A few examples of appraisal values for
MISSED

• DAYDREAMS HN1732 - ROYAL DOULTON FIGURINEGlossy
  DAYDREAMS HN1732 - ROYAL DOULTON FIGURINEGlossy finish. Royal Doulton backstamp. Harradine Classics. Seated pretty lady; pale pink with blue trim coloration. Model number on base missed numbered. Artist: Leslie Harradine Issued: 1935-1949 Dimensions: 4.5"L x 6.25"W x 5.5"H Manufacturer: Royal Doulton Country of Origin: England Condition: Age related wear. Ribbon chipped.
• CIVIL WAR AND RELATED DOCUMENTSGrouping
  CIVIL WAR AND RELATED DOCUMENTSGrouping of Civil War and other historical documents, 9 items. 1st Item: Civil War Soldier Letter from Col. H. L. Potter (New York 71st Infantry, wounded at Bristol Station, VA on Aug 27th 1862) to Col. B (Possibly Maine, May 4th 1864); writes about a horse being lost that wasn't paid for while on Pickett Duty, and losing a horse (the same horse?) in the Battle of Gettysburg, along with his regrets about his survival of said battle due to being disgraced after being dismissed from the service for losing a horse that wasn't accounted for (due to Belger's actions?); three large pages in ink; sleeved; includes summary of letter and original envelope. 2nd item: Letter from Civil War Soldier Col. H. L. Potter to other in his brigade, including Col. B. (April 9th, 1864); details the horse killed by Belger (?) and how that could lead to the dismissal of Col. Potter unless Col. B helps him; 3 pages in ink; sleeved. 3rd item: 1863 Letter from Civil War soldier to his sister Hallie Walker in Maine updating her on his current condition as a soldier (1863); sleeved. 4th item: Letter from Col. H. L. Potter to "Gen. K. Harvey Esq." concerning the expectancy of his regiment to come home, and how the horse that [Belger] Killed was not the one that he had borrowed (Feb 21 1864); sleeved. 5th item: Advance Month's Pay voucher with the names of military recruits who were part of company 7 in regiment 30 (1863). 6th item: Clipping from old newspaper which details the assassination of President Lincoln, along with the survival of Secretary Seward and the President's funeral (1865); matted and sleeved. 7th item: Front page of The Evening Bulletin of Providence, RI which discusses the progression of the Civil War conflict, which has led to Brigadier Gen. William P. Sanders dying in Knoxville as a result of being wounded in the battle of Campbell's Station, as well as other occurrences dealing with Knoxville's role in the Civil War (1863). 8th Item: Territory of Hawaii Warrant of Arrest, dated as March 1917, for Rachel Naoho of Honolulu who had been charged with embezzlement on account of Oahu Officer William "Alkims". 9th Item: Puget Sound Daily Courier (Olympia, Washington Territory, July 14, 1874); various miscellanious advertisements, including excerpts from stories such as Some Women's Hearts; pencil initials "LRR"in upper right corner along with a slash through the number five in the edition number 165 to make it 166; sleeved. Condition: 1st item: good condition with minor wear to pages. 2nd item: very good condition, minor aging to letter and envelope. 3rd item: very good condition with minor staining from wax seal. 4th item: very good condition with minor wear to the paper. 5th item: very good condition with minor tearing to two of four binding holes which were laced with metal, minor folding tear in center due to age, and minor surface grime from tape in bottom right quadrant. 6th item: good condition with minor losses to the edges of ads adjacent to the main article. 7th item: good condition with minor aging to paper 8th item: very good condition, moderate liquid staining to document. 9th item: good condition, page separated into a few even sections due to tearing from age, pencil initials "LRR" in upper right corner along with a slash through the number five in the edition number.
• BRIGGS, CLARE (AMERICAN, 1875 Ð 1930).
  BRIGGS, CLARE (AMERICAN, 1875 Ð 1930). MISSED ONE IN FR...Briggs, Clare (American, 1875 Ð 1930). Missed One in Front of the Pocket. Circa 1915. Pen and ink on paper. Inscribed and signed by the artist in the lower margin to Pat Valdo, performance director of Ringling Brothers Barnum & Bailey Circus. 16 _ x 13 _". Numerous creases, spotting, a few scrapes and losses.
• ALFREDO VOLPI "FACHADA" 1970 TEMPERA
  ALFREDO VOLPI "FACHADA" 1970 TEMPERA ON PAPERAlfredo Volpi (Italy/Brazil, 1896 - 1988) tempera on paper depicting four different building facades in bright colors. Signed lower right "A Volpi", & verso lower right "A.Volpi '70", unframed, & measuring 21-1/2" in height with width of 17-1/2". Comes complete with certificate of authenticity (see photographs). In overall good condition with toning to back of paper due probably to previous acidic backing & pinholes to corners from previous mount. Provenance: from a prominent Texas collector. Alfredo Volpi was born in Lucca, Italy on April 14, 1896 but less than two years later migrated to Brazil where he became a Brazilian citizen & lived for the majority of his life. He was one of the most important artists of the so-called Grupo Santa Helena, formed in the 1930s with Francisco Rebolo, Clovis Graciano, Mario Zanini, Rossir Osir e Bonadei, Fulvio Pennachi, & others. He was a prominent painter of the artistic & cultural Brazilian Modernist Movement, even though he was self-taught. Volpi started painting façades of houses in a highly stylized and colorful manner (these paintings were later named the "historical façades" by art critics) and this recurrent theme became pervasive all through the 1950s, after a brief "concretist" period (even though the artist himself never acknowledged being part of the concretist movement as such). The 1960s witnessed the development of his trademark "bandeirinhas" (small flags) for which Volpi became famous and which originated from Brazilian folklore (small flags are a regular fixture of the popular festa junina, held every year during the month of June): the artist would use the small-flag pattern to show an increasing sense of color combination and balanced composition which would eventually place him among the major Brazilian artists of his time. The painter gained national renown with his participation at the second São Paulo Art Biennial, winning the Grand Prix for Brazilian painting, an award he shared with Di Cavalcanti. Di Cavalcanti publicly dismissed Volpi's art as being that of a "flag painter". Soon he became known as one of the most important 20th century painters in Brazil. More recent exhibitions (MAM São Paulo 2006, Curitiba 2007) have shown how Volpi, far from being the isolated self-made artist he was once thought to be, actually absorbed various influences during his career, especially that of Josef Albers. His use of the ancient tempera technique also shows a knowledge of the Italian Renaissance painters. He died April 28, 1988 at age 92 in Brazil.
• ALFREDO VOLPI "FACHADA DAS CASAS" MIXED
  ALFREDO VOLPI "FACHADA DAS CASAS" MIXED MEDIAAlfredo Volpi (Italy/Brazil, 1896 - 1988) mixed media entitled "Fachada Das Casas", depicting nine (9) different windows/facades (one of his more familiar & famous themes) in bright colors with a deep & vibrant blue background, executed in 1970. Framed in a white frame with plexiglass front & measuring 25-1/4" in height with width of 19-5/8", & having a sight image height of 23-1/2" with width of 17-5/8". Signed verso "A. Volpi 70". Comes complete with Certificate of Authenticity & letter of provenance (see photographs). In overall good condition, all measurements are approximate. Further Provenance: comes from the estate of a prominent Texas collector, who purchased it directly from the artist, a personal family friend. Alfredo Volpi was born in Lucca, Italy on April 14, 1896 but less than two years later migrated to Brazil where he became a Brazilian citizen & lived for the majority of his life. He was one of the most important artists of the so-called Grupo Santa Helena, formed in the 1930s with Francisco Rebolo, Clovis Graciano, Mario Zanini, Rossir Osir e Bonadei, Fulvio Pennachi, & others. He was a prominent painter of the artistic & cultural Brazilian Modernist Movement, even though he was self-taught. Volpi started painting façades of houses in a highly stylized and colorful manner (these paintings were later named the "historical façades" by art critics) and this recurrent theme became pervasive all through the 1950s, after a brief "concretist" period (even though the artist himself never acknowledged being part of the concretist movement as such). The 1960s witnessed the development of his trademark "bandeirinhas" (small flags) for which Volpi became famous and which originated from Brazilian folklore (small flags are a regular fixture of the popular festa junina, held every year during the month of June): the artist would use the small-flag pattern to show an increasing sense of color combination and balanced composition which would eventually place him among the major Brazilian artists of his time. The painter gained national renown with his participation at the second São Paulo Art Biennial, winning the Grand Prix for Brazilian painting, an award he shared with Di Cavalcanti. Di Cavalcanti publicly dismissed Volpi's art as being that of a "flag painter". Soon he became known as one of the most important 20th century painters in Brazil. More recent exhibitions (MAM São Paulo 2006, Curitiba 2007) have shown how Volpi, far from being the isolated self-made artist he was once thought to be, actually absorbed various influences during his career, especially that of Josef Albers. His use of the ancient tempera technique also shows a knowledge of the Italian Renaissance painters. He died April 28, 1988 at age 92 in Brazil.
• ALFREDO VOLPI "BANDEIRINHAS" MIXED MEDIAAlfredo
  ALFREDO VOLPI "BANDEIRINHAS" MIXED MEDIAAlfredo Volpi (Italy/Brazil, 1896 - 1988) "Bandeirinhas" (1970) unframed tempera on paper depicting orange, blue, and rose colored flags. Signed verso with artist signature and dated '70, measures 20" in height with width of 16". Comes complete with certificate of authenticity (see photographs). In overall good condition, all measurements are approximate. Provenance: from a prominent Texas collector. Alfredo Volpi was born in Lucca, Italy on April 14, 1896 but less than two years later migrated to Brazil where he became a Brazilian citizen & lived for the majority of his life. He was one of the most important artists of the so-called Grupo Santa Helena, formed in the 1930s with Francisco Rebolo, Clovis Graciano, Mario Zanini, Rossir Osir e Bonadei, Fulvio Pennachi, & others. He was a prominent painter of the artistic & cultural Brazilian Modernist Movement, even though he was self-taught. Volpi started painting façades of houses in a highly stylized and colorful manner (these paintings were later named the "historical façades" by art critics) and this recurrent theme became pervasive all through the 1950s, after a brief "concretist" period (even though the artist himself never acknowledged being part of the concretist movement as such). The 1960s witnessed the development of his trademark "bandeirinhas" (small flags) for which Volpi became famous and which originated from Brazilian folklore (small flags are a regular fixture of the popular festa junina, held every year during the month of June): the artist would use the small-flag pattern to show an increasing sense of color combination and balanced composition which would eventually place him among the major Brazilian artists of his time. The painter gained national renown with his participation at the second São Paulo Art Biennial, winning the Grand Prix for Brazilian painting, an award he shared with Di Cavalcanti. Di Cavalcanti publicly dismissed Volpi's art as being that of a "flag painter". Soon he became known as one of the most important 20th century painters in Brazil. More recent exhibitions (MAM São Paulo 2006, Curitiba 2007) have shown how Volpi, far from being the isolated self-made artist he was once thought to be, actually absorbed various influences during his career, especially that of Josef Albers. His use of the ancient tempera technique also shows a knowledge of the Italian Renaissance painters. He died April 28, 1988 at age 92 in Brazil.
• ALFREDO VOLPI "FACHADA DAS CASAS" TEMPERA
  ALFREDO VOLPI "FACHADA DAS CASAS" TEMPERA ON PAPERAlfredo Volpi (Italy/Brazil, 1896 - 1988) "Fachada Das Casas" (1970) unframed tempera on paper depicting four windows on multi-colored background. Unframed, & measuring 20" in height with width of 16". Artist signature in verso. Comes complete with certificate of authenticity (see photographs). In overall good condition. Provenance: from a prominent Texas collector, who was also friends of the artist. Alfredo Volpi was born in Lucca, Italy on April 14, 1896 but less than two years later migrated to Brazil where he became a Brazilian citizen & lived for the majority of his life. He was one of the most important artists of the so-called Grupo Santa Helena, formed in the 1930s with Francisco Rebolo, Clovis Graciano, Mario Zanini, Rossir Osir e Bonadei, Fulvio Pennachi, & others. He was a prominent painter of the artistic & cultural Brazilian Modernist Movement, even though he was self-taught. Volpi started painting façades of houses in a highly stylized and colorful manner (these paintings were later named the "historical façades" by art critics) and this recurrent theme became pervasive all through the 1950s, after a brief "concretist" period (even though the artist himself never acknowledged being part of the concretist movement as such). The 1960s witnessed the development of his trademark "bandeirinhas" (small flags) for which Volpi became famous and which originated from Brazilian folklore (small flags are a regular fixture of the popular festa junina, held every year during the month of June): the artist would use the small-flag pattern to show an increasing sense of color combination and balanced composition which would eventually place him among the major Brazilian artists of his time. The painter gained national renown with his participation at the second São Paulo Art Biennial, winning the Grand Prix for Brazilian painting, an award he shared with Di Cavalcanti. Di Cavalcanti publicly dismissed Volpi's art as being that of a "flag painter". Soon he became known as one of the most important 20th century painters in Brazil. More recent exhibitions (MAM São Paulo 2006, Curitiba 2007) have shown how Volpi, far from being the isolated self-made artist he was once thought to be, actually absorbed various influences during his career, especially that of Josef Albers. His use of the ancient tempera technique also shows a knowledge of the Italian Renaissance painters. He died April 28, 1988 at age 92 in Brazil.
• A LATE MEXICAN-AMERICAN WAR ERA MAP,
  A LATE MEXICAN-AMERICAN WAR ERA MAP, "MAPA DE LOS ESTAD...A LATE MEXICAN-AMERICAN WAR ERA MAP, "Mapa de los Estados Unidos de Mejico, Revised Edition," JOHN DISTURNELL, NEW YORK,1848-1850, hand colored copper plate engraving on paper, the Gulf of Mexico with four inset maps, "Map Showing the Battlegrounds of (Palo Alto) the 8th and 9th, May 1846, by J.H. Eaton," "Plan of Monterrey and its Environs," "Chart of the Bay of Veracruz," and "Tampico and its Environs," at far right, "Diagram of the Battleground (of Buena Vista) February 22nd and 23rd 1847," in the lower left, "Table de Distancias.," "Tabla Estadistica.," and "Carta de los Caminos & Desde Vera Cruz Y Alvarado a Méjico," accompanied by two profiles of the routes "...between Mexico and Veracruz," and "...between Mexico and Acapulco," the upper right with engraving of Mexican eagle with snake in its beak, perched on cactus with names of Mexican states lettered on pads, above a bow and arrow; the hand coloring ordered as follows: Green-Spanish Boundary 1786, Blue-Boundary Proposed by Mexican Commissioners, Yellow-Boundary Claimed by the United States," with quotation, "Prior to the Revolution Texas and Coahuila were united to form one of the Federal States of the Mexican Republic," Red- Route of Gen. Taylor in south Texas and north Mexico, and Gen. Kearny's Route in the north tracking his "March of the 1st Dragoons" from Fort Leavenworth, Kansas, Pink-Boundary Proposed by Mr. Trist U.S. Commissioner, presented with a gilt embossed green cloth cover board, "Map of the Republic of Mexico, Published by J. Disturnell, New York." 30" x 42" Note: The particular map noted for numerous editions with notable mistakes; this map is a rare example of a map that both has gross inaccuracies and served as an important tool for the United States and Mexican governments during land disputes and negotiations at the end of the Mexican American War. The present map includes detailed hand-drawn routes and boundaries that formed the face of the modern American landscape.The red route indicated in the Southern Texas/Northern Mexico area tracks future President Zachary Taylor's military expeditions during the Mexican-American War. "In the summer of 1845, Taylor, now sixty years old and stationed again at Fort Jesup, was ordered by the Polk administration to defend the recently annexed Texas republic. Commanding what would now be called the "Army of Occupation," Taylor moved his troops to Corpus Christi, at the mouth of the Nueces River, where he awaited reinforcements. By March 1846, with an army that now numbered 4,000, he moved further south, to the Rio Grande. When Mexican troops attacked U.S. forces in late April, President James K. Polk used the attack to ask Congress for a declaration of war. On May 18, though heavily outnumbered, Taylor defeated Mexican forces at Palo Alto; the following day he engaged the Mexican army again at Resaca de la Palma, driving it back to Matamoros. With the United States and Mexico now at war, Taylor established a base of operations at Camargo, on the Rio Grande, while he awaited reinforcements from the War Department, which had issued a call for volunteers. In September 1846, his army now numbering 6,500, Taylor marched south to lay siege to Monterey, Mexico's largest northern city, which was garrisoned by the 5,000-man Army of the North, commanded by General Pedro Ampudia. After three days of fighting, Taylor took the city, signing an eight-week armistice with Ampudia, who was allowed to withdraw. The news of the victory was offset in Washington by President Polk's belief that Taylor had missed an opportunity to end the war by allowing Ampudia to evacuate the city. The War Department ordered Taylor to terminate the armistice immediately, and pointedly refrained from congratulating the general on his victory. This brought an immediate chill to relations between Taylor and the Polk administration, which was undoubtedly aggravated by reports that the general was being courted by the Whig Party as a possible candidate for the presidency in 1848. The rift between Polk and Taylor became even wider when Washington decided at year's end to open up a new theater of operations in the south, under the command of Winfield Scott. Ordered to assume a defensive position and place a large portion of his army under Scott's command in anticipation of an amphibious landing at Vera Cruz, Taylor refused to be relegated to a secondary role. In defiance of orders from both Scott and the War Department, Taylor pushed south, encountering the Mexican army at Buena Vista, below Saltillo. Taylor's army repulsed several Mexican assaults on February 22 and 23. Although both sides claimed victory, the battle ended in a stalemate. Nonetheless, Taylor's Army of Occupation remained firmly in control of northern Mexico, and the battle was hailed as a great victory by the American press. The Battle of Buena Vista added further luster to Taylor's political fortunes. Known as 'Old Rough and Ready' for his simple manner and modest appearance, Taylor was now the most celebrated hero of the war. Still bristling at his treatment by the Polk administration, Taylor agreed to accept the nomination of the Whig party, despite the fact that he had not been active in politics, nor did he appear to hold particularly strong political convictions. Indeed, Taylor did not share many of the core Whig beliefs, such as support for a protective tariff, the national bank, and internal improvements. Nonetheless, the war hero easily defeated the Democratic candidate, Lewis Cass, whose support in the North was undercut by the Free Soil party, headed by long-time Democratic standard-bearer Martin Van Buren." - an excerpt from UT Arlington Library's Special Collections, A Continent Divided: The U.S. Mexico War, and with special thanks. The route of General Stephen W. Kearny in the north indicated, also in red in the north, established for the first time the United State's military control of the lands spanning from Fort Leavenworth, Kansas westward to Los Angeles. "The start of the U.S.-Mexico War found Kearny at Fort Leavenworth, where in May 1846 he gathered troops charged with conquering New Mexico and California. Kearny's forces left Fort Leavenworth in June 1846. Numbering 1,558 men, the "Army of the West" consisted of a battalion of Missouri Volunteers, two companies of regular infantry, five squadrons of the First Dragoons, Doniphan's Regiment of Missouri Mounted Volunteers, an interpreter, about fifty Indian guides, and a small body of Army Topographical Engineers. On July 22, the army reached Bent's Fort. Soon afterward, Kearny sent word to New Mexico Governor Manuel Armijo that the Americans intended to take possession of New Mexico. On August 15 the Americans entered Las Vegas, New Mexico, and three days later entered Santa Fe without opposition, Armijo having fled. Promising to respect New Mexican property and religion, Kearny established a legal code for New Mexico and installed Charles Bent, an American trader, as territorial governor. Kearny now received new orders from Washington, promoting him to the rank of brigadier general and instructing him to aid in the conquest of California...As Kearny headed west, resistance to U.S. rule flared in California. As his small force approached San Diego, where it planned to link up with Commodore Robert F. Stockton's marines, Kearny's weary dragoons encountered a force of 150 Californios. At the Battle of San Pascual on December 6, Kearny was seriously wounded and 18 of his men killed. The force was rescued the following day by the timely arrival of a relief column led by Stockton. While the dragoons rested, Stockton prepared to retake Los Angeles. In late December he and Kearny led a joint Army-Navy force of about 600 men out of San Diego. Defeating Mexican and California troops at the battles of Rio San Gabriel and La Mesa, Stockton and Kearny's troops entered Los Angeles. Signing the Treaty of Cahuenga, which ended Californian resistance to U.S. occupation, Stockton turned over military command to Kearny and appointed John C. Fremont governor."- an excerpt from UT Arlington Library's Special Collections, A Continent Divided: The U.S. Mexico War, and with special thanks. Layering each territory boundary by color gives the viewer an instant look at the intense negotiations that took place between Nicholas Trist in pink and the Mexican government in blue. The University of Texas at Arlington writes, "Nicholas P. Trist, the American diplomat who negotiated the treaty that ended the U.S.-Mexico War...Just as he was beginning to enter into negotiations with the provisional Mexican government that had been hastily organized at the town of Querétaro under a new President, Manuel Peña y Peña, Trist received word from Secretary of State James Buchanan that he (Trist) had been recalled by an impatient President Polk. Buchanan's dispatch stated further that if the Mexicans wanted peace, they would have to send an emissary to the United States. Realizing that to abandon his work and leave Mexico at that crucial juncture would almost certainly have negative consequences for both countries, Trist decided to ignore the recall, which General Scott and all three Mexican negotiators, Luis G. Cuevas, Bernardo Couto, and Miguel Atristain, encouraged him to do. On February 2, 1848, Trist signed the Treaty of Guadalupe Hidalgo on behalf of the United States while Cuevas, Couto, and Atristain signed for Mexico. The treaty's most far-reaching provisions included recognition by Mexico of the Rio Grande as the boundary of Texas, the United States government's assumption of $3 million Mexico owed to private U.S. citizens, and Mexico's agreement to sell Upper California and New Mexico, a vast expanse that makes up the present-day states of California, Arizona, Nevada, Utah, New Mexico, and part of Colorado, for $15 million. When the treaty reached Washington, Polk was outraged that Trist, who technically had no authority to make an agreement with Mexico on account of his recall, had ignored the President's order. At first, Polk considered discarding the agreement but realizing that all his principal war goals had been accomplished and that the country was in no mood to prolong the conflict, he sent it to the Senate, which ratified the treaty on March 10, 1848. Both houses of the Mexican Congress ratified it on May 19." -an excerpt from UT Arlington Library's Special Collections, A Continent Divided: The U.S. Mexico War, and with special thanks.Attributed as an eighth edition or later, with special consideration to the appearance of the inset maps in the Gulf of Mexico. This revision containing the inset maps in the Gulf coinciding with the Presidential term of Zachary Taylor and the end of the Mexican-American War. The inset maps celebrate Zachary Taylor's many military achievements. The present map with special hand coloring notes the fundamentally transformative time for the United States at the end of the Mexican-American War, which effectively established the United States of America from coast to coast, fulfilling Manifest Destiny. No longer would the United States boundary ever change or waver as much as this map with hand color indicates it once did. An invaluable and education addition to any American map collection. Condition: Some stains, losses, creases, joined neat line, tears at edges, float mounted with repairs and indrawing, waving, Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
• ORESTE CORTAZZO(Italian, 1836-1910) Four
  ORESTE CORTAZZO(Italian, 1836-1910) Four scenes from the life of Kaiser Wilhelm II: Scene in Duke Ernest Gunther's Quarters; In the White Hall, Berlin Palace; Theresse Dragged on Lawn, Empresse Frederick and Professor von Bergmann, each signed "Cortazzo", each stamped verso "The Copyright Of This Subject Is The Property Of George Barrie & Son/Publishers Philadelphia", oil on artist board, each image approximately 10 x 7 in.; matching gilt wood and composition frames, 17-7/8 x 15-1/8 in., Provenance: Private Collection, Florida ; Note: It is assumed that these illustrations by Cortazzo were set to be published in The Private Life of the Kaiser (Kaiser Wilhelm II).ÿNotes verso the backing paper of each painting state similarly that "the Kaiser was so upwrought that he suppressed the pictures and had the government suppress them." Two of the scenes seem improper, possibly causing the Kaiser's reaction. Duke Ernst Gnther, the brother of the Kaiserin, was a source of great embarrassment for the Kaiser and his wife as he searched for a bride and was rumored to be licentious in his behavior. In one such event a woman is represented dancing on a table in his quarters. Another of the paintings features Victoria Empress, consort of Frederick III, German Emperor 1840-1901. Known as "Empress Frederick". She is seen with Professor von Bergmann after having slapped his face. A famous surgeon, he was called in afterÿKaiser Frederick's unsuccessful surgery by Dr. Morell Mackenzie and and his missed diagnosis of cancer. This led to Kaiser Frederick's death. Despite the suppression of the paintings and the statement that they were never published by the author of the note, H. Kierchenbaum, aÿphotogravure print was made from the "Scene in Duke Ernest Gunther's Quarters" in 1900.ÿCortazzo was often used by the publishers, Barrie & Son as an illustrator for their publications. He was a pupil of Bonnat and worked in Paris for Goupil.ÿ Condition: good condition with some abrasions at edges, glue residue verso one; frames with abrasions
• MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA
  MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966) Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet 'Bacchanale'", 1911-1914, possibly a working artist's proof, cast plaster, 26- x 16 x 2 in. Note: "Blame it on the Bacchanale. Or rather, celebrate the Bacchanale, danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become ?one of the few women to reach first rank as a sculptor,? as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband?s great aunt.) The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine?s Cl?opŸtre. Set to Glazunov?s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux, which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina?s signature works. Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale, in which Pavlova, ?so petite and lissome,? and Mordkin, ?well formed and virile,? swept onto the stage, then ?let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches ? Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.? Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin. In 1912, Hoffman?s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking. Hoffman wouldn?t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York?s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin?s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States. When Kahn?s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman?s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman?s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued. On her return to Europe, Hoffman designed many of Pavlova?s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman?s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale, which he called ?a great thing of beauty, like the Greeks created.? The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended. In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil. Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman?s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, ?My light is blotted out.? She kept the frieze of the Bacchanale, which had taken 15 years to complete, in her studio for the rest of her life. After Hoffman?s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library." -Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/) Provenance: Estate of the Artist Condition: missing lower left corner, other chips and abrasions, surface dirt, inscribed with numbers, some sticker accretion
• MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA
  MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966) Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale , 1911-1914, possibly a working artist's proof, cast plaster, 25-1/2 x 21-1/2 x 2-1/2 in. Note: "Blame it on the Bacchanale . Or rather, celebrate the Bacchanale, danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.) The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre . Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux, which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works. Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale , in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.” Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin. In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking. Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States. When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued. On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.” The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended. In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil. Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life. After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library." -Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/) Provenance: Estate of the Artist Condition: chips and abrasions, surface dirt, inscriptions, sticker accretion
• MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA
  MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966) Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale , 1911-1914, possibly a working proof, polychromed cast plaster, 26-1/4 x 28-3/8 x 2-1/2 in. Note: "Blame it on the Bacchanale . Or rather, celebrate the Bacchanale , danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.) The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre. Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux, which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works. Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale, in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.” Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin. In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking. Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States. When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued. On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.” The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended. In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil. Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life. After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library." -Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/) Provenance: Estate of the Artist Condition: chips and abrasions
• MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA
  MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966) Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale , 1911-1914, possibly a working artist's proof, cast plaster, 25-7/8 x 29-1/2 x 2-1/2 in. Note: "Blame it on the Bacchanale. Or rather, celebrate the Bacchanale , danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.) The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre . Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux , which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works. Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale, in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.” Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin. In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking. Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States. When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued. On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.” The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended. In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale , which features Pavlova and Mordkin holding aloft a billowing veil. Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life. After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library." -Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/) Provenance: Estate of the Artist Condition: chips and abrasions, surface dirt, inscriptions, sticker accretion, cracks and repairs
• MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA
  MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966) Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale, 1911-1914, possibly a working proof, polychromed cast plaster, 26 x 30-1/4 x 2-1/2 in. Note: "Blame it on the Bacchanale . Or rather, celebrate the Bacchanale, danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.) The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre . Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux , which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works. Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale , in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.” Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin. In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking. Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States. When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued. On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.” The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended. In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil. Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life. After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library." -Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/) Provenance: Estate of the Artist Condition: chips, cracks, abrasions
• 33. JEWELED GILT BRASS SCEPTER -CA.
  33. JEWELED GILT BRASS SCEPTER -CA. 1939 -GILT BRASS SC...33. Jeweled Gilt Brass Scepter -Ca. 1939 -Gilt brass scepter fashioned in an appealing mirrored concept featuring a ball top chased in low relief and embellished with a multitude of individually set facetted colored rhinestones tracked by a collar consisting of four repeating seashell-like leafage compositions. The knob extends in a longer and ridged stem terminating in another collar duplicating the previous one in a reversed and larger size with an elaborate centering ring, also embellished with individually set facetted colored rhinestones. This singular and striking scepter is reputed to be one of three commissioned for Shirley Temple’s “Little Princess’” movie and dismissed for being too weighty, possibly Joseff of Hollywood. Provenance Gertrude Amelia Krieger and then by descent until the beginning 1970’s when it was acquired by a cane collector from Illinois. -O.L. 22 ¾” -$700-$900 -Jewelry crafted by Joseff of Hollywood has always been produced using a trade secret matte Russian gold-colored plating that worked well under the lights of Hollywood in terms of reflecting light. It is also easier to photograph in still shots than jewelry with high gloss finishes. “Gone with the Wind,” “Gentlemen Prefer Blonds,” and “Cleopatra” featured Joseff jewels worn by their glamorous leading ladies, along with many, many others. Actors such as Douglas Fairbanks, Jr. and Vincent Price wore Joseff pieces in period pictures as well, and even the cigar case Clark Gable used when playing Rhett Butler was crafted by this Hollywood institution.
• ROSENTHAL GOLDEN GRAIL DINNER SERVICERosenthal
  ROSENTHAL GOLDEN GRAIL DINNER SERVICERosenthal Porcelain/China Dinner Service, Golden Grail Pattern, approx. count: 48 dinner plates 10" dia.; 50 salad/lunch 7 3/4" dia., 41 bread & butter 6" dia.; 24 dessert bowls 5 1/4" dia.; 12 bouillon cups & 12 saucers; 49 tea/coffee cups (2 sizes) & 46 saucers (2 sizes) (282 pieces when counting saucers separately from cups) (WECH2478/lot)(WT) Dimensions: See description. Condition: Generally good, some gold tarnished or reddish in color, no chips noticed, however with 282 pieces a chip may have been missed.
• TWO CHINESE EXPORT ARMORIAL PORCELAIN
  TWO CHINESE EXPORT ARMORIAL PORCELAIN TANKARDS, SNODGRA...comprising: circa 1800, tankard centered with arms of Snodgrass, having gilt shield, two black stripes, center with three green trefoils, flanked by iron red crescent, crest half gilt and half green lion's head with green and gilt trefoils, and iron red crown, all above motto "Beata petamus arva", applied double handle, blue diaper and gilt border at rim, 4-7/8 in.; circa 1760, tankard centered with crest of Wicksted or Hodge, green and yellow wheat sheaf, entwined by two serpents, above a partial gilt helmet and heart form cartouche with central cypher, either "E.W." or "E.H.", opposing side with basket issuing flowers, gilt and iron red border, 4 in. Note: Snodgrass: "These arms were granted to Thomas Snodgrass in the service of the East India Company, of Madras and Blackheath in Kent. Thomas Snodgrass rose to the post of Collector at Ganjam in eastern India, but was dismissed for poor conduct and mis-appropriation of funds in 1804. When he applied for a pension in London this was denied by the East India Company unless he could clear his name. To the Company’s great embarrassment, and poorly dressed as a road-sweeper, Snodgrass took the menial job of cleaning the street outside their offices at India House in the City of London. The sight of a Company servant apparently reduced to poverty gained great public support and the East India Company were forced to reinstate his pension, paying this until his death in 1834." Chinese Armorial Porcelain Volume I , David S. Howard, Faber & Faber, 31 May 1974, p. 727, with further information added by Angela Howard. Wicksted or Hodge: "Of the Wicksted family living at Nantwich in Cheshire was Richard Wicksted, born in 1543. His descendant, Thomas of Nantwich, was killed by a fall from his horse in 1707 leaving a posthumous son, Thomas, who married Grissel Fletcher (great-granddaughter of Sir John Egerton, BArt..) and had four sons and four daughters. His date of death is not recorded but his eldest son, Thomas, inherited various Fletcher estates and died unmarried in 1814. (The only member of his family with initial E was his sister, Elizabeth, who married Simon Horner of Hull.) It is possible that this was for Edward Wicksted, a watchmaker of Bunhill Row, London, from 1768 to 1790 (a record of 1790 describing him as 'watch maker for exportation') although his arms are not recorded. Of the Hodge family of Scotland and Sunderland in Durham, who bore this crest, there appears to be no published record." Illustrated in: Chinese Armorial Porcelain Volume II , David S. Howard, Heirloom & Howard, Ltd., Wiltshire, UK, 2003, p. 296. Provenance: Snodgrass tankard Heirloom & Howard, Ltd., UK, December 2002; Christopher M. Weld, Essex, Massachusetts Condition: Snodgrass: spotting, discoloration, scratching, anomalies (as made), repaired hairline crack, approximately 3 in., loss to gilt border, wear to paint, label to base, black light fluoresces indicating breaks and repairs at handle, hairline crack and in-painting to rim; Wicksted or Hodge: scratching, discoloration, spotting, anomalies (as made), minor wear to paint and gilt decoration, label to base, black light fluoresces reveals heavy in-painting to rim, hairline crack approx. 4 in. and hairline crack approx. 2-1/4 in., break and repair to handle crack at back consolidated
• ROBERT WOODRUFF QUOTATION BRONZE DESK
  ROBERT WOODRUFF QUOTATION BRONZE DESK PLAQUE American, 20th century. Cast bronze desk plaque, with quote from Robert Winship Woodruff, ?When I Compare The Things I?ve/Lost With The Things I?ve/Gained, And The Things I?ve/Missed With What I Might Have/Attained, There Is Little Room/Left For Pride. RWW?. Approx. h. 2.25", w. 6.5", d. 1.75".
• REX CLAWSON, NEW YORK (1929-2007), CATHEDRAL,
  REX CLAWSON, NEW YORK (1929-2007), CATHEDRAL, 1959, OIL ON CANVAS, 23 3/4"H X 29 3/4"W, 32 1/4"H X 26"W(FRAME)Rex Clawson, New York, (1929-2007) Cathedral, 1959, oil on canvas Signed and dated verso. Significant tear in lower left quadrant as shown in photos. Biography from the Archives of askART: The following biography has been provided by Rex Clawson, The Artist Rex Martin was born in 1929 in Dallas Texas. As a child his favorite artist was Jon Witcomb, an illustrator for the womens' magazines his mother subscribed to. In his teens he read Lust for Life and discovered Van Gogh, Gauguin and the Impressionists. All of his early paintings reflect these artists. In the late 1940's, Clawson won the "Texas Fellowship to the Colorado Springs Fine Arts Center." There he became acquainted with modern art. Picasso and Braque were his greatest influences, along with Walt Kuhn, whose paintings were displayed at the art center. From there he traveled to Mexico to study and paint for a year at Morallia, and the art and culture of Mexico were a great influence on him. Rufino Tamayo was his favorite artist. He returned to Texas and in 1951 won first prize at the annual exhibition at the Dallas Museum of Fine Arts. In 1952 he was exhibited at the Knoedler Gallery NYC, in a show of Texas Artists. Thus encouraged, he moved to New York where he began to show regularly at the galleries. He had his first one man show at the Edwin Hewitt Gallery in 1955. In 1956 Vogue magazine reproduced a Clawson painting of a cat. Lincoln Kristen saw it and commissioned the artist to paint a cat for him. In 1963 the Royal Athena Gallery exhibited a Clawson painting entitled Nude in a Rocking Chair. Immediately the press announced it as a nude of President Kennedy and it got worldwide publicity. Finally, two U.S. Treasury agents entered the Gallery and acquired the painting, along with all photographs and negatives of it. The painting was never seen or heard of again. This was the start of Clawson's period of political satire. He had two one-man shows at the Royal Athena Gallery, 1963-1964 in which he satirized through art all the politics of the day. These shows received praise from the New York Times, Time Magazine, Art News, among others. Clawson had two one-man shows at New York's A.C.A. Gallery in 1968-1972. These shows took a light hearted look at social conditions and the decline of Religion in America. Since then Clawson has worked mostly on commissions from private collectors. Due to failing health he found it too difficult to produce enough paintings at one time to have another one-man show. Finally, in 2000 he entered the Cabrini Center for Nursing and Rehabilitation in the East Village where the Nuns put him to work illustrating the Gospels for the Chapel. He has completed the three-year cycle of Sunday Gospels as well as saints' feast days. He now creates secular paintings from his bed side. Cabrini has created a Cyber Art Gallery through www.touchtown.org in which he now displays his works for a network of nursing and retirement homes. In 1977 the Hirshhorn Museum informed Clawson that it had acquired three of his paintings. In 1983 the Corcoran Gallery of Art informed him that they owned a Clawson drawing. Clawson's work is represented in the Butler Museum (Youngstown, Ohio) Krannert Museum (University of Illinois), University of Georgia Museum and the Smithsonian Art Museum. One man shows- Hewitt Gallery-1955, Royal Athena Gallery 1963-1964, A.C.A. Gallery 1968-1972. A note from the artist's niece, Audra Renfer: My uncle passed away from cancer on October 18, 2007. He will be missed by many. oil on canvas Dimensions: 23 3/4"H x 29 3/4"W, 32 1/4"H x 26"W(frame)
• REX CLAWSON, NEW YORK (1929-2007), PORTRAIT
  REX CLAWSON, NEW YORK (1929-2007), PORTRAIT OF VINCENT IRON-BEARD, BIRTHDAY, 1957, OIL ON PAPER, 27 1/2"H X 21 1/2"W, 29"H X 23"W (CUSTOM ARTIST MADE SLEEVE)Rex Clawson, New York, (1929-2007) Portrait of Vincent Iron-Beard, Birthday, 1957, oil on paper Signed lower right, titled and dated lower right. Biography from the Archives of askART: The following biography has been provided by Rex Clawson, The Artist Rex Martin was born in 1929 in Dallas Texas. As a child his favorite artist was Jon Witcomb, an illustrator for the womens' magazines his mother subscribed to. In his teens he read Lust for Life and discovered Van Gogh, Gauguin and the Impressionists. All of his early paintings reflect these artists. In the late 1940's, Clawson won the "Texas Fellowship to the Colorado Springs Fine Arts Center." There he became acquainted with modern art. Picasso and Braque were his greatest influences, along with Walt Kuhn, whose paintings were displayed at the art center. From there he traveled to Mexico to study and paint for a year at Morallia, and the art and culture of Mexico were a great influence on him. Rufino Tamayo was his favorite artist. He returned to Texas and in 1951 won first prize at the annual exhibition at the Dallas Museum of Fine Arts. In 1952 he was exhibited at the Knoedler Gallery NYC, in a show of Texas Artists. Thus encouraged, he moved to New York where he began to show regularly at the galleries. He had his first one man show at the Edwin Hewitt Gallery in 1955. In 1956 Vogue magazine reproduced a Clawson painting of a cat. Lincoln Kristen saw it and commissioned the artist to paint a cat for him. In 1963 the Royal Athena Gallery exhibited a Clawson painting entitled Nude in a Rocking Chair. Immediately the press announced it as a nude of President Kennedy and it got worldwide publicity. Finally, two U.S. Treasury agents entered the Gallery and acquired the painting, along with all photographs and negatives of it. The painting was never seen or heard of again. This was the start of Clawson's period of political satire. He had two one-man shows at the Royal Athena Gallery, 1963-1964 in which he satirized through art all the politics of the day. These shows received praise from the New York Times, Time Magazine, Art News, among others. Clawson had two one-man shows at New York's A.C.A. Gallery in 1968-1972. These shows took a light hearted look at social conditions and the decline of Religion in America. Since then Clawson has worked mostly on commissions from private collectors. Due to failing health he found it too difficult to produce enough paintings at one time to have another one-man show. Finally, in 2000 he entered the Cabrini Center for Nursing and Rehabilitation in the East Village where the Nuns put him to work illustrating the Gospels for the Chapel. He has completed the three-year cycle of Sunday Gospels as well as saints' feast days. He now creates secular paintings from his bed side. Cabrini has created a Cyber Art Gallery through www.touchtown.org in which he now displays his works for a network of nursing and retirement homes. In 1977 the Hirshhorn Museum informed Clawson that it had acquired three of his paintings. In 1983 the Corcoran Gallery of Art informed him that they owned a Clawson drawing. Clawson's work is represented in the Butler Museum (Youngstown, Ohio) Krannert Museum (University of Illinois), University of Georgia Museum and the Smithsonian Art Museum. One man shows- Hewitt Gallery-1955, Royal Athena Gallery 1963-1964, A.C.A. Gallery 1968-1972. A note from the artist's niece, Audra Renfer: My uncle passed away from cancer on October 18, 2007. He will be missed by many. oil on paper Dimensions: 27 1/2"H x 21 1/2"W, 29"H x 23"W (custom artist made sleeve)
• CHARLES SELIGER, NEW YORK (1926-2009),
  CHARLES SELIGER, NEW YORK (1926-2009), UNTITLED, 1948, INK ON PAPER, 6 1/2"H X 4 1/2"W (SIGHT), 12"H X 10 1/4"W (FRAME)Charles Seliger, New York, (1926-2009) Untitled, 1948, ink on paper Signed lower left, dated lower right. Provenance: Collection of Mr. and Mrs. John D. Rockefeller 3rd Biography from Michael Rosenfeld Gallery: Charles Seliger (American, June 3, 1926-October 1, 2009) passionately pursued an inner world of organic abstraction, celebrating the structural complexities of natural forms. Like many artists of his generation, Seliger was deeply influenced by the surrealists' use of automatism, and throughout his career, he cultivated an eloquent and poetic style of abstraction that explored the dynamics of order and chaos animating the celestial, geographical, and biological realms. Attracted to the internal structures of plants, insects, and other natural objects, and inspired by a wide range of literature in natural history, biology, and physics, Seliger paid homage to nature's infinite variety in his abstractions. His paintings have been described as "microscopic views of the natural world," and although the characterization is appropriate, his abstractions do not directly imitate nature so much as suggest its intrinsic structures. Born in New York City but raised in Jersey City, Seliger spent his teenage years making frequent trips back across the Hudson to Manhattan's many museum and gallery exhibitions. Although he never completed high school or received formal art training, Seliger immersed himself in the history of art and experimented with different painting styles including pointillism, cubism, and surrealism. In 1943, he befriended Jimmy Ernst and was quickly drawn into the circle of avant-garde artists championed by Howard Putzel and Peggy Guggenheim. Two years later, at the age of nineteen, Seliger was included in Putzel's groundbreaking exhibition A Problem for Critics at 67 Gallery, and he also had his first solo show at Guggenheim's legendary gallery, Art of This Century. At the time, Seliger was the youngest artist exhibiting with members of the abstract expressionist movement, and he was only twenty years old when the Museum of Modern Art acquired his painting Natural History: Form within Rock (1946) for their permanent collection. In 1950, Seliger obtained representation from the prestigious Willard Gallery, owned by Marian Willard. He formed close friendships with several of her other artists, including Mark Tobey, Lyonel Feininger, and Norman Lewis. By 1949, Seliger had his first major museum exhibition, at the de Young Memorial Museum, San Francisco. During his lifetime, he exhibited in over forty-five solo shows at prominent galleries in New York and abroad. In 1986, Seliger was given his first retrospective, at the Solomon R. Guggenheim Museum, which now holds the largest collection of his work. His work is also represented in numerous museum collections, including the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art in New York; the Wadsworth Atheneum in Hartford, Connecticut; and the British Museum in London. In 2003, at age seventy-seven, Seliger received the Pollock-Krasner Foundation's Lee Krasner Award in recognition of his long and illustrious career in the arts. In 2005, the Morgan Library and Museum acquired his journals—148 hand-written volumes produced between 1952 and the present—making his introspective writing, which covers a vast range of topics across the span of six decades, accessible to art historians and scholars. Seliger was best known for his meticulously detailed, small-scale abstractions as well as the techniques he invented and used to cover the surfaces of his Masonite panels—building up layers of acrylic paint, often sanding or scraping each layer to create texture, and then delineating the forms embedded in the layers of pigment with a fine brush or pen. This labor-intensive technique results in ethereal paintings that give expression to aspects of nature hidden from or invisible to the unaided eye. His talent and generous spirit will be missed. ink on paper Dimensions: 6 1/2"H x 4 1/2"W (sight), 12"H x 10 1/4"W (frame) Provenance: No artist bio available.
• HEINRICH CAMPENDONK, DUTCH/GERMAN (1889-1957),
  HEINRICH CAMPENDONK, DUTCH/GERMAN (1889-1957), DIE BETTLER (AFTER BRUEGHEL), 1922, WOODCUTHeinrich Campendonk, Dutch/German, (1889-1957) Die Bettler (after Brueghel), 1922, woodcut loose, unframed. Provenance: From a private collector, Indianapolis. From the archives of AskArt: After his studies under Dutch artist Johan Thorn Prikker at the Krefeld "Kunstgewerbeschule", Heinrich Campendonk followed Franz Marc's invitation to the Bavarian village of Sindelsdorf and moved there in 1911. At that time Heinrich Campendonk already found the basic subject of his works: the depiction of harmony between man and beast, Creation, the infinite circle of life and death. He produced paintings, watercolors, gouaches and his first woodcuts. In Sindelsdorf the artist met other members of the "Blauer Reiter" group and participated in one of the group's exhibitions that very same year. Two years later, Heinrich Campendonk also showed his work together with the "Blauer Reiter" at the "Erster Deutscher Herbstsalon" at Herwarth Walden's gallery "Der Sturm" in Berlin. During these years Campendonk's artwork was influenced by Marc, Macke and Kandinsky. A stiff geometrical form language was combined with color in pure complementary contrasts to a dynamic, rhythmic form language. In 1916 Heinrich Campendonk moved to Seeshaupt at the Starnberger See, from where he went on extensive travels. At that point Campendonk's painting was marked by softly flowing forms, large calm areas of intensive light and lyrical, often fairytale-like mood. He also produced works in glass painting. In 1926 Campendonk was appointed professor at the Düsseldorf Art Academy. Campendonk gained acclaim as an artist since the mid-1920s particularly through numerous glass windows he made for churches and public buildings (such as the Düsseldorf parliament building and the Paulskirche and the Essen Münster etc.). When he was dismissed from his teaching profession in 1933, he emigrated to the Netherlands, where he accepted a teaching position for "monumental and decorative art" at the "Rijksakademie van beeldende Kunsten" in Amsterdam. After the end of the war, Campendonk did not return to Germany. He continued to work as a teacher and received numerous orders for glass windows in the Netherlands and Germany. In 1956 Campendonk was awarded the Quellinus Prize by the city of Amsterdam and made knight of the order "De Nederlandse Leeuw". woodcut
• BRUCE RILEY, AMERICAN (B. 1954), FRAGMENT
  BRUCE RILEY, AMERICAN (B. 1954), FRAGMENT SERIES: CYCLE, 2008 / WORM HOLE, 2009, OIL ENAMEL ON PANEL DIPTYCH, 12"H X 12"W (ONE)Bruce Riley, American, (b. 1954) Fragment Series: Cycle, 2008 / Worm Hole, 2009, oil enamel on panel diptych Signed, titled, and dated verso. Biography from Bruce-Riley.com: Born in 1954, Bruce Riley grew up in a working class tradition of several generations on the outskirts of Cincinnati, Ohio, USA. His neighborhood was on the urban - rural divide of city and country. Most of his childhood was spent in the surrounding woods and creeks exploring a fantasy wilderness. Throughout his childhood he drew and painted with contemporary painting media being his primary focus to this day. Having just missed the Vietnam war, Bruce attended art school if there was funding. At times of no funding he would rent a studio. Eventually he quit attending schools and just maintained a studio. Bruce considers himself to be self-taught. In the early 1980's Bruce started exhibiting in the Cincinnati region getting into shows and receiving small awards. In the late 80's through the early 90's Bruce started receiving more prestigious awards and show inclusions; Ludwig Vogelstein Foundation, Inc grant, 1987, The Contemporary Arts Center, Cincinnati, grant and show inclusion, 1988, The Pollock-Krasner Foundation, Inc. grant, 1989, Ohio Arts Council grant, 1991 and Arts Midwest/NEA Regional Visual Arts Fellowship Award 1992. In 1993 Bruce and his partner moved to Chicago where he has maintained a studio while working as a freelancer in a variety of industries. Currently Bruce paints full-time while exploring digital painting and electronic sound. oil enamel on panel diptych Dimensions: 12"H x 12"W (one)
• BEV DOOLITTLE (CALIFORNIA, BORN 1947)
  BEV DOOLITTLE (CALIFORNIA, BORN 1947) PRINT PORTFOBEV DOOLITTLE (California, born 1947) Print Portfolio, "Where Silence Speaks: The Art of Bev Doolittle," 17 prints, Deluxe limited edition collection numbered 1116/3500, pencil signed and numbered by the artist. The number one print, "Missed!" is pencil signed and numbered, the remaining prints in the folio are not pencil signed or numbered. Prints include: Missed!; The Forest Has Eyes; Pintos; The Good Omen; Rushing War Eagle; Runs with Thunder; Wolves of the Crow; Spirit of the Grizzly; Let My Spirit Soar; Two Indian Horses; Unknown Presence; Bugged Bear; Escape by a Hare; Whoo?!; Woodland Encounter; Eagle's Flight; and Christmas Day, Give or Take a Week. In original slip case.
• BEV DOOLITTLE PRINT PORTFOLIOBEV DOOLITTLE
  BEV DOOLITTLE PRINT PORTFOLIOBEV DOOLITTLE (California, born 1947) Print Portfolio, "Where Silence Speaks: The Art of Bev Doolittle," 17 prints, Deluxe limited edition book numbered 1116/3500, pencil signed and numbered by the artist. The number one print, "Missed!" is pencil signed and numbered, the remaining prints in the folio are not pencil signed or numbered. Prints include: Missed!; The Forest Has Eyes; Pintos; The Good Omen; Rushing War Eagle; Runs with Thunder; Wolves of the Crow; Spirit of the Grizzly; Let My Spirit Soar; Two Indian Horses; Unknown Presence; Bugged Bear; Escape by a Hare; Whoo?!; Woodland Encounter; Eagle's Flight; and Christmas Day, Give or Take a Week. In original slip case.
• BEV DOOLITTLE PRINT FOLIOBEV DOOLITTLE
  BEV DOOLITTLE PRINT FOLIOBEV DOOLITTLE (California, born 1947) print folio, "Where Silence Speaks: The Art of Bev Doolittle." The first print "Missed!" signed in pencil, an artist proof numbered AP 51/100, the others unsigned. The folio includes 17 lithographs: Missed!; The Forest Has Eyes; Pintos; The Good Omen; Rushing War Eagle; Runs with Thunder; Wolves of the Crow; Spirit of the Grizzly; Let My Spirit Soar; Two Indian Horses; Unknown Presence; Bugged Bear; Escape by a Hare; Whoo?!; Woodland Encounter; Eagle's Flight; Christmas Day, Give or Take a Week. In original slip case.
• CIGAR BOX WITH 400+ WORLD COINS & SILVER
  CIGAR BOX WITH 400+ WORLD COINS & SILVER Partagas Cigar Box from Dominican Republic; Includes coins from many countries, five 1965 Churchill Crown, small leather purse, and these silver coins (could be more in the box missed) : English 1879 1/2 Crown Good, 1891 3 Pence G 6 pence Victorian undated, Canada 10 Cents: 1886 Large knobbed six G (Better Coins) 1903-H G/VG,1903-G AG, 1911 G/VG, 1917 F/VF, 1917 G, 1919 VF/XF, 1939; Canada Five Cents: 1907 VG, 1914 F, Canada Quarters: 1907 VG, 1910 VG, 1917 VG, 1917 F/VF, 1918 VG and 5 more 1950s-64, 1912 Swiss 2 Francs VG, 1/2 Franc 1962; 1964 Bermuda Silver Crown.
• REVOLUTIONARY WAR RECEIPT FOR FIREARMS,
  REVOLUTIONARY WAR RECEIPT FOR FIREARMS, 1782 Handwritten receipt for 13 muskets and bayonets by Sgt. Major John Lawrance of Capt. Lincoln's Corps, from Col. Ezra Badlam, dated at Boston, June 3, 1782, written on a slip of paper. At this point in the war Badlam (1746-'88) had taken on various administrative duties, chiefly recruitment of troops for the Continental Army. In August he was dismissed for a series of violations of recruitment rules.
• GIGANTIC BOX OF WORLD COINS #1 Biggest
  GIGANTIC BOX OF WORLD COINS #1 Biggest ever box of world coins! Over 1300 coins – 650+ in 2x2’s, 600+ loose/raw coins and 80+ silver in 2x2’s. There is value in the non-silver 2x2’s like dozen + Canadian large cents 1881-1918, other 19th century coins and probably a few smaller silver coins missed. The silver coins has nice assortment as well like 3 South African 2 ½ Shillings, several 18th century Mexican ½ Reales, Shillings and Florins from Great Britain and Australia, Chinese 1890 Kwangtung 20 cent, 6 Pence from Great Britain, Siam silver 10 Satang, 1939-A German 3rd Reich 2 Marks, 20+ countries, many of which we don’t normally see in silver mixes. Recommended for locals as shipping would be enormous on this lot. Look next month for a lot just like this.
• LITTLE GREEN BOX OF COINS 300+ coins
  LITTLE GREEN BOX OF COINS 300+ coins in the box with silver coins like: Mexico 1968 Olympics 25 pesos, 1974 Turks & Caicos Islands Churchill Centenary Sterling Silver 20 crown, Netherlands 1964 2/5 Gulden, Germany 1965 5 Marks, Canada 50 c- 1040 and 1958, dimes 1917, 40, 44, 48, 53, 54 56, 61, quarters 2-34, 45, 50, 51, 53, 65; Switzerland 5 marks 1967B, Great Britain 6p 1954, Shilling 53,58(?), and a few others that could have been missed. These rest are non-silver
• ANDREW WYETH, PERSONAL LETTER DATED
  ANDREW WYETH, PERSONAL LETTER DATED SEPT. 26TH, 1968, LETTERHEAD READS "ANDREW WYETH/ CUSHING ROAD/ THOMASTON, MAINE", ENVELOPE ALSO...Andrew Wyeth, personal letter dated Sept. 26th, 1968, letterhead reads "Andrew Wyeth/ Cushing Road/ Thomaston, Maine", envelope also with printed address, the letter reads in loose script "Dear Anne, How thoughtful of you to write us about my father's painting, and I will most (?) look into this. We missed seeing you both this past summer- Love and thanks, Andrew", wear consistent with age and use, original creases, etc.
• ILLUSTRATION: RUSSELL PATTERSON (AMERICAN,
  ILLUSTRATION: RUSSELL PATTERSON (AMERICAN, 1896 - 1977), "OH SHUCKS, MISSED AGAIN", 1959, WATERCOLOR ON PAPER, DEPICTS CUPID STANDIN...ILLUSTRATION: Russell Patterson (American, 1896 - 1977), "Oh Shucks, Missed Again", 1959, watercolor on paper, depicts cupid standing on column in three-quarter profile view looking toward couple, arrow strikes the man's hind-quarters, tree in background with red leaves, and doves flying throughout, framed and matted under glass, signed LC, condition consistent with age including toning and light wear, ss: 24 1/4" h. x 14 3/4" w. [PROVENANCE: Artist was commissioned by consignor's mother to design a ten-piece series for the family's Janssens Restaurant in New York City in 1959 and subsequently passed down to the consignor. Commission fee per piece was $500 in 1959.]
• BAKER'S BASEBALL GAME FOR MEN AND BOYS
  BAKER'S BASEBALL GAME FOR MEN AND BOYS CA. 1920Baker's Baseball Game for Men and Boys, ca. 1920 , manufactured by Rockaway Manufacturing Co., tabletop game with functioning spring operated pitcher and batter, and a catcher holding a wire basket for catching missed balls, mounted on a heavy card base, with felt ball field, to include three painted cast metal player figures and three metal balls along with cloth bag for storage, the far walls are lined with Cincinnati player images and cloth pockets to catch balls, the wording on image panels indicate base hit, home run or out, maker's label is behind home plate under felt covering, to include Rules card, 26 1/2" x 26 1/2", 5" h. Condition: Some moth holes to felt; some holes and deterioration to side cloth pockets, otherwise rare game in excellent condition
• BEV DOOLITTLE OFFSET LITHOGRAPHBEV DOOLITTLE
  BEV DOOLITTLE OFFSET LITHOGRAPHBEV DOOLITTLE (California, born 1947) offset lithograph, "Missed," fox and an arrow. Pencil signed lower right, edition 1448/3500, 9" x 12" (image), 16" x 18.75" (frame).
• THE STORY OF GEORGIA COMPLETE COLLECTIONRare
  THE STORY OF GEORGIA COMPLETE COLLECTIONRare First Edition The Story of Georgia Complete Collection by Walter G Cooper. Includes Vol I-III and The often missed Biographical fourth book. Published in 1938 by The American Historical Society. Light wear on the spine but otherwise in Great Condition.
• RINALDO PALUZZI, SPANISH (1927-2013),
  RINALDO PALUZZI, SPANISH (1927-2013), SOLO ART EXHIBITION INDIANAPOLIS MUSEUM OF ART (IMA), 1974-75, LITHOGRAPH POSTER, 32 1/2"H X 22 3/4"W, 34 1/4"H X 24 1/2"W (FRAME)Rinaldo Paluzzi, Spanish, (1927-2013) solo art exhibition Indianapolis Museum of Art (IMA), 1974-75, lithograph poster Signed lower right. From AskArt: The following is the obituary of the artist, submitted by Jeffrey Curry and published by TribLive Obituaries of South Greensburg, Pennsylvania. Rinaldo Paluzzi, formerly of South Greensburg, died Wednesday, March 27, 2013, in Madrid, Spain, with his loving family at his bedside. Rinaldo is internationally known for his artistic talents and his paintings and sculptures are on display in Amsterdam, Paris, Spain, Italy, Switzerland, California, Indiana and Pennsylvania. He attended Herron's School of Art at Indiana University and served in the Navy during World War II. Rinaldo is predeceased by his parents, Nazzareno and Bettina Paluzzi; and his brothers, Guido and Guirino Paluzzi. Rinaldo is survived by his loving wife, Belen; his daughters, Coletta, Gina and Leah; several grandchildren, including his granddaughter, Bruna; his stepchildren and their spouses and children; his brother, Gino Paluzzi (Linda); his sister, Lena Passarelli, of South Greensburg; sister-in-law, Patricia Paluzzi, of Virginia; his very dear friends, Dr. and Mrs. Steve Lehman; as well as many nieces and nephews. Rinaldo was 85 years old at the time of his death. Rinaldo loved his family and friends and will be greatly missed. Burial services and interment were in Madrid, Spain. lithograph poster Dimensions: 32 1/2"H x 22 3/4"W, 34 1/4"H x 24 1/2"W (frame)