Remington copy.jpgDALLAS, Texas (April 17, 2017) - A landmark illustration by artist Barbara Remington which were used for a trio of Ballantine Book covers for J. R. R. Tolkien's Lord of the Rings series highlight the May 12 Heritage Auctions Illustration Arts Signature Auction in Dallas. The Lord of the Rings covers (est. $20,000-30,000) were designed so that laid side-by-side they create a panoramic scene. A hugely popular poster titled "Wilderness" was also produced using this iconic image.

"Categories such as Pulp, Pin-Up and Commercial Advertisement are seeing dramatic increases in demand and in value. Some of the most sought after artists such as Remington, Roger Hane and Mort Künstler who illustrated covers for Lord of the Rings, The Chronicles of Narnia, and some of the most sought after adventure magazines are offered in this auction,” said Ed Jaster, Senior Vice President of at Heritage Auctions. "The diversity of offerings in this auction once again shows the demand for Illustration Art."  

All seven Chronicles of Narnia book cover illustrations by Hane will be offered during the auction. Beginning with The Lion, The Witch, and The Wardrobe book cover, (est. $5,000-7,000) illustration which was the most popular novel of the seven written, by C.S. Lewis.

A preliminary illustration from the 1979 Disney sci-fi classic movie The Black Hole, (est. $10,000-15,000) painted by Robert McCall is also available.

Künstler, one of the most prolific adventure magazine illustrators often on the cover of Stag, For Men Only, and True Action is offering 30 works from his personal collection including Contraband Blonde, Stag magazine cover, April 1960, (est. $3,000-5,000), Renegade Sea Nymph and her Crew of Strange Castaways, True Action magazine cover, February 1963, (est. $3,000-5,000), Captured by the Chief, Stag magazine cover, February 1967, (est. $2,000-3,000) and Night of the Grizzlies, For Men Only magazine, March 1970, (est. $2,000-3,000) as well as many more excellent examples.

Other top lots include but are not limited to:

Heritage Auctions is the largest fine art and collectibles auction house founded in the United States, and the world’s largest collectibles auctioneer. Heritage maintains offices in New York, Dallas, Beverly Hills, San Francisco, Chicago, Palm Beach, Paris, Geneva, Amsterdam and Hong Kong.

The Internet’s most popular auction-house website, HA.com, has over one million registered bidder-members, and searchable free archives of four million past auction records with prices realized, descriptions and enlargeable photos.

 

Thoreau 3.jpgNew York, NY, April 17, 2017 — Henry David Thoreau (1817-1862) occupies a lofty place in American cultural history. He spent two years in a cabin by Walden Pond and a single night in jail, and out of those experiences grew two of this country’s most influential works: his book Walden and the essay known as “Civil Disobedience.” But his lifelong journal—more voluminous by far than his published writings—reveals a fuller, more intimate picture of a man of wide-ranging interests and a profound commitment to living responsibly and passionately.

Now, in a major new exhibition entitled This Ever New Self: Thoreau and His Journal opening June 2 at the Morgan Library & Museum, nearly one hundred items have been brought together in the most comprehensive exhibition ever devoted to the author. Marking the 200th anniversary of his birth and organized in partnership with the Concord Museum in Thoreau’s hometown of Concord, Massachusetts, the show centers on the journal he kept throughout his life and its importance in understanding the essential Thoreau. More than twenty of Thoreau’s journal notebooks are shown along with letters and manuscripts, books from his library, pressed plants from his herbarium, and important personal artifacts. Also featured are the only two photographs for which he sat during his lifetime, shown together for the first time. The exhibition runs through September 10.

“Henry David Thoreau has variously been cast as naturalist, hermit philosopher, and political activist,” said Colin B. Bailey, director of the Morgan Library & Museum. “However, none of these labels do justice to the breadth of his interests and his enormous impact on American culture and letters. It is perhaps only in his journal that one finds Thoreau in full voice, commenting thoughtfully on a range of topics, from the seemingly mundane to the historic events of his day.  The Morgan is pleased to partner with the Concord Museum in bringing this extraordinary exhibition to the public.”

“For the first time, the surviving personal artifacts—from Thoreau’s simple green desk to his beloved flute— will temporarily be on view outside of his hometown of Concord,” explained Margaret Burke, Executive Director of the Concord Museum. “Two centuries after his birth, we believe that much can be learned from Thoreau and his perception of the world. Throughout 2017, the Concord Museum is celebrating his Bicentennial with programs, events, gallery talks, and special exhibitions. We are particularly proud of our collaboration with the Morgan Library and that the exhibition will also be on view at the Concord Museum beginning September 29.”

THE EXHIBITION 

Give me the old familiar walk, post office & all - with this ever new self - with this infinite expectation and faith. . . . -Thoreau’s journal, November 1, 1858

Thoreau’s journal 

The Morgan holds almost all of Thoreau’s surviving journal—forty simple volumes filled with the observations and reflections of a lifetime. Throughout the exhibition, his notebooks are paired with resonant objects—his flute with a journal entry about the importance of listening, his spyglass with an observation about birds he saw while peering through it, a bundle of nails from his cabin by Walden Pond alongside a notebook he used while living there. At the center of the gallery stands the simple green desk on which he wrote the thousands of pages of his journal over the course of a quarter century, convinced that a closely examined life would yield infinite riches. 

Neighbor

Thoreau’s journal begins and ends in Concord—the Massachusetts town where he spent most of his forty-four years. It was there that he opened his first notebook in 1837 and closed his final one in 1861, as he began to grow weary with tuberculosis. One of the most frequently quoted lines from Thoreau’s journal, dated December 5, 1856, reflects his profound connection with his native place: “I have never got over my surprise that I should have been born into the most estimable place in all the world - & in the very nick of time, too.” 

Concord—less than twenty miles from Boston—was an intellectually vibrant place. Ralph Waldo Emerson, Thoreau’s dynamic neighbor, led discussions about the future of American society. Antislavery activists Wendell Phillips and Frederick Douglass passed through town (and through the Thoreau family house) with urgent calls for reform. The exhibition features intimate records of Thoreau’s relationships with many of his Concord contemporaries, from a diary of fellow author Nathaniel Hawthorne to a heartbreaking letter from Louisa May Alcott describing how friends laid Thoreau’s body to rest beneath a wreath of flowers in 1862. She predicted that “though his life seemed too short, it would blossom & bear fruit for as long after he was gone.”

Student and Worker 

Thoreau entered Harvard College in 1833 at age sixteen and followed a traditional course of study based on rote memorization, recitation, and repetition. Though he is said to have complained that Harvard taught “all the branches” of learning but “none of the roots,” college was a transformative experience for him. His immersion in classical and modern languages, literature, and natural history set the course for a lifetime of self-directed reading and study. The exhibition features playful correspondence from Thoreau’s college classmates as well as student essays that contain hints of the big ideas that would continue to engage him, from the importance of simplicity to the value of independent thought. 

It was just after graduation that Thoreau began to keep a journal of his observations and reflections. His earliest surviving journal is on view, open to an entry that served as a guiding principle for his lifelong practice: “My desire is to know what I have lived, that I may know how to live henceforth.” 

Throughout his life Thoreau found various ways to, in his words, “get a living”—working as a teacher, schoolmaster, handyman, lecturer, writer, pencil maker, and, most regularly, as a surveyor. At the same time, he aimed to reverse the usual balance. How could he work less and live more? Shortly after he turned forty, he wrote a journal entry, dated October 29, 1857, concluding that he had chosen the professions best suited to his temperament. “I have aspired to practice in succession all the honest arts of life,” he wrote, “that I may gather all their fruits.” 

Reader and Thinker 

Thoreau read voraciously and in several languages, often with pen in hand, copying extracts into the same type of notebook in which he kept his journal. The exhibition includes a blank book he began using in college to copy selections from his reading. He devoted sixteen full pages to The Laws of Manu, an English translation of a classical Hindu text that influenced him profoundly. It is shown alongside Thoreau’s own copy of the Bhagavad-Gítá, another of his most cherished texts. Also on view are selections from Thoreau’s extensive self-directed study of indigenous North American cultures—a project that comprised some three thousand handwritten pages in a dozen notebooks. 

For Thoreau and many of his Concord contemporaries, a journal was the perfect venue in which to cultivate a dynamic, direct relationship with nature rather than relying only on books, teachers, elders, and religious authorities. He also famously committed himself to living responsibly and focused his thinking and writing on consumerism, materialism, individualism, spirituality, and what we now call environmentalism. 

Thoreau was a passionate abolitionist and sometimes provided assistance to African Americans who had escaped from slavery as they made their way to Canada via the Underground Railroad. He wrote almost nothing about these illegal activities in his journal. What he did express—at length—was his fury with a government that sanctioned an institution as heinous as slavery. 

In 1846, Thoreau spent a night in jail for failure to pay a tax in protest against state-sanctioned slavery. Out of that experience he developed his most influential essay, “Resistance to Civil Government” (later published as “Civil Disobedience”), which is shown in its first printed appearance alongside the lock salvaged from Thoreau’s jail cell. 

In the years that followed, Thoreau became the most outspoken public apologist for the militant abolitionist John Brown and turned again to his journal to rail against a government “that pretends to be Christian & crucifies a million Christs every day.” Many of these journal entries made their way, in revised form, into his fiery public speeches and published essays. 

Writer and Observer

As a young man, Thoreau wrote poetry, but he found his voice in prose. He published two books during his lifetime: A Week on the Concord and Merrimack Rivers, which did not cause much of a stir, and Walden, which most certainly did. Both of these works and others had their beginnings in his journal. In lectures and published works, Thoreau developed a first-person public voice designed to provoke, tease, stimulate, challenge, and, sometimes, entertain. In his private writings, he let his words flow more naturally, expressing surprise, anger, frustration, awe, joy, and even ecstasy. In his early notebooks, he often extracted pages and repurposed the text. Later, though, he left the volumes intact. Over time, the journal became his most essential work of art. 

Walden, published in 1854, would make Thoreau an American legend—a first edition copy is on view. The title page illustration is based on Sophia Thoreau’s drawing of the cabin where her brother Henry lived for two years, two months, and two days on the shores of Concord’s Walden Pond. In writing the book he pulled heavily from his journal entries. It was toward the end of his composition process that he added the iconic first paragraph, a draft of which is on view: 

When I wrote the following pages, or rather the bulk of them, I lived alone, in the woods, a mile from any neighbor, in a house which I had built myself, on the shore of Walden Pond, in Concord, Massachusetts, and earned my living by the labor of my hands only. I lived there two years and two months. At present I am a sojourner in civilized life again. 

Thoreau walked for hours every day and in all seasons and used his journal to record, in great detail, what he observed. As he grew older, his engagement with the natural world intensified and he spent years logging descriptions of natural phenomena. The exhibition features pressed plants from his herbarium and examples of the detailed phenological tables he drew up late in his life, pulling extensive data on plant flowering from past journal entries. “I have the habit of attention to such excess that my senses get no rest,” he wrote in 1852. But he reminded himself that observation was not all about effort: “Go not to the object, let it come to you.” 

Epilogue

Did Thoreau intend his journal to be read by the public? He repurposed and revised many passages during his lifetime and shared them in lectures and published writings. At the same time, the enterprise was deeply personal. “Says I to my-self should be the motto of my Journal,” he wrote in 1851. 

On view in the exhibition is his final entry, made in November 1861 after a violent rainstorm. He was paying attention, as he had done all his life, to ordinary details and seeing what conclusions he could draw. The second half of the notebook is empty. He died six months later.  

Organization and Sponsorship 

This Ever New Self: Thoreau and his Journal is organized by the Morgan Library & Museum, New York, and the Concord Museum, Concord, Massachusetts. The curator of the exhibition at the Morgan is Christine Nelson, Drue Heinz Curator of Literary and Historical Manuscripts, the Morgan Library & Museum. The curator of the exhibition at the Concord Museum is David Wood, Curator, the Concord Museum. The exhibition will travel to the Concord Museum, September 29, 2017-January 21, 2018. 

The exhibition is made possible with lead funding from an anonymous donor, generous support from the Gilder Foundation, and assistance from the Gladys Krieble Delmas Foundation. 

The programs of the Morgan Library & Museum are made possible with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. 

Image: Benjamin D. Maxham (1821-1889), Henry D. Thoreau, Daguerreotype, Worcester, Massachusetts, June 18, 1856. Berg Collection, New York Public Library.

500_goyaprintsimage5-1955-62-13-pma2016-cr.jpgThe Philadelphia Museum of Art will present an exhibition of works by Francisco Goya, featuring selections from the artist’s most ambitious series of prints, made between 1797 and 1825. As a court painter to four successive rulers of Spain, Goya was witness to decades of political turmoil and social change. Witness: Reality and Imagination in the Prints of Francisco Goya includes examples from the Museum’s complete first editions of Los Caprichos (The Caprices), Los Desastres de la Guerra (The Disasters of War), La Tauromaquia (Bullfighting) and Los Disparates (The Follies). These prints address a broad variety of themes, from the spectacle of bullfighting to the chaos and brutality of life in Spain during the Napoleonic wars, and reflect how Goya often blurred the boundaries between documentary realism and expressive invention.

Beginning in the 1790s, Goya turned to printmaking as a means of addressing the dramatic changes then occurring in Spanish society and to convey his complex, personal vision of contemporary life. The exhibition begins with his first major series of etchings, Los Caprichos (1799), in which Goya explored provocative subjects such as superstition, anticlerical satire, and prostitution, that would have been deemed unsuitable for his commissioned paintings. Many prints in this series, such as the celebrated etching, “The Sleep of Reason Produces Monsters,” reveal the influence of the Enlightenment, the intellectual movement which championed reason in guiding human thought and social behavior. In this work, often interpreted as a self-portrait, an artist sleeps at his drawing table surrounded by birds and animals that symbolize the forces that haunt his dreams and challenge a rational view of the world.

In his series Los Desastres de la Guerra (1810-1820), Goya provides an intimate view of the many brutal events that occurred during the Napoleonic occupation of Spain and their repercussions. With their unflinching portrayal of violence and despair, these prints illustrate the hardships endured during the war and attest to Goya’s ability to imbue imagined scenes with captivating realism.

Juxtaposed with grim scenes of the war and its devastation are Goya’s thrilling depictions of bullfighting. The etchings from La Tauromaquia (1816) chronicle Goya’s view of the history of the sport, from ancient Spaniards hunting wild beasts to professional matadors in the bullring. While the prints are widely admired for their dynamic portrayal of the quintessentially Spanish practice, Goya was undoubtedly aware of the irony of celebrating such spectacles of violence in the aftermath of war. He revisited the subject a decade later in a magnificent suite of large lithographs known as the Bulls of Bordeaux (1825), which are also on view in the exhibition.

The final section of the exhibition highlights Goya’s most enigmatic series, Los Disparates, (c. 1815-1823). The prints display Goya’s interest in technical innovation as he combined etched lines and gradations of aquatint tone to create surreal compositions that continue to fascinate viewers and scholars.

Danielle Canter, the Margaret R. Mainwaring Curatorial Fellow in the Prints, Drawings, and Photographs department at the Philadelphia Museum of Art, said: “Goya was a remarkably perceptive witness to his time. His graphic works allowed him to grapple with the impact of shifting cultural values, civil unrest, and the war around him. While the prints are intrinsically tied to his experience, Goya’s insightful representations of the human condition and his expressive vision continue to resonate with viewers today.”

Curators
Danielle Canter, The Margaret R. Mainwaring Curatorial Fellow
Shelley Langdale, Associate Curator of Prints and Drawings

Location
Korman Galleries 120-123

Image: A Way of Flying, c. 1815 1823 (published 1864). Francisco José de Goya y Lucientes, Spanish, 1746 1828. Etching and aquatint, Plate: 9 5/8 x 13 3/4 inches (24.4 x 34.9 cm) Sheet: 13 3/16 × 18 7/8 inches (33.5 × 48 cm). Philadelphia Museum of Art, Gift of Marion B. F. Ingersoll, 1955.

Screen Shot 2017-04-17 at 8.37.47 AM.pngAs of April 26, 2017, Les Enluminures Chicago is open, by appointment, at our new premises located at One Mag Mile, 980 North Michigan Avenue, an award-winning building designed by Skidmore, Owings and Merrill. On Wednesday 26 April, from 6-9 p.m., Sandra Hindman and Keegan Goepfert will host a champagne and appetizers evening to mark the Grand Opening of the offices and showroom.

Les Enluminures is excited about the new premises at One Magnificent Mile, which will allow the gallery’s Founder and President, Sandra Hindman, and Vice-President and Director, Keegan Goepfert, to meet friends, associates, and clients in beautiful surroundings that combine the fine architecture of Chicago with medieval art. Chicago is one of the many locations of Les Enluminures. The gallery was founded by Dr. Sandra Hindman in 1991, and now boasts locations in the heart of Paris, the Upper East Side, New York, and Pall Mall, London. In addition to regular exhibitions in its galleries, Les Enluminures exhibits at many prestigious art and antique shows, including TEFAF Maastricht, TEFAF New York, Frieze Masters, London, and Masterpiece, London.

An exhibition of fine Books of Hours, illuminated manuscripts, miniatures and medieval rings will accompany the Chicago Grand Opening, with masterpieces by Simon Bening, Jean Pucelle, and Bartolomeo Caporali.

Contact Les Enluminures Chicago at : 

One Magnificent Mile, 980 North Michigan Avenue, Suite 1330 Chicago IL 60611
Tel. (773) 929 5986 chicago@lesenluminures.com 

Image: Histoire Ancienne jusqu’à César and Fait des Romains In French, illuminated manuscript on parchment. With 78 miniatures by the Master of the Coronation of Charles VI and a collaborator. France, Paris, c. 1370-80 $4,500,000 

 

tex.jpegDALLAS (April 13,2017) - A historically important document signed by William Barret Travis, securing black walnut wood to help build a garrison just days before the Alamo was attacked by Mexican forces, sold for $137,500 in Heritage Auctions’ Texana & Western Americana auctionMarch 24 in Dallas. 

Three days after the date of the document, American lawyer and soldier William Barret Travis wrote a letter, possibly the most famous document in Texas history, calling on Texans in particular and Americans in general to come and help defend the Alamo, vowing never to surrender or retreat and adding the words "Victory or Death" before his signature. 

The auction’s top lot honors included two rare maps: A.R. Roessler’s 1874 Latest Map of the State of Texas, considered the best contemporary records of agricultural and mineral wealth, which sold for $35,000 following interest from five bidders, and J. Eppinger and F.C. Baker’s 1851 Map of Texas Compiled from Surveys Recorded in the General Land Office, which sold for $32,500.

Additional highlights include, but are not limited to: 

d3278719-8fe0-4010-bfe4-27d33b5c070e.jpgAmong the standout lots at National Book Auctions' April 8, 2017 sale was the complete seven-volume Holy Bible printed in London for Thomas Macklin by Thomas Bensley in 1800. The large-scale volumes were bound in full leather with gilt tooling and were profusely illustrated with engravings by several of the most eminent artists of the day including Angelica Kauffman, William Hamilton, and Henry Fuseli. The first volume included a subscription list that listed King George III, Queen Charlotte, and their progeny. The set sold for $1,312.50.

Other lots of note were thirteen volumes of "Histoire Generale des Voyages" edited by Abbé Prévost; a handsome 1818 edition of the Federalist Papers by Alexander Hamilton, James Madison, and John Jay; and a volume of The Norristown Gazette commemorating the death of George Washington with the Senate Address to John Adams, Adams' response, and details of the funeral procession printed within mourning borders.

National Book Auctions' next sale will take place on April 29, 2017 and will include a broad array of collectible, rare, and antique volumes and ephemera. Its sister company, Worth Auctions, will hold a sale on April 23, 2017, which will feature the third session of material from the estate of a major Civil War collector, including original Confederate Bowie knives, portrait paintings, and uniforms. For more information, visit www.nationalbookauctions.com and www.worthauctions.com.

Lot_131.jpgLas Vegas, NV, April 12, 2017-- Morphy Auctions, the finest auction destination for fresh to the market collections, is pleased to announce this world-class sale to be held on Friday, May 26th at the company’s Las Vegas, Nevada gallery starting at noon EST.   A full spectrum of quality merchandise will be offered across the most desirable collecting categories.  All items in this sale are available for preview now in the company’s Las Vegas facility. 

American Indian cultural items feature prominently in this auction, with many of these handmade treasures and artifacts demonstrating extraordinary quality and design.  Lot #67, a c. 1865-1875 rare third phase pictorial Chief's blanket variant, is woven with natural ivory and brown wool, and is colored with indigo blue, red cochineal, and green vegetable dyes. Measuring 85” x 64”, its design features unusual pictorial elements including stars and birds.  It is estimated at $60,000-90,000.  Lot #111, a rare c. 1860 Prairie tobacco bag detailed with contour floral motifs beaded on hide, cut-outs, and early paint, should hold bidders interest with its $20,000-30,000 estimate.  Lot #256, an early 20th century 124-1/2” high non-traditional native cedar totem pole features carved faces and is topped with an eagle with spread wings. It is estimated at $10,000-20,000 and includes a base to keep it securely upright.  And lot #155, a c. late 19th century Western Apache large coiled and lidded basket, made from devil's claw, red yucca, and willow fibers, is truly a work of art from every angle.  This pictorial polychrome olla is decorated with woven stylized human and equine figures among chevrons; its lid has a large morning star center and small triangles around the rim.  This stunning rarity is estimated at $40,000-80,000. 

Collectors are certain to go to war over this sale’s fantastic selections of interesting antique hand weapons.  Lot #109, a beautifully made c. 1880 pipe tomahawk with a steel head, its original leather gasket, and an unusually long original haft with file branding is estimated at $10,000-15,000.  Lot #110, a c. 1840-50 Osage Missouri War axe tomahawk features a long, round haft and triangular, thin blade, typical to its age and origins.  This outstanding example was featured in the 2010 book The Missouri War Axe: War Tomahawk of the Plains and Prairies and is estimated at $15,000-20,000.  Lot #157, a very rare c. 1860-1870 Yanktonai Sioux knife blade war club features two large blades and a haft made of chestnut that is decorated with hot file branding and brass tacks. There are approximately 20 known knife blade war clubs; all attributed to the Yanktonai Sioux of eastern South Dakota. This extraordinary this example was featured in the 2009 book The Mark Francis Collection of American Indian Art and is estimated at $15,000-25,000.  And lot #66, a c. 1860 Eastern plains or Western Great Lakes classic gun stock club is estimated at $45,000-50,000.  This rarity features a triangular base pierced for attachment of a wrist cord and a recessed grip. Its other cutting edge details include an elaborated engraved, carved, and accented shaft and an exaggerated steel blade - pierced twice and inlaid with brass the words "Little Hill” - set into the crook.

This event features an extensive offering of antique advertising materials relating to America’s fascination with the “wild west.”  Lot #146, a rare Old Forester Whiskey advertisement is estimated at $10,000-15,000.  This printer's proof with reverse lettering is professionally mounted and framed and was produced by Chas. W. Shonk Co. of Chicago.  And lot #50, a c. 1908-09 poster for the Winchester .401 caliber self-loading rifle is right on target with its $4,000-5,000 estimate.  This vibrant example was originally executed by Philip R. Goodwin for Winchester.  

Two outstanding Indian themed antique advertising examples are lot #100, a mid-19th century, 90” tall wooden cigar store Indian, estimated at $40,000-80,000 and lot #7, a c. 1885, 77” tall flat board cigar store Indian tobacco curb sign, estimated at $6,000-12,000.  The full-bodied Indian is hand carved, holds a bundle of "Best Quality Cigars,” and is looking off into the distance with one hand shading his eyes.  The flat board Indian sign was made for narrow doorways and easy storage and came from Baltimore. It is marked “E.H. carved” on the bend of the elbow.  Similar early flat board cigar store signs are pictured and described in Cigar Store Figures in American Folk Art by A. W. Pendergast and W. Porter Ware and Artists in Wood by Frederick Fried.  

Exciting Buffalo Bill themed collectibles also take the spotlight in this sale.  Cabinet cards, posters, and paintings featuring this famous showman are all on offer. Lot #99, an extremely rare Buffalo Bill's Wild West White Eagle advertising poster, is estimated at $8,000-15,000.  It is framed behind glass and is illustrated with Buffalo Bill “guiding and guarding;” its colors remain magnificent and vibrant.  And lot #131, a matted and framed original show poster for Buffalo Bill's Wild West. Congress, Rough Riders of the World. Miss Annie Oakley, The Peerless Lady Wing-Shot in very nice condition is estimated at $3,000-4,000.  This full color example was printed by A. Hoen & Co. from Baltimore and measures 20” x 29”.

This sale rounds out with a refreshing blend of antique back bar bottles, calendars, artwork, sculptures, and saddles.   Lot #51, a framed Union Metallic Cartridge Co. 1900 single calendar page of plains buffalo is estimated at $10,000-15,000.  Lot #185, a clear, faceted glass aniseed back bar bottle decorated with an image of a lovely woman is estimated at $2,000-4,000.  And lot #132, Joyce Lee’s original oil on board painting, Practice Loop, comes full circle at $5,000-8,000.

According to Dan Morphy, Morphy Auctions’ President, "This auction offers some of the finest Western and Indian themed merchandise to come to auction in memory. We are very pleased to display as well as sell these outstanding examples from our Las Vegas location. The quality and craftsmanship demonstrated on the antique Indian cultural items is simply breathtaking.  The large, lidded olla basket is astonishing in its decoration, handiwork, and scale.  You really have to see it to appreciate the endless hours that went into its creation! We welcome you to visit our gallery in Las Vegas to view these rarities in person, or of course check them out online anytime at www.morphyauctions.com.”

Image: Buffalo Bill's "Wild West Miss Annie Oakley" painting, Est. 3,000-4,000. 

(Amherst, MA--April 10, 2017) Children's book author/illustrator and Regina Medal recipient Steven Kellogg will deliver the 7th annual Barbara Elleman Research Library (BERL) Lecture on Saturday, April 29th at 2:00 pm at The Eric Carle Museum of Picture Book Art. The BERL series features the country's preeminent scholars, book collectors, researchers, editors, authors, and illustrators in the field of children's literature. Kellogg's lecture, a self-proclaimed "celebratory outburst of appreciation," is free with Museum admission. A reception and book signing will follow. 

In The Enduring Magic of Story, Kellogg will share his appreciation for the gift of storytelling and how it enriches our lives. "Storytelling, both visual and verbal, has been a pervasive and important activity in societies throughout the thousands of years that have elapsed since the dawn of mankind, when human beings first mastered the ability to communicate with one another," said Kellogg. He will also speak about his admiration for the arts of writing and illustrating and how they are able to open gates to the world of stories and generate true magic, reminding us that "we all have a place in the storytelling circle."

"We are delighted to welcome Steven who has been a friend of The Carle since its creation. Embellishing the folktale of Paul Bunyan, imaginatively creating a friendly snake in the classroom, or fantasizing on paper about the antics of a Great Dane puppy are just a few of the plots that he has successfully turned into books through the years," said Barbara Elleman.  

Steven Kellogg is the author and illustrator of over a hundred picture books. His love and dedication to stories and storytelling has been a lifelong pursuit: "It was early in my journey that I realized that stories and pictures were so compelling to me that my commitment would have to be a professional one."

He graduated from the Rhode Island School of Design in 1963 and forty years later was presented with their annual award for significant professional achievement. Apart from that, his work has received numerous other recognitions including the Irma Simonton Black Award, the IRA-CBC Children's Choice Award, the Parents' Choice award, inclusion on the ALA Notable Books list, Booklist Editors' Choice, School Library Journal Best Books of the Year, The Horn Book Fanfare, and the list of Reading Rainbow featured selections. 

To Kellogg, the importance of picture books, especially for children, is "for the emotional, intellectual, and imaginative nourishment that words and pictures provide when they are artfully composed to create the magic of story." Indeed, Kellogg's own work has touched the lives and creative imagination of countless children. As well as a creator, Kellogg is also a board member of the National Children's Book and Literacy Alliance and has traveled to numerous schools, libraries, and colleges in all 50 states presenting programs that celebrate the joys of reading. More information about Kellogg and his work can be found at www.stevenkellogg.com.

Met (old) Faust opening night 1953-54 Pierre Monteux Sedge LeB;ang photo copy.jpgNew York-Christie’s announces The Metropolitan Opera Guild Collection, a dedicated auction of rare musical manuscripts and memorabilia, to take place in New York on June 15, 2017, with two exquisite pieces of jewelry to be sold in the Magnificent Jewels auction on June 20, 2017. Funds from the sale will benefit the Opera Guild and the Metropolitan Opera. Highlights will be previewed during a global tour with exhibitions in London and Hong Kong in April and May. The full collection will be on preview in New York June 10-14.

The collection includes approximately 90 lots and represents a selection of autograph material from some of the most important composers of the Western classical tradition spanning from the Baroque era to the 20th-century. The majority of manuscripts come from the carefully assembled gift of Edwin Franko Goldman (1878-1956), renowned American composer and trumpeter with the Metropolitan Opera. The sale is led by the sole surviving autograph musical manuscript by Schubert for his Piano Sonata in A flat Major (estimate: $350,000-500,000). Additional highlights include annotated manuscripts and letters by the trinity of Bach, Mozart and Beethoven. Illuminating the sale are objets d’art with provenance grounded in opera and classical music including Enrico Caruso’s Cartier gold eyeglass case with glasses and Arturo Toscanini’s Gubelin open-faced pocket watch.

Sven Becker, Head of Books & Manuscripts, Christie’s New York, remarks: “Christie’s is honored to be entrusted with this special collection offering a concentration of fine musical autograph material. Collections such as this come to the market very infrequently; even more rarely do they bear the name of such a well-regarded American institution.”

“We are pleased to be working with Christie’s to present this auction at the time of two important milestones in 2016/7: the 60th anniversary of the death of Edwin Franko Goldman and the 50th anniversary of the Met Opera at Lincoln Center,” says Richard J. Miller Jr., President of the Metropolitan Opera Guild. “Funds generated from this sale will ensure that the Guild and the Metropolitan Opera are poised to continue fulfilling their respective missions for years to come.”

Cataloguing and complete details of the sale will be available in May 2017.

Global Tour Dates and Locations:
London | Highlights Exhibition | April 19-27
Hong Kong | Highlights Exhibition | May 26-29
New York | Sale Preview | June 10-14

Image: Opening night of Gonoud’s Faust in 1953. Photo by Sedge LeBlang/ Metropolitan Opera Archives.

 

7-Hemingway-Dietrich-Letter copy.jpgNew York—On Thursday, May 4, Swann Galleries will hold their biannual auction of Autographs, featuring personal snippets of the lives of important artists, musicians, politicians, scientists and writers.

A highlight of the sale is a love letter from Ernest Hemingway to Marlene Dietrich, in which he asks her to visit him at Finca Vigía, Cuba, and tells her about his work on The Old Man and the Sea. On August 12, 1953, he wrote, “Please know that I love you always and I forget you sometimes as I forget my heart beats. But it beats always.” The letter, written on four sheets of stationery, comes from Dietrich’s family; it valued at $20,000 to $30,000. From the same consignment come several other letters from the author that open “My dearest Marlene,” sent in the 1950s from around the world. In a 1950 letter from Venice, Hemingway provides a list of his beliefs and notes that horoscopes are not included on the list ($12,000 to $18,000). Dietrich also received tokens from Richard Burton, Jean Cocteau and Noël Coward, which are featured in the sale; other photographs are signed to her daughter Maria by Clark Gable, Cary Grant and Mae West.

A strong showing of Revolutionary War correspondence includes Autograph Letters Signed by Timothy Pickering, James van Rensselaer, and other major figures. Early presidents are well represented, with several examples from John Adams and Thomas Jefferson each. A Partly-printed Document Signed by Adams as President confirms a ship’s papers in four languages on June 13, 1798, and several years later, President Jefferson signed a partly-printed vellum document, appointing William M. Daws Inspector of the Revenue for the Port of Thomaston, countersigned by Secretary of State James Madison, Washington, February 8, 1809 (each $4,000 to $6,000). Further early presidents represented in the sale include John Quincy Adams and Abraham Lincoln.

Twentieth-century Presidents are not to be missed: a photograph of John F. Kennedy and Dwight D. Eisenhower by Elliot Erwitt during their historic meeting on December 6, 1960, signed by both, is expected to sell between $10,000 and $15,000. A complete sheet of 1928 20¢ stamps, collected and signed by philatelist president Franklin D. Roosevelt is valued at $1,000 to $1,500, while his Records of the Town of Hyde Park, Duchess County of the same year is estimated to sell between $2,000 and $3,000.

A section of autographs by artists includes Ludwig Bemelmans, Alexander Calder, Piet Mondrian and Maurice Sendak.  The Mechanics of Form Organization in Painting, 1926, is an Autograph Manuscript for an essay by American Regionalist painter Thomas Hart Benton, dedicated to his pupils at the Art Students League, one of whom was Jackson Pollock. The 39 pages feature diagrams and sketches by the artist, in addition to the handwritten text for the article ($20,000 to $30,000). Claude Monet is represented in the sale by an Autograph Letter Signed to Desmond Fitzgerald in French, with a list of prices for his paintings on exhibit in Paris, Giverny, 26 November 1889, valued at $4,000 to $6,000.

Among scientists and inventors are letters from Louis Agassiz, Marie Curie and Sigmund Freud, as well as a signed and inscribed photograph of Thomas Edison with a phonograph, which he invented ($1,000 to $1,500). Further autographs by the inventor include Letters Signed, as well as checks and clipped signatures. A graphite portrait of Albert Einstein by S.N. Swamy, 1950, signed by both, is valued at $7,000 to $10,000. Several additional signed portraits of Einstein—original drawings as well as etchings and photographs—are being offered, as well as letters and ephemera.

An Autograph Letter Signed in French by Alexis de Tocqueville to the Charles Gosselin Library, detailing the terms of the publication of his Democracy in America, 1837, is expected to sell for $10,000 to $15,000 (though de Tocqueville only received 3,000 Francs for his work).

Sir Arthur Conan Doyle is well-represented in the sale, with personal items including a circa 1926 Autograph Manuscript Signed outlining his conception of spiritualism, and a Typed Letter Signed June 7, 1930, arranging a séance ($3,500 to $5,000 and $700 to $1,000, respectively).

The sale provides myriad tangible connections to the past, from Agatha Christie’s personal circa 1948 notebook from Baghdad, containing more than 150 Autograph Manuscript pages of notes and drafts for several of her early novels and plays, to the bars to the theme from Pyotr Ilyich Tchaikovsky’s Suite No. 3, jotted on March 21, 1888, in London, a day before performing the piece at St. James’s Hall ($4,000 to $6,000 and $7,000 to $10,000, respectively). The oldest autograph in the sale is that of the Medieval Czech priest Jan Hus, whose signature “Huß” appears in the margin of a vellum fragment from a manuscript Breviary, circa 1400, estimated between $4,000 and $6,000.

The auction will be held Thursday, May 4, beginning at 1 p.m. The auction preview will be open to the public Monday, May 1 through Wednesday, May 3 from 10 a.m. to 6 p.m.; and Thursday, May 4 from 10 a.m. to noon, and by appointment.

An illustrated auction catalogue is available for $35 at www.swanngalleries.com.

For further information and to make advance arrangements to bid by telephone during the auction, please contact Marco Tomaschett at 212-254-4710, extension 12, or via e-mail at mtomaschett@swanngalleries.com.

Image: Lot 7 Ernest Hemingway, Autograph Letter Signed to Marlene Dietrich, discussing The Old Man and the Sea and expressing love, Cuba, August 1952. Estimate $20,000 to $30,000.

Auction Guide