A few examples of appraisal values for
UNION LEAGUE

• Leon Clemmer framed and matted watercolor
  Leon Clemmer framed and matted watercolor of the Union League, Philadelphia, PA, dated '05 (2005). 9.5" x 7.5" ss / 16.25" x 13.25" oa Condition: Good condition, not examined out of frame.
• ROBERT WARD VAN BOSKERCK (AMERICAN,
  ROBERT WARD VAN BOSKERCK (AMERICAN, 1855-1932) "LILLY POND" Oil on canvas. Signed 'K.W. van Boskereck' (lower left). Catalogue Note: Robert Ward van Boskerck was born in Hoboken, New Jersey in 1855. As a young artist he studied under Robert Sevain Gifford and Alexander Wyant in New York. His works are usually landscapes and are always strongly executed. He was a highly skilled and powerful painter. Artist Memberships: Associate, National Academy of Design, 1897 National Academy of Design, 1907 Society of American Artists, 1887 Artist has Exhibited: Brooklyn Art Association, 1879-85, 1892 National Academy of Design, 1880-1900 Pennsylvania Academy of Fine Art, Annual, 1880, 1900 Boston Art Club, 1881-85 Art Institute of Chicago, 1888-91, 1912-13 American Watercolor Society, 1898 Carnegie Institute, 1898 Pan-American Exposition, Buffalo, 1901 St. Louis Exposition, 1904 (medal) Corcoran Gallery, annuals/biennials, 1907-08, 1930 Society of Independent Artists, 1919 Artist Collections: Union League Lotos Club, NYC Fencers Club, NYC Layton Art Gallery, Milwaukee Hamilton Club, Brooklyn Mappin Art Gallery, England
• George W. Shiebler & Co.. Etruscan,
  George W. Shiebler & Co.. Etruscan, Greek, or classical letter openers, collection of six. late 19th century, sterling silver, 14 karat gold. 11 h in. result: $2,500. estimate: $1,000–1,500. Largest form marked ‘Shreve, Crump & Low 1067’ Dagger form with gold classical head marked ‘14K, 296X’ Small Etruscan form marked ‘14K, 172X’ Small Etruscan form inscribed ‘Union League Club February 1 1899’ Form with ancient motif and Greek letters to blade marked ‘707’ Smaller form with ancient motif marked ‘1248, Theo. B. Starr’ All marked ‘Winged (S), Sterling’. 8.6 ozt.
• R.W. VAN BOSKERCK RIVERSCAPERobert Ward
  R.W. VAN BOSKERCK RIVERSCAPERobert Ward Van Boskerck (NY, NJ 1855-1932) oil on canvas, lakeview at sunset, signed lower right "R.W.Van Boskerck". Framed in gilt molded frame. Sight: 16" H x 23-1/2" W, Frame: 26" H x 34" W. Biography (courtesy Askart: The Artists' Bluebook): Robert Ward Van Boskerck was an Impressionist landscape painter. He was elected to the National Academy of Design, New York City, as an Associate in 1897, and an Academician in 1907. He exhibited at the Metropolitan Museum of Art, New York City, and other major museums. Work by this artist is New York City in the Union League, Lotus Club, and Fencers Club, and the Layton Art Gallery in Milwaukee. Condition: 1/2" tear center right. Darkening to varnish.
• GEORGE AMES ALDRICH O/C MARITIME PAINTING,
  GEORGE AMES ALDRICH O/C MARITIME PAINTING, LOW TIDE IN ...George Ames Aldrich (Indiana/Illinois/Massachusetts, 1872-1941) oil on canvas marine painting titled "Low Tide in Holland" depicting a figure atop a horse drawn wagon beside a ship moored on a beach at low tide, the ocean visible in the background beneath an evening sky. Signed and dated "G. Ames Aldrich 1919" lower right. Housed in a carved giltwood frame. Sight: 24 1/2" H x 29 1/2" W. Framed: 32 1/2" H x 37 1/2" W. Biography: "George Ames Aldrich was born in Worcester, Massachusetts on June 3, 1872. His early art experience took place in the 1890's while living in Europe. He studied art in the Midwest, the East Coast, and throughout Europe, becoming a successful and respected etcher and painter. He worked as an illustrator for both Punch magazine and The London Times in the 1890's. Returning to the United States, he became a member of the Art Students' League in New York City. Soon thereafter, it is thought he may have studied architecture at M.I.T. in Massachusetts, and his experience there is evident in the buildings and houses in many of his landscapes. Aldrich continued his art education in Paris, attending Academies Julian and Colarossi, and later joining the Societe des Artistes Francais. Between 1909 and 1910, Aldrich lived with artist/instructor Dieppe, completing many of his paintings in Normandy and Brittany. In 1918, Aldrich arrived in Chicago and became involved with the South Bend art scene during the 1920s. Aldrich exhibited regularly at the Art Institute of Chicago, and was a member of the Chicago Galleries Association, the Hoosier Salon, and the Chicago Society of Painters and Sculptors. In 1924, he won an architectural club traveling scholarship and traveled to Europe to paint in England, Germany, Spain, Italy, and France. His work is represented in many museums throughout the world, and many private and corporate collections carry his work including the Union League of Chicago and the War Mothers Building in Washington DC. He died in Chicago in 1941." (adapted from Michael David Zellman, 300 Years of American Art and William Gerdts, Art Across America). The Collection of Griff and Dallas Adams, Johnson City, Tennessee. Property descending from the collection of TN Supreme Court Justice Thaddeus Cox and Pearl Cox, originally housed in "The Oaks", Johnson City, TN. Condition: Overall very good condition with craquelure. Frame with natural age shrinkage, areas of loss, largest 1 1/4" x 2 3/4", to gilt. Blacklight indicates possible light overpainting of anchor line, part of sails, and back of horse.
• AFTER EUGENE DE BLASS OIL ON CANVAS
  AFTER EUGENE DE BLASS OIL ON CANVAS PAINTINGFramed oil on canvas painting, "Accepted," after Eugene De Blaas (Italian, 1843-1931), unsigned, craquelure, small paintloss, inpainting, restoration, likely relined, sight: approx 34"h, 21"w, overall: approx 42"h, 30"w, 13.1lbs **Provenance: Arthur A. Frank Jr., 1962, Union League Civic and Arts Foundation**
• WALTER PARKE (1909-1994) 1940S OIL ON
  WALTER PARKE (1909-1994) 1940S OIL ON CANVASWalter Simpson Parke (1909-1994)Untitled Landscape with Foothills (Circa 1940s)The oil on canvas is signed lower left and displayed in a frame made by the artist.Born in Little Rock, Arkansas, Walter Parke studied at the Chicago Art institute and the American Academy of Art. He assisted Ezra Winter (1886-1949) with murals for the library of Congress and the 1939 New York World's Fair before returning to Chicago where his art was accepted in group shows at the Union League Club of Chicago, and the Art Institute of Chicago, among other exhibitions. At one time, he was president of the Chicago Pallet and Chisel academy. After working with Ezra winter, we know that Parke spent some time in Memphis and Des Moines, but the years of his residency in those cities is undocumented. He was back working in Chicago by the early 1950s when an article about his commercial illustrations appeared in The Illustrator, Spring, 1951, pages 2-10. After his career in Chicago, he retired to Naperville, Illinois, and his death is noted in the Naperville Sun, April 24, 1994. He had contacts in Nashville, Indiana where the Brown County Art Guild sold his pictures during the late years of his life. The works by Walter Parke offered in this auction are all from a local estate and important in that they were produced early in the artist's career and confirm his awareness of regionalist painting from the 1930s and 1940s.Canvas measures 25 x 31 with a framed size of 30.75 x 30.5 inches.Very good original untouched condition. There are no issues of scratches, losses, repairs, in-painting or touch-up.Provenance: The Robert W. Steinbach Trust and Steinbach Family Collection, Kansas City, Missouri.
• WALTER PARKE (1909-1994) REGIONALIST
  WALTER PARKE (1909-1994) REGIONALIST OIL DATED 1941Walter Simpson Parke (1909-1994)Untitled Regionalist Landscape (1941)The view of a Midwest farmstead atop rolling snow-covered hills is signed lower right with date of '41 and displayed in a frame made by the artist. The work is on canvas mounted to Masonite with remains of an illegible exhibition label back side of the panel.Born in Little Rock, Arkansas, Walter Parke studied at the Chicago Art institute and the American Academy of Art. He assisted Ezra Winter (1886-1949) with murals for the library of Congress and the 1939 New York World's Fair before returning to Chicago where his art was accepted in group shows at the Union League Club of Chicago, and the Art Institute of Chicago, among other exhibitions. At one time, he was president of the Chicago Pallet and Chisel academy. After working with Ezra winter, we know that Parke spent some time in Memphis and Des Moines, but the years of his residency in those cities is undocumented. He was back working in Chicago by the early 1950s when an article about his commercial illustrations appeared in The Illustrator, Spring, 1951, pages 2-10. After his career in Chicago, he retired to Naperville, Illinois, and his death is noted in the Naperville Sun, April 24, 1994. He had contacts in Nashville, Indiana where the Brown County Art Guild sold his pictures during the late years of his life. The works by Walter Parke offered in this auction are all from a local estate and important in that they were produced early in the artist's career and confirm his awareness of regionalist painting from the 1930s and 1940s.Canvas measures 22 x 28 with a framed size of 28 x 34 inches.Good condition, noting areas of thin surface inpainting in clusters across the top area comprising less than 15% of the painting's total area, as well as some lines along the frame opening edge. There are no other issues of scratches, losses, repairs, in-painting or touch-up.Provenance: The Robert W. Steinbach Trust and Steinbach Family Collection, Kansas City, Missouri.
• WALTER PARKE (1909-1994) REGIONALIST
  WALTER PARKE (1909-1994) REGIONALIST OIL DATED 1942Walter Simpson Parke (1909-1994)An Untitled Midwest Landscape (Circa 1941.)The composition of rolling farm ground and outbuildings in the glow of a low sun is signed lower right and dated 42.Depicted is a landscape that resembles the topography around Cedar Rapids, Iowa, home of the Regionalist painters Grant Wood and Marvin Cone.This work on canvas is mounted to Masonite with remains of an illegible exhibition label back side.Born in Little Rock, Arkansas, Walter Parke studied at the Chicago Art institute and the American Academy of Art. He assisted Ezra Winter (1886-1949) with murals for the library of Congress and the 1939 New York World's Fair before returning to Chicago where his art was accepted in group shows at the Union League Club of Chicago, and the Art Institute of Chicago, among other exhibitions. At one time, he was president of the Chicago Pallet and Chisel academy. After working with Ezra winter, we know that Parke spent some time in Memphis and Des Moines, but the years of his residency in those cities is undocumented. He was back working in Chicago by the early 1950s when an article about his commercial illustrations appeared in The Illustrator, Spring, 1951, pages 2-10. After his career in Chicago, he retired to Naperville, Illinois, and his death is noted in the Naperville Sun, April 24, 1994. He had contacts in Nashville, Indiana where the Brown County Art Guild sold his pictures during the late years of his life. The works by Walter Parke offered in this auction are all from a local estate and important in that they were produced early in the artist's career and confirm his awareness of regionalist painting from the 1930s and 1940s.Board measures 24 x 30 with a framed size of 27.5 x 33 inches.Very good original untouched condition. There are no issues of scratches, losses, repairs, in-painting or touch-up with the exception of small touches in some leaves as shown in online images.Provenance: The Robert W. Steinbach Trust and Steinbach Family Collection, Kansas City, Missouri.
• A Rare North or South Carolina “Colored
  A Rare North or South Carolina “Colored Republicing Club” Stoneware Cooler Dated July 7, 1892 in Southern alkaline glaze, with distinctive doubled collared rim, tooled body, two lug handles set low on the body of the jar and the neck inscribed in flowing script Colored Republicing [sic] Club July 7, 1892. Height 12 3/4 inches. Likely made by an African American potter, perhaps trained in the Edgefield District of South Carolina. At the time this cooler was made, the power of the Black Republican vote in the south and nationally was on the decline, and Reconstruction was a rapidly fading promise. In the South, Jim Crow was squarely in the headlights. In 1892, there were 161 lynchings of African Americans, the most recorded between the beginning of Reconstruction and World War II. In the face of near continual assaults on their right to vote, this cooler represents the continued hope and unfulfilled dreams of the more than 4 million formerly enslaved. After the Civil War, white Southerners aligned themselves with the Democratic party, while African Americans chose their liberators, the Republicans. In post war North Carolina, for example, more than half the Republican Party were Freedmen. In both North and South Carolina, in the years immediately following the War, “Republican Clubs,” or “Union Leagues” were formed, and with suffrage, African Americans began to take on larger roles in local, state, and national politics. This new-found influence was short-lived as white Democrats in both states moved quickly to suppress the vote of blacks. The cooler offered here is symbolic of a period in Southern politics when African Americans became increasingly disenfranchised from the suffrage granted them by the 15th Amendment to the Constitution in 1870. Almost from the beginning of Reconstruction the National Republican party recognized the importance of the African American vote in the South and urged the formation of “colored clubs” as a means of communicating to the largely illiterate population of freedmen. The June 22, 1867, edition of the Raleigh, North Carolina Tri-Weekly Standard, for example, carried a front-page story urging African Americans “…to be so organized that you will act as one man, lest your enemy gain victory. You should organize Union Leagues and Republican Clubs.” Accompanying the article was a proposed Constitution for these clubs specifying that officers should be elected in January and July. An online search for “Republican Club,” “Colored Republican Club” and “Negro Republican Club” in North Carolina newspapers from the latter part of the 1860s until 1892 (the date of the cooler offered here) suggests such organizations were present in many portions of the state, including Hendersonville, Salisbury, New Bern, Wilmington, Raleigh, Greensboro, and Asheville. Based upon this sample, it is likely Republican Clubs were common statewide, in both large and smaller towns. A similar pattern is covered in the papers of South Carolina. Clubs were apparently present throughout the state, and in 1878 a “colored Republican club” boasted 1900 members. The date July 7, 1892, inscribed on the neck of the cooler offered here probably reflects a meeting where officers of the “Colored Republicans” were elected. Newspaper accounts from 1890 suggest that African Americans were still adhering to the Constitution first suggested in 1867. The Greensboro North State, for example, reported in the July 3, 1890, edition that the “Independent Republican Club, a negro organization formed in this city some time ago” will hold a “district convention sometime during the present month.” The July 30th edition of the Wilmington Morning Star reported that the First Ward Colored Republicans met on July 22 and “reorganized with a full slate of officers.” By the time of the 1892 national election, the voting rights of African Americans throughout the South was under assault by whites in both the Democratic and Republican parties. Fear of “negro rule” gave way to the concept of “lily white” party membership, with the stated goal of disenfranchising Black voters in a majority of Dixie. Even nationally, the Republican party had begun to turn its back on Freedmen. At the National convention held in Minneapolis in June, Black delegates from Alabama were not seated in favor of an all-white delegation. The 100 African American delegates to the convention could not even manage to have a resolution renouncing lynching adopted in the party platform (Nathanson, 2008). Alkaline-glazed stoneware is a uniquely Southern product. Small quantities of it were produced in southwestern Virginia and Tennessee. More of it was made in North Carolina – particularly in the state’s Catawba Valley region and mountainous Buncombe County near Asheville – and in South Carolina’s Edgefield District and other locales. Alkaline glazes were also employed in Georgia, Alabama, Florida, and Texas. Regardless of its maker, the cooler’s alkaline glaze clearly identifies it as the product of a Southern potter. The Republican affiliation expressed on the shoulder suggests the potter was an African American. The water cooler’s double rim, or collar, may be its most telling feature. Rarely seen on North Carolina alkaline-glazed stoneware jars, it is frequently found on vessels associated with South Carolina’s Edgefield District – or those potters who were trained in the District. Double collars routinely appear on vessels produced by the enslaved Edgefield potter Dave Drake and turners at the Lewis Miles, Collin Rhodes and B.F. Landrum potteries. At the northern edge of the district near Kirksey’s Crossroads, similar rims were produced at the Chandler potteries. Both white and black potters worked at each of these potteries, with white itinerants probably moving freely between them. At the end of the Civil War, this pattern was likely accelerated as Freedmen left their bondsmen and struck off on their own either to work as paid laborers or to start their own potteries, taking the technique with them. The double rim, for example, is found on wares made by Edgefield-born and trained Texas potter, John Leopard. South Carolina-trained potter, T. B. Odom, added double rims to his jars made in Florida at his Knox Hill pottery and later at his pottery in Upshur County, Texas. Similar rims are found on jars produced at South Carolina’s Bodie pottery. Bodie potters made “well-formed ovoid jars, churns, and storage jars and unusual forms such as flasks and figural bottles … Bodie jars typically [had] two opposing horizontal slab handles and a collared neck with a flared rim.” (Baldwin 1993:104). In 1870, Bodie employed at least two freed black potters, Lee Rodgers and Shep Davis. After the War, Lewis Miles leased one of his Edgefield potteries to three of his former slaves, namely Willis Harrison, Pharaoh Jones, and Mark Miles. (Todd 2008:NP) Others, like Scott and Moss Miles, who may have been Lewis Miles’ former slaves, reportedly worked at the B.F. Landrum pottery. Freed slaves Peter and Oliver Miles may have worked at the Seigler pottery shop. (Horne 1990:80). Former slave Josh Miles owned and operated an Edgefield pottery – perhaps the only one of its kind. (Horne 1990:81) Other black South Carolina potters known to have continued producing wares following emancipation include Jack Thurman, Milage Williams, and Thomas Jones. Ben Landrum’s shop remained in operation until 1902 when it closed due to the fact that his old turners had died. (Baldwin 1993:97) To the north, the interplay between Edgefield and North Carolina potters producing alkaline glazed ware began early, with potters arriving in the Buncombe County area via the Saluda Gap Road as early as the 1820s. In the Piedmont, the concept of alkaline glaze may have been introduced in the Lincoln and Catawba counties by Edgefield-trained potters as early as the 1840s (Baldwin 1993:62-63). Given this evidence, we suggest that the cooler might have been made by a potter trained in Edgefield. The shape and distinctive body tooling, however, is unique, and as far as we have been able to determine, previously not recorded in either South or North Carolina stoneware. It is basically a modified keg shape, replete with tooling to represent the cane binding. Baldwin (1993:175) reports that both small and large kegs were made in North Carolina. Sylvanus Hartsoe of Catawba County made alkaline glazed kegs, and they appear to have been made at the Jugtown pottery of John Leonard Atkins in Greenville County, South Carolina where the form was probably introduced from North Carolina. Based upon these observations, we suggest that the cooler was made in the Piedmont or Western Mountains of North Carolina, or in South Carolina’s Jugtown area, or elsewhere in the upstate part of that state. Hindman is grateful for the contribution to this description by North Carolina ceramic scholar Stephen Compton. References Cited Baldwin, Cinda K. 1993. Great and Noble Jar: Traditional Stoneware of South Carolina. The University of Georgia Press. Horne, Catherine Wilson, ed. 1990. Crossroads of Clay: The Southern Alkaline-glazed Stoneware Tradition. Columbia, S.C.: McKissick Museum, University of South Carolina Nathanson, Iric. 2008. “African Americans and the 1892 Republican National Convention.” Minnesota History, 61(2):76-82. Todd, Leonard. 2008. Carolina Clay: The Life and Legend of the Slave Potter Dave (New York: W. W. Norton & Company, 2008), NP.
• CHARLES WILLIAM DAHLGREEN, ILLINOIS,
  CHARLES WILLIAM DAHLGREEN, ILLINOIS, INDIANA (1864 - 1955), THE CALL OF WINTER, OIL ON BOARD, 23"H X 29 1/8"W, 29"H X 35"W (FRAME)Charles William Dahlgreen, Illinois, Indiana, (1864 - 1955) The Call of Winter, oil on board Signed lower right. Biography from the Archives of askART: Chicago native Charles W. Dahlgreen was born on September 8, 1864. After working in commercial art as a painter of banners and emblems and trying his hand at prospecting in the Klondike, Dahlgreen decided at age forty to study art seriously and to become a painter. Dahlgreen enrolled at the Art Institute of Chicago where he worked under John H. Vanderpoel, Frederick Freer, and Wellington J. Reynolds. Already in 1906 he was exhibiting his paintings at the Art Institute (he continued to show over one hundred works there until 1943). Around 1908 he moved on to study with Charles F. Browne and the portrait painter John C. Johansen. A year later he sought more training in Düsseldorf, choosing Germany rather than France, as did many midwestern art students. Dahlgreen was a student at a time when American impressionism was at its peak and he must have absorbed that movement's theories at home and on the Continent. Dahlgreen worked en plein air, as did most of his generation of landscapists. He visited Brown County, Indiana as early as 1914; during the 1930s he was photographed in front of his curious truck-studio. Dahlgreen also went to the Southwest but his activity there remains uninvestigated. An interesting still-life entitled Breakfast Table (ca. 1934) shows Dahlgreen's experimental side and proves that he was no opponent of modernism (illustrated in Logan, 1937, p. 111). There is a tension between naturalistic spatial construction and cubist-inspired abstraction. Dahlgreen's success as a landscape painter and etcher can be measured by the number of awards he earned beginning in 1915 with an Honorable Mention at the Panama-Pacific International Exposition. There, thirty-one of his prints were on display. His work can be seen in the collections of the Smithsonian Institution, the Art Institute of Chicago, the Decatur (Illinois) Art Center, the Vanderpoel Art Association Collection in Chicago, and the Museum of Science and Art in Los Angeles. By the time Dahlgreen died in 1955, he had spent fifty years in his second career as a painter, working in Chicago and its Oak Park suburb. So fond was Dahlgreen of Brown County that he instructed his ashes to be spread at the foot of his favorite giant oak tree there (Letsinger-Miller, 1994, p. 183). He had taught at the Art Institute of Chicago and became a member of various local art societies: the Art Service League of Chicago, Art Students League of Chicago, Chicago Painters and Sculptors, the Chicago Society of Etchers, and the Chicago Gallery of Art. Dahlgreen passed away in 1955. Sources: "At 40 Charles Dahlgreen Took Up Art," Art Digest 2 (1 April 1928): 6; Thompson, A. History of Art in Illinois. Exh. cat. Chicago: Union League, 1962; Sparks, Esther, "Biographical Dictionary of Painters and Sculptors in Illinois 1808-1945." Diss., Northwestern University, 1971, vol. 2, p. 348; Love, Richard H., Louis Ritman: From Chicago to Giverny. Chicago: Haase-Mumm, 1989, pp. 123, 218; Letsinger-Miller, Lyn, The Artists of Brown County. Bloomington, IN: Indiana University Press, 1994, pp. 179-180, 183; Love, Richard H. and William H. Marshall, The Marshall Collection. Chicago: Haase-Mumm, 1999, pp. 28-29; Love, Richard H. and Michael Preston Worley, Reflections of Reality: American Paintings from the Collection of John and Susan Hainsworth. Chicago: Haase-Mumm, 2005. Submitted by Richard H. Love and Michael Preston Worley, Ph.D. oil on board Dimensions: 23"H x 29 1/8"W, 29"H x 35"W (frame)
• ELLEN LANYON, NEW YORK, ILLINOIS / ENGLAND
  ELLEN LANYON, NEW YORK, ILLINOIS / ENGLAND (1926-2013), OH, OH, OSTRICH, 1967, LITHOGRAPH, 22”H X 30”WEllen Lanyon, New York, Illinois / England, (1926-2013) Oh, Oh, Ostrich, 1967, lithograph Titled lower left, numbered (8/20) lower middle, signed and dated lower right. From the artist's memorial tribute by the Art Institute of Chicago submitted by Gene Meier. His source was the brother of the artist. Lanyon has been an icon of the Chicago school for more than 60 years, painting in a way that harkens to both formalism and the realms of dreams and symbolism. Her works involve the most fanciful of still-lifes one could ever imagine, such as, the replication of intricate objects, like a small ceramic humidor in the shape of a frog smoking a pipe that first belonged to her grandfather, and the incorporation of natural elements in fantastical settings. Lanyon said that she felt she was a magician through her paintings, one "who can transform flowers into fire, create the animate out of the inanimate, and utilize osmosis and gravity to create illusion." And she did through items of nostalgia, rich color pallets, and dream-like scenarios that brought her scenes to life. Lanyon made the transition to New York City as her primary residence and studio in the late-1970s, but her heart and home has always been in Chicago. She has had more than 75 solo exhibitions and 11 museum exhibitions, including three major traveling retrospectives. Her work is in the collections of the Art Institute of Chicago; Museum of Contemporary Art, Chicago; Union League Club, Chicago; numerous private collections in the Chicago area; and other major museums and collections in the United States and abroad. Education: Honorary Doctorate, The School of the Art Institute of Chicago, 2007 The Courtauld Institute University of London, UK MFA, University of Iowa, Iowa City, IA, 1950 BFA, The School of the Art Institute of Chicago,1948 Lanyon has taught painting at several institutions including the School of the Art Institute of Chicago, and the Cooper Union and the School of Visual Arts in New York City. Lanyon received several Armstrong Prize Awards and a Logan Prize from the Art Institute of Chicago, Fulbright Study Grant, Cassandra Foundation Grant, Herewood Lester Cook Foundation Award, two National Endowment for the Arts Visual Artists Awards, Florsheim Art Foundation Grant, several Yaddo Fellowships, Ossabaw Island Project Fellowship, and two Purchase Awards from the American Academy of Arts and Letters. She was elected to the Union League Club, Chicago; Century Association, New York City; and the National Academy of Design. Ellen is survived by her husband Roland Ginzel, children Lisa Ginzel and Andrew Ginzel (Sarah Walker); grandson Walker Ginzel; brother Richard Lanyon (Marsha Richman); and other nephews and nieces. Ellen was the eldest daughter of the late Howard W. and Ellen M. Lanyon of Chicago. lithograph Dimensions: 22"H x 30"W
• NINA WEISS, ILLINOIS / WISCONSIN (B.1959),
  NINA WEISS, ILLINOIS / WISCONSIN (B.1959), IRISH TRINITY, TRIPTYCH PASTEL ON PAPER WITH LANDSCAPE, 13 1/2"H X 13 1/2"W (ONE), 10 1/2"H X 54"W (FRAME)Nina Weiss, Illinois / Wisconsin, (b.1959) Irish Trinity, triptych pastel on paper with landscape Signed lower right. Biography from NinaWeiss.com: Nina Weiss is a nationally renowned artist who has been painting and drawing the landscape for over 40 years. She holds a BFA from the Tyler School of Art and graduate study at the University of Wisconsin, Madison. Further study includes pre-college instruction the Rhode Island School of Design, and the Art Students' League of New York. Her work is held in private and corporate collections throughout the United States including United Airlines, Aetna Insurance, McDonalds, Eli Lilly, Avon, and United States Customs. Artist's Residencies include the Ragdale Foundation, Artist in Residence at Acadia National Park, and the Vermont Studio Center. Her paintings and drawings can be seen in two Hollywood films: John Hugh's "Just Visiting" and Harold Ramis's "Ice Harvest" and in the T.V. series "Chicago Fire". Solo shows include the Mary Bell Gallery, Great River Road Museum of contemporary Art, Union League Club and Union Street Gallery. Television and radio appearances include WBBM News radio 780 "Made in Chicago", HGTV's Artist's Loft Segment; "Artist to Artist" with Enid Silverman, and "Inner Quest"; Infinity Foundation. Videos include an instructional Landscape Drawing DVD for Prismacolor Colored Pencils; and two videos for Bluprint.com. She taught a combined thirty six years at the School of the Art Institute of Chicago and Columbia College Chicago. Nina currently teaches at the Evanston Art Center, the North Shore Art League, and the Chicago Botanic Gardens. Nina frequently teaches workshops throughout the Midwest and in her Evanston Art Endeavors Studio. She travels with students every summer to teach her European Landscape Painting & Drawing Workshops. triptych pastel on paper with landscape Dimensions: 13 1/2"H x 13 1/2"W (one), 10 1/2"H x 54"W (frame)
• Joseph Pennell etching, The Union League,
  Joseph Pennell etching, The Union League, Broad Street Philadelphia, pencil signed 23" x 17.5" ss / 31" x 25" oa Condition: Good, not examined out of frame.
• ARCHIVE OF WILLIAM HEPBURN ARMSTRONG
  ARCHIVE OF WILLIAM HEPBURN ARMSTRONG CORRESPONDENCE INCLUDING UNION LEAGUE EPHEMERA, FRAME OF REUNION PHOTOPRINT 12 1/2 X 14 IN. (31.8 X 35.6 CM.)Archive of William Hepburn Armstrong Correspondence including Union League Ephemera,, Dimensions: Frame of reunion photoprint 12 1/2 x 14 in. (31.8 x 35.6 cm.)
• Collection of Presidential Porcelain
  Collection of Presidential Porcelain Plates and Mugs to include W.H Taft and JS Sherman transfer decorated cachepot and plate, chip to rim of pot, 4-1/4" dia, McKinley memorial pottery plate, 10-1/2"H, McKinley chalkware memorial plaque, 6-3/4"H, James A. Garfield for President portrait plate, NJ Pottery Co., 8" dia, (3) Grover Cleveland transfer decorated portrait plates, 8" dia, Chester A. Arthur for Vice President portrait plate, 8" dia, James Garfield gilt and transfer decorated promotional plate with transfer signature, 9-1/2" dia, William Jennings Bryan/Arthur Sewall (plate with a misprint, spelling his last name "Sewell") campaign plate, 8" dia by Dresden China, James G. Blaine portrait plate, chip to rim, 8-1/4" dia, (2) Thomas A. Hendricks, 8" dia, chips to rim of each, Levi Morton for Vice President plate with hairlines and repairs, John A. Logan, 8" dia, White House transfer decorated dinner plate, Spode Union League of Philadelphia transfer plate, (6) assorted Taft plates, William Jennings Bryan plate, 8" dia, James S. Sherman plate, 7-1/4" dia, FDR transfer plate, Home of General US Grant dish and Home of President Coolidge Plymouth Vermont blue and white saucer, along with 1892-1912 Our President German American Republican Club 19th Ward Philadelphia mug and Camp David Presidential Retreat mug.
• Lot of silver plate, including (8) Tiffany
  Lot of silver plate, including (8) Tiffany & Co Regent 7-1/8" 3-tine forks, Dansk cow & pig figures, Cuban sugar container, Mexico shell dishes, Union League of Philadelphia creamer, nut dishes, assorted flatware, pair of Smithsonian Institution Doric column form 7-1/4" candlesticks
• 4-PIECE STERLING LOT. TO INCLUDE: STERLING
  4-PIECE STERLING LOT. TO INCLUDE: STERLING TROPHYby Tiffany & Co., which was an award for the Royalston Tennis Championship, presented to Henry Cole, 1937, 1938, and 1939. Engraved on front and back, two handles, 6 1/2" high, 6 1/2" wide, 13.4 ozt. Along with a sterling egg cup by Watson, which was an award for the Union League Club of New York, Squash Champion, Henry Cole, 1942, 3 1/4" high, engraved on the front, 1.96 ozt. Sterling silver match box holder engraved TTC by Herbst and Wassall, 0.58 ozt. Small sterling plate by Herbst and Wassall, 3" diameter, award for the Tuxedo Tennis Club 1939, Mrs. Henry Cole, 1.15 ozt. Provenance: From the estate of Henry Cole. 15.36 total ozt.
• STERLING SILVER CIGARETTE CASE, "HENRY
  STERLING SILVER CIGARETTE CASE, "HENRY COLE,Union League Club". 3.4 ozt. Poem on verso about golfing. 4 1/4" x 3.
• Collection World War I and various early
  Collection World War I and various early photos including ''7Th Infantry N.G.S.N.Y. Reviewed By General Appleton June 23 1916'' (image 12 1/2'' x 17'' ''Send-Off Day Parade To 25 000 N.Y. Guardsmen Aug. 30 1917....'' (image 13 1/2'' z 17 1/2'' ''Send-Off Day Parade Aug. 30 1917 Reviewed By Governor Whitman And Mayor Mitchell'' (image 12 3/4'' x 17'') ''Luncheon To Our Wounded Soldiers....Union League Club N.Y.....1919'' (image 12'' x 19 1/2'') ''Greenwood Farm Dinner The Union League Club...1918'' (image 10 1/2'' x 18'') over 35 examples (some duplicates). Includes original sleeves marked ''Drucker & Company Commercial Photographers...New York''. Also comes with early architects drawing (as found).
• Charles Hook Armco Steel Company Lot
  Charles Hook Armco Steel Company Lot of Manuscripts & Documents Lot includes letters photographs pamphlets mostly from the late 1930s through the 1960s. Born in 1880 the youngest of four children of Henry and Katherine (Klussman) Hook Charles Ruffin Hook grew up in Northwest Cincinnati on Colerain Avenue just across the Miami and Erie Canal from the foot of Clifton hill. The early years were happy and mostly carefree but Charlie??Ts mother died in 1892 when he was just 12. The Panic of 1893 followed and in a little over a year the family went from a middle-class lifestyle to poverty. The company in which Hook Senior was employed was wiped out he ended up selling the family home the family broke up and Charlie and his brother Gay moved to Walnut Hills living with a kindly engineer Robert Engle. This also required Charlie to change from District No. 18 school to Walnut Hills High the first suburban school. There was no question that Charlie would have to work after high school college was out of the financial equation. He began to look to the long-term examining options such as coal lumber and other basic commodities; chemistry was his best subject in school; but he ended up deciding that steel was the most promising area ??" Carnegie had been poor and had no technical training so it should be possible to Charlie Hook to get into the business. With a letter of introduction arranged by his brother he appeared at the offices of Cincinnati Rolling Mill in Riverside west of the city (the site visited in the photo in this lot). When told the only opening was that of office boy Charlie jumped on the opportunity. He moved up quickly in the office but that put him at odds with boys his age who worked in the plant. One day when the plant was closed because of the annual spring floods a group of ?plant boys? tried to give Charlie a ?dunking? as he entered the flatboat that was used to ferry the office staff to their building which was on stilts and out of the water. Sensing what was coming Charlie turned the tables and toppled his tormentor into the water. The boatswain was John ?Roxy? Draut the night watchman and one of the other gentlemen with whom Hook would tour the site half a century later (photos in this lot). Roxy protected the young office boy for the duration of the flood walking him to and from the streetcar stop. He would become a veteran of the Middletown ARMCO plant. Charlie made himself indispensable at the Riverside plant finding solutions to many problems in management and production. But the plant failed to be profitable enough for the owners and was closed in late 1899. Many of the employees were absorbed into other Tin Plate Trust plants including Charlie. His supervisors made sure he had a position elsewhere; they sensed that the young man would contribute to the company. Charlie was reassigned to Chicago leaving everything familiar in the ?Queen City? behind. After barely 2 months in the Windy City the Trust decided to move Charlie??Ts entire department to New York City. Outfitting two trains one for desks and files the other for personnel the department was ceremonially moved to the Big Apple. It was winter and the boy from the Midwest was becoming homesick amid tall buildings with barely a blade of grass to be found. He had been in touch with others from the Riverside plant in particular William P. Lewis who had been transferred to the Gas City plant in Indiana. He begged Lewis for a job hoping to get back to an environment in which grass and trees lived. Lewis had an opening in the sheet bar yard but Hook needed approval for the transfer. Charlie decided that if he really wanted to learn the business he needed training in production. He made his case up the chain of command in New York with most treating him as if he were ready to be committed but Warner Arms vice-president in charge of operations decided to give him a chance and allowed the transfer to Indiana. Hook had remained in touch with his first boss at Riverside who had made sure he was reassigned to a Trust plant but had lost touch with the president of the plant. However these two men had remained in touch with each other and when they teamed up with George M. Verity to start up the American Rolling Mill Co. in Middletown Ohio one of the first people both men thought of to recruit for the new enterprise was Charlie. It was a fateful interview. Verity and Hook liked each other at once and had very similar philosophies about the business. Verity believed in people and tried to run his business by the ?Golden Rule ? a striking (even shocking) departure from the typical steel mill of the day. On top of that Verity decided to build a combined mill which used pig iron to produce ingots and slabs which were made into shapes and bars which were made into sheets and then galvanized or fabricated - what had been the domain of 5 different mills now would be done more efficiently (so Verity thought) in one mill. The rest of the industry was sure it would fail. But Verity surrounded himself with capable men like Hook who continued to take every opportunity to learn as much about the steel industry as he could ??" what worked and what didn??Tt in plants around the country. And eventually Hook and John Tytus developed a continuous mill and revolutionized the steel industry. To compete with the giants such as U.S. Steel Armco focused on specialty steels which required continual research. It became the first steel company to include a research department. It was the production of corrugated culvert pipe that generated interest overseas in railroad construction and ultimately led to Armco becoming an international company. ARMCO grew and prospered and Hook with it. By 1910 he became general superintendent. In 1913 he made his final ?life-path? move ??" he married Verity??Ts daughter Leah. More than a decade his junior Leah was still a schoolgirl when Hook came to Middletown and looked upon him as ?Uncle Charlie.? But as she matured she and ?Uncle Charlie? found they had many interests in common. Charlie continued to make connections even on the couple??Ts honeymoon in Europe most notably to George Lorimer editor of the Saturday Evening Post. The couple had two sons and a daughter. The images in the photo book appear to be primarily the first-born Charles Jr. although a few show both boys just a couple years apart in age. Armco??Ts labor policies also served the company well. By letting the employees know that they were part of the company and providing them with the best equipment and working conditions technology allowed the company prospered. In a 1937 article on Armco Forbes pointed out that in the second quarter of that year alone the good relations with labor and the fact that they did not strike probably saved the company 5 million (compared to a similar-sized company that had picketing and rioting in its plant). Any problems any new changes were always discussed with employees. Any employee could make an appointment with Verity or Hook or other management official and express his viewpoint air problems etc. without patronizing or judgment. Armco also saw itself as a good neighbor in Middletown and later wherever there were Armco plants. Verity and Hook tried to make life better for all city residents ??" everything from supporting scouting to expanding the American Legion for veterans during the Second World War to creating organizations for naturalizing citizens. Even those who did not interact often with the top management knew of them and their works. After George Verity died in 1942 employees of the plant a year later suggested a day of service to remember his neighborly actions and Founder??Ts Day was born. The first Founder??Ts Day saw 30 beds being donated to the Children??Ts Fresh Air Camp and a family that had been burned out of their home had a cash gift to begin rebuilding. A later Founder??Ts Day in Australia had a lift designed and built by Armco engineers for getting spastic children in and out of beds and baths. A couple of Founder??Ts Day programs are included in this lot along with Verity??Ts memorial and program from the dedication of his statue. Several brochures relating to the history of Middletown are certainly also related to the sense of community in the Armco ranks. As Hook??Ts methods of labor relations proved viable and the depression struck Charlie was looked at more and more for national offices. The National Association of Manufacturers tried to get him into their top position in 1934 but Verity could not spare him in the depths of the depression. Four years later he did serve as President of NAM. He became an industry spokesman in Washington and served on a number of committees there. He was also increasingly in demand as a speaker and one of his typescripts for a luncheon speech is in this lot. We need more Charlie Hooks today. Over decades he ?preached? that in the American incentive system the individual is of primary importance. ?If industry is to have its story accepted by the public it must expose abuses in the ranks and condemn improper business practices as quickly as it opposes legislation which it considers obstructive to business progress. It must show unimpeachable good faith. The place to begin is at the grassroots. The way to win confidence in and respect for all industry is for each company to be a good honorable desirable citizen at home.? We seem to have forgotten these old principles in a new century. Hook and others were convinced that they would need to convert to war production sooner than later. He met with some of his Washington friends and realized that the plans were nearly a decade and a half old and most companies had grown and changed considerably. Hook was front and center in redrafting the plans to convert industry to defense a plan decisive in the production records set by industry a mere three years later. Armco??Ts war-time production is outlined in one of the brochures in this lot. As President of NAM he worked toward collaboration of government and industry. He went to England to study labor relations then went to Sweden for the same purpose. As he was leaving the office he set out a 5-point policy for industrial and national welfare that included collaboration of government and industry to raise the standard of living elimination of government competition with the private sector rebuilding tax structures national labor policy based on common sense and fairness (to both labor and management) and a ?square deal? (not a new deal) for business for them to create nine million new jobs. (Anything sound familiar here?) Within a few months however unemployment was zero. On December 14 1941 Charlie Hook had other appointments notably to the War Labor Board made up of 12 members of industry and 12 of labor. Business leaders included presidents/chairmen of SKF Bell Aircraft U.S. Rubber Ingersoll Milling Machine Studebaker American Type Founders American Hawaiian Steamship Champion Paper GE ??" critical industries in a wartime economy. Shortly after he was sent to England to see if steel production could be increased and decide which country could best make what war material. After many days of work Hook was ready to report back to President Roosevelt. As he was boarding the plane at Herndon he was introduced to an American General who was escorting his British counterpart to the same transport. That General turned out to be Dwight Eisenhower. Hook would cross paths with Eisenhower again in Britain during the war. So respected were Hook??Ts processes and opinions that immediately after the war as the U.S. military was going into peacetime mode (they thought) President Truman called on Hook to study and recommend changes in pay of armed services. After the war Hook was involved in many ventures including Junior Achievement. He also promoted some college programs always with the goal of ?selling the basic concepts of the American way of life? - to youth to the public to foreigners to anyone who would listen. One person who got wind of Hook??Ts program was Dwight Eisenhower then president of Columbia University. Hook was invited to Columbia where he spent half a day laying out his program for the president and forming a lifelong friendship. Many years of government service is reflected in the letters from Ike and Nixon although earlier communications (such as FDR and Truman) are not among this particular group of papers. In 1950 Armco celebrated its half-century anniversary. The company put on a party at all of its plants. In Middletown alone the assembled well-wishers consumed 382 000 hot dogs and similar amounts of other comestibles. Just a year before Middletown celebrated Charles R. Hook Day with a testimonial dinner in Middletown??Ts Hotel Manchester attended by Generals an Admiral and a thousand others. A copy of the souvenir of this event is included here. Charlie was given two bound volumes with the originals of these letters telegrams and other well-wishes of his friends and associates. Charlie continued to talk to anyone who would listen over the next decade and had his chance at numerous award ceremonies. Although he never went to college he did take a few correspondence courses in engineering but learned most of the industry by rolling up his sleeves in the mills and talking to those who knew. He was awarded the medal for the advancement of metallurgical research in 1947 the Henry Laurence Gantt Medal in 1950 and eleven honorary degrees by colleges and universities. Hook retired in December 1960 at the age of 80 but continued doing whatever he could to promote industry and the American ideal. He still went to his office every day as his physical condition allowed. He died in 1963 at 83 years of age. Lot includes: Numerous letters over a period of a couple decades to the White House and Department of Labor. Some have autopen or secretarial signatures but at least one Nixon letter may be authentic (or a new autopen pattern!) but 3 others have identical ?Dick? signatures and are likely autopen (they match one known autopen ?Dick Nixon?). A fourth letter signed ?Dick? with a slight difference may be authentic. There are many Eisenhower letters all initialed ?D.E.? There are 8 with slightly different initials some of which may be authentic. One without periods after the initials may be proxy/secretarial ??" we think he usually put periods after initials when he wrote them. All are on either light green White House letterhead or Ike??Ts personal DDE letterhead paper. Many more items in this folder are copies of what Hook sent to the various presidents including his copies of telegrams sent to Eisenhower. Folder labeled ?White House ??" President? with photographs (15) of Presidents Ronald and Nancy Reagan 4 living presidents (2) (Reagan Nixon Bush (41) and Ford) plus another with same four and their wives Bill and Hillary Clinton Republican leaders (Bob Dole Newt Gingrich Jack Kemp) some individual some in groups. Also a few ?certificates? or ?awards.? All seem to be rewards for donations and other support to the party. All signatures are in the photo. In addition there is a banner that is still in its packaging. One can see ?Republican President? in gold letters and one grommet but what the rest says is not certain (that label has been torn off the box ??" it probably had the address on it). Miscellaneous papers including an address given by Hook at a luncheon of the Union League Club Chicago 17 May 1940 entitled ?Wake Up America and Save the Private Enterprise System ? and a number of pages removed from a 3-ring binder most are photographs of maps and buildings in Middletown. File with ?American Rolling Mill Co. interesting facts? on front. Contains three more pamphlets on the story of ARMCO plus a typed speech given by Hook on Founder??Ts Day 1946 supplement to Middletown Journal in honor of ARMCO??Ts 75th Anniversary etc. 4 x 6 and 5 x 7 in. professional photos of Charles R. Hook in photographer??Ts folder. Photo album Obl. Folio string bound ?Photographs? in gilt on front black ?construction paper? pages; 2 x 3.25 in. and 2.25 x 4 in snapshots of family (lots of baby pictures) most likely Charles Hook??Ts (Sr.) family ??" approx. 45 images some have become detached from pages. Envelope with one 4 x 5 in. of a family of five (unidentified but possibly Charles Jr. based on the ages of the sitters and the clothing styles) plus 29 small loose images ranging from 1 x 1 in. to 3 x 5 in. ??" most snapshots taken with home camera. Four 8 x 10 in. black-&-white photos if Hook with Bernie Draut John Draut and Bill Draut at the William Henry Harrison tomb and site of Cincinnati Rolling Mill nearby. Photos taken 7 Aug. 1957 and labeled on verso. Charles R. Hook Testimonial Dinner / Manchester Hotel 6:30 P.M. / April 18 1939. Souvenir In paper covers with 3 brass brads poem by Wm. Dineen five 8 x 10 in. photos were glued to heavy paper but have now come loose plus copies of speeches telegrams letters etc. (i.e. the ?testimonials? given at the dinner). ARMCO Today 75th Anniversary Issue (1975) folio periodical Cover and 2pp article on Charles Hook and ARMCO Business Week 28 Jan. 1950 Forbes Magazine 15 Sept. 1948 with cover of ?Hook of ARMCo Steel Forbes: The Interpreter of Business 15 August 1944 with article on ?Charles R. Hook? U.S. News & World Report 8 June 1951 Hook on Cover indicating the inside article is an interview ?Less Steel for Civilians? Old Middletown folio printed cardstock wraps 1976. Illustrated with line drawings. ARMCO 75th Anniversary book Obl. Folio history of company illustrated with color photos. Armco Goes to War front cover with photo of Armco Air Raid Shelter president??Ts (George Verity) message dated 6 April 1942 with statistics about Armco??Ts war effort. Small folio 12pp. ?In Memoriam? for George Matthew Verity who died suddenly 6 Nov. 1942 (aged 77 yrs) Booklet for the Unveiling April 22 1948 the statue of founder George Verity Charles Ruffin Hook. Romance of Iron and Steel: Contribution of the Central Ohio Valley. New York: The Newcomen Society in North America 1950. 8vo printed paper wraps 32pp. Trifold flyer with History of Middletown Ohio U.S.A. 7.5 in. square folded Brochure from The Henry Laurence Gantt Memorial Gold Medal: Charles R. Hook Sr. Medalist. With speeches by the president of Gantt Medal Board and Charles Hook. Awarded ?for distinguished achievement in industrial management as a service to the community.? 8 June 1950 Plus 4 loose images of Middletown black-and-white. ARMCO in Pictures and Fact Middletown (OH): American Rolling Mill Co. 1921. 8vo soft leatherette cover gilt front and spine 247pp. Borth Christy. True Steel: The Story of George Matthew Verity and His Associates. Dayton United Color Press 1941 (Reprint 1973). 8vo red cloth with dj 319pp. Minor scuffing of dj very minor wear to spine ends. Text block excellent. Tebbel John. The Human Touch in Business: A Biography of Charles R. Hook. Dayton (OH): Otterbein Press 1963. 8vo red printed cloth with gilt front and spine dj 196pp. Top of dj with some damage otherwise book in near new condition. Hook Charles R. The Story of ARMCO. Middletown (OH): The American Rolling Mill Company 1928. 12mo in suede ?Arts & Crafts? style covers 41pp. Some fading of front cover with ?ring? from something heavy maybe wet. Historic South Main Middletown Ohio. Narrow 8vo in printed paper wraps issued by Middletown Department of Planning and Community Development 1977. Architectural and Historic Heritage Middletown Ohio. Narrow 8vo in printed paper wraps issued by Middletown Department of Planning and Community Development 1977. Founder??Ts Day Nuggets selected from talks and articles by George M. Verity the Founder of ARMCO. N.d. 19pp pamphlet with introduction by Charles Hook. Second Founder??Ts Day Nuggets selected from talks and articles by George M. Verity the Founder of ARMCO. N.d. but from a different year 16pp pamphlet with introduction by Charles Hook. The ARMCO First Line: A History and Its Purpose. 23 May 1958. 12mo pamphlet in blue flocked paper covers with gilt front string binding. Condition: Variable as expected. Generally the books and pamphlets are in excellent condition; photos are OK; letters with some humidity damage (light foxing).
• Civil War Captain Shoulder Straps ID'd
  Civil War Captain Shoulder Straps ID'd to Captain Samuel Goodman Mounted in a frame. Brevet Colonel Samuel Goodman (1824-1914) CMOH 28th PA. Samuel Goodman entered service as 1st Lieutenant and Adjutant in October 1861 and was breveted four times during the war including Gettysburg. Lieutenant Goodman won the MEDAL OF HONOR for saving the flag of the 107th OVI at Chancellorsville. The heroic officer was discharged in August 1864 as 1st Lieutenant. His four brevets--captain major lt. colonel and colonel--were awarded afterwards on March 13 1865 making these captain straps end of war/post war. Although the insignia were never worn during Goodman's wartime service they reflect this officer's tremendous personal bravery and distinguished history associated with the Medal of Honor. From Colonel Goodman's obituary in the The New York Times dated 24 March 1914: COL. SAMUEL GOODMAN DEAD Merchant Succumbs at Palm Beach. Colonel Samuel Goodman veteran of the Civil War former Councilman from the Twenty-second Ward and a prominent business man died yesterday March 23 1914 at Palm Beach Florida from dropsy. He was seventy-five years old. His home is at Germantown and Chestnut Hill Aves. Chestnut Hill. Colonel Goodman served throughout the Civil War. He was made second lieutenant of the Twenty-eighth Pennsylvania Infantry October 15 1861 first lieutenant and adjutant November 13 1861. He was honorably mustered out August 1864; brevetted captain major lieutenant-colonel and colonel United States Volunteers March 13 1865 for gallant and meritorious service at the battles of Cedar Mountain Antietam Chancellorsville Gettysburg Lookout Mountain Missionary Ridge Ringgold Mill Creek Gap and Resaca. He was awarded the CONGRESSIONAL MEDAL OF HONOR for saving the colors of the One Hundred and Seventh Ohio Volunteers at the Battle of Chancellorsville. Colonel Goodman was a member of the Union League of the Loyal Legion (MOLLUS #01037) and of the Philadelphia Cricket Club. He was one of six brothers all of whom fought in the Civil War. Two of these survive him. He was interred in the Trinity Lutheran Churchyard. Condition: Excellent.
• ROSSI John (American 20th Century):
  ROSSI John (American 20th Century): Chicago street scene ''Book Store'' Pencil Tempura/Acrylic sight size 39 1/2'' x 29 1/2'' signed lower right framed 41'' x 31''. Union League Art Competition label verso with price tag of $2 500.
• Salvatore Pinto American/Italian 1905-1966
  Salvatore Pinto American/Italian 1905-1966 ''Market Street'' and ''Union League'' pair of etchings each titled and signed ''Salvatore Pinto'' in lower margin 9 3/4 x 8 in. framed Estimate $ 150-250 Frame wear glass cracked in ''Market Street.'' Paintings have not been examined by blacklight.
• Two William T. Sherman letters: nine-line
  Two William T. Sherman letters: nine-line autograph letter, lined stationery "Headquarters Army of the United States/Washington, D.C." (printed), June 25, 1878, regarding a speech he had given in New York, 8 x 5 in., edges darkened ; eight secretarily written lines to S. V. White, Union League Club, New York, October 2, 1889, turning down an invitation to attend the laying of a cornerstone, 8 x 5-1/4 in., each signed "W.T. Sherman" (William Tecumseh Sherman, 1820-1891, Union Civil War general); with clipped inscription on blue paper, "Saint Louis Mo./May 8, 1861/W.T. Sherman", 3-3/8 x 9-3/4 in., all with folds, toning, minor soiling ; cabinet card of Sherman standing in uniform, 6-1/2 x 4-1/4 in., minor corner loss, toning ; black and white lithograph of Sherman, 7 x 5-1/2 in., pencil marks, stains . (Five items.) Collection of H. Donald Nelson, Williamsburg, Virginia.
• 2 pieces. Autograph Letters Signed.
  2 pieces. Autograph Letters Signed. Wells, H.G.: Sangate, Oct. 4, [19]03. 1 p., 12mo. * Chicago: Union League Club, May 7, 1906. 2 pp., 8vo, with integral leaf. With addressed envelope. Both to Albert M. Ballard, discussing the publication of several works. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman''s Conditions of Sale.