A few examples of appraisal values for
R C MURRAY CO

• F. Richardson Murray (NY/SC 20th
  F. Richardson Murray (NY/SC 20th c.) City Streetwatercolor on paper signed and dated ''F. Richardson Murray 1931'' at lower right possibly depicting a street scene in Greenwich Village in NYC matted and framed under glass.SS 9.5 x 13.25 in.; DOA 17 x 21 in.The collection of Barbara Rhoades NC grandniece of Katherine N. Rhoades and granddaughter of Lyman Rhoades Sharon CT and New York NY
• C. 1950 Murray child's bicycle with
  C. 1950 Murray child's bicycle with fancy decorations.
• H Murray, English, 19th c, 15" x
  H Murray, English, 19th c, 15" x 19" o/panel, Rocky Mountain Stream Estimate $500-700
• Henry Murray (British, 19th-20th
  Henry Murray (British, 19th-20th Century) A pair of fine fine watercolors on paper of hunting scenes, one of The Full Cry and the other of Run To Earth, each signed in the lower left corner, measuring approx. 11-3/4" x 17-3/4" sight size, and each matted and framed alike under glass overall approx. 17-1/2" x 23-1/2". Henry Murray's work was sold by Frost and Reed in the 20th Century and was brought to the United States by their representatives.
• FOUR PIECE F. RICHARDSON MURRAY,
  FOUR PIECE F. RICHARDSON MURRAY, (20TH CENTURY), "THE C...Four Piece F. Richardson Murray, (20th century), "The Capital", Columbia South Carolina, Bal Harbour Florida, Florida, watercolor, signed F. Richardson Murray 35, 9 1/4" x 13 1/4". Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• F. Richardson Murray (South
  F. Richardson Murray (South Carolina/New York 20th century) COASTAL PALMS watercolor and gouache framed signed: lower right F. Richardson Murray sight size: H10'' W13'' Provenance: Port Orange Florida private collection.
• FOUR PIECE WATERCOLOR GROUP BY F.
  FOUR PIECE WATERCOLOR GROUP BY F. RICHARDSON MURRAY (20...Four Piece Watercolor Group by F. Richardson Murray (20th century), to include old homes strawberry hill, Philadelphia PA; a modern Baghdad; farm, Newport, RI; Maine; two signed in pencil, 9 1/4" x 13 1/4". Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• F. Richardson Murray (American,
  F. Richardson Murray (American, Contemporary) "Children Near a Cabin", oil on masonite, 18" x 24", signed lower left "F. Richardson Murray", indistinctly dated lower left "196?". Unframed.
• Richard Murray (American, b.
  Richard Murray (American, b. 1948) Contemplation by the Water, 1972 oil on canvas signed W Murray and dated (lower left) 34 x 42 inches (sight).
• RICHARD MURRAY (1948- ), BULL MOOSE
  RICHARD MURRAY (1948- ), BULL MOOSE Fine Art
• Photographic Archive of Miles
  Photographic Archive of Miles City Montana Photographer R.C. Morrison 1880s-1890s Cowan's is proud to present the photographic archive of pioneer Montana photographer Robert C. Morrison (1850-1938) descended directly in the family of the photographer and available for sale for the first time. R.C. Morrison arrived in Miles City Montana in 1878 when it was a tiny sutler's outpost serving General Miles' Ft. Keogh and remained there until his death sixty years later. Originally a sign painter he found a new creative outlet in photography and over those sixty years managed to photograph just about everything subject available to him. He operated a professional studio ca 1880s-1990s making him a contemporary of classic Western photographers L.A. Huffman and Christian Barthelmess but much of his work seems to have been purely for his own enjoyment. Morrison was an eccentric fellow with an eye for the unusual and you can sense an almost childlike enthusiasm for his work evidenced by offbeat subject matter and experimentation in a time when photography was viewed by most as a serious and scientific endeavor. What really distinguishes the collection though is the setting; located at the intersection of army Indian pioneer and cowboy culture Miles City embodied everything about the American West and Morrison was there to capture it from its rugged infancy until long after the railroads reservations and barbed wire had erased all notions of the frontier.With the exception of the collection presented here R.C. Morrison's heirs have donated his entire collection (including 3 600 glass negatives) to the Montana Historical Society. Several of these images were made available to the public for the first time in a Smithsonian.com feature by Donna Lucey published October 5 2009. This exclusivity combined with the diverse subject matter Morrison's unusual style and his relationship with some of the giants of Western photography make this a truly unique opportunity.The archive contains over 1 700 photographs plus related materials. About half of the photographs are duplicates varying somewhat in clarity condition and mount and roughly 10% by other photographers. The contents are summarized later in this description and fully accounted for in a spreadsheet available upon request.What we know about R.C. Morrison is limited. His photographs give us a rough sketch of his life from the time he arrived in Miles City at age 28 but with little context. It is not clear if he was a participant in or merely an observer of the varied events he photographed nor is it always clear which photographs were taken for profit and which for hobby. The documents included in the archive are primarily business related either inquiries about Morrison's sign painting business or correspondence regarding cameras and other photographic equipment. Most of what we know comes from Morrison's direct descendants who provided us with family history recorded by Morrison's daughter and granddaughter.Morrison was born in Pennsylvania in 1850 and the family believes he lived there into his young adulthood when he decided to make the journey west. For reasons unknown and without any particular destination he left the East for good around 1874. Some time later he ended up in Denver where he joined the Diamond R cattle drive as a cook following the beef north through Wyoming Western Nebraska and the Badlands earning extra money by painting signs for businesses that had sprung up around the forts and mines along the trails. One of these outposts was Fort Keogh hastily constructed by General Nelson Miles on a barren plain along the Yellowstone River in response to the Cheyenne victory over Custer in 1876. It was especially remote and the young men stationed there were easy targets for entrepreneurs who soon came peddling booze and women setting up shop just outside the gates. "Miles City " so named either in honor of or in satire of the general who despised its effect on his soldiers quickly proved to be the natural northern terminus of the cattle drives offering much needed entertainment for lonely weary cattle hands such as R.C. Morrison. He homesteaded along the North Sunday Creek in 1878 alone spending the next few years hunting buffalo painting and practicing wet-plate photography. He mostly kept to himself but did seek out guidance from local photographers likely including Huffman and Barthelmess and made efforts to befriend local Crow and Cheyenne in pursuit of their hunting and trapping secrets. And consequently he was often summoned for his own hunting prowess. It is even reported in a Miles City history book available at the Range Riders Museum (which is today operated by a descendant of Barthelmess) that Morrison acted as a guide for Theodore Roosevelt when he was in the area in the 1880s and was recognized by him when the former president visited again ca 1912. Sometime between 1882 and 1885 he married 17-year-old Canadian orphan Mary Jane Lane moved into town and purchased a small photography studio determined to provide for his children. The couple had three - Gladys Clee and Glenn - and through them R.C. seemed to overcome his antisocial isolationist bent. He was an active citizen of Miles City in the 1890s operating both a sign painting business and a photography studio. He held a reputation as an expert hunter and trapper and even played violin with the Miles City opera.But things would change. Mary Jane divorced R.C. and married William Reed a successful tin shop owner nearly half his age who would later become mayor of Miles City. This apparently led Morrison back to his solitary ways spending days at a time on the range and when his only son Glenn a firefighter was killed in a stable fire in 1915 R.C. Morrison went back out into the wild. Morrison's photographs as an older man support this account. Almost all are taken in remote locations or show Morrison hunting with his dog Monte (sometimes with up to 30 skins at a single camp). The exceptions are photographs of an aged Morrison at Miles City celebrations such as the Pioneer Days festival ca 1920-30s probably taken by his daughters. In these he appears as a true mountain man sporting a long gray beard handmade clothing and his trusty Sharps rifle as children look on in wonder as if he was a storybook character come to life Morrison wears a smile not often seen in photographs of his younger self and seems to revel in the role. (find newspaper clipping calling him Miles City's longest tenured resident).Morrison and His Relationship to Huffman and Barthelmess (1854-1906).There is no written record of the relationship between Morrison and his more famous contemporaries L.A. Huffman and Christian Barthelmess but the archive provides evidence that their must have been a brotherhood of sorts among the few early lensmen of Miles City. The three surely would have met in passing the population hovered around 1 000 until the turn-of-the-century but signs point to a mutual respect between the photographers and even a trading of negatives. Some of the earliest photographs of R.C. Morrison included in this archive including his wedding photographs were taken at Huffman's studio and he and his family were photographed by Huffman even after Morrison opened his own studio. Similarly Barthelmess family members appear in a handful of Morrison's portraits. When Christian Barthelmess was killed digging a sewer trench in 1906 it was Morrison who took his postmortem photographs (viewable in the Smithsonian article but not included in this archive) and just recently several hundred of army photographer's negatives have been identified in the Morrison collection at the MHS suggesting a deeper relationship between the two men and their families.By viewing just a small sample of the photography of Huffman and Barthelmess it is quite clear that both had a firm sense of the historical and artistic value their work would one day claim. Barthelmess was fascinated by military life and certainly understood his Indian photographs were important documentation of a vanishing native culture. Many of Huffman's shots of the round-ups on the open range seem like a wide angle view of a Frederic Remington painting capturing the essence of an era in a single expansive view so perfect that one wonders if it was contrived. They obviously weren't and the fact that Huffman chose just a couple dozen of his thousands of negatives to publish and sell in his Miles City gallery prove that they resulted from patience persistence and discrimination. Morrison seems to have shot whatever interested him at the moment with no artistic mission guiding his eye. In our opinion this was his greatest asset. While Huffman and Barthelmess provide us with an idealized sometimes poignant view of life on the range Morrison's photographs show life as it was.And while he may not have possessed a deliberate artistic vision a distinct style certainly emerged. Morrison couldn't just point-and-shoot of course and equipment was costly. The fact he spent his time and money on shots that had little commercial appeal and often included unusual subjects causes one to contemplate each photograph a little further.The archive is comprised as follows:900+ albumen cabinet cards mostly studio portraits on a variety of R.C. Morrison mounts and many with the name of the subject inscribed on verso.300+ larger albumen prints most 5 x 7 in. or 6 x 8 in. on 8 x 10 in. or 10 x 12 in. mounts of subjects including cowboys Indians soldiers Miles City street scenes the construction of two bridges and much more.200+ miscellaneous photographs including tintypes mounted prints by other photographers and early 20th century mounted and unmounted silver prints.150+ miscellaneous documents letters receipts advertisements and other ephemera including: an 1884 land grant and an 1888 bill of indenture both named to Jean Lane a relative of Morrison's wife described in the indenture as a Half-breed from Manitoba; a brand book; plans for Morrison's studio; and a rare printed piece from early Fort Keogh photographer John Fouch.Four cameras including a No. 1 Panoram-Kodak Model D and early Eastman camera with 1884 patent a Snappa camera and a large unmarked camera.Ten glass negatives including a fine 5 x 8 in. negative of a group of firemen drinking and playing poker.
• 2 SOUTHERN STONEWARE POTTERY ITEMS,
  2 SOUTHERN STONEWARE POTTERY ITEMS, INCL. M. C. RUSSSEL...1st item: Maysville, Kentucky advertising whiskey jug, white ground and stamped in cobalt "M.C. R. 3rd & Market Sts. Maysville, KY." M. C. Russell and later with his son, operated in Maysville from about 1886 to 1902. 7 1/8" H. 2nd item: Southern, TN or KY, stoneware jug with cobalt feather flower design and pulled handle. 13 1/2" H. Late 19th/early 20th century. Provenance: Private Warren County, TN collection. (Higher-resolution photos are available at www.caseantiques.com) Condition: 1st item: Chips to rim, shoulder and base. 2nd item: One hairline crack running from rim to base. Abrasions to body and some chipping to base.
• 1956 Murray Pedal Car Coca-Cola
  1956 Murray Pedal Car Coca-Cola decoration.
• MURRAY RISS (AMERICAN/TENNESSEE, B.
  MURRAY RISS (AMERICAN/TENNESSEE, B. 1940)Murray Riss (American/Tennessee, b. 1940), "First Shooting Light (Mud Lake, St. Francis County, AR)", 2008, C-print, signed, titled, dated and numbered "1/1" lower margin, titled on backing board, 15 7/8 in. x 23 7/8 in., framed. Condition: Overall good condition. Ext. Frame: 25 in. x 32 5/8 in. x 1 1/4 in.
• TWO R.C.R. / PHILA. STONEWARE
  TWO R.C.R. / PHILA. STONEWARE JARS.Two R.C.R. / PHILA. Stoneware Storage Jars with Cobalt Blue Foliate Decorations. (Richard C. Remmey, Philadelphia). 7-1/4" and 9"h. Condition: : Good smaller jar has minor rim chips, larger jar has 5" line. Condition: Condition: : Good smaller jar has minor rim chips, larger jar has 5" line.
• FOUR PIECE WATERCOLOR GROUP BY F.
  FOUR PIECE WATERCOLOR GROUP BY F. RICHARDSON MURRAY (20...Four Piece Watercolor Group by F. Richardson Murray (20th century), to include Outskirts of Hartford, Connecticut; Seminole Village of Miami, Florida; Georgia, lunch room cityscape; two signed in pencil. Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• R.H. Macy & Co. Stoneware Crock
  R.H. Macy & Co. Stoneware Crock
• C. 1893 Gormully & Jeffery
  C. 1893 Gormully & Jeffery pneumatic Rambler model 11 tall frame.
• MURRAY David. 1898 O/C Landscape
  MURRAY David. 1898 O/C Landscape with CanoesSigned lower left old label and stencil verso. David Murray British 1849 - 1933. From a Yonkers NY estate. Dimensions: 18'' high x 24'' wide. Condition: Framed behind glass tear top center old repair top left wide craquelure throughout.
• TOM MURRAY O/C, PHOTO REALISM
  TOM MURRAY O/C, PHOTO REALISM WESTERN LANDSCAPE PAINTIN...Tom Murray (B. 1953-*), "The Guardians", oil on canvas photo-realistic western style landscape with trees and red rock buttes, signed lower right "Tom Murray" and verso "Tom Murray / Copyright / 2004". Housed in a giltwood molded frame with seamless corners. Sight: 15-3/4" H x 23-5/8" W. Framed: 23" H x 31" W. Note: The original purchase receipt from James Ratliff Gallery Sedona, AZ is available to the winning bidder. Condition: Very good overall visual condition
• John Reid Murray (British,
  John Reid Murray (British, 1861-1906) Wagon on a Road, signed lower right "J. Reid Murray", oil on canvas, 13-7/8 x 9-7/8 in., gilt wood liner,
• RUDOLPH CARL "RC" GORMAN (NAVAJO
  RUDOLPH CARL "RC" GORMAN (NAVAJO NATION/ARIZONA)Rudolph Carl "RC" Gorman (Navajo Nation/Arizona, 1931-2005), "Woman in Blue", reproduction print, signed in plate lower left, sight 21 in. x 27 in., framed, overall 30 3/4 in. x 36 7/8 in. x 1 in. Condition: Overall good condition.
• Kentucky Watercolor by Robert James
  Kentucky Watercolor by Robert James Foose Watercolor on paper depicting a farm building signed in graphite l.r.; 8 x 10 in.
• THREE PIECE WATERCOLOR GROUP BY
  THREE PIECE WATERCOLOR GROUP BY F. RICHARDSON MURRAY (2...Three Piece Watercolor Group by F. Richardson Murray (20th century), to include construction by city; spring lake New Jersey monmouth hotel, seashore - Newport 35, pencil signed F Richardson Murray, 9 1/4" x 13 1/4". Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• MURRAY J. MACDONALD (SCOTTISH
  MURRAY J. MACDONALD (SCOTTISH act. 1889-1920) PLOUGHING NEAR DALHOUSIE Oil on canvas: 14 1/2 x 20 1/2 in. Framed; lower right signed and dated: Murray Macdonald 1904; verso inscribed on canvas: Murray J. Macdonald / Ploughing near Dalhousie
• Thomas Murray pencil drawing
  Thomas Murray pencil drawing young boy signed and dated 1891 image area 15'' x 11''
• R. C. FULLER (TX), SMALL TOWN
  R. C. FULLER (TX), SMALL TOWN COURTHOUSE SQUARE Oil on board, signed at lower right, framed.
• MURRAY J. MACDONALD (SCOTTISH
  MURRAY J. MACDONALD (SCOTTISH act. 1889-1920) PLOUGHING NEAR DALHOUSIE Oil on canvas: 14 1/2 x 20 1/2 in. Framed; lower right signed and dated: Murray Macdonald 1904; verso inscribed on canvas: Murray J. Macdonald / Ploughing near Dalhousie
• R.C. ELLIS, KOTI, 1960R.C.
  R.C. ELLIS, KOTI, 1960R.C. Ellis, (1923 - 1979) Koti, 1960, pastel on paper signed and dated lower right: R. C. Ellis 1960 pastel on paper Dimensions: 11 x 15 in. (27.94 x 38.10 cm.), Frame: 21 1/4 x 25 x 2 1/2 in. (53.98 x 63.50 x 6.35 cm.) Provenance: Private Collection, Colorado
• Robert Burns Wilson (Kentucky
  Robert Burns Wilson (Kentucky 1851-1916) Kentucky Farm Scene Watercolor and gouache signed l.r.; 14.75 x 22 in. Property of Caswell and Sara Lane Condition: Paper toned throughout.
• Claude Muncaster, ROI, RWS
  Claude Muncaster, ROI, RWS (1903-1974)  - The Road to Coniston, signed, oil on hardboard, 54.5 x 79.5cm More Information Good condition, possibly in need of a light clean, in 18th c style gilt frame
• Thomas B. Craig (1849-1924
  Thomas B. Craig (1849-1924 Rutherford NJ) Going to Pasture
• c. 1950's boys 24'' Murray
  c. 1950's boys 24'' Murray balloon tire bicycle. Barn fresh original. Fair cond.
• ROBINSON MURRAY ABSTRACT COMPOUND
  ROBINSON MURRAY ABSTRACT COMPOUND CURVES PAINTING Massachusetts1890-1984Titled "Compound Curves", a modernist composition of yellow and black geometric shapes over blue. Murray earned a degree in Studio Art graduating from Harvard University in 1912 to pursue a career in commercial art. He quickly left the commercial art world to enlist in the Army and serve during WWI where he'd become a distinguished soldier while continuing to paint in the field. After the war Murray returned to commercial work until his retirement in 1960 when he turned to focus on modern abstract art. During the period of 1960 to 1980 Murray exhibited at the John F. Kennedy Building, Boston and the Copley Society within Boston City Hall.
• An etching by C.O. Murray after
  An etching by C.O. Murray after G.L. Seymour ''Cliefden Woods'' and two other framed prints.
• R.C. GORMAN, WATER CARRIER,
  R.C. GORMAN, WATER CARRIER, 1987R.C. Gorman, (Diné [Navajo], 1931 - 2005) Water Carrier, 1987, offset lithograph, Artist's Proof 2 graphite signed lower left: RC Gorman signed in plate lower left: RC Gorman 1987 editioned in plate lower right: A-P-2 offset lithograph, Artist's Proof 2 Dimensions: 10 x 8 1/2 in. (25.40 x 21.59 cm.), Frame: 14 1/8 x 12 1/2 x 3/4 in. (35.88 x 31.75 x 1.91 cm.) Provenance: The Georgia and Charles Loloma Collection