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Amazing Art Auction-5/18/2013

by WorldCrest Auctions, Inc.


355 lots | 337 with images

May 18, 2013

Live Auction

825 N. Watson Rd.

Arlington, TX, 76011 USA

Phone: 817-919-4853

Email: worldcrest@yahoo.com

355 Lots
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At the Forrests Edge

Lot 1: At the Forrests Edge

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Description: This is an oil on canvas that has been stretched and is ready for hanging. We were unable to decipher the artists signature. We have seen similar paintings sell for over one thousand dollars but cannot justify pricing it at that level because of our inability to determine the artist. There are two very small areas with excess paint.

Condition Report: Excellent

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Lot 2: "Sign of Friendship" by Frederic Remington

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Description: This is one of the last "Sign of Friendship" lithographs by Frederic Remington to be sold by the El Paso Museum of Modern Art. It is numbered 196/200. The Museum acquired the original oil on canvas in 1968. There are reproductions for sale, many going for thousands in galleries.<br /> <br /> The 200 lithographs were made for friends of the Museum and sold for $100. Since the last of the lithographs were sold, the reproductions began hitting the market. This lithograph is still in the original El Paso Museum of Modern Art packaging and packaged flat. It has never been rolled. It measures 12" x 17" plus a 2 1/2" border.

Condition Report: Highlight

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Unsung Heros By Joan C. Mangold

Lot 3: Unsung Heros By Joan C. Mangold

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Description: Size 28 x 21<br /> <br /> Do you like auctions? Well here it is. "Unsung Heros" a signed Artist Proof lithograph signed by artist Joan C. Marigold.This was painted at a time that Joan was the Auxiliary President of the National Auctioneers Association.<br /> <br /> <span style="font-size:small">Unsung Heros by Joan C. Mangold is a classic depiction of a 1920s era auction. Aside from the automobiles in the picture it may look like many public auctions still popular today. </span>The image whimsically captures the energy of auction day, in a multi-ring auction which spreads beyond the confines of the yellow and white striped auction tent.<br /> <br /> P.S. I also own a copy.

Condition Report: Best

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The Morning Dove by Francis Lee Jaques

Lot 4: The Morning Dove by Francis Lee Jaques

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Description: This is a nice print by Francis Lee Jaques titled " The Morning Dove". This is a poster print that measures 9" X 12" plus a 1" border. The print is not numbered and the signatures not original. It is in great condition.

Condition Report: Better

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Woman With a Basket of Fruit by Pierre Bonnard

Lot 5: Woman With a Basket of Fruit by Pierre Bonnard

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Description: This is a lithograph numbered 21/95 by Pierre Bonnard titled Woman With A Basket. Approximate size is 6" x 12" with a 1" border.<br /> <br /> Pierre was born October 3, 1867 in Paris.He began his education, first in law then in art, in 1885.Fron March through April 1891 Pierre had his first show, this was of 9 paintings.Pierre rose rapidly in the art world and was one of the leading artist in the world by 1896 when he had a showing of fifty-six pieces. Pierre was world renowned until his death on January 23, 1947.<br /> <br /> This print is in excellent condition.

Condition Report: Good

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Fishing boat repair

Lot 6: Fishing boat repair

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Description: This is an original watercolor. Though we have researched the painting and signature, no absolute confirmation could be made on the artist and painting despite assurances from the prior owner. It previously had a very high value but, due to our inability to absolutely confirm this, we have no alternative but to drastically reduce the value. This is a very interesting watercolor that should be bought because you like it. The size is 11" x 15"

Condition Report: Good

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Houses at Auvers

Lot 7: Houses at Auvers

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Description: This is a print in the manner of Vincent Van Gogh. There is no signature on this print. However, I can find no evidence that Van Gogh signed the original. Although it is numbered (29/95) it is unlikely that this is an original numbered print. There is still value in this print due to the quality of the paper and the desirability of this piece of art. Size 11" x 15" plus 1" border

Condition Report: Better

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The Concert

Lot 8: The Concert

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Description: In the Manner of Jan Vermeer, "The Concert". Johannes Vermeer (1632 - December 15, 1675) was a Dutch painter. Vermeer is also known as Vermeer of Delft, or Johannes van der Meer. Vermeer is, after Rembrandt, the second most famous Dutch painter of the 17th century (a period which is better known as the Dutch Golden Age for its astonishing cultural and artistic achievements). His paintings are admired for their transparent colours, well thought-out composition and brilliant use of light.<br /> <br /> Beautifully framed and Matted. Although this print is numbered (25/95) there are no known original numbered prints. We could not find a signature on the print nor could we find a signature on the original. The original was stolen on March 18, 1990 from the Stewart Gardner Museum in Boston. Due to the near perfect condition of the piece it appears to be a print of a reproduction. The size is 10" X 12" with a 1" border.

Condition Report: Better

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The Centuar original woodblock by Salvador Dali

Lot 9: The Centuar original woodblock by Salvador Dali

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Description: This is a woodblock print of Salvador Dali's "The Centaur". It is signed in the plate, not a personally signed copy (though it appears to be an original signature to the untrained eye). Between 1951 and 1960, Dali created 101 watercolor drawings to interpret the Salvador Dali Divine Comedy, a poem by Dante Alighieri (1265-1321). These works have been reproduced using a wood engraving technique. <strong>Woodblock printing</strong> is a technique for printing text, images or patterns used widely throughout East Asia. Originating in China in antiquity as a method of printing on textiles and later paper. The earliest surviving examples from China date to before 220, and woodblock printing remained the most common East Asian method of printings books and other texts, as well as images, until the 19th century. Most European uses of the technique for printing images on paper are covered by the art term woodcut, except for the block-books produced mainly in the 15th century.

Condition Report: Best

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Junk Island

Lot 10: Junk Island

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Description: LITHOGRAPH IN THE MANNER OF MARCO SASSONE TITLED "JUNK ISLAND" CIRCA 1979.<br /> <br /> Had this print been signed, if would be worth several thousand dollars. As such, no signature is found on this print. It is still valuable, but at a much less amount.<br /> <br /> It measures 11" X 15" with a 1" border. No reproductions could be found.

Condition Report: Best

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NU

Lot 11: NU

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Description: LITHOGRAPH IN THE MANNER OF HENRI MATISSE, BEARING THE SIGNATURE IN A LIMITED EDITION TITLED "NU", CIRCA 1906. This print bears a number 28/50 and a signature. it is in my judgment that signature is not original. The number appears as though it was hand written by someone other than the artist. I could not find any evidence that there was ever a limited printing of fifty copies of this or any other Matisse printing. If I am wrong then this is an eight thousand plus print. But I would not bet on my being wrong. It is still a nice piece, more so at the reduced value I am giving it. It measures 14" x 10" with a 1" border.

Condition Report: Good

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Untitled by Joan Miro

Lot 12: Untitled by Joan Miro

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Description: <p><span style="font-size:14px">This is an unnamed original lithograph by Joan Miro, signed in the lower right corner. This was bought as an authentic lithograph and appears to be as represented. There are small amounts of ink or paint on the back. Not shown on the picture of the painting is a few pencil marks in the back area. These lithographs are not numbered and the possibility exists that this is the original. I am reducing the value by several thousand dollars simply due to not finding the name of the painting. </span></p>

Condition Report: Best

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Peasant woman with flowers

Lot 13: Peasant woman with flowers

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Description: Peasant woman with flowers is an untitled mixed medium painting. The medium appears to be watercolor and ink. I could not identify the signature of the artist but it is original. This is a numbered (158/260 ) lithograph. You may want to look at the signature to see if you can figure it out. It is nicely framed and matted with a glass front. The framing alone is worth several hundred dollars. The frame dimensions are 27 5/6" X 21 3/8".

Condition Report: Best

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The Canada Goose

Lot 14: The Canada Goose

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Description: This print of The Canada Goose by Lee Jaques measures 9" X 12" with a 1" border. This print is in great condition.<br /> <br /> Francis Lee Jaques, a 20th century American wildlife painter who helped create an awareness that inspired the environmental movement.  "Master Artist of the WIld", has many paintings, watercolors, drawings, sculpture and photographs that trace his life (1887-1969). The Bell Museum of Natural History at the University of Minnesota became the repository for a large body of his art collection, photographs and field notes. His work can also be seen at Yale University's Peabody Museum.

Condition Report: Better

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For Friendship Sake

Lot 15: For Friendship Sake

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Description: This is a 16" X 19" print of the F. M. Bennett 1940 painting "For Friendship Sake". Original F.M. Bennett paintings go for six figures at auction. This is not an original. It is beautifully framed in what appears to be its original vintage frame. The frame alone is worthwhile but the picture and subject is wonderful.

Condition Report: Better

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High Road Church by Dale Armstrong

Lot 16: High Road Church by Dale Armstrong

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Description: Oil on board.<br /> Signature by Dale Armstrong<br /> <br /> Original southwestern oil by the late Santa Fe artist Dale Armstrong. The frame itself is in good condition, but, the matting has some moisture damage. <br /> <br /> Image size is 12" x 16" with the overall frame at 20" x 23". 

Condition Report: Better

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Untitled by Robert Doares

Lot 17: Untitled by Robert Doares

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Description: Framed Size: 15 x 12<br /> <br /> A native of Maxton, NC, <strong>Robert Doares</strong> and his wife Kay lived in Salisbury, NC.  After graduating from high school in 1929, Robert moved to New York City to begin his art career.  While working in a department store, he asked if he could cover a blank wall with a mural.  That opportunity helped launch his career.  He enrolled in the Grand Central School of Illustration to study under Harvey Dunn, the "dean" of American illustrators and quickly found ways to develop his talent through drawing covers and illustrations for major publications such as <em>Doubleday's</em> and <em>Harper's</em>.  As an artist for the Medical Department of the Armed Forces, he drew illustrations for training materials and other assignments for the Army Hospital.  After the war, he became a freelance illustrator, drawing covers for <em>Outdoor Life</em>, <em>Redbook</em>, <em>Doubleday</em>, and <em>Harper's</em>.  He also drew the illustrations for Phillip W. Keller's book, <em>A Shepherd Looks at Psalm 23</em>, which is still in print.  In 1952, Bob had a life-changing experience with the Lord.  In response, his art became his offering of worship and praise to the Lord.  He began to paint the life of Christ in a series titled, "<em>Immanuel, God with Us: The Life of Christ in Art.</em>"  This 54 piece series represents 30 years of his life. <br /> <br /> This signed print is framed and matted. It has a small crack and a small nick on the inside right on the frame. This is a nice print that is extremely hard to find.

Condition Report: Better

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Bachelor Type by Stella Slimko

Lot 18: Bachelor Type by Stella Slimko

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Description: Framed size: 19" x 23"<br /> Signed by artist: Stella Slimko<br /> <br /> This is an original oil on board by Stella Slimko. On the back is an inscription "A "Bachelor-Type" Painting for a "Bachelor Type" guy! August 1965. Thus dating this picture as 47 years old. The evidence is that the lady, Stella Slimko, painted this picture for her lover who had adapted to the bachelor life style. This painting was a way of nudging him into marrying her. Stella would have been in her twenties at the time and is now in her seventies. I have located her phone number and am trying to contact her. Hopefully I will do so before the auction. I am interested in the results of her pursuit. There is a small, not very noticeable, cut about the size of a pen tip.

Condition Report: Better

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Hope by Beverly Paddleford

Lot 19: Hope by Beverly Paddleford

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Description: Framed size: 17" x 21 1/4"<br /> Signed by artist: Beverly Paddleford<br /> <br /> This is a photograph of a bronze sculpture titled "Hope". The sculptor and the photographer are the same person-Beverly Paddleford.<br /> <br /> Printed under the image is:<br /> Put your hope in the Lord, for with the Lord is unfailing love and with Him is full redemption. Psalm 130:7.<br /> <br /> The signature is original. The frame is of high quality and in great condition. Additionally I found the following. The statue is in a large garden in Wyoming dedicated to the children who have died before birth and went unnamed. Here is what the artist has to say about the picture:<br /> <br /> <strong>"Hope":</strong>This sculpture has captured the love of both a mother and Jesus for our children. Jesus sits holding the hand of the woman at the same time cradling her baby in his other arm. While focusing on her Hope in Christ, the woman clasps her heart pendent with her other hand signifying the love a mother has for her child.<br /> God has made us in such a way that children are forever written on our hearts. The parent who has lost a child will forever carry feelings for their little ones.<br /> When a child is lost through early death or stillbirth - they usually have been given a name. When a child has been lost through miscarriage or abortion, often times they have not been given a name. In fact, in many cases, they have not even been thought of as a child yet.<br /> Having a name for the child helps a grieving parent focus on the feelings they have for them. Focus is required in order to process the feelings, mourn the loss, and move on. Not to forget the child but to accept the loss and look forward to being with them again someday.<br /> Many people as they begin to be restored by God after their loss, or newfound awareness of their loss, choose to name their baby. As part of the grieving process, they seek to visualize their child and give them significance by selecting just the right name.

Condition Report: Best

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Untitled by unklnown artist

Lot 20: Untitled by unklnown artist

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Description: This is a very heavy, high quality wood frame that measures 24" X 30". The print is on a heavy, textured paper that gives an appearance of being painted. This is a very pleasing picture to look at. The frame alone is worth over $500.00.

Condition Report: Best

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Faded Roses

Lot 21: Faded Roses

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Description: Size: 14 1/4 x 8<br /> Lithograph in the manner of William Brice bearing the signature, titled "Faded Roses". <p>Born to actress Fannie Brice and gambler/criminal Nick Arnstein, April 23, 1921, he spent his early years living with his mother and his sister Frances (later the wife of producer Ray Stark), while their father was in prison on a variety of charges stemming from a history of thefts, swindles and confidence schemes. Artists such as Clifford Odets and the Gershwin brothers were frequent visitors. His talent was recognized early, and even in childhood, he had the services of a private art tutor. Important influences included then-active artists Henri Matisse and Pablo Picasso, (one of whose works Brice acquired at the age of fourteen).</p> <p>Their mother, pursuing a career in radio, moved them to Beverly Hills. There he attended the Chouinard Art Institute in Los Angeles (193739, 194042), as well as the Art Students League of New York in New York City (193940). His first solo show of paintings and drawings was presented at the Santa Barbara Museum of Art in 1947. The early work was figural and representational. A 1950 L.A. Times review of his solo exhibition at the Frank Perls Gallery (Beverly Hills) praises the still lifes "that stress the geometrical aspects of common objects. Over time, he moved in the direction of greater abstraction, but rejected more progressive movements such as Abstract Expressionism and Action Painting. His work was characterized by expert draughtsmanship. He is particularly remembered for the classic modernism of his late work, in which masses reminiscent of ancient ruins figure prominently, inspired in part by an important trip to Greece in 1970.</p> <p>From 1948 until 1952, he taught at the Jepson Art Institute in Los Angeles, and the following year began his long tenure at UCLA, continuing until his retirement in 1991, where he was a beloved teacher, and mentored generations of artists, for whom he offered a connection to European Modernism.</p> <p>Brices work is part of the permanent collections of such major museums as the Los Angeles County Museum of Art, the Los Angeles Museum of Contemporary Art, the Art Institute of Chicago and the Whitney Museum of American Art in New York City.</p> <p>At age 86, he suffered injuries in a fall, and never regained consciousness before dying at the UCLA Medical Center on March 3, 2008. He was survived by his wife, Shirley Bardeen, whom he married in 1942, their son John and two grandsons.<br /> <br /> I could not absolutely confirm the signature. If it proves to be authentic, it increases the value dramatically. </p>

Condition Report: Better

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The Savoy; Poster

Lot 22: The Savoy; Poster

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Description: Size: 12" x 15"<br /> <br /> This is ink and the cylinders used to make the print were not set-up properly and there is a ghost image of the print. This is not signed and is very clean, perhaps too clean.<br /> <br /> LITHOGRAPH IN THE MANNER OF AUBREY BEARDSLEY; In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house Mssrs Dent<br /> His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals. He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all.<br /> Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).<br /> The Peacock Skirt, 1893<br /> He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. Beardsley also wrote Under the Hill, an unfinished erotic tale based loosely on the legend of Tannhäuser, published in The Savoy. Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists like Pape and Clarke.<br /> Beardsley was a public as well as private eccentric. He said, "I have one aimthe grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps[disambiguation needed ].<br /> Tailpiece or Cul de Lampe, 1893<br /> Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual which is hardly surprising, considering his chronic illness and his devotion to his work. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried. During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home.<br /> Beardsley converted to Roman Catholicism in March 1897, and would subsequently beg his publisher, Leonard Smithers, to destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsleys wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work. Beardsley was active till his death in Menton, France, at the age of 25 on 16 March 1898 of tuberculosis

Condition Report: Average

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Page from the 1914 Uffizi Museum 1914 Catalog

Lot 23: Page from the 1914 Uffizi Museum 1914 Catalog

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Description: <br /> In 1914 the Uffizi Museum in Florence, Italy hired the Editore publishing house to produce a series of catalogs beginning in 1910 of the museums collection of art. The second series was produced in 1914 and contained twenty prints. The museum caught fire during World War II and many of its works were damaged as was the 1914 catalog. This and the next five lots are renditions of the original paintings and were damaged in the fire. These five remaining vintage are a year away from being classified as antique. There are copies of the catalog available at some libraries but are generally protected. These pages bear the stamp from the Uffizi Museum and the logo of the printer on the back. All copies are damaged and aged.

Condition Report: Average

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Page from the 1914 Uffizi Museum 1914 Catalog

Lot 24: Page from the 1914 Uffizi Museum 1914 Catalog

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Description: In 1914 the Uffizi Museum in Florence, Italy hired the Editore publishing house to produce a series of catalogs beginning in 1910 of the museum's collection of art. The second series was produced in 1914 and contained twenty prints. The museum caught fire during World War II and many of its works were damaged as was the 1914 catalog. This and the next five lots are renditions of the original paintings and were damaged in the fire. These five remaining vintage are a year away from being classified as antique. There are copies of the catalog available at some libraries but are generally protected. These pages bear the stamp from the Uffizi Museum and the logo of the printer on the back. All copies are damaged and aged.

Condition Report: Average

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Page from the 1914 Uffizi Museum 1914 Catalog

Lot 25: Page from the 1914 Uffizi Museum 1914 Catalog

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Description: Size 17 x 11<br /> In 1914 the Uffizi Museum in Florence, Italy hired the Editore publishing house to produce a series of catalogs beginning in 1910 of the museums collection of art. The second series was produced in 1914 and contained twenty prints. The museum caught fire during World War II and many of its works were damaged as was the 1914 catalog. This and the next five lots are renditions of the original paintings and were damaged in the fire. These five remaining vintage are a year away from being classified as antique. There are copies of the catalog available at some libraries but are generally protected. These pages bear the stamp from the Uffizi Museum and the logo of the printer on the back. All copies are damaged and aged.

Condition Report: Average

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Page from the 1914 Uffizi Museum 1914 Catalog

Lot 26: Page from the 1914 Uffizi Museum 1914 Catalog

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Description: 17 x 11<br /> In 1914 the Uffizi Museum in Florence, Italy hired the Editore publishing house to produce a series of catalogs beginning in 1910 of the museums collection of art. The second series was produced in 1914 and contained twenty prints. The museum caught fire during World War II and many of its works were damaged as was the 1914 catalog. This and the next five lots are renditions of the original paintings and were damaged in the fire. These five remaining vintage are a year away from being classified as antique. There are copies of the catalog available at some libraries but are generally protected. These pages bear the stamp from the Uffizi Museum and the logo of the printer on the back. All copies are damaged and aged.

Condition Report: Average

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Page from the 1914 Uffizi Museum 1914 Catalog

Lot 27: Page from the 1914 Uffizi Museum 1914 Catalog

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Description: Size 11 x 17<br /> In 1914 the Uffizi Museum in Florence, Italy hired the Editore publishing house to produce a series of catalogs beginning in 1910 of the museums collection of art. The second series was produced in 1914 and contained twenty prints. The museum caught fire during World War II and many of its works were damaged as was the 1914 catalog. This and the next five lots are renditions of the original paintings and were damaged in the fire. These five remaining vintage are a year away from being classified as antique. There are copies of the catalog available at some libraries but are generally protected. These pages bear the stamp from the Uffizi Museum and the logo of the printer on the back. All copies are damaged and aged.

Condition Report: Average

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Lot 28: "Olive Trees in a Mountainous Landscape" by Vincent Van Gogh

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Description: Vincent Van Gogh painted at least 18 paintings of  Olive Trees mostly in Saint-Remy during his stay at the asylum in May 1889 through 1890.<br /> One painting, "Olive Trees in a Mountainous Landscape", was a compliment to "The Starry Night".<br /> The <u>National Gallery of Art</u> summarizes this series: "In the olive trees- in the expressive power of their ancient and gnarled forms - Van Gogh found a manifestation the spiritual force he believed resided in all of nature. His brushstrokes make the soil and even the sky seem alive with the same rustling motion as the leaves, stirred to a shimmer by the <u>Mediterranean </u>wind. These strong individual dashed do not seem painted so much as drawn onto the canvas with a heavily loaded brush. The energy in their continuous rhythm communicates to us, in an almost physical way, the living force that Van Gogh found within the trees themselves, the very spiritual force that he believed had shaped them."<br /> <br /> Dimensions are 10" x 14".Heavy paper.<br /> <br /> A Bruce McGaw Graphics Publication. 1999 The Museum of Modern Art, New York. Mrs John Hay Whitney Bequest 34051. Vincent Van Gogh. The Olive Trees, 1889 Oil on canvas 28 5/8 x 36". PF 700 Printed in the USA

Condition Report: Best

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Lot 29: "French Court Scene Dance Recital", by Georg Schobel

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Description: <u><strong>Georg Schobel, 1860- 1941, born in Berlin.</strong></u><br /> This measures 28 1/2" x 40". The frame was slightly warped, an attempt to straighten it was done, we are unable to guarantee if it will not warp again.<br /> <br /> This painting seems to be a print on board.

Condition Report: Average

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Lot 30: "Pursuit and Attack" by Joe Ruiz Grandee

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Description: <u><strong>"Pursuit and Attack" by artist Joe Ruiz Grandee (1929-1979),</strong></u> lithograph signed in pencil in the year 1974. Framed 24" x 32"  Image size 22" x 30".<br /> <br /> Artist, Joe Ruiz Grandee as born a third generation Texan born in Dallas in 1929. He studied at the Aunspaugh Art School in Dallas during 1947. From 1965 to 1991, he was active as a sculptor, illustrator, and painter of portraits, military scenes, and the history of the West. He has been cited for historically accurate depictions of the Dragoons and Cavalrymen of the U. S. Army.<br /> <br /> In 1974 Joe Ruiz Grandee was honored as the first official state artist for the State of Texas an appointment by the Texas Legislature.in which he served for one year. Joe Ruiz Grandee was also the first artist to show in Washington D. C., and considered a leading expert on the American West. His work has been exhibited by the White House, The Harmsen Collection of Western Art and the National Cowboy Hall of Fame. His original works are rare and valuable.

Condition Report: Highlight

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1940 Appointment Document from New Mexico Governor John Miles to Jack Borenstein

Lot 31: 1940 Appointment Document from New Mexico Governor John Miles to Jack Borenstein

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Description: Original document from the 1940's New Mexico Governor John Miles given to Jack Borenstein in commemorative for his appointment and commission as Colonel, Aide-de-Camp on the Staff of the Governor of the State of New Mexico on July 9th, 1940.  Affixed with the Great Seal of the State of New Mexico. Done in Santa Fe, New Mexico.<br /> <br /> Framed, 12 1/2" x 16 1/2" Original signatures by the Governor: John E. Miles, Secretary of State: Jessie M. Gonzales, Adjutant General: Russell Charlton.

Condition Report: Average

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Lot 32: "Tuna Eater", by Palmquist

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Description: Framed and matted, 9" x 9", actual drawing is 4" x 4".<br /> Ink drawing "Tuna Eater" signed by Palmquist  is a one of a kind cat lovers drawing. This fat cat is happily satisfied with his four tuna meals ready to feast on to his hearts content.

Condition Report: Best

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Lot 33: "Surfer" by Linda Barnes 77"

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Description: Original signed 1977' 16" x 9 1/2"  pencil drawing on paper of Surfer by Linda Barnes. Overall metal framed size is 22 1/4" x 15 1/2".

Condition Report: Average

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Lot 34: "Le Cafe' de la Louisiane" by Daniel Rhodes 1982'

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Description: Framed size: 9" x 11'<br /> <br /> The artist Daniel Rhodes personally noted  the"Le Cafe' de la Louisiane" notations on the bottom of the right hand corner. He wrote in 10/1000, 97' Rhodes Hand colored.<br /> <br /> Daniel Rhodes started painting when he was just a boy growing up between Bayou Terrebonne and Bayou Cane in South Louisiana. He spent his boyhood fishing, shrimping, and paddling the pirogue. It was among the Louisiana Cypress in those early days that he learned to paint from his grandfather. His art captures the unique spirit of Louisiana culture, not only in terms of its subject matter, but in the light-hearted humor he brings to many of his works.

Condition Report: Best

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Lot 35: "Thomas Point" by Herb Jones

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Description: "Thomas Point" 1982 print by Herb Jones, numbered 441/750 and signed by Herb Jones. This piece is.printed on high quality paper and is in perfect condition. Size is 13" x 20"<br /> <br /> The Thomas Point Shoal Light, also known as Thomas Point Shoal Light Station, is a historic lighthouse in the Chesapeake Bay on the east coast of the United States, and the most recognized lighthouse in Maryland. It is the only screw-pile lighthouse in the bay which stands at its original site. The current structure is a 1 1/2 story hexagonal wooden cottage, equipped with a foghorn as well as the light.

Condition Report: Best

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Lot 36: "Seated Woman in Turkish Costume" by Pablo Picasso (1881-1973)

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Description: This print is in the manner of Pablo Picasso. Pablo Picasso born in Malaga, Spain on October 25, 1881 and died in Mougins, France on April 8, 1973.<br /> <br /> Frame size is 15 1/2" x 19".  It is questionable whether the number 23/95 is valid.  The signature on the lower left does not seem to be an authentic Picasso signature.

Condition Report: Better

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Lot 37: "Portrait of Marie-Therese Walter" lithograph by Pablo Picasso

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Description: <br /> In the Manner of Pablo Picasso, "Portrait of Marie-Therese Walter lithogragh is signed and numbered 14/95. Framed 16" x 19".<br /> <br /> Pablo Picasso's, 1927-1936 Years with Marie-Therese Walter.<br /> In 1927 Picasso met <strong>Marie-Thérèse</strong> Walter (1909-1977), a 17 year old who Picasso then lived with in a flat across the street from his marital home (while still married to Olga).  Marie-Thérèse and  Picasso had a daughter, <span style="color:rgb(0, 204, 204)"><strong>Maya</strong> <strong>(Maria de la Concepcion)</strong></span> on October 5, 1935.  (Picasso and Olga later separated although they remained married so Olga would not receive half of Picasso's wealth -- until she died in 1955. )   Picasso's relation with Marie was kept from Olga until Olga was told of Marie's pregnancy.   Marie understandably became jealous when Picasso started to fall in love with Dora Maar in 1936, a year after Maya was born.  It was Marie-Thérèse who was the inspiration for many of Picasso's famous <a href="http://www.sapergalleries.com/PicassoVollardDetail148.html">Vollard Suite</a> etchings.  Marie-Thérèse died by hanging herself in 1977, four years after Picasso died.  Maya's son, Olivier Widmaier wrote "Picasso: The Real Family Story" about his artist grandfather, in 2004.

Condition Report: Better

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Lot 38: "The Avaricious and the Prodigal" by Salvador Dali

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Description: "The Avaricious and the Prodigal"  Woodblock signed by Salvador Dali - Spain (1904 - 1989). Framed size is 14" x 16".<br /> <br /> Salvador Dali Divine Comedy, a poem by Dante Alighieri (1265-1321), was illustrated by Dali between 1951 and 1960. Dali created 101 watercolor drawings to interpret the Salvador Dali Divine Comedy. These works have been reproduced using a wood engraving technique. With this technique, wood engravers carved 3500 blocks for the prints that make up the Salvador Dali Divine Comedy. 100 woodblocks were published as a French edition by two different editors with a total of 4765 books, an Italian edition of 3188, and later in 1974 as a German edition with a stated size of 1000.

Condition Report: Best

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Lot 39: "Sweet Dreams" by Louis Icart

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Description: "Sweet Dreams" signed Lithograph by Louis Icart (1890 - 1950). (In reviewing his signatures, it seems this signature may not be authentic.)<br /> Framed 14" x 17"<br /> <br /> Le Faust de Goethe - 1944<br /> The book by Johann Wolfgang von Goethe had illustrations by Louis Icart, "Sweet Dreams" being one of the illustrations.

Condition Report: Better

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Lot 40: "Rig Reds" 96 By Daniel Rhodes

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Description: "Rig Reds" 96 is numbered 19/100 and signed by Daniel J. Rhodes (1958 - ). Rhodes also noted in his own handwriting that this is Hand colored. Framed: 13 1/2" x 16 1/2". <br /> <br /> On the back is:<br />   <div style="text-align:center"> A Note from the Artist </div> This image is an original Daniel J. Rhodes' product. I am the author and the artist. I hand-pull my own prints and use a combination of relief woodcuts and photoengravings of my original pen and inks. The printing is done on a family press given to me by my grandfather, Ovide Bazet. The cast iron press is over a century old, and my grandfather taught me how to carve woodcuts and linocuts as well as use the press.<br /> <br /> Over a century ago my family used this method of printing as the cutting edge of technology; now it is considered art. My grandfather never dreamed his press would be used as I use it.  I have invented many secret techniques with this press that amaze modern printers. Much of my prints' success directly depends upon its design. My pen and inks are designed as plates and are not complete until they are printed and colored. I do the writing on separate plates. Everything comes together as a final piece of art after multiple runs on the antique press, then I flavor the prints with some hand coloring using acrylics and pencil colors. When all is done I complete the process by signing, numbering and dating each print in pencil. This certifies the entire piece is my own creation.<br /> <br /> I was born in Houma, Louisiana in 1958 and grew up on the "bayou", painting swamp scenes with my father and grandfather. Upon graduating from high school I acquired a degree from L.S.U. majoring in design. I left L.S.U. with my wife, Judith from Thibodaux, La. and we didn't travel far. We presently live in Baton Rouge and have two children, John and LeeAnna. Art is my full time occupation, although I'll run a "few" hundred crawfish traps in the Atchafalaya Basin when there's enough water to run an outboard motor. Fishin' and art are my cake, and I eat it too.<br /> <br /> P.S.    I also hunt and sport fish (though not enough).<br /> P.S.S. I'm afraid to play golf; it may capture me and I'll dream of nothin' else.<br />   <div style="text-align:center"> DANIEL J. RHODES <br /> 921 E. Tom Stokes Ct. <br /> Baton Rouge, LA  70810 <br /> 504-769-0204</div> <div style="text-align:center"> Wildlife & Seafood Folk Art * 19th Century Specialy Printing</div> <br /> The Houma Oilman's Fishing Invitational (HOFI) tournament is an annual fishing event limited to qualifying oil field and related industry personnel began in 1994. This drawing has a specific mark in the bottom center of the rig showing Houma Oilman's Fishing Invitational 1996 mark.

Condition Report: Better

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Two Clowns, oil on canvas by W. Moninet

Lot 41: Two Clowns, oil on canvas by W. Moninet

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Description: <br /> <strong>William Moninet</strong> <em>(1937 - 1999)</em> born in Louisiana he was an  American impressionist artist.  While most known for his oil paintings of clowns, he was also proficient watercolorist. He painted large number of paintings during the 80's in the later stage of his life. 

Condition Report: Best

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Paintings of Land and Sea-Over 100 years old

Lot 42: Paintings of Land and Sea-Over 100 years old

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Description: <strong><u>This appears to be over 100 years old and is an antique! </u></strong>"This portfolio contains twelve full-color pictures of land and sea selected from among the most popular subject from recent Providential Mutual calendars. It is presented to you with the compliments of" Charles H. Butz TA 3371(the first part was printed and the name and number was hand written.)<br /> <br /> From what I can find out, the artists sold their paintings to Provident Mutual who used them for their various calendars. They then used them as the main picture for their calendars. From these pictures, they choose the best ones and put them together in the portfolio. The first painting ultimately sold for $36,000. Most were sold in that range. The total value of the paintings is probably over $500,000. I was unable to find anything on most of the prints and some of the oils.<br /> <br /> I will add more information as we get it. Provident Mutual was acquired by Nationwide in 2002. The building used in this book is now a Philadelphia Police Department Building. The Nationwide Archives Department is researching this for me. There is no record of another book in existence.

Condition Report: Highlight

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Reflections of Coup by Dan Brewer

Lot 43: Reflections of Coup by Dan Brewer

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Description: Size: 18" x 24"<br /> Signed by artist: Danny Brewer<br /> <br /> American Indian prints by Dan Brewer (Buffler), (Texas, 20th c.): "Reflections of Coup", a study of Ocala Sioux chief Red Cloud. A copy of which currently hangs in Proctor Museum of Natural Science. This is signed by the artist  "Danny Brewer".<br /> <br /> The drawing is in perfect condition. My wife and I acquired this drawing directly from Danny Brewer in 1991. We then put it in a protected enclosure along with two more of his drawings where they have stayed until this auction.<br /> <br /> Research says that the artist, a native of Fort Worth, Texas, died in 2007.<br /> <br /> After signing the <a href="http://en.wikipedia.org/wiki/Treaty_of_Fort_Laramie_%281868%29" title="Treaty of Fort Laramie (1868)">Treaty of Fort Laramie (1868)</a>, he led his people in the important transition to <a href="http://en.wikipedia.org/wiki/Indian_reservation" title="Indian reservation">reservation</a> life. Some of his US opponents mistakenly thought of him as overall chief of the Sioux. The large tribe had several major divisions and was highly decentralized. Bands among the Oglala and other divisions operated independently, even though some individual leaders such as Red Cloud were renowned as warriors and highly respected as leaders.<br /> <br /> <strong>Early life</strong><br /> Red Cloud was born close to the forks of the <a href="http://en.wikipedia.org/wiki/Platte_River" title="Platte River">Platte River</a>, near the modern-day city of <a href="http://en.wikipedia.org/wiki/North_Platte,_Nebraska" title="North Platte, Nebraska">North Platte, Nebraska</a>. His mother, Walks As She Thinks, was an <a href="http://en.wikipedia.org/wiki/Oglala_Lakota" title="Oglala Lakota">Oglala Lakota</a> and his father, Lone Man, was a <a href="http://en.wikipedia.org/wiki/Brul%C3%A9" title="BrulÃÃÃÃÃÃÃÃÃÃÃÃÃÃé">Brulé</a> Lakota chief. These were two of the major seven Lakota divisions.<br /> As was traditional among the <a href="http://en.wikipedia.org/wiki/Matrilineal" title="Matrilineal">matrilineal</a> Lakota, in which the children belonged to the mother's clan and people, Red Cloud was mentored as a boy by his maternal uncle, <a href="http://en.wikipedia.org/wiki/Old_Chief_Smoke" title="Old Chief Smoke">Old Chief Smoke</a> (1774-1864). Old Chief Smoke played a prominent, major role in the boy's early-mid life and brought him in to the Smoke household when his parents died around 1825. At a young age, Red Cloud fought against neighboring <a href="http://en.wikipedia.org/wiki/Pawnee_people" title="Pawnee people">Pawnee</a> and <a href="http://en.wikipedia.org/wiki/Crow_Nation" title="Crow Nation">Crow</a>, gaining much war experience.<br /> <br /> <strong>Red Cloud's War</strong><br /> Main article: <a href="http://en.wikipedia.org/wiki/Red_Cloud%27s_War" title="Red Cloud's War">Red Cloud's War</a><br /> Red Cloud's War was the name the US Army gave to a series of conflicts fought with American Indian Plains tribes in the <a href="http://en.wikipedia.org/wiki/Wyoming_Territory" title="Wyoming Territory">Wyoming</a> and <a href="http://en.wikipedia.org/wiki/Montana_Territory" title="Montana Territory">Montana</a> territories. The battles were waged between the Northern <a href="http://en.wikipedia.org/wiki/Cheyenne_people" title="Cheyenne people">Cheyenne</a>, allied with Lakota and <a href="http://en.wikipedia.org/wiki/Arapaho_people" title="Arapaho people">Arapaho</a> bands, against the <a href="http://en.wikipedia.org/wiki/United_States_Army" title="United States Army">United States Army</a> between 1866 and 1868. In December 1866, the Native American allies attacked and defeated a United States unit in what the whites would call the <a href="http://en.wikipedia.org/wiki/Fetterman_Massacre" title="Fetterman Massacre">Fetterman Massacre</a> (or the Battle of the Hundred Slain), which resulted in the most U.S. casualties of any Plains battle up to that point.<br /> Red Cloud<br /> Captain <a href="http://en.wikipedia.org/wiki/William_J._Fetterman" title="William J. Fetterman">William J. Fetterman</a> was sent from <a href="http://en.wikipedia.org/wiki/Fort_Phil_Kearny" title="Fort Phil Kearny">Fort Phil Kearny</a> with two civilians and 79 cavalry and infantrymen to chase away a small Indian war party that had attacked a wood party days before. Captain Frederick Brown accompanied Fetterman; the two were confident in their troops and anxious to go to battle with the Indians. They disobeyed orders to stay behind the Lodge Trail Ridge and pursued a small decoy band of warriors, led by an Indian on an apparently injured horse. The decoy was the prominent warrior <a href="http://en.wikipedia.org/wiki/Crazy_Horse" title="Crazy Horse">Crazy Horse</a>. Fetterman and his troops followed the decoy into an ambush by more than 2,000 Sioux, Cheyenne, and Arapaho. Combined Indian forces suffered only 14 casualties, while they killed the entire 81-man US detachment. (See <a href="http://en.wikipedia.org/wiki/Fetterman_Fight" title="Fetterman Fight">Fetterman Fight</a>)<br /> Following this battle, a US peace commission toured the Plains in 1867 to gather information to help bring about peace among the tribes and with the US. Finding that the American Indians had been provoked by white encroachment and competition for resources, the commission recommended assigning definite territories to the Plains tribes. The Lakota, Northern Cheyenne, and Arapaho bands, and others settled for peace with the US under the <a href="http://en.wikipedia.org/wiki/Treaty_of_Fort_Laramie_%281868%29" title="Treaty of Fort Laramie (1868)">Treaty of Fort Laramie</a>. The US agreed to abandon its forts and withdraw completely from Lakota territory.<br /> <strong>Treaty of 1868</strong><br /> The treaty established the <a href="http://en.wikipedia.org/wiki/Great_Sioux_Reservation" title="Great Sioux Reservation">Great Sioux Reservation</a>, covering the territory of West River, west of the Missouri River in present-day Nebraska (which had been admitted as a state in 1867), and including parts of South Dakota. Uneasy relations between the expanding United States and the natives continued. In 1870, Red Cloud visited Washington D.C., and met with Commissioner of Indian Affairs <a href="http://en.wikipedia.org/wiki/Ely_S._Parker" title="Ely S. Parker">Ely S. Parker</a> (a <a href="http://en.wikipedia.org/wiki/Seneca_nation" title="Seneca nation">Seneca</a> and U.S. Army General) and President <a href="http://en.wikipedia.org/wiki/Ulysses_S._Grant" title="Ulysses S. Grant">Ulysses S. Grant</a>.<br /> In 1871, the government established the <a href="http://en.wikipedia.org/wiki/Red_Cloud_Agency" title="Red Cloud Agency">Red Cloud Agency</a> on the <a href="http://en.wikipedia.org/wiki/Platte_River" title="Platte River">Platte River</a>, downstream from <a href="http://en.wikipedia.org/wiki/Fort_Laramie" title="Fort Laramie">Fort Laramie</a>. As outlined in the Treaty of 1868, the agency staff were responsible for issuing weekly rations to the Oglala, as well as providing the annually distributed supply of cash and annuity goods. The agent and Washington officials would determine how much of the annuity was to be paid in cash or goods, and sometimes the supplies were late, in poor condition, inadequate in amount, or never arrived at all. Red Cloud took his band to the agency (a predecessor of the <a href="http://en.wikipedia.org/wiki/Indian_reservation" title="Indian reservation">Indian reservation</a>) and tried to help them in the transition to a different way of life. In the fall of 1873, the agency was removed to the upper <a href="http://en.wikipedia.org/wiki/White_River_%28Nebraska%29" title="White River (Nebraska)">White River</a> in northwestern Nebraska.<br /> <strong>Great Sioux War of 18761877</strong><br /> Red Cloud settled at the agency with his band by the fall of 1873. He soon became embroiled in a controversy with the new Indian agent, Dr. John J. Saville.<br /> In 1874, General <a href="http://en.wikipedia.org/wiki/George_Armstrong_Custer" title="George Armstrong Custer">George Custer</a> led a reconnaissance mission into Sioux territory that reported gold in the <a href="http://en.wikipedia.org/wiki/Black_Hills" title="Black Hills">Black Hills</a>, an area held sacred by the local Indians. Formerly, the Army tried to keep miners out but did not succeed; the threat of violence grew. In May 1875, Sioux delegations headed by Red Cloud, <a href="http://en.wikipedia.org/wiki/Spotted_Tail" title="Spotted Tail">Spotted Tail</a>, and <a href="http://en.wikipedia.org/wiki/Lone_Horn" title="Lone Horn">Lone Horn</a> traveled to Washington, D.C. in an attempt to persuade President Grant to honor existing treaties and stem the flow of miners into their lands. The Indians met on various occasions with Grant, Secretary of the Interior Delano, and Commissioner of Indian Affairs Smith. He told them on May 27 that Congress was ready to resolve the matter by paying the tribes $25,000 for their land and resettling them into <a href="http://en.wikipedia.org/wiki/Indian_Territory" title="Indian Territory">Indian Territory</a>. The delegates refused to sign such a treaty, with Spotted Tail saying about the proposal:<br /> When I was here before, the President gave me my country, and I put my stake down in a good place, and there I want to stay.... You speak of another country, but it is not my country; it does not concern me, and I want nothing to do with it. I was not born there.... If it is such a good country, you ought to send the white men now in our country there and let us alone.<br /> Although Red Cloud was unsuccessful in finding a peaceful solution, he did not take part in the <a href="http://en.wikipedia.org/wiki/Lakota_war" title="Lakota war">Lakota war</a> of 1876-1877, which was led by <em>T</em><em>È</em><em>aúÅke</em><em> Witkó</em> (<a href="http://en.wikipedia.org/wiki/Crazy_Horse" title="Crazy Horse">Crazy Horse</a>) and <em>T</em><em>È</em><em>at</em><em>È</em><em>áÅka</em><em> Íyotake</em> (<a href="http://en.wikipedia.org/wiki/Sitting_Bull" title="Sitting Bull">Sitting Bull</a>).<br /> In the fall of 1877, the Red Cloud Agency was removed to the upper <a href="http://en.wikipedia.org/wiki/Missouri_River" title="Missouri River">Missouri River</a>. The following year it was removed to the forks of the <a href="http://en.wikipedia.org/wiki/White_River_%28South_Dakota%29" title="White River (South Dakota)">White River</a>, in present-day South Dakota, where it was renamed the <a href="http://en.wikipedia.org/wiki/Pine_Ridge_Indian_Reservation" title="Pine Ridge Indian Reservation">Pine Ridge Indian Reservation</a>.<br /> <strong>His last days</strong><br /> Red Cloud became an important leader of the Lakota as they transitioned from the freedom of the plains to the confinement of the reservation system. His trip to Washington, DC had convinced him of the number and power of European Americans, and he believed the Oglala had to seek peace.<br /> In 1884 he and his family, along with 5 other chiefs, converted and were baptized as Catholic by Father Joseph Bushman.<br /> Red Cloud continued fighting for his people, even after being forced onto the reservation. In 1887 Red Cloud opposed the <a href="http://en.wikipedia.org/wiki/Dawes_Act" title="Dawes Act">Dawes Act</a>, which broke up communal tribal holdings, and allocated 160-acre plots of land to heads of families on tribal rolls for subsistence farming. The US declared additional communal tribal lands as excess, and sold it to emigrant settlers. In 1889 Red Cloud opposed a treaty to sell more of the Sioux land. Due to his steadfastness and that of <a href="http://en.wikipedia.org/wiki/Sitting_Bull" title="Sitting Bull">Sitting Bull</a>, government agents obtained the necessary signatures for approval through subterfuge, such as using the signatures of children. He negotiated strongly with <a href="http://en.wikipedia.org/wiki/Indian_Agent" title="Indian Agent">Indian Agents</a> such as <a href="http://en.wikipedia.org/wiki/Dr._Valentine_McGillycuddy" title="Dr. Valentine McGillycuddy">Dr. Valentine McGillycuddy</a>.<br /> He outlived all the other major Sioux leaders of the Indian Wars. He died in 1909 at the age of 87 on the Pine Ridge Reservation, where he was buried. He is quoted as saying in his old age, "They made us many promises, more than I can remember. But they kept but one--They promised to take our land...and they took it."<br /> <strong>Legacy and honors</strong><br /> Announcements of the death and recognition of Red Cloud's achievements was printed in major newspapers across the country. As had been typical of the US perception during Red Cloud's prominence in war, the article in <em>The New York Times</em> mistakenly described him as leader of all the Sioux bands and tribes, but noted his abilities as a leader and diplomat. While he was a prominent leader, the Lakota were highly decentralized and never had one overall leader, especially of the major divisions, such as Oglala and Brulé.<br /> Red Cloud was among the Indians photographed by <a href="http://en.wikipedia.org/wiki/Edward_S._Curtis" title="Edward S. Curtis">Edward S. Curtis</a>. In 2000, he was <a href="http://en.wikipedia.org/wiki/Posthumous_recognition" title="Posthumous recognition">posthumously</a> selected for induction into the <a href="http://en.wikipedia.org/wiki/Nebraska_Hall_of_Fame" title="Nebraska Hall of Fame">Nebraska Hall of Fame</a>. He has been honored by the <a href="http://en.wikipedia.org/wiki/United_States_Postal_Service" title="United States Postal Service">United States Postal Service</a> with a 10¢ <a href="http://en.wikipedia.org/wiki/Great_Americans_series" title="Great Americans series">Great Americans series</a> <a href="http://en.wikipedia.org/wiki/Postage_stamp" title="Postage stamp">postage stamp</a>.<br /> <a href="http://en.wikipedia.org/wiki/Theodore_Sorensen" title="Theodore Sorensen">Theodore Sorensen</a> wrote in <em>Kennedy</em> that President <a href="http://en.wikipedia.org/wiki/John_F._Kennedy" title="John F. Kennedy">John F. Kennedy</a> considered naming one of the <a href="http://en.wikipedia.org/wiki/41_for_Freedom" title="41 for Freedom">41 for Freedom</a> <a href="http://en.wikipedia.org/wiki/Ballistic_missile_submarine" title="Ballistic missile submarine">ballistic missile submarines</a> after Red Cloud, but apparently bowed to <a href="http://en.wikipedia.org/wiki/U.S._Department_of_Defense" title="U.S. Department of Defense">Pentagon</a> concerns that the name could be misinterpreted as being pro-<a href="http://en.wikipedia.org/wiki/Communism" title="Communism">Communist</a>.<br /> Note: Red Cloud descendants have continued to be chosen as traditional chiefs of the Lakota Sioux: <ul> <li>Jack Red Cloud, 19091928</li> <li>James Red Cloud, 19281960</li> <li>Charles Red Cloud (his brother), 19601979, and</li> <li>Oliver Red Cloud, 1979 present.</li> </ul> Oliver Red Cloud, 93 years old (2012), is the fourth-generation direct descendant of Chief Red Cloud. Oliver is a chief of the Oglala Lakota Sioux people and Speaker of the traditional Lakota Sioux Nation. He is the Chairman of the "Black Hills Sioux Nation Treaty Council".

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Native Son by Dan Brewer

Lot 44: Native Son by Dan Brewer

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Description: Size: 24" x 20"<br /> Signed by artist: Danny Brewer<br /> <br /> American Indian prints by Dan Brewer (Buffler), (Texas, 20th c.): Native Son (a Texas Longhorn)<br /> <br /> The drawing is in perfect condition. My wife and I acquired this drawing directly from Danny Brewer in 1991. We then put it in a protected enclosure along with two more of his drawings where they have stayed until this auction.<br /> <br /> Research says that the artist, a native of Fort Worth, Texas, died in 2007.The <strong>Texas Longhorn</strong> is a breed of <a href="http://en.wikipedia.org/wiki/Cattle" title="Cattle">cattle</a> known for its characteristic horns, which can extend to 7 feet (2.1 m tip to tip for steers and exceptional cows, and 36 to 80 inches (0.91 to 2.0 m) tip to tip for bulls. Similar cattle were imported by Spanish colonists into other parts of North America, including <a href="http://en.wikipedia.org/wiki/California" title="California">California</a> and <a href="http://en.wikipedia.org/wiki/Florida" title="Florida">Florida</a>. Horns can have a slight upward turn at their tips or even triple twist. Texas Longhorns are known for their diverse coloring. A longhorn can be any color or mix of colors but dark red and white color mixes are the most dominate. Texas Longhorns with elite genetics can often fetch $40,000 or more at auction with the record of $170,000 in recent history for a cow. Due to their innate gentle disposition and intelligence, Texas Longhorns are increasingly being trained as riding steers.<br /> <br /> <strong>History of the breed</strong><br /> Genetic analysis show the Longhorn originated from an Iberian hybrid of two ancient cattle lineages: "taurine" descending from the domestication of the wild <a href="http://en.wikipedia.org/wiki/Aurochs" title="Aurochs">aurochs</a> in the Middle East, and "indica", descending from the domestication of the aurochs in India, 85% and 15% respectively by proportion.The Texas Longhorns are direct descendants of the first cattle in the <a href="http://en.wikipedia.org/wiki/New_World" title="New World">New World</a>. The ancestral cattle were first brought over by <a href="http://en.wikipedia.org/wiki/Christopher_Columbus" title="Christopher Columbus">Christopher Columbus</a> in 1493 to the Caribbean island of <a href="http://en.wikipedia.org/wiki/Hispaniola" title="Hispaniola">Hispaniola</a>. Between 1493 and 1512, Spanish colonists brought additional cattle in subsequent expeditions <a href="http://en.wikipedia.org/wiki/Texas_Longhorn#cite_note-Rouse1977-5">[</a> Over the next two centuries the Spanish moved the cattle north, arriving in the area that would become Texas near the end of the 17th century. The cattle escaped or were turned loose on the open range, where they remained mostly wild for the next two centuries. Over several generations, descendants of these cattle evolved the high feed- and drought-stress tolerance and other "hardy" characteristics that Longhorns have become known for.<br /> Early US settlers in Texas obtained Mexican cattle from the borderland between the <a href="http://en.wikipedia.org/wiki/Nueces_River" title="Nueces River">Nueces River</a> and the <a href="http://en.wikipedia.org/wiki/Rio_Grande" title="Rio Grande">Rio Grande</a> and mixed them with their own eastern cattle. The result was a tough, rangy animal with long legs and long horns extending up to seven feet. Although this interbreeding was of little consequence to the makeup of a Longhorn, it did alter color. The varieties of color ranged from bluish-grey, and various yellowish hues, to browns, black, ruddy and white, both cleanly bright and dirty-speckled. Portuguese cattle breeds, such as <a href="http://en.wikipedia.org/wiki/Alentejana_cattle" title="Alentejana cattle">Alentejana</a> and <a href="http://en.wikipedia.org/wiki/Mertolenga_cattle" title="Mertolenga cattle">Mertolenga</a>, are the closest relatives of Texas Longhorns.<br /> As Texas became more heavily settled following annexation by the US, the frontier gave way to established farms and ranch lands. The leaner longhorn beef was not as attractive in an era where <a href="http://en.wikipedia.org/wiki/Tallow" title="Tallow">tallow</a> was highly prized, and the longhorn's ability to survive on the poor vegetation of the <a href="http://en.wikipedia.org/wiki/Open_range" title="Open range">open range</a> was no longer as much of an issue. Other breeds demonstrated traits more highly valued by the modern rancher, such as the ability to gain weight quickly. The Texas Longhorn stock slowly dwindled, until in 1927 the breed was saved from near extinction by enthusiasts from the <a href="http://en.wikipedia.org/wiki/United_States_Forest_Service" title="United States Forest Service">United States Forest Service</a>, who collected a small herd of stock to breed on the <a href="http://en.wikipedia.org/wiki/Wichita_Mountains_Wildlife_Refuge" title="Wichita Mountains Wildlife Refuge">Wichita Mountains Wildlife Refuge</a> in <a href="http://en.wikipedia.org/wiki/Lawton,_Oklahoma" title="Lawton, Oklahoma">Lawton, Oklahoma</a>  A few years later, <a href="http://en.wikipedia.org/wiki/J._Frank_Dobie" title="J. Frank Dobie">J. Frank Dobie</a> and others gathered small herds to keep in Texas state parks. They were cared for largely as curiosities, but the stock's longevity, resistance to disease and ability to thrive on marginal pastures quickly revived the breed as beef stock. Today, the breed is used as a beef stock, though many Texas ranchers keep herds due to their link to Texas history.

Condition Report: Highlight

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A Tomahawk and a Prayer by Dan Brewer

Lot 45: A Tomahawk and a Prayer by Dan Brewer

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Description: Size: 29" x 23"<br /> Signed by artist: Danny Brewer<br /> <br /> American Indian prints by Dan Brewer (Buffler), (Texas, 20th c.): A Tomahawk and a prayer. This is number 141 of 750.  A copy of which currently hangs in Proctor Museum of Natural Science. This is signed by the artist  "Danny Brewer".<br /> <br /> The drawing is in perfect condition. My wife and I acquired this drawing directly from Danny Brewer in 1991. We then put it in a protected enclosure along with two more of his drawings where they have stayed until this auction.<br /> <br /> Research says that the artist, a native of Fort Worth, Texas, died in 2007.

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Through the Eye of an Eagle by Dan Brewer

Lot 46: Through the Eye of an Eagle by Dan Brewer

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Description: Size: 23" x 26"<br /> <br /> American Indian prints by Dan Brewer (Buffler), (Texas, 20th c.): Through the Eye of an Eagle, painted in 1986. This is signed by the artist "Danny Brewer". This is a rare full color print.<br /> <br /> The drawing is in perfect condition. My wife and I acquired this drawing directly from Danny Brewer in 1991. We then put it in a protected enclosure along with two more of his drawings where they have stayed until this auction.<br /> <br /> Research says that the artist, a native of Fort Worth, Texas, died in 2007.<br /> <br /> The Golden Eagle is one of the best known birds of prey in the Northern Hemisphere. Like all eagles, it belongs to the family Accipitridae. Once widespread across the Holarctic, it has disappeared from many of the more heavily populated areas. It does live in the Fort Worth area where Dan Brewer is from.

Condition Report: Highlight

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Map of Texas in 1836 prior to becoming a Republic

Lot 47: Map of Texas in 1836 prior to becoming a Republic

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Description: This is a copy (reproduction) of the Mexican Texas map in 1836. This was drawn by Stephen Austin just prior to Texas becoming a Republic.This map is in great condition. It was stored by the seller for twenty years in a special storage facility. The <strong>Republic of Texas</strong> (Spanish: <em>República de Texas</em>) was an independent sovereign nation in North America which existed from March 2, 1836, to February 19, 1846. It was bordered by the nation of Mexico to the southwest, the Gulf of Mexico to the southeast, the two US states of Louisiana and Arkansas to the east and northeast, and the United States territories encompassing the current US states of Oklahoma, Kansas, Colorado, Wyoming, and New Mexico to the north and west.<br /> Formed as a separate nation after gaining independence from Mexico in 1836, the republic claimed borders that included all of the present US state of Texas as well as parts of present-day Oklahoma, Kansas, Colorado, Wyoming, and New Mexico based upon the Treaties of Velasco between the newly created Texas Republic and Mexico. The eastern boundary with the United States was defined by the <a href="http://en.wikipedia.org/wiki/Adams-On%C3%ADs_Treaty" title="Adams-OnÃÃÃÃís Treaty">Adams-Onís Treaty</a> between the United States and <a href="http://en.wikipedia.org/wiki/Spain" title="Spain">Spain</a> in 1819. Its southern and western-most boundary with Mexico was under dispute throughout the entire existence of the republic with Texas claiming the boundary as the Rio Grande (known as the Río Bravo del Norte or Río Bravo in Mexico), and Mexico claiming the boundary as the Nueces River. This dispute would later become a trigger for the MexicanAmerican War from 1846 to 1848 between Mexico and the United States after the annexation of Texas by the United States on December 29, 1845.

Condition Report: Print

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Miss May Sartoris by Frederick Leighton

Lot 48: Miss May Sartoris by Frederick Leighton

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Description: Size: 17 1/2" x 28"<br /> <br /> F<span style="color:#000">rederick Leighton (1830-1996) was an English painter and sculptor. He is well-known for his mythological and historical paintings. He was born in Scarborough to a family in the business of import and export. Because his family was well-off he had a good education and training. At the age of 24, when he was in Florence, he painted the procession of the Cimabune Madonna through the Borgo Allegri. This historical painting of Leighton was later bought by Queen Victoria. His paintings made him famous in London and he was also elected President of the Royal Academy in 1878, and was titled Baron Leighton of Stretton. He was the only English artist to be honored by the title. However, he could not live longer as a Baron. He died the next day he was given the title. That made him the shortest-lived peerage in the history. His remained unmarried throughout his life. His house in Holland Park is the Leighton House Museum now. The museum houses a number of drawings, paintings, and sculptures by him. Through the museum one can take a peek at the life and works of Leighton from very close. Although he could not live longer as a peerage, he lived fully as a painter and sculptor</span>.<br /> <br /> This is a perfect print poster authorized by the owner of the oil; the Kimball Art Museum.

Condition Report: Better

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Mercury Confiding The Infant Bacchus To The Nymphs Of Nysa

Lot 49: Mercury Confiding The Infant Bacchus To The Nymphs Of Nysa

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Description: Size: 24" x 34" <h1><span style="font-size:14px"><strong>Mercury Confiding The Infant Bacchus To The Nymphs Of Nysa</strong></span></h1> At the center of this painting is the infant god Bacchus. Born of Jupiters illicit union with the princess Semele, Bacchus was transported by Mercury to Nysa for safekeeping from Junos jealous rage. Nestled in the clouds beside Mercury, the eagle bearing a lightning shaft alludes to the circumstances of Bacchuss fiery birth. As recounted in Ovids <em>Metamorphoses</em>, Zeus had fallen in love with Semele, daughter of Cadmus and Harmonia. To punish her wayward consort, Juno tricked Semele into asking the god to appear to her in all his majesty. Powerless to deny her wish, Jupiter came to Semele, who was consumed by fire. However, the baby gestating in her womb was stitched into his fathers thigh and spirited away to Nysa as soon as he was born. In Bouchers painting, the nymphs marvel at the miraculous infant, whose intoxicating powers as god of the vine are displayed by putti bearing grapes and the leaf-entwined thyrsos with which he will lead his band of followers.<br /> <br /> This poster was obtained from the owner of the original oil painting, Kimbell Art Museum. It is currently not on view.

Condition Report: Better

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Lot 50: "Dark Tiger Swallowtail" By Paul Brent

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Description: Framed size: 9" x 11"<br /> <br /> <strong>Paul Brent</strong> is an artist whose work has become known to represent the coastal lifestyle.  From his watercolors to his recent oil paintings he captures nature in its best and most idyllic form. <p>In the past few years Paul Brent has begun to paint in oil both on panels and on canvas.  His first oils reflected the transparent tradition of his watercolors but he soon moved on to richer layered paintings that explore the depth of color possible with oil paint. A series called Plantation Home was painted that reflected vintage Hawaiian subjects.  His latest work has the feeling of collage as he works with both watercolor and oil to create images that are graphically composed with stamps, textures, calligraphy and found objects. </p> <p>Paul Brent has been licensing his work for almost twenty years and now lists over 90 manufacturers with whom he does business.   He and his wife, Lana Jane, head the business that includes both licensing and an art gallery of Paul Brents work in Panama City Florida.  Paul Brent has been profiled in many publications including the Wall Street Journal, Coastal Living, Florida Monthly that designated him Best Artist in Florida, and many more.  He is a signature member of the National and Florida Watercolor Societies and a member of the Society of Illustrators.  He had authored a book on watercolor instruction titled <u>Wonderful Watercolors</u> and illustrated the childrens book <u>J. Rooker</u>, <u>Manatee</u>.  He has been active in arts and planning organizations both locally and in the state of Florida. He served on the board and was president of Bay Arts Alliance. He served on the board of the Florida Arts Council and the Florida Humanities Council. </p> Since 2003 Paul Brent has maintained a studio in Seaside, Oregon, in addition to his studio in Panama City Florida.  There he paints scenes of the Pacific Northwest coastal region. Paul Brent's West Coast series of art is available at Fairweather House and Garden, Seaside, Oregon.

Condition Report: Average

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