A few examples of appraisal values for
PALMA

• A GROUP OF MOSTLY LEATHER-BOUND BOOKS
  A GROUP OF MOSTLY LEATHER-BOUND BOOKS IN SPANISHA large group of mostly leather-bound books in SpanishLot includes: 1. Tradiciones Peruanas. Ricardo Palma. Madrid: Calpe, ca. 1940. (6 vols. complete) 8vos. custom bound in full calf with gilt titles
• A LAS PALMAS DESIGN CAMDEN TRAY TABLEA
  A LAS PALMAS DESIGN CAMDEN TRAY TABLEA Las Palmas Design Camden parcel gilt and red painted tray tablemodernheight 21 1/4in (54cm); width 36 1/4in (92cm); depth 24 1/4in (62cm)
• LAS PALMAS DESIGN CENTURY HILL FULL
  LAS PALMAS DESIGN CENTURY HILL FULL SIZE HEADBOARDA Las Palmas Design Century Hill full size headboardmodernheight 91 1/2in (232cm); width 63in (160cm); depth 5 1/2in (14cm)
• COBALT DECORATED REMMEY STONEWARE PITCHER
  COBALT DECORATED REMMEY STONEWARE PITCHER CA.1870; salt glazed stoneware slightly bulbous pitcher, brushed cobalt forked floral stem and feathered chin design, two pairs of palmate foliage and a simple leaf on the neck and daubs on the handle terminals, rounded rim, pinched spout, band of five impressed neck rings, raised collar ring, tooled rounded foot flange, ribbed strap handle, attributed to Richard Remmey, Philadelphia, PA, Albany slip glaze interior, 7 3/4"d, 10 3/4"h; Condition: as made
• 2 GALLON COBALT DECORATED REMMEY STONEWAREpitcher
  2 GALLON COBALT DECORATED REMMEY STONEWAREpitcher ca. 1870; two gallon salt glazed stoneware slightly bulbous pitcher, brushed cobalt applications that include a wavy rim ring, two pairs of palmate foliage on the neck, a wavy collar ring, the mid-section pair of flowering stems and daubs on handle terminals; rounded rim with pinched spout, two pairs of impressed neck rings, raised collar ring and tooled rounded foot flange, impressed "2", ribbed strap handle, attributed to Richard Remmey, Philadelphia, PA pottery, Albany glaze interior, 10"d, 14 1/2"h; Condition: professionally sealed large midsection horizontal crack, 1" rim line, some cobalt fry
• Pair of Italian Pressed Brass and Carved
  Pair of Italian Pressed Brass and Carved Pine 'Porta Palmas' Garnitures, 18th or early 19th century height 33 in — 83.8 cm
• CHROME AND BLACK FAUX LEATHER BAR STOOL,
  CHROME AND BLACK FAUX LEATHER BAR STOOL, PAIR Pair of Chrome and Black Faux Leather Bar Stools, in the style of LEM by LaPalma, both height adjustable and 360 degrees rotation. 34" H x 14" H x 17" D. Keywords: Retro, Furniture, Seating
• GROUP OF VINTAGE PISTOL AMMUNITION ,A
  GROUP OF VINTAGE PISTOL AMMUNITION ,A full unopened box of Union Metallic .22 Long Rifle cartridges; a brick of 500 rounds of Winchester "Staynless Ezxs .22 Long Rifle match cartridges; four boxes of Winchester Staynelss Ezxs .22 Long Rifle macth cartridges; a box of Winchester Precision 200 .22 Long Rifle cartridges; a box of Remington Police Targetmaster .22 Long Rifle cartridges; a box of Western Xpert .22 Long Rifle cartridges; a box of Western Super Match Mark II .22 Long Rifle cartridges; a box of Remington UMC .22 Long Rifle Palma cartridges; an opened and half full box of Clinton .22 Short cartridges; a partial box of Remington .22 Long Rifle hollow point cartridges; an approximately half full box of Remington 38-40 cartridges; a partial box of Remington UMC .32 S&W Long cartridges; a partial box of Remington .38 Special cartridges; a box with four .32 S&W Remington cartridges; and an empty box with insert of Remington UMC .38 S&W Special cartridges.
• AFTER PALMA VECCHIO (ITALIAN, 1480-1528),
  AFTER PALMA VECCHIO (ITALIAN, 1480-1528), LA BELLA Oil on canvas, 1866, signed "M.B." and dated at lower right, French stamp to canvas and pencil inscription to stretcher en verso, presented in a period ornate giltwood frame with acanthus leaf decoration.
• A. Molina, 20th c - Palma Cathedral
  A. Molina, 20th c - Palma Cathedral and Harbour, Majorca, signed, oil on canvas, 37 x 44cm More Information Good condition
• Brett DePalmaAmerican (b. 1949)oil on
  Brett DePalmaAmerican (b. 1949)oil on canvas24 x 16 inches
• VINTAGE MEXICO SOMBRERO, "TEQUILA SAUZA"Mexican
  VINTAGE MEXICO SOMBRERO, "TEQUILA SAUZA"Mexican woven sombrero, the rim marked "Tequila Sauza," a rope hat band, the crown with two leather only conchos, the interior marked by the maker "La Palma," quality: XXXXX, size 55 (6 7/8"), 6"h, 24"diam
• VENINI (ATTRIB.) MURANO PALMA 18-LIGHT
  VENINI (ATTRIB.) MURANO PALMA 18-LIGHT CHANDELIERLarge Italian Murano mid-century modern gilt metal and glass chandelier, design attributed to Venini, having eighteen lights atop three tiers hung with palm-form glass elements forming shade, center faceted crystal drop finial, accompanied by six additional glass elements, approx 19.75"h, 39.5"diam
• ATTRIBUTED TO PALMA IL GIOVANE (C.1544/48-1628):
  ATTRIBUTED TO PALMA IL GIOVANE (C.1544/48-1628): ST. MARY TRANSPORTED TO HEAVENInk on paper, unsigned. 4 1/4 x 8 1/2 in. (sheet), 10x 14 in. (frame). Property from a Prominent Collector Condition Sheet mounted on paper. Pale staining.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• PALMA IL GIOVANE (1544-1628): THREE
  PALMA IL GIOVANE (1544-1628): THREE STUDIES FOR MADONNA AND CHILD AND ST. JOHN THE BAPTISTTwo-sided ink on paper, c. 1580, indistinctly inscribed at center. 8 1/4 x 5 3/4 in. (sheet), 16 x 14 in. (frame). Condition The sheet trimmed diagonally at the corners. A tiny loss lower left and upper right. Surface soiling. Otherwise apparently in good condition. Full sheet visible. Not examined out of frame.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• JEWELRY. 14KT GOLD SIGNET RING. An engraved
  JEWELRY. 14KT GOLD SIGNET RING. An engraved 14kt yellow gold signet ring with central tree over a banner containing a the motto "Non Sine Pulvere Palma" in Latin - "No reward without effort". flanked by beautiful Art Nuevo style female formed busts with flowing hair. Stamped with an unidentifiable pictorial mark. Total approx. weight is 3.5 dwt (gross). From a Hollis, NY estate. Dimensions: ring is a size -5 1/2. Condition: Good, with light surface scratches and minor dings/dents.
• SEMIPALMATED PLOVERWilliam Gibian (b.
  SEMIPALMATED PLOVERWilliam Gibian (b. 1946) Onancock, VA, 2013 7 1/2 in. long A small plover with incised wing detail and the maker's incised "GIBIAN." Original paint with light wear. Provenance: Saltonstall Collection
• DU PONT CROWELL SEMIPALMATED PLOVERA.
  DU PONT CROWELL SEMIPALMATED PLOVERA. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 6 1/4 in. tall An excellent rendition of this rare species with refined form and deftly blended paint. The underside of this mantle carving is struck with the maker's rectangular stamp. This carving, along with the two preceding lots, is making its market debut since it was acquired from Crowell by a member of the du Pont family. Original paint with light wear, less than 1/4-inch bill tip replacement, touch-up to small chip and line by left eye, minor touch-up to foot and thigh putty, and minor ding on left flank. Provenance: Private Collection, a descendant of Thomas Coleman du Pont, acquired from the maker Private Collection by descent from the above Literature: Stephen B. O'Brien Jr. and Chelsie W. Olney, "Elmer Crowell: Father of American Bird Carving," Hingham, MA, 2019, p. 52, related semipalmated plover illustrated (mislabeled caption).
• SEMIPALMATED PLOVER TRIOMark Holland Brewster,
  SEMIPALMATED PLOVER TRIOMark Holland Brewster, MA, 1978 19 1/2 in. long Three split-tail plover in different stances on a driftwood base, signed and dated on the underside by the maker. Original paint with light wear, including some paint shrinkage. Provenance: Stephen B. O'Brien Sr. Collection
• MINIATURE SEMI-PALMATED PLOVERA. Elmer
  MINIATURE SEMI-PALMATED PLOVERA. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 1/4 in. long An excellent early example with an inked species inscription on the bottom. Original paint with light wear. Provenance: Nina Fletcher Little Collection Warren M. Little Collection, by descent from the above Private Collection, acquired from the estate of the above
• THIRTEEN STAFFORDSHIRE BLUE TRANSFER
  THIRTEEN STAFFORDSHIRE BLUE TRANSFER PRINTED SOUP PLATES, ENGLAND, FIRST HALF 19TH CENTURY, England, first half 19th century, Willow , dia. 9 1/4; Travelers with Ruins , dia. 9 7/8; impressed Spode Lange Lijsen , dia. 9 3/4; Long Bridge , dia. 9 5/8; View in Palma , dia. 9 1/4; Eastern Street , dia. 9 3/4; classical design, dia. 9 1/4; octagonal Lady with Parasol , dia. 9; Girl at the Well , dia. 8 5/8; impressed Davenport Villagers , dia. 8 3/8; impressed Spode Necropolis , dia. 8 1/2; a scrolled foliate design, dia. 9 1/2; and a marked Winkle Togo plate, dia. 8 3/4 in.
• TWO STAFFORDSHIRE BLUE & WHITE PRINTED
  TWO STAFFORDSHIRE BLUE & WHITE PRINTED PLATESTwo 19th century Staffordshire blue & white printed pottery plates, one showing a bucolic farm with cows in the foreground by Davenport, the other showing the monastery at Palma. Both 10" diameter.
• WATERCOLOR, EUNICE CASHION MACLENNAN
  WATERCOLOR, EUNICE CASHION MACLENNAN Eunice Cashion MacLennan (American, 1886-1966), "Cathedral and Wharf-Gray Morning-Palma de Majorca," watercolor on paper, pencil signed lower right, titled lower left, artist label affixed verso, overall (with frame): 11.75"h x 13.5"w
• A STERLING SILVER JEWELRY SUITE, 'PALMACEAE
  A STERLING SILVER JEWELRY SUITE, 'PALMACEAE FROND', CHRISTOFLE A sterling silver jewelry suite, 'Palmaceae Frond', Christofle including a link necklace, a pair of ear clips, a pendant necklace, and a chain bracelet, of palm tree motif design. Property of a Hillsborough, CA estate. 4.700 gross ozt: necklace length: 21; earring length: 3 in; bracelet length: 7 in; chocker length: 13 - 16 in Time: November 2022 Place: CLARS AUCTION GALLERY, Oakland, CA, USA Sold for: $3,000.00 Imported successfully Replaced successfully Error: unknown error
• PAINTING, MANUEL VALENCIA Manuel Valencia
  PAINTING, MANUEL VALENCIA Manuel Valencia (American, 1856-1935), Ross Valley Near Mt. Hamilton, California, oil on canvas, signed lower left, canvas: 20"h x 30.25"w, overall (with frame): 27.5"h x 37.5"w. Exhibition: La Palma Library, La Palma, CA, California Artists of the 1920s and 1930s, December 1, 1981-January 31, 1982; The Irvine Museum, Irvine, CA, September 14, 1992-November 27, 1993.
• PETER KEIL OIL ON POSTER BOARD PAINTING,
  PETER KEIL OIL ON POSTER BOARD PAINTING, TERRENO PALMAGerman neo-expressionist style portrait. One of Germany's best contemporary painters, Peter Robert Keils dynamic shapes and impressive choice of colors are particularly popular with two generations of collectors. Once known as the Wild Man of Berlin for his unruly locks of hair and energetic art and lifestyle, Keil was one of the now infamous Neo-Expressionist Grossen Wilden (Young Fauves) sharing the limelight with his friends and storied artists Elvira Bach, Rainer Fetting, and George BaseIitz. Later, the young Keil developed friendships with fellow artists Juan Miro, Andy Warhol, and while living and traveling in Spain he would occasionally exchange comments on art with Picasso and Salvador Dali. The highly collectable work of Peter Robert Keil can be found at art exhibitions, museums and galleries, private collections of the rich and famous, in offices and hotels, as well as some of the leading auction houses. Painting is signed and dated by the artist on front and on verso. Frame and poster board are stamped PETER KEIL MUSEUM, MUNICH. Artist: Peter Keil Issued: 1967 Dimensions: 31"H x 25"W Country of Origin: Germany
• LUIS GONZALEZ PALMA (GUATEMALAN B.1957)DESCRIPTION:
  LUIS GONZALEZ PALMA (GUATEMALAN B.1957)DESCRIPTION: Photograph by Guatemalan artist Luis Gonzalez Palma. Features three photographs taken in sepia, backed by a copper toned gelatin foil material. Wonderful contrasts and shadows and expressionist subject matter. Dated from 1998. CIRCA:20th Ct. ORIGIN: Guatemala PROVENANCE: Purchased in a Phillips auction by the consignor. DIMENSIONS:With Frame: H:30.75" L:58" Without Frame: H:29.25" L:56.5" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• "HOLY FAMILY WITH SAINTS" BY PALMA IL
  "HOLY FAMILY WITH SAINTS" BY PALMA IL VECCHIODESCRIPTION: Religious Scene Painting "Holy Family with Saints Catherine of Alexandria and John the Baptist" by Palma il Vecchio small reproduction print in antique gilt frame. CIRCA: 20th Century ORIGIN: Italy DIMENSIONS: H: 5" W: 7" D: 1 1/8" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• COSTA RICAN HAND PAINTED POTTERY VASEDESCRIPTION:
  COSTA RICAN HAND PAINTED POTTERY VASEDESCRIPTION: Hand Painted Traditional Pottery Vase from Palmares area in Costa Rica. This is a listing for a decorative pottery vase that was handcrafted in Costa Rica. The round vase is hand-painted with bands of rust and browns featuring a variety of abstract geometric designs. Costa Rican pottery is completely handmade with traditional techniques passed down through the generations for thousands of years. The artisans create the clay pots on hand-operated pottery wheels and polish the pieces to give them a smooth finish and luster. Designs are painted with natural pigments made from ground colored rocks mixed with water, then fired in traditional wood-burning kilns. The result is a striking earthen pottery unique to this specific region of Costa Rica. This beautiful ceramic vase has a rounded bottom and comes with pottery base. CIRCA: 21st Century ORIGIN: Costa Rica DIMENSIONS: H: 13 1/2" W: 10" CONDITION: Great condition. Additional base has a crack. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• SIGNED GAUFELLU 1966 SPANISH IMPRESSIONIST
  SIGNED GAUFELLU 1966 SPANISH IMPRESSIONIST PAINTIN1960's Spanish Impressionist rainy street scene painting on pebbled stone canvas board titled "Lluvia en Palma Mallorca". Signed to lower right "Gaufellu"? and dated 1966. Mounted in a brown painted woodenframe.Canvas on stretcher measures approx. 32" height x 26" width (81.3cm x 66cm). Measures approx. 39 1/4" height x 33 1/4" width (99.7cm x 84.5cm) overall including frame. Condition: All lots are sold as is and where is. Elite Auctioneers, LLC provides condition reports upon request to aide in your bidding decision. No statement regarding age, condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalog or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. All sales are final, Elite Auctioneers, LLC does not give refunds based on condition. Elite Auctioneers, LLC does not perform any shipping or packing services. We do have a list of suggested shippers who gladly provide quotes prior to your bidding. Please visit our webpage for a list of recommended shippers.All items listed as "attributed", "after", or "in the manner" are not being sold as original works and are not guaranteed authentic.
• GERMAN HARD PASTE PORCELAIN PLAQUE OF
  GERMAN HARD PASTE PORCELAIN PLAQUE OF YOUNG BEAUTYGerman hard paste porcelain plaque of young beauty, blonde hair, white nightgown and red robe, ornate gilt frame. "Madchen nach Palma Vecchio" on reverse, 5.75" long x 3 15/16" wide, 11" high x 8.25" wide overall Condition: Good condition, with very minor surface abrasions
• ZACHARY TAYLOR AND HIS BATTLES ENGRAVING,
  ZACHARY TAYLOR AND HIS BATTLES ENGRAVING, ENSIGNS & THA...Taylor & His Battles hand-colored engraving depicting President Zachary Taylor on horseback and surrounded by vignettes illustrating significant military exploits involving Taylor, such as the Mexican-American War battles of Okeechobee, Monterey, and Buena Vista, along with the occupation of Matamoras; the War of 1812 battle of Fort Harrison; and battle scenes including the capture of Romulo Diaz de la Vega at the Battle of Resaca de la Palma and the death of Samuel B. Ringgold, following wounds sustained at the Battle of Palo Alto. With commentary on each scene along lower edge. Published by Ensigns & Thayer, New York, 1847. Housed under plexiglass in a black metal frame with ivory mat. Sight: 29" H x 22" W. Frame: 33 1/2" H x 26 1/4" W. Condition: Toning throughout, with creasing and 5 1/2" repaired tear to lower center. Scattered staining and discoloration, especially to upper and lower margins. Not examined out of frame.
• JOAN MIRO LITHO NOIR ET BLANC COLORED
  JOAN MIRO LITHO NOIR ET BLANC COLORED LITHOGRAPHJoan Miro (Spain, 1893-1983), Noir et Blanc, framed under glass limited edition colored lithograph, Maeght, Paris; measures approximately 22" x 28-9/16". Pencil numbered 42/300 with Maeght-Editeur-Paris seal to lower left. Joan Miro was a Catalan painter, sculptor, and ceramicist born in Barcelona. A museum dedicated to his work, the Fundaci- Joan Mir-, was established in his native city of Barcelona in 1975, and another, the Fundaci- Pilar i Joan Mir-, was established in his adoptive city of Palma de Mallorca in 1981. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Mir- expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an "assassination of painting" in favor of upsetting the visual elements of established painting.
• 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.
• CARL HUNGNESS (AMERICAN B. 1944) A BRONZE
  CARL HUNGNESS (AMERICAN B. 1944) A BRONZE SCULPTURE, "R...CARL HUNGNESS (American b. 1944) A BRONZE SCULPTURE, "Ralph DePalma's 1912 Indianapolis 500 Defeat," 1986, patinated bronze, signed in bronze, "Carl Hungness," dated 1986 and special edition number 3/30. Height: 18 3/4" Width: 48 1/4" Depth: 21 1/4" Note: The present scene commemorates race car driver Ralph DePalma's loss at the 1912 Indianapolis 500 race. The Motorsports Hall of Fame inducted Ralph DePalma in 1992, and writes that his, "...mechanic Rupert Jeffkins ended up pushing their disabled, famed, "Grey Ghost" Mercedes to the line...Noted as a true sportsman for his gracious acceptance of defeat...He cast the die that made possible the likes of Foyt, Petty, Andretti and Earnhardt; Ralph DePalma set the standard by which others have been measured." Condition: Figure pushing from rear of car has been reattached, and some surface buildup throughout. 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."
• 20TH CENTURY CONTINENTAL SCHOOL20TH
  20TH CENTURY CONTINENTAL SCHOOL20TH CENTURY CONTINENTAL SCHOOL Palma de Mallorca , 1954 oil on canvas 62 x 85 cm (24 3/8 x 33 1/2 in.) insribed lower right Ehrenhelt 4!54 Palma de Mallorca' CONDITION Observed in frame, the work is in overall very good original condition. Minor craquelure on the top. Otherwise, no other issues to report. Inspection under UV light reveals no apparent signs of restoration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.