W (sight), 31 1/2"H x 23 1/2"W (frame)
• MYRA REYNOLDS RICHARDS, AMERICAN (1882-1934),
  MYRA REYNOLDS RICHARDS, AMERICAN (1882-1934), JAMES WHITCOMB RILEY "HOOSIER POET", PLASTER BUST MAQUETTE, 6 3/4"H X 4 1/4"W X 4 1/4"DMyra Reynolds Richards, American, (1882-1934) James Whitcomb Riley "Hoosier Poet", plaster bust maquette inscribed signature plaster bust maquette Dimensions: 6 3/4"H x 4 1/4"W x 4 1/4"D
• RICHARD BUCKNER GRUELLE, INDIANA, NEW
  RICHARD BUCKNER GRUELLE, INDIANA, NEW YORK (1851 - 1914), UNTITLED RURAL LANDSCAPE, WATERCOLOR ON PAPER, 13 1/2"H X 20"W (SIGHT), 21"H X 27 1/2"W (FRAME)Richard Buckner Gruelle, Indiana, New York, (1851 - 1914) untitled rural landscape, watercolor on paper signed lower right. Biography from the Archives of askART: A self-taught landscape painter, illustrator and writer Richard Gruelle lived in Indianapolis and Norwalk, Connecticut. He was apprenticed to a house and sign painter as a young man. He initially practiced portraiture but was best known as a landscape painter in the tradition of the Barbizon school, having taken up landscape painting in oil and watercolor in Indianapolis, circa1882. He painted for several seasons during the1890s in Washington, DC and held several exhibitions there. Gruelle was a member of the reknowned "Hoosier Group" which included T. C. Steele, William Forsyth, J. Ottis Adams and Otto Stark (see entries for each). In 1897 he was commissioned to paint seascapes in New England and eventually made annual painting trips to Cape Ann (MA ). In 1905 he moved to New York City, returning briefly to Indiana in 1907, but then settling permanently in the East in 1910 in Norwalk, Connecticut, near the Silver Mine River. He died while on a visit to Indianapolis. He was illustrator of James Whitcomb Riley's When the Frost is on the Punkin: and The Old Swimmin; Hole from Neighborly Poems. Author: Exhibitions included the Denison Hotel, 1894; Five Hoosier Painters, Chicago, 1894; Art Institute of Chicago, 1897; Louisiana Purchase Exposition, St. Louis, 1904; Indianapolis & New Canaan (solos). Source: Peter Hastings Falk, Editor, Who Was Who in American Art watercolor on paper Dimensions: 13 1/2"H x 20"W (sight), 21"H x 27 1/2"W (frame)
• A Collection of Decorative Objects 19th
  A Collection of Decorative Objects 19th Century and Later comprising a metal cauldron, a brass serving bowl and tray, an oil lamp, three rods with urn finials, an amber glass bead, a stopper, a medallion, a copper bucket, a shell, a painted metal ornament, an Imari pattern porcelain bowl, a cloisonne vase, a brass candlestick, a carved wood article, an ornament fragment, a wood fragment, a mirror fragment, a paper roll, lamp parts, two ceramic jardinieres, a ceramic underplate, a finial, a plaque of James Whitcomb Riley, a metal disk, a box of metal and glass parts, and other articles. Height of cauldron 9 inches. Sold to Benefit the Acquisition Fund of the Indianapolis Museum of Art at Newfields
• "All The Year Round" by James Whitcomb
  "All The Year Round" by James Whitcomb Riley, each month is accompanied by an original color woodcut by Gustave Baumann; copyright 1912 by the Bobbs-Merrill Company.
• Will Vawter (American, 1871-1941) "Farm
  Will Vawter (American, 1871-1941) "Farm in the Valley" oil on canvas signed lower left This painting was featured in the Columbus Collects exhibition at the IMA-Columbus Gallery, 2002. A landscape painter known for his loose, Impressionist style, Vawter began his career as an illustrator; his first assignments were for James Whitcomb Riley. In 1925, he won the prize for best winter scene at the first Hoosier Salon exhibit. He also exhibited at the Brown County Art Gallery Association. 29 1/2" x 35 1/2"
• Will Vawter (American, 1871-1941), "Summer
  Will Vawter (American, 1871-1941), "Summer in Brown County", oil on canvas; 29 1/2" x 35 1/2"; unsigned. A landscape painter known for his loose, Impressionist style, Vawter was raised in Greenfield, Indiana. He began his career as an illustrator, and his first assignments were for James Whitcomb Riley. Vawter moved to Brown County in 1908. In 1925, he won the prize for best winter scene at the first Hoosier Salon exhibit. He also exhibited at the Brown County Art Gallery Association.
• Heitman (American, 20th century) Portrait
  Heitman (American, 20th century) Portrait of James Whitcomb Riley Pen and ink on paper Signed lower right 13 1/4" x 10 1/2"
• 13 vols. Books on Books - Descriptive
  13 vols. Books on Books - Descriptive Author Bibliographies: Garland, Herbert. A Bibliography of The Writings of Sir James Matthew Barrie. London: Bookman's Journal, 1928. #253/500. 8vo, orig. blue cloth, gilt-lettered spine, bookplate on front paste-down. * (Centaur Bibliography.) McDonald, Edward D. A Bibliography of The Writings of D.H. Lawrence. Philadelphia: Centaur Book Shop, 1925. 12mo, orig. cloth-backed blue bds., paper labels. Mounted portrait. Bookplate on front paste-down. * (_ _.) Swire, H.L.R. A Bibliography of The Works of Joseph Hergesheimer. Philadelphia: Centaur Book Shop, 1922. 12mo, orig. bds., paper labels. Mounted portrait. * Williams, Sidney H. A Bibliography of The Writings of Lewis Carroll. London: Bookman's Journal, 1924. #382/650 (of 700). 8vo, orig. two-tone cloth, d/j (chipped - top of front panel chipped away). * Spiller, Robert E.; Blackburn, Philip C. A Descriptive Bibliography of The Writings of James Fenimore Cooper. New York: Bowker, 1934. 8vo, orig. brick red cloth, gilt-lettered spine. Bookplate on front paste-down. * Langfeld, William; Blackburn, Philip C. Washington Irving: A Bibliography. New York: N.Y. Public Library, 1933. #118/130 (of 150). 4to, orig. cloth, gilt, plates. Untrimmed. * Danielson, Henry. Arthur Machen: A Bibliography. London: H. Danielson, 1923. #90/150 signed by Machen. Tall 8vo, orig. 1/4 vellum & gilt-lettered blue bds., gilt-lettered spine. Untrimmed. * Russo, Anthony J. & Dorothy R. A Bibliography of James Whitcomb Riley. Indianapolis, 1944. 8vo, orig. two-tone cloth, gilt-lettered spine, t.e.g. Color frontis., plates. Bookplate on front paste-down. * Caplan, Albert. The Bibliography of Sir Walter Scott, Bart. Philadelphia: Head of Scott Press, (1928). 4to, orig. gilt-pictorial black cloth, untrimmed. #118/150 signed by Caplan. Bookplate on front paste-down. * Johnson, Merle. A Bibliography of The Works of Mark Twain. New York: Harper, 1935. 1st ed. 8vo, orig. russet cloth, d/j. * Currie, Barton. Booth Tarkington: A Bibliography. Garden City: Doubleday Duran, 1932. 1st ed. 8vo, orig. gilt-pictorial black cloth, gilt-lettered spine, slipcase. Bookplate on front paste-down. Bright copy. * Wells, Carolyn; Goldsmith, Alfred F. A Concise Bibliography of The Works of Walt Whitman. Boston: Houghton Mifflin, 1922. #497/500. 12mo, orig. cloth-backed bds., paper spine label. Lacking front free endpaper. Bookplate on front paste-down, newspaper clipping discoloration on front matter. * Mason, Stuart. Bibliography of Oscar Wilde. London: T. Werner, [1944]. 8vo, orig. dark pink cloth; head of spine chipped & frayed. All showing light to moderate shelf wear unless otherwise indicated.
• 1 piece. Autograph Letter Signed. Wallace,
  1 piece. Autograph Letter Signed. Wallace, Alfred. Dorset, Feb. 29, 1904. 4 pp., 12mo; slightly toned. To James D. Law, disputing James Whitcomb Riley's authorship of the poem "Leonainie." Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman''s Conditions of Sale.