William Reese Company Original Works of American

William Reese Company

americana ● rare books ● literature

american art ● photography ______409 temple street new haven, connecticut 06511 (203) 789-8081 fax (203) 865-7653 [email protected] www.williamreesecompany.com

Bulletin 41 Original Works of American Art

Beautiful French Album of Watercolors of Lepidoptera After Abbot

1. [After Abbot, John]: [ALBUM OF WATERCOLOR DRAWINGS OF BUTTERFLIES AND MOTHS AFTER ABBOT, TITLED IN MANUSCRIPT:] HISTOIRE NATURELLE DES LÉPIDOPTÈRES LES PLUS RARES DE GÉORGIE D’APRÈS LES OBSERVATIONS DE M. JEAN ABBOT. IMPRIMÉ À LONDRES EN 1797. [France. 1800-1830]. Manuscript title within a red ruled border, 2pp. manuscript index in rear. Forty pen-and-ink and watercolor drawings, each captioned in red ink, recto only on 40 sheets of wove paper (watermarked Horne). Oblong octavo. Con- temporary half black morocco and blue boards, yellow endpapers. Lacks front free endpaper. Very good.

John Abbot was one of the most important Ameri- can natural history artists and his illustrations are amongst the finest ever made. Born in Lon- don in 1751, Abbot sailed for Virginia in July 1773, with orders for both actual specimens and drawings of the local insects. For the next two years he continued to collect and paint, sending home three insect collections, although only one arrived safely. The loss of these two valuable collections at sea together with the worry over political unrest in Virginia led Abbot to move to Georgia. He settled in St. George Parish (later Burke County), Georgia in December 1775. Abbot traveled widely throughout Georgia devoting his time to the study of the natural flora and fauna. The flow of specimen collections and watercolors of insects ensured that his name became known to many of the foremost natural scientists and collectors of the day, both in America and Europe.

Abbot’s NATURAL HISTORY OF THE RARER LEPIDOPTEROUS INSECTS OF GEOR- GIA was first published in London in 1797. The present French manuscript includes forty watercolors based on the plates from that edition. The images comprise fifty-three depictions of butterflies and moths on the forty sheets, with eleven of the images including depictions of the lepidoptera in caterpillar form and several with depictions of flora and/or chrysalis. Each image is captioned in French above or below the image and numbered 1to 40 in the upper right corner; the alphabetical index corresponds to each watercolor ensuring that no images have been removed from the album.

Between 1829 and 1837 interest in Abbot in France was greatly elevated due to the publication of a new work based on Abbot watercolors commissioned by lepidopterists Jean Baptiste Boisduval and John Eatton LeConte. It would seem possible that this album was related in some way to lepidopterist Jean Baptiste Boisduval. Vivian Rogers-Price, JOHN ABBOT IN GEORGIA: THE VISION OF A NATURALIST ARTIST (Madison, Ga.: Madison-Morgan Cultural Center, 1983). John V. Calhoun, “A Glimpse into a Flora et Entomologia” in JOURNAL OF THE LEPIDOPTERISTS’ SOCIETY 60:1 (2006). $14,000. A Rare Period Oil Painting of an Act in Buffalo Bill’s Wild West Show: A Great Show Business Painting

2. Agoust, Alfred (French, b. ca. 1870): [BUFFALO BILL AND THE “FRENCHMAN’S BOTTLE GAG,” A COMIC TABLEAU FROM THE WILD WEST SHOW]. 1893. Oil on canvas, laid down on wood, 22 x 30 inches. Signed and dated lower left: “Alfred Agoust / 1893.” Titled: “Buffalo Bill” on Kennedy Gallery labels. Provenance: Kennedy Galler- ies; Collection of Edward Eberstadt & Sons. Superb displayable condition. Handsomely presented in a period-style gilt American exhibition frame.

This entertaining painting depicts a version of the comedy pantomime routine called “The Frenchman’s Bottle Gag” performed in England by Buffalo Bill Cody’s Wild West Show. The painting shows a bewildered Buffalo Bill ready to come to blows with two Cockney characters stealing drinks from his flask. A prominent historian of performance tells us: “The gag, made famous in Paris by the Scanlon Brothers and their collaborator, the Agoust Family Jugglers, in the long playing three-stage acrobatics, magic, and pantomime spectacular, Le Voyage en Suisse, usually involves two clowns, a ridiculously dressed Frenchman, and his bottle. The clowns steal his bottle and surreptitiously sneak sips back-and-forth, as the bewildered Frenchman desperately attempts to figure out who’s got his bottle. This image is of costers or pearlies, East End London cockneys, victimizing the Buffalo Bill character - the old Hanlon & Agoust drinking routine re-costumed for the Wild West show’s British audience.”

Buffalo Bill Cody’s Wild West Show made two extensive tours of England and Europe prior to the date of this painting: 1887-88, arriving for Queen Victoria’s Golden Jubilee; and 1889-93, playing the great theaters and fairgrounds. The 1893 tour was at the height of the show’s fame. The 1893 show program states: “Since the visit of Buffalo Bill’s Wild West to England and its remarkable engagement in London, at West Brompton, in 1887, a history and tour have been made, such as no organization of its magnitude and requirements ever accomplished.”

Henri Agoust, the Hanlon’s long-time collaborator (the parties later fell out and sued each other in a bitter legal dispute), had a son named Alfred, a member of the Agoust Family Jugglers. According to a census of traveling show people, he would have been in his early twenties in 1893. His biography is otherwise unknown. It seems likely that the juggling Alfred Agoust was also the well-trained, talented artist responsible for this magnificent show business painting, its attention to costume, props, and comic gesture demonstrating the specialized knowledge of the insider.

Almost all images of the Wild West Show are found in the great lithographic posters and photographs produced by the William F. Cody publicity machine. Period oil paintings of the Buffalo Bill act are very rare indeed. This wonderful image, showing a comic routine Buffalo Bill evidently adopted from European circus acts, is a unique contribution to the iconography of the Wild West Show. John A. McKinven, THE HANLON BROTHERS. THEIR AMAZING ACROBATICS, PANTOMIMES AND STAGE SPECTACLES (Glenwood, Il.: David Meyer Magic Books, 1998), passim. BUFFALO BILL’S WILD WEST AND CON- GRESS OF ROUGH RIDERS OF THE WORLD (Chicago: Blakely Printing Company, [1893]), passim. British Fairground Ancestors, Showmen, Circus and Fairground Travellers Index. $47,500. Fueling the Gold Rush 3. [Alaska]: Kruse, Max H.: CITY BREWERY IN SKAGWAY ALASKA. SACKE, PROPR. [Skagway, Ak.] June 29, 1900. Pen and ink drawing, 8 x 5 inches. Faint smudging along lower edge. Overall bright and clean. Near fine. A lovely sketch of an Alaska brewery, showing a large brew house set against the side of a hill, with several outbuildings in the background. The large sign above the door reads, “City Brewery,” and the proprietor is shown tapping a keg in the middle foreground. A quaint picture of the support industry so vital to the Klondike Gold Rush. $1250.

Original Drawing of a Key Western Military Post

4. Alden, A. F.: [ORIGINAL PEN AND INK DRAWING OF FORT D. A. RUSSELL, WYOMING TERRITORY, 1869]. Fort Russell, Wyoming Territory. August 1869. Single sheet of heavy gauge paper, 8 x 11 inches. Three tiny punch holes near the top edge, a few pinholes at top left corner. Very good.

A beautifully-executed ink and wash drawing of Fort D. A. Russell, Wyoming Territory, near present-day Cheyenne. It is titled, “Ft Russell. from the South.” Fort Russell was established in 1867 to protect workers building the Union Pacific Railroad, and was named in honor of David Allen Russell, a Civil War general killed at the Battle of Opequon. The post remained a key fort throughout the various conflicts with the Sioux, Cheyenne, and other tribes of the region over the decade after its establishment.

Nothing is known of the artist, who signs the drawing, “A. F. Alden, Del. Aug. 1869.” He could have been a company artist for the Union Pacific Railroad, or perhaps a young soldier memorializing his experiences in the West. Whoever he was, his eye for detail was extraordinary. The drawing shows the fort from the south, a dense cluster of buildings situated on a ridge, proudly flying an American flag at center. A visually evocative historical work from the American West. $12,500.

A Manuscript Panoramic View of Camp Apache, Arizona Territory

5. [Arizona]: [Anderson, G.]: CAMP APACHE, ARIZONA, 1876. [Camp Apache, Az.]. Aug. 5, 1876. Gray watercolor, highlighted with red, white, and blue watercolor, on paper. Image size: 16¼ x 21 inches. Sheet size: 20 x 25 inches. Titled in block letters in the lower margin. Signed and dated lower mid-left image: “G. Anderson / Aug. 5th 1876.” Provenance: Kennedy Galleries (labels); Collection of Edward Eberstadt & Sons. Three short marginal tears expertly repaired. Excel- lent displayable condition. Matted and glazed, in a modern decorated gilt frame.

A panoramic view of Camp Apache, a U.S. Army stronghold in the Indian reservation established on the White Moun- tain River in southeastern Arizona Territory to control the White Mountain and Cibecue Apaches. Indian fighter Gen. George Crook and his Apache Scouts (pacified Apaches who wore U.S. Army uniforms) operated from the base, attempting to control the marauding tendencies of the wild tribes. The fort was originally built in 1870 as Camp Ord under the supervision of Brevt. Col. John Green of the U.S. 1st Cavalry. It was renamed several times: first Camp Mogollon, then Camp Thomas, and then Camp Apache (its name when this drawing was done). The post was designated with its famous appellation of Fort Apache in 1879.

In 1869, Green explained the strategic reasons for establishing the camp:

“I have selected a site for a military post on the White Mountain River which is the finest I ever saw. The climate is delicious, and said by the Indians to be perfectly healthy, free from all malaria. Excellently well wooded and watered. It seems as though this one corner of Arizona were almost its garden spot, the beauty of its scenery, the fertility of its soil and facilities for irrigation are not surpassed by any place that ever came under my observation. Building material of fine pine timber is available within eight miles of this site. There is also plenty of limestone within a reasonable distance. This post would be of the greatest advantage for the following reasons: It would compel the White Mountain Indians to live on their reservation or be driven from their beautiful country which they almost worship. It would stop their traffic in corn with the hostile tribes, they could not plant an acre of ground without our permission as we know every spot of it. It would make a good scouting post, being adjacent to hostile bands on either side. Also a good supply depot for Scouting expeditions from other posts, and in fact, I believe, would do more to end the Apache War than anything else.”

The camp is pictured in 1876, shortly after Gen. August Valentine Kautz had taken command of the Department of Arizona. “G. Anderson” is not a recorded artist. Possibly he was a soldier with some training in drawing who was stationed at Camp Apache. An American flag, painted red, white, and blue (the only object in the painting not painted EN GRISSAILLE) flies above the parade ground. The camp is shown in fine detail, in the valley of the White Mountain River, with canyons and mesas in the near distance. More than sixty buildings are depicted, including headquarters, the commanding officer’s residence, junior officers’ billets, enlisted men’s barracks, squad huts, privies, and work sheds. At the camp entrance in the right foreground, functioning as a decorative cartouche for the picture, stands an Indian brave in a feathered headdress, loincloth, and leggings, leaning on a long rifle.

A fine historical graphic record of one of the most storied western forts. Howard R. Lamar, ed., NEW ENCYCLOPEDIA OF THE AMERICAN WEST (New Haven & London: Yale University Press, 1998), p.39. White Mountain Apache Tribe website: http://wmat.us/wmahistory.shtml. $15,000.

A Large Watercolor View of Ascension Island

6. [Ascension Island]: [WATERCOLOR VIEW OF COASTAL FORT, PROBABLY ASCENSION ISLAND]. [Ascen- sion. ca. 1830s]. Watercolor on paper, approximately 15 x 22¾ inches, irregularly shaped. Chipped along edges; 1½-inch vertical tear in the sky at top-center; 1½-inch horizontal tear in the water at far-right center. Framed and matted. Very good.

An attractive watercolor view of a small coastal fort and settlement, probably at Ascension Island in the South Atlantic Ocean. The painting, a bird’s-eye perspective facing the sea, shows an austere coastal landscape in reds and browns, with a Union Jack flying from the small fort on a hill near the settlement of one- and two-story buildings. In the foreground a gentleman in a colorful suit stands with a staff or pike, and others survey the scene with a telescope. Near the structures waves crash upon a sandy and rocky shore, and four ships sail in the distance. A later ink inscription on the verso of the painting reads, “Ascension,” and the scene strongly suggests Ascension Island in the South Atlantic, part of the British dependency of St. Helena, and an important stopping point for ships rounding the Cape of Good Hope throughout the age of sail. Few images of Ascension have survived from this early period. $3750.

A Romantic Painting of Baltimore in 1840

7. [After Bartlett, William Henry]: [OIL PAINTING OF BALTIMORE, MARYLAND]. [ca. 1840]. Oil on canvas, 18 x 24 inches. Titled in shaded red block letters lower center: BALTIMORE. Bearing signature lower right: “W H Bartlett.” Provenance: Kennedy Galleries (label); Collection of Edward Eberstadt & Sons. Original canvas and stretcher, in excellent condition.

A beautiful and richly colored painting, this view of Baltimore Harbor is based on the print of Baltimore in William Henry Bartlett’s 1840 view book, AMERICAN SCENERY.... Bartlett painted Baltimore quite fancifully, giving it the Levantine look found in his other American cityscape (his view of Boston is very similar to this picture). The city appears as a magnificent white pyramid of shimmering buildings, towers, smokestacks, and statues rising over the harbor, a few commercial and pleasure crafts at sail. The painting is close in perspective and detail to French marine artist Louis Le Breton’s 1840 engraving of Baltimore Harbor, which also gives the appearance of a Middle Eastern city.

Bartlett, London-born painter, watercolorist, draftsman, engraver, is thought to have exhibited at the Royal Academy, circa 1831-34. An intrepid traveler, his lifetime itinerary included visits to the Balkans, the Near East and edges of the Orient, North America, and, finally, death in a shipwreck off Marseilles. He is best remembered today for AMERICAN SCENERY (1840) and its companion CANADIAN SCENERY (1842), based on his travels in America after 1836. Bartlett travelled extensively in Canada and America, sketching and painting the principal cities and famous scenic vistas of North America for publication in the view books.

A slightly larger version of this painting of Baltimore is exhibited by the Maryland Historical Society. WHO WAS WHO IN AMERICAN ART, Vol. 1, p.225. BENEZIT (Grund, 2006), Vol. 1, p.1235. $18,500.

8. Borein, Edward: [ORIGINAL PENCIL SKETCH OF A GROUP OF MEXICAN MEN]. Amica, Mexico. 1898. Pencil sketch, 6½ x 9½ inches (visible size within the mat). Framed and matted. Near fine. Not examined out of frame.

A nice pencil sketch by the acclaimed Western artist, Edward Borein, done early in his career. The drawing shows five Mexican men, seated and standing, wearing ponchos and sombreros. It was likely done by the young artist as a figure sketch. It dates to Borein’s first sojourn to Mexico. Borein was working as a vaquero on a ranch in Malibu and creating art on the side, when the ranch owner financed a trip for him to Mexico. Borein went there in 1897, and remained in Mexico until 1899. The town of Amica is in the province of Jalisco and is located just northwest of Mexico City. Signed in pencil by Borein along the lower left edge.

John Edward Borein (1872-1945) was born and raised in Cali- fornia. He worked on ranches as a young man before attending art school in San Francisco, and returned to ranching in the 1890s. He left ranching behind at the turn of the century to concentrate exclusively on art, and rose to the front ranks of Western illustrators. A nice, early image by an influential Western artist. $1750.

An Original Gold Rush Drawing by One of the Best Observers of the Events

9. Borthwick, John David: [ORIGINAL SIGNED PENCIL SKETCH, FROM LIFE, OF A SCENE IN A CALI- FORNIA GOLD RUSH TOWN]. [N.p., near San Francisco. ca. 1851]. Original pencil drawing, 5¾ x 8½ inches. Backed on thicker stock to an overall size of 6¾ x 9½ inches. Signed in the lower right, “J. D. Borthwick.” Light foxing in the image, minor toning around the edges. Near fine.

J. D. Borthwick was a Scottish artist and journalist, leaving his native land in 1847 to see North America. After traveling from Canada, down to New Orleans, then back up to New York, like most young men of his generation, Borthwick caught gold fever, moving to San Francisco in 1851. He spent the next three years traveling throughout the California gold country, eagerly observing and sketching the people and places he encountered, with a special regard for the ethnic peoples he met. He ventured to other parts of the world and then returned to Scotland in 1856. The next year, he published a memoir about his time in gold country called THREE YEARS IN CALIFORNIA, including his experiences in various gold camps near Sacramento, Coloma, Nevada City, San Andreas, Sonora, Jacksonville, Downieville, and Placerville. The book is generally regarded as one of the most entertaining first- person accounts of the early Gold Rush period. His illustrations for the gold rush period were also published in various periodicals, including HUTCHING’S CALIFORNIA MAGAZINE, HARPER’S WEEKLY, and the ILLUSTRATED LONDON NEWS.

Borthwick’s drawing here depicts what must have been a fairly standard gold camp, with makeshift tents, and numerous men in western gear mill- ing about. One of the tents is labeled, “Adams & Co. Express,” a courier company founded in San Francisco in 1849 to send gold dust to the east coast. An amazing primary source of the mad rush for gold in California in the mid-1800s by an accomplished artist, and author, of the period. $4000.

Beautiful Botanical Watercolors

10. [Botanical Watercolors]: [ALBUM OF FIFTEEN WATERCOLORS OF PLANTS, FLOWERS, FRUIT, AND A BIRD]. [American. n.d., ca. 1850]. Fifteen watercolors total, heightened with gum arabic, ranging in size from 2 x 2 inches, to 7 x 6 inches. The illustrations are bordered either by lace or gilt and affixed to colored paper, or are done on a sheet with a lithographic border. Interleaved with blank colored pages, some of them with stamped or lithographic borders. Quarto. Original morocco album, elaborately stamped in blind and gilt, expertly rebacked in matching style, a.e.g. A bit of light rubbing to extremities of boards, corners worn. Internally clean, with the colors very bright. Near fine. In a half morocco and cloth slipcase and chemise.

A lovely album of quite accomplished amateur watercolors depicting plants, flowers, fruit, and a bird. The style of the album binding is American, as are some of the tree leaves illustrated, but neither the album nor any of the illustrations are signed. It is evidently the work of a talented amateur, skilled in the use of watercolors. Each illustration has been carefully highlighted with gum arabic in order to heighten certain colors or shades. Among the images is a bouquet of autumnal oak leaves, a branch of plums, a group of cherries, a rose, pansies, and several other plants and flowers. One of the largest and most striking illustrations is of a bird perched upon a leafy branch with blue coloring on its head and back, brown feathers at the tips of its wings, and a white belly. A very appealing example of the mid-Victorian fashion for creating personal albums of artistic renderings of nature. $4500.

Painting of a Cuban Sugar Plantation in the 1850s

11. [Attributed to Brownell, Charles DeWolf]: [CUBAN SUGAR PLANTATION]. [Cuba. ca. 1850s]. Oil on canvas, 13½ x 23½ inches. Excellent displayable condition. Framed.

This attractive landscape painting depicting a Cuban sugar plantation was almost certainly executed by artist Charles DeWolf Brownell, in the mid to late 1850s. As would be customary with Brownell, who was greatly influenced by the artists of the Hudson River School, the image is dominated by the Cuban landscape of lush greenery, rolling hills, and blue sky, with the main buildings on the edges of the work. There are various types of trees dotting the landscape, as well as shrubs, a stone fence, and livestock. At the bottom of the painting a horse ridden by a black servant pulls a barranca-style carriage occupied by a woman in a pink dress. In the center a man in a white suit and hat walks up a hill toward the plantation house beside a horse carrying a similarly dressed man. Five of the plantation structures are depicted. The main house, a white two-story gabled building with a balcony, is on the far left. A woman stands in the doorway. On the far right of the painting is a slat-roofed building with a large billowing chimney and slaves at work. In the center of the image are three more buildings: a thatch-roofed hut filled with sugarcane, and two storage buildings. The sky is bright blue, with pillowy white clouds rolling by.

Charles DeWolf Brownell (1822-1909) was born in Rhode Island and spent most of his adult life in Hartford and New York City. Trained as a lawyer, he abandoned the law out of conscience and turned to painting. He was greatly influenced by the Hudson River School, and his most notable works are landscape paintings. His maternal relatives, the DeWolfs, owned several sugar plantations in Cuba, and beginning in 1854, Charles Brownell spent seven consecutive winters on the island. He returned to Cuba several times over the ensuing decades. He traveled throughout the island, boarding in several plantations. Inspired by the Cuban landscape, he created a number of paintings of the island, including portraits of plantations done as commissions to help pay his expenses. In his diary Brownell notes that these commissioned paintings usually brought between forty and sixty dollars. The present work, painted in oil on a relatively modest size canvas, is in keeping with the style and form of these other works. A 1991 Kennedy Gallery exhibition catalogue of Brownell’s work notes that these paintings of Cuban plantations survive in only a small number. A fine representation of mid-19th-century Cuban plantation life. Early paintings of Cuba are rare. Kennedy Galleries, CHARLES DeWOLF BROWNELL (1822-1909), EXPLORER OF THE AMERICAN LANDSCAPE, March 1991. $15,000.

19th-Century Painting of the Arctic Oil Works in San Francisco, the Principal Whale Oil Refinery on the West Coast

12. [California]: [Bosqui, Edward]: ARCTIC OIL WORKS SAN FRANCISCO. CAL. [1883]. Oil on canvas, 18 x 26 inches, on original wooden stretcher, with letters in lower margin, after the lithographed view of the same title published by Bosqui. Very good.

“Edward Bosqui was born in 1833 in Montreal, of French descent. When he was about seventeen years old he decided to go to California. He went by way of Panama, where like a good many others who headed for the Gold Rush in those days, he became stranded. He worked his way up through Mexico, a hazardous trip, but young Bosqui survived the many hardships....He arrived in San Francisco in the latter part of 1850, and his first job was as cashier of the first bank to be established there. Afterwards he served as General Fremont’s secretary. He first went into the printing business in 1859 at Clay and Leidesdorff Streets and stayed at that location for thirty-nine years. Bosqui did bookbinding as well as printing and lithography....He printed the EVENING BULLETIN in the early days of its existence, and did a great deal of commercial label work” - Peters.

The Arctic Oil Works was established on a Bay side pier between 17th and 16th streets in 1883 to produce refined oils from seals, whales, and elephant seals. Soon after opening, it became the largest oil refinery on the West coast. In 1902 the oil works became incorporated as part of Standard Oil.

The painting is quite similar to the lithographed view, though more Impressionistic in style and without quite as much detail. The spelling mistakes in the address of the works (“Potrcro” instead of Potrero) and in the address of the offices (“ZB” instead of 28) further suggest this painting to be after the scarce lithographed view produced by Bosqui. The painting, however, shows considerable age and is on the original stretcher, and dates from the late 19th century. PETERS, CALIFORNIA ON STONE, pp.60-61. J. Russell Harper, EARLY PAINTERS AND ENGRAVERS IN CANADA, p.39. $9500. Early Outsider Art of an American Indian: A Naive Catlin Copyist

13. [Calyo, Nicolino]: [PORTRAIT OF MAH-TO-TOH-PA, CHIEF OF THE MANDAN TRIBE OF THE UPPER MISSOURI]. [New York. ca. 1840]. Watercolor and ink, 14¾ x 10¼ inches, matted. Minor foxing. Very good.

This portrait of the famous chief, Mah-to-toh-pa, was executed by New York artist Nicolino Calyo, based upon the work of George Catlin. Calyo was born in Italy and came to America in the 1830s. He worked as a miniaturist, portrait painter, and panorama artist, most actively from the mid-1830s to the mid-1850s. He is best known for his pen and watercolor images of New York street vendors, tradesmen, and other types of workers, which he generally sold in portfolios (there is an extensive collection of these in the New-York Historical Society). This Indian portrait is in the same style and format as the watercolors of workers. Calyo had an eye for the topical, often based on other sources, such as his panorama of the Mexican War which he exhibited widely in the early 1850s.

In the case of this image, Calyo clearly based his portrait on the well- known George Catlin painting of the famous chief, Mah-to-toh-pa of the Mandans. Calyo probably saw the original oil portrait which Catlin exhibited with his Indian Gallery in New York in 1838-39, and this is the likely source for this watercolor. It is also possible that Calyo used the published version of this contained in Catlin’s LETTERS AND NOTES..., published in 1841. In either case, Calyo clearly based his charming watercolor on Catlin.

A unique Indian portrait by a popular, rather primitive artist, reflecting both public interest in western Indians and the influence of George Catlin. GROCE & WALLACE, p.104. $7500.

14. [Canada]: [WATERCOLOR TITLED:] AN AMERICAN CUTTER. [N.p. ca. 1840?]. Watercolor on stiff paper. 27.2 x 20.8 cm. With a rather unobtrusive 7 cm. tear through the lower left quadrant. Contemporary manuscript title on verso, “An American Cutter.” Overall a fine image.

A handsome, unsigned watercolor depicting a single-horse sleigh pulling a clever-looking American trapper with hunting dog barely keeping up. A lively image, probably a Canadian scene, very displayable. $750.

15. [Cape Verde]: PORTO PRAYA, CAPE VERDS [sic]...[manuscript caption title]. [Porto Praya. June 2, 1845]. 8 x 9¾ inches. Minute edge wear. Several horizontal fold lines. Small piece torn away for lower right blank margin. Good.

An amateur pencil sketch view of the Cape Verde coast near Porto Praya, signed “W.C.,” presumably W. Chandler, a U.S. naval officer and artist of other similar sketches. The illustration shows a large village in the foreground, behind which is a range of mountains. $100. A Lovely Portrait of George Catlin’s Wife

16. [Catlin, George]: [Linen, George]: [OVAL PORTRAIT OF MRS. CLARA BARTLETT GREGORY CATLIN]. [New York. ca. 1840]. Oil on linen, mounted on masonite, framed; 6 x 5 inches, framed to 9½ x 9 inches. Very good.

A lovely portrait of George Catlin’s wife, Clara, painted by Scottish- born artist George Linen. Born in Greenlaw, Scotland, George Linen came to America in 1834 and established a painting career first in New York City. He had studied painting at the Royal Scottish Academy in Edinburgh and worked as a portrait painter in England for about ten years before immigrating. He opened a studio in New York City and became a successful painter of small- format portraits, exhibiting regularly between 1837 and 1843 at the Apollo Association and the National Academy of Design. Nine of his portraits were praised in the NEW-YORK SPECTATOR on May 18, 1837: “...exceedingly well colored and carefully finished; and if Mr. Linen is young in the profession, as we suppose he is, they give promise of very high rank for him hereafter.” Two years later he received a silver medal from the National Academy of Design for his portrait of Henry Clay. Although he is known primarily as a portrait painter, Linen also painted landscapes after retiring to a farm in New Jersey in 1868.

Clara Bartlett Gregory met and married George Catlin in her hometown of Albany, New York in 1828, while he was there to paint Governor De Witt Clinton. Despite her frail health, she accompanied her husband on one of his five journeys west and supported his efforts to capture the likenesses of American Indians. She and their youngest son died while visiting Paris in 1845, a loss that devastated Catlin. $6000.

One of the First Railroads in the United States

17. [Charleston and Hamburg Railroad]: TREADMILL CAR, CHARLESTON - HAMBURG RR. SPEED 12M PER HR. FEB 1st, 1829 [manuscript caption title]. [N.p. n.d., ca. 1870-1890]. Pen and ink drawing, 8¼ x 10¾ inches. Framed. Lightly foxed and toned. About very good.

Drawing of the Flying Dutchman, the Charleston and Ham- burg Railroad’s horse-drawn treadmill car. Though signed “C. Haskins 1829,” it appears that this is either a stylized attribution or that this piece is a later copy of an earlier image, given that the present drawing has all the hallmarks of being from the late-19th century. The Flying Dutchman was an experimental rail car which was pulled by a horse, designed by the firm of Eason & Dotterer for a contest held by the railroad. It carried up to twelve passengers at the rate of twelve miles per hour. This drawing shows four passengers seated on one side of the open car, with the horse and several other passengers on the side which faces the background; a conductor stands at the front and a man with a whip - presumably to drive the horse - stands at the rear of the car. The Charleston to Hamburg railroad was completed in 1833 and at the time, was one of the longest railways in the world at 136 miles long. $400.

Watercolors by Louis Choris, from One of the Most Celebrated Voyages of the 19th Century

18. Choris, Louis: [GROUP OF SIX ORIGINAL WATERCOLORS BY ARTIST LOUIS CHORIS, SOME OF WHICH WERE LATER PUBLISHED AS PART OF HIS Voyage Pittoresque Autour du Monde, avec des Por- traits de Sauvages d’Amerique, BUT SEVERAL UNPUBLISHED]. [Chile & Brazil. 1816]. Six watercolors on paper, mounted on thicker board, as described below. Each with a manuscript caption in French. In fine condition. Matted.

An outstanding collection of beautiful watercolors done by the celebrated artist, Louis Choris, in Chile and Brazil while on the Kotzebue expedition. Each watercolor contains anywhere from two to nine separate illustrations of people, clothing, musical instruments, or trees, totaling twenty-three images on the six sheets. Several of the illustrations were published in Choris’ VOYAGE PITTORESQUE AUTOUR DU MONDE, AVEC DES PORTRAITS DE SAUVAGES D’AMERIQUE, but the majority are unpublished works of art. Choris’ illustrations are excellent depictions of Chilean natives.

Louis Choris was born Login Choris (or Khoris), of German heritage, in Yekaterinolsav, Russia on March 22, 1795. He was educated in the secondary school in Kharkov, Ukraine, where he showed early talent in drawing. Choris pursued a professional art education in Moscow, and at the age of eighteen was appointed artist to the von Bieberstein expedition to the Caucasus Mountains (1813-14), with the responsibility of producing botanical illustrations. He was only twenty years old when he was appointed the official artist aboard the Rurik, commanded by the Russian naval captain, Otto von Kotzebue, which circumnavigated the globe in 1815-18. Kotzebue’s ship carried a total crew of only twenty-seven, and its primary purpose was to search for the supposed Northwest Passage and to explore the South Seas. The voyage was a partly private, partly government-sponsored enterprise, and the Russian government secured the approval of the Span- ish to let the Rurik stop in Spanish possessions in the Americas, such as Chile and California. Sailing from Kronstadt in July 1815, the Kotzebue expedition crossed the Atlantic, rounded Cape Horn, and visited Brazil and Chile in early 1816, spending much time in the Chilean port of Concepcion. From Chile they visited Easter Island and then sailed by way of the Gilbert and Marshall islands to Petropavlovsk in Kamchatka. From Kamchatka they explored the Bering Strait and the Aleutians, then sailed south to San Francisco. After a month-long visit there they went to the Sandwich Islands and back to the Bering Strait before heading west across the Pacific, then to the Indian Ocean, around Africa, and back to Kronstadt in July 1818.

Choris was the official draughtsman of the expedition, and during the long voyage he produced a large number of sketches and watercolors of peoples, places, and nature. In 1819 he travelled to Paris, learned lithography, and supervised the production of his great volume of views from the Kotzebue expedition, VOYAGE PITTORESQUE AUTOUR DU MONDE, AVEC DES PORTRAITS DE SAUVAGES D’AMERIQUE, published by Didot in Paris between 1820 and 1822. The published work is considered one of the most beautiful volumes of American travel views ever created, with important illustrations in South America, Alaska, and California. Choris followed this with another volume of views from the Kotzebue expedition, VUES ET PAYSAGES..., published in 1826. The young and talented artist was killed on his thirty-third birthday by bandits in Vera Cruz, Mexico in 1828.

Choris’ illustrations are excellent depictions of Chilean natives. This collection contains six separate sheets of watercolors, but the total number of illustrations actually number twenty-three. Five specific works (on four of the sheets) in this group were included by Choris in his VOYAGE PITTORESQUE, while many of the others were used for their ethnographic information. The illustrations are not only in Choris’ distinctive style, but they are captioned in the same hand as the Choris paintings and sketches in the collection of the Beinecke Library at Yale. The illustrations, as captioned by Choris, are:

1) “Indiens du Chili melis.” Watercolor, 4¼ x 7¼ inches. Mornin remarks that “it was in Chile that Rurik’s company had their first opportunity to observe American Indians at first hand.” This watercolor contains lovely bust portraits of a native Chilean man and woman. The man wears a characteristic conical hat and colorful shirt, while the woman has a crucifix around her neck. This illustration was not published in the VOYAGE PITTORESQUE, though Choris incorporated some of the ethnographic detail in the man’s clothing into his published illustrations. There is a manuscript number “6” below the portrait of the man.

2) “Avec les Espagnols.” Watercolor, 7 x 4¼ inches. An attractive pair of portraits of a native Chilean man and a female child. This illustration also was not published in VOYAGE PITTORESQUE, though certain ethnographic details inform other published illustrations. There is a manuscript number “9” above the portrait of the man.

3) “Araoucanos Indige du Chili.” Watercolor, 4½ x 4¼ inches. A bust portrait of a native Chilean woman. This portrait, reversed in the published image, became one of the women in Plate VIII of VOYAGE PITTORESQUE, “Araucanos in- digenes de Chili.” The woman is portrayed staring slightly to her right, from the chest up, and wears a native blouse. In the published print she looks to her left, and is paired with another native woman, depicted in profile.

4) “Peuple du Chili a la Conception.” Watercolor, 10½ x 9 inches. A beautiful watercolor with much physiognomic and ethnographic detail. The upper portion contains full-length portraits of two Chilean men and a Chilean woman, while the bottom half has a full-length portrait of a woman carrying a basket of laundry on her head, a close-up profile of a woman, and details of two native hats. Of the many illustrations here, Choris used one of the men in the upper half in his Plate IX of VOYAGE PITTORESQUE, “Habillement du peuple du Chili.” This watercolor clearly shows the care with which Choris recorded the clothing of the Chilean natives.

5) “Instrumens du Musique du Negres.” Watercolor, 10¼ x 8¼ inches. This watercolor contains nine separate illustrations of native musical instruments, including a drum, sticks, tambourines, and what appears to be a type of xylophone. Two of the instruments in this watercolor, the xylophone and a percussion instrument, were used by Choris in Plate IV of VOYAGE PITTORESQUE, “Instrument de musique des Negres.” The present watercolor, therefore, is an excellent and unpublished source of several other native Chilean musical instruments.

6) “Yuca. Talmier (cocos Romanzoffiana) de Bresil.” Watercolor, 10 x 17¼ inches. A large and colorful illustration of two Brazilian trees, a Yucca and a Cocoa tree. The cocoa tree was incorporated into Plate VI of VOYAGE PITTORESQUE, “Coquero de Bresil (Cocos Romanzoffiana Cham),” while the yucca appears in Plate II of Choris’ VUES ET PAYSAGES as part of a landscape view entitled “Bresil.”

All of the other known watercolors by Choris have long been in institutions. Americana specialist Edward Eberstadt acquired them in the 1930s and sold many of them to his customer, William R. Coe, who later gave them to Yale. The rest were sold to the Bancroft Library at the University of California, Berkeley, and the Bernice Bishop Museum in Hawaii. This group thus represents a unique opportunity to acquire original artwork by Choris, or from the Kotzebue expedition. A remarkable collection of beautiful original watercolors of peoples and places in Chile and Brazil by a talented artist, including several unpublished illustrations of native Chileans. Edward Mornin, THROUGH ALIEN EYES: THE VISIT OF THE RUSSIAN SHIP RURIK TO SAN FRANCISCO IN 1816 AND THE MEN BEHIND THE VISIT (Oxford & Bern, 1992), pp.81-91. $65,000.

Important Civil War Art Work

19. [Civil War]: [Simplot, Alexander?]: BATTLE OF CORINTH. OCT. 1862 [manuscript caption title]. [Corinth, Ms. 1862]. Pencil drawing, 13½ x 21 inches. Small tears at right and left edges, lower right corner torn away. Small red ink stain on lower edge. Central vertical fold. Light soiling and wear. About very good.

An original pencil sketch depicting a crucial moment in the Second Battle of Corinth, which took place on October 3-4, 1862, probably by war correspondent Alexander Simplot. This drawing was engraved for HARPER’S WEEKLY, where its caption puts it in con- text as depicting the battle’s key moment. A single three-cannon Union battery led by Lieut. Henry Robinet had been inflicting heavy ca- sualties on the attacking Confederates. Here the Confederates have stormed the battery and are attempting to take it in hand-to-hand combat. The Federals recaptured the battery later that day, leading to a Union victory and a Confederate retreat. The engraving from HARPER’S is included, which attributes the sketch to Alexander Simplot, though the drawing itself is unsigned. Simplot, a native of Iowa, was a schoolteacher and artist turned war correspondent. Early in 1862, Simplot began traveling with the army of U.S. Grant which, in October, was stationed in Tennessee near the Mississippi border. $4250. A Fine Large-Scale Original Work from One of the Great Recorders of Native American Life

20. Cronau, Rudolf: MINOMINI INDIANS MAKING MAPLE SUGAR [manuscript title]. [ca. 1882]. Pen, ink, and wash drawing on paper, heightened with white gouache, signed in the image lower left corner “R. Cronau” and titled in lower right margin. Image size (including text): 18¼ x 26¼ inches. Sheet size: 20 5/8 x 27½ inches. In excellent condition.

Cronau here depicts a Native American maple sugaring party. The scene shows a small clearing in the woods where two large iron reducing pots are hung over fires that must supply enough heat to evaporate the excess water but not enough to burn the precious sugar. Men and women of the tribe collect the sap from the bins placed beneath the dripping shims placed in the horizontal cuts in the trees; the bins are emptied as they fill and birch-bark buckets used to transfer the sap to the pots. Wood to keep the fire burning is brought into camp on sledges. The process is continuous, so three temporary shelters have been erected. Those not involved in the sugar making tend cooking fires for meals and look after the children. Cronau brings a sympathetic and knowledgeable eye to bear, with authentic costumes and tools being used.

The Menominee is a tribes of Native Americans native to, and still living in, Wisconsin. The name Menominee is actually a version of “manoominii” or “wild rice people”: the name they were given by the Ojibwe.

Rudolf Cronau is in many respects the artist who comes closest to inheriting Karl Bodmer’s mantle. “Cronau was born in Solingen, Germany and studied at the Royal Academy in Dusseldorf under Andreas Muller and Andreas Achenbach. He went to work in Leipzig as both writer and illustrator for two popular newspapers. In 1881 the paper, DIE GAR- TENLAUBE, sent him on an extended journey through the Americas to report on natural wonders that the German public would find strange, exotic, and fascinating. He started with articles on New York, Baltimore and Washington, and then headed to Minneapolis where he began a journey down the Mississippi River to Cairo, Illinois. His next excur- sion brought Cronau to the Standing Rock Sioux reservation in Dakota Territory where he met Sitting Bull and other Native leaders. After an extended stay in the northern plains, he continued on to Yellowstone Park, Albuquerque, Santa Fe, and San Francisco. He returned to the East in the winter of 1881-82, exploring Florida and Louisiana. The following summer and fall Cronau made his second trip to the West, covering an enormous amount of territory, presumably by train, from Oregon to Texas. During this trip he created twelve articles for DIE GARTENLAUBE. Cronau was to have continued on to South America, but health problems forced his return to Germany late in 1882. Over the next few years he wrote and illustrated three travel books, FAHRTEN IM LANDE DER SIOUX, IM WILDEN WESTEN, and VON WUNDERLAND ZU WUNDERLAND. The latter contained fifty collotype reproductions of his drawings from across America. Most of Cronau’s work is in pencil or ink, sometimes enhanced with watercolor.... All of his drawings are carefully detailed and finely rendered in a style that clearly shows the influence of his training in the German Romantic tradition at the Royal Academy. About 1894, Cronau returned to the United States as a foreign correspondent based in Washington, D.C. After a falling out with his employers, he worked as a free-lance writer in New York. Cronau became an American citizen in 1900. He continued to write magazine articles and books throughout the rest of his life” (Taos and Santa Fe Painters website). AMON CARTER MUSEUM OF WESTERN ART CATALOG OF THE COLLECTION (1972) D. Dawdy, ARTISTS OF THE AMERICAN WEST (1985). P.H. Hassrick, TREASURES OF THE OLD WEST (1984). $38,500. Original Drawing of New Castle, Delaware

21. [Dale, John B.]: [ORIGINAL INK DRAWING OF NEW CASTLE, DELAWARE, BY UNITED STATES NAVY LIEUTENANT JOHN B. DALE]. [New Castle, De. ca. 1842]. Ink drawing on a 9¼ x 12½-inch sheet. Small chip in lower left corner, small crease in upper left corner. Near fine.

An accomplished pen and ink drawing of New Castle, Delaware, made by United States Navy lieutenant John B. Dale. The drawing is captioned, in Dale’s hand, “New Castle, Del.,” and though undated, was likely made around 1842, when Dale was stationed in Washington, D.C. and participating in the U.S. Coastal Survey. The scene shows the skyline of New Castle, with many distinguishable steeples, towers, and multi-story buildings. Several ships are seen in the waters of Delaware Bay, on the right side of the drawing.

Lieutenant John B. Dale was born in Springfield, Massachusetts in 1814 and appointed a midshipman in the United States Navy in 1829. He was one of three artists assigned to the United States Exploring Expedition, the pioneering scientific exploration commanded by Charles Wilkes that lasted from 1838 to 1842. During that voyage Dale butted heads with the famously irascible Wilkes several times, and was sent home half-way through the expedition. Nonetheless, many of Dale’s drawings appear in the official published account of the expedition. He was married in 1840 and had two sons. From 1844 to 1846, Dale was a member of the crew of the U.S.S. Constitution (“Old Ironsides”) during its circumnavigation of the globe. Dale died in Lebanon in 1848, while on duty in the Mediterranean as part of the Lynch Expedition. Dale’s manuscript journal of his cruise aboard the Constitution is in the collection of the New England Historical Genealogical Society.

An attractive view of an historic Delaware city, by a talented artist who also participated in notable American naval expeditions. $4000.

Original Watercolors of Mount Vernon

22. [Dale, John B.]: [Washington, George]: [TWO ORIGINAL INK DRAWINGS OF MOUNT VERNON, BY UNITED STATES NAVY LIEUTENANT JOHN B. DALE]. Mount Vernon, Va. 1842. Two ink drawings, as described below. Fine.

An attractive duo of original ink drawings of George Washington’s home at Mount Vernon, made by United States Navy lieutenant John B. Dale. One of the drawings is dated February 16, 1842, within days of what would have been Washing- ton’s 110th birthday. The drawings were likely created by Dale on a visit to Mount Vernon from nearby Washington, D.C., where he was stationed at the time and participating in the U.S. Coastal Survey. By the 1840s the estate, still in the hands of the Washington family, had fallen into disrepair and was not formally open to the public. Dale’s position as a naval officer from a prominent family would have helped gain him access, and his visit demonstrates the lasting appeal of Washington’s home.

Lieutenant John B. Dale was born in Springfield, Massachusetts in 1814 and appointed a midshipman in the United States Navy in 1829. He was one of three artists assigned to the United States Exploring Expedition, the pioneering scientific exploration commanded by Charles Wilkes that lasted from 1838 to 1842. During that voyage Dale butted heads several times with the famously irascible Wilkes, and was sent home half-way through the expedition. Nonetheless, many of Dale’s drawings appear in the official published account of the expedition. He was married in 1840 and had two sons. From 1844 to 1846, Dale was a member of the crew of the U.S.S. Constitution (“Old Ironsides”) during its circumnavigation of the globe. He died in Lebanon in 1848, while on duty in the Mediterranean as part of the Lynch Expedition. Dale’s manuscript journal of his cruise aboard the Constitution is in the collection of the New England His- torical Genealogical Society.

The drawings are as follows, and are captioned in Dale’s hand:

1) “Washington’s Tomb. Mount Vernon 16th Feb. 1842.” Ink on a 4¾ x 6½-inch sheet. A very nice view of Washington’s Tomb, built in 1831 after the original burial vault had deteriorated. Washington chose the location himself, and Dale’s rendering shows the full tomb, with George and Martha Washington’s caskets visible inside. A plantation building is seen in the right distance, and the rear of a carriage is shown in the right foreground.

2) “Lodge at Mount Vernon.” Ink on a 4¾ x 6½-inch sheet. A fine drawing of one of the small, octagonal buildings on the grounds of Mount Vernon known as a “Garden House.”

An attractive pair of ink drawings of Mount Vernon, by a talented artist who also participated in notable American naval expeditions. $5000.

Drawings Along the Suwanee River

23. Dale, John B.: [GROUP OF THREE SCENES ALONG THE SUWANEE RIVER, DRAWN BY UNITED STATES NAVY LIEUTENANT JOHN B. DALE]. [Southern Georgia or northern Florida. n.d., ca. 1842-1843]. Three ink and wash drawings, as described below. Fine.

A charming group of ink and wash drawings by talented artist and United States Navy Lieutenant John B. Dale. Only one of the drawings is titled, but they all show scenes along a river, presumably the Suwanee in southern Georgia or northern Florida, and two of them show sporting scenes.

Lieutenant John B. Dale was born in Springfield, Massachusetts in 1814 and appointed a midshipman in the United States Navy in 1829. He was one of three artists assigned to the United States Exploring Expedition, the pioneering scientific exploration commanded by Charles Wilkes that lasted from 1838 to 1842. During that voyage Dale butted heads several times with the famously irascible Wilkes, and was sent home half-way through the expedition. Nonetheless, many of Dale’s drawings appear in the official published account of the expedition. He was married in 1840 and had two sons. From 1844 to 1846, Dale was a member of the crew of the U.S.S. Constitution (“Old Ironsides”) during its circumnavigation of the globe. Dale died in Lebanon in 1848, while on duty in the Mediterranean as part of the Lynch Expedition. Dale’s manuscript journal of his cruise aboard the Constitution is in the collection of the New England Historical Genealogical Society.

The three drawings in this collection are undated, but were likely made by Dale while he was on leave from his position working on the U.S. Coastal Survey, to which he was assigned in 1840. They are as follows:

1) “Crossing the Suwanee.” Ink on a 8¾ x 10¾-inch sheet of thick paper stock. Shows a man holding a shotgun (possibly Dale himself), standing in a small boat as the boat is pulled across the river by another man utilizing a rope tied on both banks. As in the other two drawings, Dale gives a fine sense of the flora of the region, ably sketching the different variet- ies of overgrown trees. Signed by Dale in the lower right.

2) Untitled scene of a man hunting ducks. Ink and wash on a 7 x 9¼-inch sheet, bordered by a blue and white “Greek key” motif. In this illustration a man stands in a small boat, shown in the lower right, and fires a shotgun at several flying ducks. A black man is seated in the boat as well, and a few small buildings are shown on the far riverbank.

3) Untitled scene of a man fishing in a river. Ink and wash on a 7 x 9¼-inch sheet, bordered by a blue and white “Greek key” motif. A man is shown in the foreground, standing knee-deep in the river, holding a fishing pole. Two cows are near him, drinking from the river, and a small camp is shown in the middle distance. A horseless cart is also depicted on the riverbank.

An attractive set of southern sporting views, by a talented artist who also participated in notable American naval expeditions. $9500. One Great Landscape Artist Portrays Another

24. [Daniell, William]: [TWO PENCIL SKETCHES BY WILLIAM DANIELL, AFTER ARCHITECT GEORGE DANCE, SHOWING ARTISTS WILLIAM HODGES AND SAMUEL PEPYS COCKERELL]. [N.p., but possibly London. n.d., but possibly ca. 1809]. Each pencil sketch on a sheet 10 x 8 inches. Matted to 15½ x 13½ inches. Minor toning and soiling. Very good.

Two pencil drawings by landscape painter and engraver William Daniell, after drawings by George Dance, possibly executed around the time of Daniell’s engraving of the portraits for A COLLECTION OF PORTRAITS SKETCHED FROM THE LIFE SINCE THE YEAR 1793 BY GEORGE DANCE... (London, 1809-14). Daniell (1769-1837) was an accomplished landscape artist, etcher, and engraver. He traveled with his uncle, renowned landscape painter Thomas Daniell, to India (1786-93), where he assisted his uncle and developed his own skills. He later produced many magnificent views of locales around the globe, particularly of India.

In addition to his well-known landscape works, he engraved and published a series of portraits drawn by architect George Dance (1741-1825), some of which were published in a two-volume work in 1809-14. Late in his career Dance turned his hand to other art forms, including music and chalk profile portraits of friends and acquaintances. The two subjects depicted here are fellow artists: Samuel Pepys Cockerell was a fellow architect; and William Hodges was a painter, particularly noted for being the artist on Captain James Cook’s second voyage. Each volume of the work published thirty-six portraits with descriptive text about the subject. William Hodges is depicted in the second volume. The engraved portrait faces right, while this sketch faces left, making it a mirror image for printing.

The Yale Center for British Art holds not only the published work but also a volume of proof prints, each labeled in manuscript, with the manuscript title, “A Series of Portraits drawn by George Dance Esq. and Engraved by Wm. Daniell.” This proof volume is comprised only of portraits, with no text, and includes a further eighty-five engravings beyond the seventy-two published by Daniell in 1809-14. This is particularly interesting in light of the fact that while the portrait of William Hodges appears in the published work, Samuel Pepys Cockerell does not - though he is among the proof prints.

Since Dance’s original drawings were done in chalk, which is a much looser medium than line-engraving, it is possible that Daniell created these drawings to provide himself with a more defined and delineated image from which to create his engraving. These drawings therefore provided an interesting and important step in the engraving process. DNB (online). $12,000.

A Dramatic Watercolor of British Lords Buffalo Hunting

25. [Dunmore, Lord Alfred]: THE BUFFALO HUNT. [Probably in Manitoba, Canada. ca. 1862]. Watercolor on paper, 8¾ x 13½ inches, laid onto a larger ruled sheet. Unsigned. Title and attribution on Kennedy Galleries labels. Provenance: Kennedy Galleries; Collection of Edward Eberstadt & Sons. In excellent condition, with bright colors and sharp detail. A short closed tear, neatly repaired, is in the grass at the very bottom of left-center foreground. Attractive period-style decorated gilt frame, matted and glazed.

This graphic image of a buffalo hunt, likely near Fort Ellice, Manitoba, in western Canada, was painted by a British nobleman visiting the West on an exotic sporting adventure. A hunter, carrying a buffalo rifle, has dismounted from a horse to inspect a fallen buffalo bull, while behind him three mounted hunters pursue more buffalo, cut from a large herd seen grazing on the horizon, with a mountain range as a backdrop. Close attention is paid to the rather formal attire of the hunters, who sport buckskin jackets, stiff white shirts, and broad-brimmed hats. The buffalo and horses are drawn quite well, with their power and speed clearly delineated.

Kennedy Galleries attributed this painting to one “Lord Alfred Dunsmore” [sic], It was actually executed by Honorable Alfred Murray, called by courtesy Lord Alfred Dunmore, younger brother of the 7th Earl of Dunmore. “Lord” Dunmore was in his late teens at the time of the expedition. He travelled to western Canada with the expedition of Viscount Milton and Dr. Walter Butler Cheadle, one of the most important early explorations of the Canadian far west. According the Marshall Sprague in A GALLERY OF DUDES, Dunmore delayed the expedition first by supposed illness and then by his sporting proclivities. “Cheadle was summoned off their route by Lord Southesk’s brother-in-law, Lord Dunmore, whose messenger said he was dying of jaundice. After two days of fatiguing forced march, Cheadle reached Fort Ellice, near the junction of Assiniboine and Qu’Appelle Rivers, to be told that his lordship felt very much better and was off hunting buffalo.” This is evidently Dunmore’s illustration of his buffalo hunt after recovery.

Dunmore was only one of many British aristocrats who visited the western frontier for sporting adventure; Sprague’s book describes the trips of many of them. In Dunmore’s case, he may have been inspired to go west by his brother-in-law, James Carnagie, the 9th Earl of Southesk, who hunted in the same regions in 1859-60 before returning to England to marry Dunmore’s sister. Southesk later described his trip in his book, SASKATCHEWAN AND THE ROCKY MOUNTAINS (Edinburgh, 1875).

A superb picture of western hunting at a very early date. Marshall Sprague, A GALLERY OF DUDES (Boston & Toronto: Little Brown, 1966), pp.68, 73, 83, 276. Charles Kidd & David Williamson, DEBRETT’S PEERAGE AND BARONETAGE (London: Debrett’s Peerage Limited and St. Martin’s Press), pp.410-12, 477-79, 1179. $19,500.

26. Friend, Washington F.: [THE HUDSON RIVER FROM FORT PUTNAM]. [Fort Putnam, N.Y. ca. 1860]. Water- color on paper, 9¾ x 12¾ inches. Laid down on modern card, matted. Signed in lower left corner: “W F Friend.” Colors clean and fresh. In fine condition.

A fine watercolor by Washington F. Friend of the Hudson River as seen from Fort Putnam. A single figure in a red coat in the foreground provides scale as well as a touch of contrast to the predominant brown, blue, green, and grey tones used to portray the river and surrounding woods and hills and a partially cloudy sky. Several ships can be viewed on the Hudson and a village across the river is also depicted. In the foreground on the right side can be seen part of a brick wall, perhaps part of the fort’s fortification.

Friend (circa 1820-86), a painter and topographic artist who specialized in watercolors, is particularly well known for his work in the American West. “After failed business, he became an itinerant artist, sketching in Utah, California, Colorado, and Montana and painted a panorama which was exhibited in Canada and the eastern U.S.” - Falk. Following a three-year journey through the western United States and Canada, Friend displayed his work in panoramic form as one element in a theatrical event which included music and reci- tations. The show toured in the northeast and England. Upon his return to the United States, he continued to paint and exhibit his work.

A fine mid-19th-century watercolor view of the Hudson River as seen from the West Point area. Falk, WHO WAS WHO IN AMERICAN ART, 1564-1975 I, p.1202. Hughes, ARTISTS IN CALI- FORNIA, p.192. $5000. An Original Design by Robert Fulton

27. Fulton, Robert: [ORIGINAL PEN, INK, AND WATERCOLOR DRAWING OF A DETONATOR AND MUZZLE FOR AN UNDERWATER CANNON]. [New York. ca. 1807]. Pen and ink with watercolor on paper. Sheet size: 20½ x 28 inches. Expertly repaired tear visible only upon close inspection. Very good. Matted and in a gold leaf frame. Provenance: Solomon Alofsen (1808-76, presented to); The New Jersey Historical Society (received in 1855, ink stamp on verso).

This drawing was probably executed shortly after Fulton’s return to America in 1806, and shows details of flintlock detonators for submarine bombs and underwater guns.

Robert Fulton was something of a renaissance man: he studied painting under Benjamin West, launched the first successful paddle-steamer service in the world, designed and tested the first practical submarine, and significantly advanced the design of submarine torpedoes and torpedo boats.

Born in Lancaster County, Pennsylvania, Fulton moved to England in 1786 to study painting. His practical experiments with submarine torpedoes and torpedo boats began with his move to France in 1797 and culminated in the testing of the first practical submarine, The Nautilus, in 1800. In 1804 he moved back to England and continued his experiments with torpedoes in tandem with his overseeing the construction of a steam en- gine to power a boat that he had designed. In late 1806 he returned to the United States to supervise the construction of what was to become the North River Steamboat or Clermont. Whilst this was going on he continued with his experiments with torpedoes and submarines: his “torpedo” bombs were tested in New York Harbor, and he published a pamphlet, TORPEDO WAR AND SUBMARINE EXPLOSIONS, in 1810. With government support he continued his experiments, and with the outbreak of the War of 1812 he concentrated on his “submarine gun,” a precursor of modern torpedo techniques.

This drawing is divided into two parts. The left side shows various sections and details of a flintlock mechanism designed to be watertight and used underwater. The right appears to show two alternative designs for a waterproof gun muzzle: one with a waterproof hatch lowered using a toothed cog; the second, a flap lowered using a lever system.

The drawing was deaccessioned by the New Jersey Historical Society. It originally formed part of a large collection of Fulton’s drawings given to the Society in 1855 by the Dutch-born engineer, ethnologist, and historian, Solomon Alofsen (1808-76). He came to the United States as secretary of the Dutch legation and settled in Jersey City. He subsequently married and worked in the railroad business (he was for a time secretary of the Illinois Central railroad). His leisure time was taken up with the study of history and ethnology, and he was prominent in a number of the learned societies of New York and vicinity. After forty years’ residence in the United States he returned to Holland, where he died in 1876. Cadwallader D. Colden, THE LIFE OF ROBERT FULTON (New York: Kirk & Mercein, 1817). H.W. Dickinson, ROBERT FULTON, ENGINEER AND ARTIST: HIS LIFE AND WORKS (London, 1913). John Morgan, ROBERT FULTON (New York, 1977). Cynthia Owen Philip, ROBERT FULTON, A BIOGRAPHY (New York, 1985). J. Franklin Reigart, LIFE OF FULTON (Philadelphia, 1856). KIRKPATRICK SALE, THE FIRE OF HIS GENIUS: ROBERT FULTON AND THE AMERICAN DREAM (New York, 2001). PRINTING AND THE MIND OF MAN 264 (ref). $19,500.

Original Designs for Furniture and Interiors from Gilded Age New York

28. [Furniture and Interior Design]: [Hofstatter, Theodore]: [SIGNIFICANT ARCHIVE OF FORTY-TWO ORIGINAL WATERCOLORS AND PENCIL DRAWINGS OF HOFSTATTER FURNITURE AND INTERIOR DESIGNS]. [New York. ca. 1920-1940]. Forty-two original works, from approximately 9 x 7¼ inches to 14½ x 11½ inches. Most on paper and mounted to cardboard backing, some executed on art board, some matted. Minor dust-soiling to some, several examples have pencil drawings of room layouts or floor plans on the verso, Hofstatter stamps to verso of two, a few examples detached from mount. Overall clean and in excellent condition, retaining vibrant coloring.

A stellar group of thirty-nine original watercolors and three original pencil drawings depicting early 20th-century furniture designs, largely in the French Provincial style. The artwork was executed by New York furniture designer and interior decorator Theodore Hofstatter, or artists working for his firm. The group includes wonderful depictions of mirrors, beds, window drapes, chairs, desks, bureaus, tables, and stands. Additionally, there are eleven works showing the interior design of various room settings.

Theodore Hofstatter succeeded his father in their New York City business of furniture design and construction, naming the firm Hofstatter’s Sons when his brother Adolph joined him in the concern in the early 1870s. The Hofstatter family concentrated their efforts on building quality furniture at wholesale prices. In 1885, Theodore Hofstatter founded a branch of the business to focus on interior decorating, opening a separate location on Broadway near Twelfth St. Eventually, the business would move to at least two different addresses on Fifth Ave., evidenced by Hofstatter labels affixed to the verso of several of the watercolors here (a few of these labels are also marked “Special Design” by Hofstatter). Theodore’s design business, according to THE NATIONAL CYCLOPEDIA OF AMERICAN BIOGRAPHY (1894), “kept abreast ever since [its opening] with the current of fashionable taste in illustrating, in the styles reproduced, all those characteristics with which the names inseparably connected with the history of the three Louis are essentially a part. Berain, Lebrun, Wat- teau, Andre, Charles Boule, have now a historical significance; Cailleri, Gouthiere, Reisener, Fragonard, Greuze, Boucher, Martin, and the rest, awaken a whole train of associations. It is through their influence, and such as theirs, that Theodore Hofstatter’s designs possess the material to produce only those effects that can be truthfully termed good style.” Hofstat- ter restricted his decorating contracts largely to commercial interests, furnishing the City Club, the Downtown Club, the Arkwright Club, and nine floors of the Hotel Savoy. He also cultivated a small group of private clients, one of whom was Cornelius Dresselhuys, Dutch consul to Great Britain. Two of Dresselhuys’s rooms, the Entrance Hall and Vestibule, at 9 Kensington Palace Gardens in London are featured here in lovely full watercolors.

A fascinating group of artwork featuring furniture and interiors from a prominent New York City furniture maker and interior designer. Such original illustrations of furniture and interior decoration are, in our experience, quite scarce. $8500.

A Fantastic Series of Cake Paintings

29. [German Pastries]: [MAGNIFICENT SERIES OF THIRTY-TWO GERMAN WATERCOLORS, CIRCA 1840, OF CAKES AND TORTES, EACH DESSERT PORTRAYED WITH ACCOMPANYING EXPLANATORY HAND-WRITTEN TEXT ON INDIVIDUAL SHEETS, BOUND ACCORDION-STYLE AND EXTENDING OVER ELEVEN FEET UNFOLDED]. [Germany. ca. 1840]. [32] watercolors with individual text, each on paper panels measuring 5¼ x 4 inches, totaling about 132 inches all told. Modern brown linen case with decorative ribbon ties. Panel of watercolors attached to front board only at beginning of sequence. Each panel mounted on linen,with creases at each fold in an accordion-style binding. Each panel consists of a single watercolor of a cake or tort, with handwritten text below the image. Images fresh and lively, colors still strong. Inoffensive soiling (perhaps from closely observant baking practitioners?). In very good condition, housed in a linen clamshell box with paper label on front board.

A marvellous and enticing collection of thirty-two watercolors of cakes and tortes, presented together in a folding framework which, when extended, measures over eleven feet long. The individual desserts are presented in a naive, yet solid, style with each image accompanied by identifying and explanatory text. Certain words specific to Germany in the 1840s strongly suggest that these illustrations were utilized as something akin to a baker’s catalogue, to be shown to customers who could then order specific items for particular occasions. Alterna- tively, the images may have been used a illustrations in a shop or window display to advertise the baker’s skills. In addition to the expected chocolate cakes and apple and linzer tortes, are more curiously-named creations including a Brassilianer.

A wonderful watercolor series advertising the baker’s craft in mid-19th-century Germany. $10,000.

A Significant Addition to the Art Canon of the Pacific Northwest

30. [Gibbs, George]: [PASTEL PAINTING OF A SCENE IN THE PACIFIC NORTHWEST, PROBABLY THE COLUMBIA RIVER, WITH INDIANS LANDING CANOES ON A RIVERBANK, AND SNOWCAPPED MOUN- TAINS IN THE DISTANCE]. Oregon or Washington. [based on sketches made ca. 1850-1855, but painted somewhat later]. Pastel on card, 19½ x 39 inches. Signed lower left: “Gibbs.” Framed and glazed in a period hardwood frame and gold gilt liner. The painting, with lovely, bright colors, is in excellent displayable condition.

This beautiful painting of three Indians laying up two canoes on the bank of a river in wooded mountainous terrain is the work of George Gibbs (1815-73), ethnographer, mapmaker, geologist, historian, attorney, and, for nearly twelve years, an explorer, artist, and administrator in the Pacific Northwest. The scene is likely the western entrance to the Columbia River Gorge, with the Cascade Mountain Range in the near distance. The painting shares several geographic and artistic touchpoints with the annotated on-the-spot drawing from 1850 that Gibbs made farther east on the river at Oak Point, illustrated in David Bushnell’s DRAWINGS BY GEORGE GIBBS IN THE FAR NORTHWEST, 1849-1851. The painting is signed in a slightly stylized version of the signature found throughout Gibbs’ personal and professional papers.

Gibbs learned to paint while attending the Round Hill School in Northampton, Massachusetts, the first experimental prep school in the country, founded by future historian George Bancroft, and Joseph Green Cogswell, later director of the first great public library in the United States, the Astor Library. Gibbs grew up surrounded by great American art. “Gibbs’ father commissioned Gilbert Stuart to paint Washington, Adams, Jefferson, Madison, and Monroe; these portraits hung in Gibbs’ childhood home at Sunswick Farms, Astoria, New York. Stuart also painted portraits of ‘Colonel’ George Gibbs and Laura Wolcott Gibbs, his parents” - Stephen Dow Beckham.

Papers from Gibbs’ adolescence indicate the development of his interest in science and in outdoor life; and one very interesting letter, a harbinger of a career to come, written in 1833 from Boston to his sister, Eliza, includes an account of seventeen-year-old Gibbs’ encounter with John James Audubon (Wisconsin Historical Society):

“Dear Sister, I have just returned from a visit to Mr. Audubon. THE Audubon. But I will tell you all in order. Saturday I went to see the prints of his birds at the Athenaeum. They are superb, of full size on elephant paper. Turkeys & eagles as well as small birds and large as life & the colouring & execution beautiful. They are all of them represented in the act of seizing their prey or in some natural and striking position. The landscapes birds butterflies animals etc are very fine. His son paints the flowers & branches of trees on which many rest, from nature, they are very beautiful. He has not near finished his collection, though about two hundred are done....

“I killed [a moth] this morning with nitric acid, and by way of introduction agreed to take him to Mr. Audubon’s & Aunt Ruth who had been before went to. Mr. A was unwell & we took the pleasure of seeing him. He is a complete original & a remarkable man. [Audubon was] extremely glad of the moth & Mr. A [illegible] that I would accept of a little shell he had picked up on the coast of Florida as a remembrance. [Audubon] has a large collection of stuffed birds as a reference for description. He showed me some of the original paintings. The feathers look like real ones every division accurately transferred....”

Gibbs earned a Harvard law degree, then began a desultory, unenthusiastic, unprofitable law practice. “[In 1843, Gibbs became librarian of the New-York Historical Society], cataloging the collection and steering it toward an emphasis on American subjects. [Gibbs started another law firm], but his work for the historical society [which he genuinely enjoyed and committed himself to] absorbed more and more of his time.

“The excitement over the discovery of gold in California finally dislodged Gibbs completely from his law practice, and in 1849 he left New York for St. Louis, Missouri. Joining a march of the Mounted Riflemen, he traveled overland from Fort Leavenworth to Oregon City. On the trip he made many drawings and kept a journal, portions of which were published in the New York papers. His lively entries described the climate and landscape, life in camp, and encounters with Sioux Indians and emigrants on the Oregon Trail.

“Gibbs settled in Astoria, Oregon, near the mouth of the Columbia River. In 1850 he was appointed deputy collector of the port, but he resigned later that year in the aftermath of having embarrassed his superior by an overzealous prosecu- tion of the customs laws. In 1851 he joined Reddick McKee on an expedition to draw up land treaties with Indian tribes west of the Sacramento Valley. In five months McKee’s group met with nearly 10,000 Indians and concluded five treaties. Gibbs, who had already been interested in Indian languages, compiled vocabulary lists of fifteen indigenous tongues and worked on maps of the region. In 1852 he tried his hand at prospecting in northern California with less than impressive results. By the end of the year he was back in Astoria, again as a customs collector, but when Franklin Pierce took office in 1853, Gibbs lost his political appointment.

“Gibbs soon found other work. In 1853 George B. McClellan hired him as a geologist and ethnologist to help survey a railroad route to the Pacific. In 1854 Gibbs left Oregon for good, settling near Fort Steilacoom in the Washington Ter- ritory on a farm he called ‘Chetlah.’ He was rarely there, however, continuing his surveying and conducting ethnological research. Working for the Indian Commission in the territory, Gibbs helped shape Indian policy. He argued for keeping Native Americans on their traditional homelands to preserve the cultural and linguistic diversity that he knew was dissolving quickly on reservations. He also campaigned for the use of Indian place names, which he often noted on the maps he made. Gibbs served briefly as the acting governor of Washington Territory and was appointed brigadier general of the militia in 1855.

“In 1857 and 1858 Gibbs was again in the field, this time surveying the 49th parallel between the United States and Canada for the Northwest Boundary Survey. Working for Archibald Campbell, he traversed the border from the Pacific to the Rockies. Gibbs took every opportunity to add to his knowledge of Indian languages, and also collected animal, insect, and plant specimens, many of which he sent to scientists like Louis Agassiz and Asa Gray” - Bethany Neubauer, AMERICAN NATIONAL BIOGRAPHY.

Raymond Settle’s introduction to THE MARCH OF THE MOUNTED RIFLEMAN, which draws from the journals made by Gibbs and that expedition’s leader, Major Osborne Cross, endorses the importance of Gibbs western sketches: “As an artist Gibbs exhibited considerable talent, both in sketching outdoor scenes and in drawing from life. He made what was perhaps the first drawing of Shoshone Falls, and sketched various scenes in eastern Oregon, on the Columbia River, and while crossing the Cascade Mountains...[In 1851, while associated with Oregon Territory Governor John P. Gaines in the making of treaties with the Calapooya Indians, and later that same year with Reddick McKee], Gibbs made many drawings...numerous drawings.” Bushnell notes that Gibbs’ sketches of the Pacific Northwest impressed Seth Eastman, who incorporated them into his own work. Eastman’s sepia drawing, “Humboldt, California, 1851,” later made into an engraving for Schoolcraft, is annotated: “S. Eastman from a sketch by G. Gibbs” (SETH EASTMAN - A PORTFOLIO OF NORTH AMERICAN INDIANS, pl. 47).

George Gibbs authored, usually under the imprimatur of the Smithsonian Institution, several important books on Indian languages and dialects, and tribal life, in the Pacific Northwest. His scholarship in such works as NOTES ON THE TINNEH OR CHEPEWYAN INDIANS OF BRITISH AND RUSSIAN AMERICA (1867) and ALPHABETICAL VO- CABULARIES OF THE CLALLAM AND THE LUMMI (1863) was so meticulously researched and well-illustrated that historian William Goetzmann calls Gibbs “one of the founders of scientific studies in the Far West.” Gibbs’ notes and interpretations of 19th-century treaties between Indian tribes and federal and state governments (the drafts for those treaties are often in his handwriting) are used to this day to argue lawsuits involving American Indian interests, many concerning the building of casinos on reservation lands

Gibbs wrote books concerning American law. His propagandist history of the Federalist Party, MEMOIRS OF THE ADMINISTRATIONS OF WASHINGTON AND JOHN ADAMS (1846) began as a biographical study of his great- grandfather, Declaration of Independence signer Oliver Wolcott, the senior, and his grandfather, Oliver Wolcott, United States Treasury Secretary and Connecticut governor.

Terrible health, rheumatic gout, kept Gibbs out of the U.S. Army during the Civil War, though he did volunteer. “He became an important member of the Loyal National League and the Loyal Union Club. During the latter part of his life he lived in Washington, D.C. [‘in the Smithsonian tower!’ (Beckham)], where his extensive knowledge of the northwestern Indians [and his collection of their artifacts] was often employed by the Smithsonian Institution” - DAB.

Artwork by George Gibbs is rarely found in the marketplace. Artnet and AskArt do not report any works having come into the market. He donated the majority of his western sketches to the Smithsonian Institution. The Peabody Museum at Harvard University owns a small holding of his sketches, as does the National Park Service collection at Fort Vancou- ver. Aside from the present example, we are not familiar with any other large scale painting by Gibbs - nor is the leading authority on Gibbs, Lewis and Clark College professor Stephen Dow Beckham, who has written about Gibbs since his 1970 dissertation, “George Gibbs, 1815-1873: Historian and Ethnologist” - making this newly discovered, quite gorgeous, picture a significant addition to the art canon of the American Northwest. WHO WAS WHO IN AMERICAN ART II, p.1277. GROCE & WALLACE, p.256. ANB VIII, pp.915-17. DAB VII, pp.245-46. David Ives Bushnell, DRAWINGS BY GEORGE GIBBS IN THE FAR NORTHWEST, 1849-51 (Washing- ton, D.C.: Smithsonian, 1938), passim. Raymond W. Settle, ed., THE MARCH OF THE MOUNTED RIFLEMEN... AS RECORDED IN THE JOURNALS OR MAJOR OSBORNE CROSS AND GEORGE GIBBS... (Glendale, Ca.: Arthur H. Clark Company, 1940), pp.22-27, 273-327. George Gibbs, letter to Eliza Gibbs, dated Boston, Ma., March 17, 1833; located at Wisconsin Historical Society, Gibbs Family Papers, Box 1 / Folder 7 www.wisconsinhistory.org. Sarah E. Boeheme, et al, SETH EASTMAN. A PORTFOLIO OF NORTH AMERICAN INDIANS (Afton, Mn.: Afton Historical Press, 1995), p.125. William Goetzmann, ARMY EXPLORATION IN THE AMERICAN WEST, 1803-1863 (Lincoln, 1959). Stephen Dow Beckham, “George Gibbs, 1815-1873: Historian and Ethnologist” (Ph.D. dissertation, UCLA, 1970); correspondence, January-February 2006. $37,500.

Amateur Pencil Sketch of Gibraltar by a U.S. Naval Officer

31. [Gibraltar]: A VIEW OF THE ROCK OF GIBRALTAR FROM ALGESIRAS BAY...[manuscript caption title]. [Gibraltar. 1830]. Pencil sketch, 4 x 10 inches. Dampstained along left edge. Moderate wear to right edge. Good.

A pencil sketch of Gibraltar by a U.S. naval officer, identified only as “Mid. Chandler,” done at sea four and one-half miles off the island’s coast. The rock is illustrated in profile, with a bustling village and harbor shown in the lower left corner. According to a penciled note in the lower margin, Chandler served aboard the U.S.S. Brandywine. At the time this drawing was made, the Brandywine was likely on one of its three deployments to the Mediterranean from 1826 to 1850. $300.

The Dictator Who Lasted the Longest: Portrait of the Most Successful Strongman of Haiti, 1818-43

32. [Haiti]: [Boyer, Jean-Pierre]: [WATERCOLOR OF GENERAL JEAN-PIERRE BOYER, PRESIDENT OF HAITI]. [Port-au-Prince? ca. 1825]. Watercolor, 6½ x 5 inches. Matted and framed to 10 x 8 inches. A few faint spots of foxing. Colors bright and fresh. Near fine.

A handsome watercolor of Haitian general and president Jean-Pierre Boyer (1776-1850), who reigned over Haiti from 1818 to 1843. Boyer, a free mulatto, was born in Port-au-Prince but educated in France. One of the leaders of the Haitian Revolution, he fled to France when Toussaint’s uprising turned against the mulattoes as well as the whites, returning with LeClerc in 1802. After independence Haiti split into two states, north and south, and Boyer served as the right hand of Alexandre Petion, who established himself as president of the southern state. Boyer was appointed by Petion to be his successor, in 1818, while Henri Christophe still ruled in the north. After Christophe committed suicide in 1820 and his young son was killed ten days later, Boyer succeeded in reunifying the two states of Haiti. In late 1821, Santo Domingo became independent from Spain and Boyer swiftly moved to invade, uniting the island under his rule by early 1822. In 1825, after agreeing to an indemnity, he obtained official French recognition of the country for the first time since the revolution.

At first Boyer’s rule looked like a new start for the war-ravaged country, and many free blacks from the United States considered settling there; but Boyer preferred to maintain a semi-feudal government, and little was done to improve the situation. He stayed solidly in power until an earthquake was followed by an insurrection in 1843. Santo Domingo rebelled and won its independence back in 1844. Boyer fought back for over a year before fleeing first to Jamaica in 1845 and then to France, where he died in 1850. He succeeded in lasting as president longer than any other Haitian ruler, just edging out “Papa Doc” Duvalier for the honor.

In this portrait, which shows Boyer in three-quarter profile facing left, he is dressed in his full regalia as general and president, wearing a blue military coat trimmed in gold braid and a white cape with a red lining. This likeness closely resembles an engraving by Raban, dated 1825, which is probably based on it. He is at the height of his achievements, having just solidified his power by obtaining recognition from France. The portrait is signed with the initials “B.C.” written in reverse in the bottom corner. An outstanding image of Haiti’s fourth president. $9500.

A Forty-Niner Paints Indians in Arizona

33. [Hart, Robert Benjamin]: [COLLECTION OF FIVE ORIGINAL WATERCOLORS OF PIMA INDIANS AND THEIR LANDS IN ARAVAIPA CANYON, ARIZONA, MADE BY FORTY-NINER ROBERT HART ON HIS JOURNEY TO THE CALIFORNIA GOLD FIELDS]. [Aravaipa Canyon, Az. late July 1849]. Five original watercolors on card stock, detailed below. A bit of residue on the verso of the images. One drawing with four pin-sized holes. Very good. Each matted and housed in a red morocco backed box.

An extraordinary group of watercolors made by a Virginian travelling the Southern Route to the California gold fields in 1849, among the earliest illustrations depicting the Pima Indians of southern Arizona, and showing their lands in the Aravaipa canyons.

A very interesting group of five original watercolors showing Pima Indians and their lands in Arizona, made by a young ‘49er on his way to the California gold fields by the Southern Route. The Southern Route, also called the Gila Trail, was the least travelled overland route by those headed to California in 1849, and original artwork from those overlands is very rare. These watercolors are also notable as being among the earliest images of the Pima Indians of which we are aware.

Although unsigned, these watercolors were apparently produced by Robert Hart (b. 1834), whose family owned and operated several gold mines in Spotsylvania and Louisa counties in Virginia in the 1840s. In the summer of 1849, Hart, along with his cousins Andrew Bronaugh and Henry Hart, went west to participate in the California Gold Rush. They went overland, and decided to travel by the Southern Route, also known as the Gila Trail, which took them through New Mexico and Arizona, and through the lands of the Pima and other Indian tribes. The Hart-Bronaugh party passed through southern Arizona in late July, 1849, and arrived at the California gold fields the next month. Robert Hart did not stay long in California, leaving in the fall of 1850. He soured on mining and on living conditions in the mines, and returned to the East Coast by boat and across the Isthmus of Panama.

Records from the 1850 census indicate that young Robert was back in Virginia, living with his aunt, Mary Frances Jenkins Holladay at her home, known as “Woodside,” in Louisa County. Following Hart’s return home from California, he worked with his father, Robert, and his uncle, Colonel James Hart, at the Old Rough and Ready Furnace in Louisa County. After his father’s passing Hart moved with his family to Christian County, Kentucky. These watercolors were found at “Wood- side” by a Hart-Jenkins family member, and have remained in the family since they were re-discovered.

The watercolors are accompanied by typed excerpts from the diary of Robert Hart. These excerpts were included in a family history published by Robert M. Jenkins in 2000. The watercolors included in this collection conform to diary entries made by Hart in the period July 28 to July 31, 1849, when he and his fellows were travelling through Pima lands.

The illustrations (all but one untitled) are as follows:

1) Watercolor showing five Pima Indians and an Anglo-American, 5¾ x 8 inches. The white man in the picture is seated with his arm resting on a table which also holds an inkwell. Some surmise that it may portray Robert Hart himself, though the figure in the watercolor appears much older than Hart, who was only fifteen when he went west to California. The scene appears to take place inside a Pima tent. Four of the Pima are fully dressed and the illustration wonderfully portrays their clothing and headdresses. The fifth Pima stands with his back to the viewer, wears a simple loin cloth, and holds a long spear.

2) Watercolor showing three horses, one with a rider, passing along a river in a small canyon, 6 x 3¼ inches. This illustration has four small pin-sized holes. The rider is on the horse nearest to us, and has a rifle slung across his lap. The horses are shown walking through a shallow stream that passes through a steep-walled canyon.

3) “Glade in Aravipa Canons.” Watercolor showing four men setting up camp in a glade in Aravaipa Canyon, 2 5/8 x 4 3/16 inches. This illustration shows a lush glade with four men (three of them seated) depicted in the bottom center of the image.

4) Watercolor showing a narrow passage through a steep canyon, 5¼ x 3 3/8 inches. Almost certainly another scene from Aravaipa Canyon, showing the beautiful but difficult terrain through which Hart and his companions passed.

5) Watercolor showing a small waterfall, 4½ x 2¾ inches. This image, showing a small trickle of a waterfall, conveys the deep brown tones of the rock walls and the dark green vegetation growing thereon.

In his diary entry for July 28, 1849 (a typed transcription of which accompanies the watercolors), Hart wrote of his encounters with the Pima, the type of which appears to be depicted in the first watercolor described above: “We today remained with the Pimos [sic], with whom we have had two trades of mules and horses. And our camp has been thronged with them all day with various articles for trade....The Chief has been to see us. They none of them wear any clothing, only around the hips, and their skin is sun proof. For it is far hotter than ever I felt and has, from the heat of the sand, blistered my feet through my shoes.” Another of Hart’s diary entries, from a few days before, may well relate to the scene depicted in watercolor number two, above: “Our trail takes us down this branch and, after following it 15 or more miles, we again reached the river. How unlike we left it! From flat land about it, the rocks had taken place and there was nothing but mountains of rock or incredible height binding it in.” $17,500.

34. [Hill, Robert Clinton]: [AMATEUR WATERCOLOR OF PASTORAL SCENE]. [N.p. May 24, 1854]. Watercolor, 4½ x 5½ inches, on 15 x 11½-inch paper. Bright and clean. Near fine.

An accomplished amateur watercolor by Robert Clinton Hill of North Carolina, done during his last year at the United States Military Academy. The scene shows a peaceful brook at the end of a path winding its way through a dense forest. Hill resigned his commission in the Union army to fight for North Carolina in the Confederate States Army, being promoted to captain in 1861. HEITMAN, p.530. $500. Original Watercolor Drawing of an Indian Warrior

35. [Indian Portrait]: [AN ORIGINAL UNSIGNED WATERCOLOR POR- TRAIT OF A STANDING INDIAN WARRIOR, POSSIBLY PAWNEE]. [N.p. n.d., but ca. 1860s]. Small sheet of thick paper stock, 3¾ x 6½ inches. Overall condition is very good.

A charming watercolor drawing of a standing Indian warrior or chief in full regalia, with bow and hatchet. Reminiscent of Alfred Jacob Miller’s style of drawing, although certainly not by him. $600.

Buffalo Girl, Won’t You Come Out Tonight?

36. [Indian Portrait]: [WATERCOLOR PORTRAIT OF A YOUNG INDIAN GIRL]. [N.p. ca. 1880]. 8½ x 6¾ inches. Bright and clean. Mounted on heavy card, 8¼ by 6¾ inches.

An attractive folk portrait of a doe-eyed Indian woman shown seated at the edge of a sofa. The girl’s hands are folded gently in her lap, and she is shown wearing a patterned dress adorned with a large bow. It seems likely that the woman depicted is of mixed race, perhaps the daughter of a trader and an Indian woman. Judging by the dress and background, the picture was probably done about 1880, most likely in Canada. $1250.

Splendid Watercolors of Kamchatka and Siberia

37. [Kamchatka and Siberia Watercolors]: [ALBUM OF SIX WATERCOLOR VIEWS OF SCENES IN KAM- CHATKA AND SIBERIA IN THE LATE 18th CENTURY]. [N.p. n.d., but ca. 1808]. Six watercolors on individual sheets, measuring 10½ x 16¼ inches on average. Five of the six watercolors titled in manuscript below the image, and with extensive Dutch-language notes on the verso of each sheet. Bound into modern half morocco and marbled boards (oblong quarto in size), gilt morocco label on front board reading: KAMTSCHATKA ET SIBERIE ALBUM DE DESSINS. Very minor wear or soiling in the edges of the margins, else fine.

An atlas of splendid watercolors by an unknown artist, showing scenes in Kamchatka and Siberia in the late 18th century. The paintings are quite well done. While the artist’s facility for drawing human figures is not of the highest magnitude, his ability in rendering places, topography, and villages is excellent. The identity of the artist is unknown, but it seems likely that he was a Dutchman of some means who owned or had access to a collection of the most important accounts of 18th-century travel in eastern Russia and the Kamchatka peninsula. The watercolors show scenes of village and seaside life as originally depicted in the plates to the travels of Cook, Sarychev, and Chappe D’Auteroche, which all took place between 1760 and 1795. Though undated, a manuscript note on the verso of the final watercolor carries the date of 1808, and likely indicates when one or all of these images were painted.

The images contained in this atlas are faithful, detailed, and accomplished watercolor renderings of printed plates from the atlas to James Cook’s third voyage; the atlas to the voyage of Gavrila Sarychev; and the account of Jean Chappe D’Auteroche’s travels to Siberia in the early 1760s. The artist has taken great care to retain interesting ethnographic details from the original sources, showing details of clothing and decoration as well as animals, dwellings (from thatched huts to wooden structures), buildings, churches, sleds, and local boats and canoes. Two of the images feature fishing scenes, and all but one of them shows a locations near a river or the sea. The interest and usefulness of the album is further heightened by the extensive manuscript notes in Dutch on the verso of each view. In some cases the notes give details of the source of an illustration, but they also provide information about the region depicted, the people who live there, the natural resources and topography, and much more. Further study of the album could lead to more information about the artist and the circumstances of its creation.

The illustrations (with their original manuscript captions) are as follows:

1) “Gericht der stad Bolcheretskoi in Kamtschatka en ein Man, Reirende in en Winter.” This winter scene in Kamchatka is a combination of two plates from the atlas to Cook’s voyages, “A Man of Kamtschatka Travelling in Winter” and “A View at Bolcheretzkoi in Kamtschatka.” It shows a small village of wooden buildings with thatched roofs, while a family of natives, bundled against the cold, stand in the foreground. Two cows are shown in a pen, and farm dogs and sled dogs mill about.

2) “Gerigt van de Stad en Haven van St. Petrus en St. Paulus aan Kamtschatka.” This image copies a plate from the atlas to Cook’s voyages entitled “A View of the Town and Harbour at St. Peter and St. Paul, in Kamtschatka.” An interesting scene of a small fishing village, featuring a group of men casting large nets and other groups in canoes. Larger sailing vessels are in the water in the background, and snow-capped peaks are seen in the distance. In the left foreground are a native husband and wife, with an infant strapped to the woman’s back.

3) “Gericht der Stad Tobolsk, in Siberien.” Copies a plate from Chappe D’Auteroche’s VOYAGE EN SIBERIE (Paris, 1768). A very nice and well-done scene of a largish seaside town, with several whitewashed buildings with tall spires along the waterfront and on a cliff. Workers are shown storing casks of goods by the waterside.

4) “Gericht der Vesting auf Sterkte Sueden - Kolymsk en der Rivier Kolyma.” This image copies a plate from the atlas to Sarychev’s voyage, PUTESHESTVIE FLOTA KAPITANA SARYCHEVA... (St. Petersburg, 1802). An attractive scene of a small village of wooden buildings in a waterside setting. This scene is most interesting for the details of the structures, including a Russian Orthodox Church.

5) Untitled. This is a version of the Cook atlas plate titled “Summer and Winter Habitations, in Kamtschatka.” This interesting scene gives great details of the dwellings used in Kamchatka. Located along a river, they are built on stilts so as to withstand floods.

6) “Gericht van de Sterkte (of Vesting) Werchue - Koymsk, en van de Rivier Jasjaschna.” This image copies a plate from the atlas to Sarychev’s voyage, PUTESHESTVIE FLOTA KAPITANA SARYCHEVA... (St. Petersburg, 1802). Another view of a small fishing village, with men casting nets at the shoreline, a mid-size sailing ship in the water, and a small group of one- and two-story buildings on the shore opposite.

A very interesting suite of watercolors, showing evocative scenes of village life in Siberia and Kamchatka at the time when European explorers were first visiting that remote area. $60,000. Original Watercolor by Edward M. Kern on the North Pacific Exploring Expedition

38. Kern, Edward M.: [ORIGINAL WATERCOLOR DRAWING:] THE DOCTOR, CANTON. Canton, China. April 1854. Watercolor drawing, 9 7/8 x 7 1/8 inches. Matted, in a gilt frame under glass. The image is signed: “The Doctor / Canton / April, 1854 / Kern delt.” Overall condition is excellent.

A fine original watercolor drawing by the important American artist, Edward M. Kern. This drawing depicts three standing figures at Canton, including a doctor and a young boy. The men stand in a Canton street next to a child’s hobby-horse toy on wheels. The drawing was made while Kern served as artist and taxidermist on the North Pacific exploring expedition under Cadwalader Ringgold in 1853-56. This expedition, which was primarily a surveying and exploring voyage, set sail in June of 1853 for the Orient via the Cape of Good Hope and Batavia. While at Canton, Ringgold suffered a mental collapse and was replaced with Commander John Rodgers. The ships returned, via San Francisco and Cape Horn, to the New York Navy yard in the summer of 1856. Both Edward and his brother, Richard, are famous as important expeditionary artists in the American Southwest. $3000.

An Important Original Oil Painting from the Audubon/Kidd Collaboration

39. Kidd, Joseph Bartholomew: [After Audubon, John James]: REPUBLICAN CLIFF SWALLOW. Edinburgh. 1831. Oil on millboard, R. Davy label on verso. Approximately 18½ x 11¼ inches. Very good. Framed.

In 1827, while in Edinburgh supervising the engraving of the first part of the double-elephant folio BIRDS OF AMERICA, John James Audubon met a young landscape artist named Joseph Bartholomew Kidd, whom the engraver Lizars had employed to more artistically finish the sky in the background behind one of Audubon’s birds. Audubon would write in his journal on March 1, 1827 of Kidd: “I admired him for his talents at so early a period of his life, he being only nineteen. What would I have been now if equally gifted by nature at that age?” In the winter of 1831, Audubon would commission Kidd to copy some of his watercolors in oil and paint in the backgrounds, with the inten- tion of holding an exhibition of the oils, selling the paintings and dividing the proceeds. In July 1831, Audubon sent to Kidd 67 drawings “to be painting in oil by him for one pound each.”

A notice in an 1832 issue of the CALDEDONIAN MERCURY details the plan:

“About a year ago Audubon conceived the grand idea of a Natu- ral History Gallery of Paintings, and entered into an agreement with Mr. Kidd to copy all his drawings of the same size, and in oil, leaving to the taste of that excellent artist to add such backgrounds as might give them a more pictorial effect. In the execution of such of these as Mr. Kidd has finished, he has not only preserved all the vivacious character of the originals, but he has greatly heightened their beauty, by the general tone and appropriate feeling which he has preserved and carried throughout his pictures.”

Although Audubon had intended to have Kidd reproduce all his drawings in oil for the exhibition, the project was never completed. Kidd was among those at the sale of Lord Elgin’s pictures in March 1833 when the floor gave way. Kidd’s injuries seem to have prevented him from his work and engendered a financial dispute with Audubon. By December of that year Audubon advised his son Victor to “take all the pictures from him by goodwill or otherwise and give him no more originals to copy.”

Kidd delivered to Audubon ninety-four paintings in all; approximately sixty are extant, including those in the collections at Harvard, the American Museum of Natural History, Princeton, the National Gallery, Yale, the Metropolitan Museum of Art, and others.

This Audubon image depicts a male (bottom) and female (top) Cliff Swallow (Petrochelidon pyrrhonota) among a cluster of nests, one with a young bird peeking its head out, affixed to a rocky outcrop. The image would appear in the Havell edition in 1829 as plate 68, based on a watercolor by Audubon accomplished in Cincinnati in 1820. See Audubon’s OR- NITHOLOGICAL BIOGRAPHY I, pp.353-357 for his description of the bird and their curious nests and his encounter with them near New Port, Kentucky.

As usual with the Audubon/Kidd oils, the work is unsigned and undated. This painting remained in the possession of the Audubon family until 1863, when Lucy Audubon (the daughter of J.W. Audubon and Maria Bachman) gave it to her grandson, Mark F. Zinck, whose signature is on the verso of the board. Fries, THE DOUBLE ELEPHANT FOLIO: THE STORY OF AUDUBON’S Birds of America (Chicago:, 1973), pp.360- 67. $75,000.

Rare Charles Bird King Study of a Chippewa Chief

40. King, Charles Bird: [CHIPPEWA CHIEF PEECHEKIR, ALSO CALLED BUFFALO: A HEAD STUDY BY CHARLES BIRD KING FOR A PAINTING LATER PUBLISHED IN McKENNEY AND HALL’S History of the Indian Tribes of North America]. [Washington, D.C. ca. 1830]. Black and white chalk with charcoal on gray/green paper, 10 1/4 x 6 3/8 inches. Unsigned. A beautiful image in fine condition.

Peechekir (also called Peechekor and Buffalo) was “a solid, straight formed Indian,” Col. Thomas McKenney recalled many years after meeting the Chip- pewa chief at a treaty ceremony in Michigan Territory circa 1825-27.

This sketch is one of only sixteen known King studies of Indian heads. It was discovered in 1974 among family papers by Bayard Leroy King of Saunderston, Rhode Island, a descendant of Edward King, the artist’s second cousin. The study is illustrated in Cosentino’s THE PAINTINGS OF CHARLES BIRD KING, and in Viola’s INDIAN LEGACY OF CHARLES BIRD KING. Ac- cording to Horan, King copied this head from a James Otto Lewis painting, but no such picture survives, and the idea is highly unlikely given the extreme difference in the artists’ styles. Had it existed, that Lewis painting would probably have been lost, as were many Lewis paintings and the King oil of Peechekir, in the 1865 Smithsonian fire. Leonard Viola believes this drawing is a life study by King.

The McKenney and Hall HISTORY OF THE INDIAN TRIBES OF NORTH AMERICA print of Peechekir is clearly based on this sketch, and it may well have been sketched specifically for the McKenney and Hall. To that point, a large area on the reverse of the drawing is covered with charcoal, creating a “carbon” type paper which allowed the drawing to be traced over, the traced lines transferring the charcoal onto another surface such as a piece of paper or printing plate. A few blind incised lines are visible in raking light on the front and back of the drawing.

Charles Bird King (1785-1862) was born in Newport, Rhode Island. He trained in London under Benjamin West. He eventually settled in Washington, D.C. in 1819, calculating it was a good base for one who sought to earn a living mainly by portraiture. He was thus in the right place when Commissioner of Indian Affairs Thomas L. McKenney decided to add portraits of leading Indian chiefs to the collection of artifacts he had begun when he became superintendent of Indian trade in 1816. McKenney conceived the idea of an Indian portrait gallery at the time of the visit of a large delegation of Indians from the Upper Missouri to Washington in 1821-22. King was commissioned to execute the portraits.

An exceptionally handsome likeness of a Chippewa chief, sketched by one of the most famous and important, avidly collected portrait-makers of 19th-century American Indians, this study is one of the last fine Indian portraits by Charles Bird King still to be found in the art market. James D. Horan, THE McKENNEY-HALL PORTRAIT GALLERY OF AMERICAN INDIANS (New York: Crown, 1972), pp.206-7. Andrew F. Cosentino, THE PAINTINGS OF CHARLES BIRD KING - 1785-1862 (City of Washington: National Collection of Fine Arts & Smithsonian Institution Press, 1977), pp.203-4, cat. nos. 409, 641. Herman J. Viola, THE INDIAN LEGACY OF CHARLES BIRD KING (Washington, D.C.: Smithsonian, 1976), p.128. $28,000. Original Figure Studies by Augustus Kollner

41. Kollner, Augustus: [SIX PEN-AND-INK FIGURE STUDIES BY AUGUSTUS KOLLNER]. [Philadelphia. 1837, 1861-1867]. Six large sheets, ranging in size from 19½ x 14 to 23 x 16 inches. Some light wear at edges. One drawing with some light foxing; relatively minor soiling otherwise. Very good.

Six large figure drawings by German-American artist Augustus Kollner, depicting male nudes in various poses: standing, lying, and sitting. Though Kollner is best known for his lithographs and watercolors, he also produced etchings, woodcuts, and drawings, preferring pen and ink as his medium for these. Aside from the earliest of these studies, dated March 1837, the drawings were executed in Philadelphia during the 1860s, after Kollner’s commercial ventures had mostly subsided. “German-born Augustus Theodore Frederick Kollner arrived in America in 1839 and enjoyed an artistically fruitful career in this country until his death in 1906....Associated at one time or another with each of the major lithographic firms in Philadelphia, he worked his way from journeyman to artist, to chief artist, to partner. Ultimately, he owned his own establishment” - Wainwright. After the Civil War his career flagged, but because of his wife’s inheritance he was able to pick and choose what projects he accepted. This financial freedom also allowed him the luxury to paint at leisure, and in his later years he generated a tremendous amount of work, which he often kept bound up in albums.

An attractive and unusual example of Kollner’s artistic abilities. Wainwright, “Augustus Kollner, Artist” in PMHB, Vol. 84, no. 3 (ref). $4000.

A Remarkable Archive of Watercolors by Langsdorff, Executed in Japan on the Krusenstern Expedition

42. Langsdorff, Georg Heinrich: [ARCHIVE OF ORIGINAL WATERCOLORS DRAWN DURING THE KRU- SENSTERN VOYAGE TO JAPAN]. Nagasaki. 1804-1805. Twelve original watercolors, many signed by Langsdorff, differing sizes and paper stocks. All showing some slight degree of wear, but with lovely fresh color. Very good. See details below. In a half morocco case, with chemise.

A rare and important group of original watercolors depicting Japanese people and scenes, drawn on the Pacific voyage of Krusenstern by the physician and naturalist of the expedition, Georg Langsdorff. These fresh and poignant sketches are remarkable survivals, having remained in the hands of direct descendants of Langsdorff in Germany until very recently. They constitute one of the more interesting collections of early Pacific voyage art to remain in private hands.

The dream of opening trade between Russia and Japan was one of the main objectives of the Krusenstern expedition, and these detailed watercolors are a moving record of the period the Russians spent in Nagasaki in 1804 and early 1805, a time when all but the Dutch traders were still being firmly rejected by the Japanese imperial government. Given the cool- ness of Japanese relations with Europeans at this time, such glorious eyewitness depictions are most uncommon. Indeed, Langsdorff was one of only seven Russian officers who were allowed to live on shore while the expedition was anchored in Nagasaki. Only because of this was he was able to make so many sketches of everyday life and the Japanese people.

In the event, Langsdorff and the other Russian officers spent over six months politely imprisoned in Nagasaki, at the end of which period their gifts to the Emperor were returned, and they were told to leave and not return. Langsdorff was fascinated by Japan, as these accomplished watercolor sketches confirm, and in his published narrative gave a minute account of life there, details of which help provide a key to understanding many of the sketches in this group.

Formal trade relations between Japan and Europe had been opened in 1609, but after 1637 only the Dutch retained their rights to trade, all other nations being expelled. Over the next two centuries the trade had been jealously protected by the Dutch, but the Langsdorff visit took place at a time of political turmoil in which the Dutch monopoly seemed threatened. The Dutch East India Company (the VOC) had collapsed into bankruptcy in 1800, and Dutch ships were also suffering because of the Napoleonic Wars, their trade lines having been cut by the British Navy. This power vacuum invited prob- ing by other nations; Dutch traders had even been forced to make some tentative arrangements with American vessels, and the arrival of the Russians meant another power attempting to insert itself.

Georg Heinrich von Langsdorff (1771-1852) studied medicine at Göttingen, and like many of his generation he became very interested in natural history. He entered Russian service and sailed with Capt. Ivan Krusenstern’s expedition in 1803. This four-year voyage, the first Russian circumnavigation of the globe, around Cape Horn to Kamchatka, making stops at the Marquesas and Hawaii, was intended to gather geographical knowledge in the Pacific and assert Russian naval authority there. Langsdorff returned to Russia in 1807, publishing his major account of the voyage in 1812. In his account Langsdorff states that, though they were politely refused, their Japanese visit was “the most interesting part of our expedition,” and devotes nearly 100 pages to their stay in Nagasaki. In their spare time they constructed a Montgolfier-type balloon and made the first aerial ascent in Japan.

The published account includes a suite of plates, several of which are based on the original sketches in the present group. No doubt the most striking is the harbor scene depicting Japanese officers sent by the Prince Omura on an embassy to the Rus- sian official Rezanov. The large vessel at left is the Nadezhda, while Langsdorff has drawn himself at far right in the act of sketching the scene.

It is interesting to see the wide variety of paper used by Langs- dorff for his sketches, no doubt a testament to the exigencies of life on board long sea-going voyages. Three watermarks are quite distinct, one for Whatman paper (dated 1794), three marked “CR VII,” and three “Orholm.” At least eight of the sketches are distinctly the originals for the later engravings, while the other four are otherwise unique. Even where a later engraving is known, the difference in quality and detail between the watercolour and the finished plate is extraordinary.

Eight watercolors were copied by the engraver for the official account:

1) River boat transporting a group of women, fine detail of faces and hairstyles, with two boatmen in loincloths standing. Wove paper sheet watermarked “J. Whatman 1794,” 220 x 280 mm. This boat was later used as part of a larger scene of a Japanese fortress (plate I:16). Langsdorff describes how their ship was towed to the other side of Papen Mountain and had its first glimpse of Nagasaki proper. While they came to anchor a great many smaller boats came out, as Langsdorff commented, “full of company of both sexes, but particularly of the fair sex...to satisfy their curiosity with a sight of the great Russian ship.”

2) “Schekita der Strohschuhe verkauft.” Portrait of a Japanese vendor in blue robes with two baskets of sandals. Pale blue tinted laid paper sheet, 160 x 220 mm. A very similar (but not identical) figure is included at the far left of plate I:17, a scene showing the house inhabited by Ambassador Rezanov in Nagasaki. If the sketch is indeed the original, it has lost something in the translation to the finished engraving, because the details of being a sandal seller (and of course the name) are not on the plate.

3) Harbor scene, with much fine detail of a procession of fourteen Japanese soldiers and officials in the foreground and a saddled horse, roof and partial side view of a traditional house, and the Nadezhda and a Chinese junk at anchor in the cove, signed “Langsdorff.” Laid paper sheet watermarked “CR VII,” 335 x 205 mm. Old paper repair to one corner (image unaffected). This marvellous scene is the original for the engraved plate which shows Japanese officers sent by Prince Omura on an embassy to Rezanov (I:18). The accommodation for Rezanov had been a rather contested issue, but after weeks of diplomacy he was finally allowed to take over a small house ashore, in which he lived with a few of the other senior officials and Langsdorff. The large vessel at left is the Nadezhda, while the junk is almost certainly the vessel that had originally been lent by the Japanese as proposed accommodation for the Russian officials (the proposal had been rejected by Krusenstern). In the text Langsdorff explains this scene in great detail, including a key to all of the figures depicted. For example, the man in trousers (third from the left) is the officer sent as Omura’s emissary, and even the hills in the background are “true to nature.” Despite this accuracy, the comparison of the lively and detailed original with the finished engraving, shows how much has gone missing in the process of publishing.

4) “Rokubo.” Front and rear portrait of a monk (?) in white ceremonial dress and hat, with some detail of accoutrements. Laid paper sheet, 205 x 165 mm. This man was later included in the first plate showing the Japanese in “various costumes” in Langsdorff’s account (I:22).

5) Fine portrait of two men in blue robes, with good detail of costume, faces, and sandals. In lieu of hands both men have unusual geometric contraptions, the exact interpretation of which is not clear. Laid paper sheet watermarked “Orholm,” 210 x 335 mm. Certainly the figure of a man in his “raincoat” (Regenkleid) on the left of the image was later included on plate I:23 in the Langsdorff account. In the engraving the man may be holding a fan. It is not obvious what the second man’s hand holds.

6) “Ein Japaner im Ceremonien Kleid.” Front and rear portrait of samurai in formal dress with two swords, partially colored. Laid paper sheet watermarked “Orholm,” 205 x 335 mm. This wonderful portrait of a man in his blue robes with swords was later adapted to become the figure at the far right of plate I:22. A good deal was lost in the translation from original to engraving.

7) Portrait of a Japanese woman with ornate hairstyling, patterned kimono, and a fan, signed “Langsdorff.” Laid paper sheet watermarked “Orholm,” 335 x 210 mm. This beautiful portrait was adapted to become the figure in the center of I:26. This is the most extreme example of the flattening of detail that has taken place in the engraving process, as the original sketch is a vibrant and evocative portrait, unlike the fairly mundane finished engraving.

8) “Eines vornehmen Japaners.” Portrait of a man holding a child on his shoulder, the child in a parti-colored robe figured in great detail. Laid paper sheet, 205 x 125 mm. This figure was used as the original for a man holding a child on plate I:26. What the sketches show is the fabulous color and detail of the child’s robe. In the caption to the finished plate Langsdorff comments that the man is a servant of the woman, holding her child on his shoulder. As he notes, children often wear red clothing covered with floral designs.

Four of the watercolors are not otherwise recorded:

9) “Ein soldat des Prinzen von Omura.” Portrait of samurai in blue kimono with detail of insignia, hilts of two swords visible. Laid paper sheet watermarked “CR VII,” 205 x 80 mm. A fine and interesting portrait of a warrior attached to the Prince of Omura. Details of his visage and dress are quite similar to a figure included on plate I:18 (but if so, quite altered in the process).

10) “Japaneser im Zimmer sitzend.” Portrait of three seated men, with detail of kimonos and sword hilts, partially colored and signed “Langsdorff.” Laid paper sheet watermarked “CR VII,” 325 x 200 mm. A most interesting depiction of three men in the traditional seated pose. Although sketched in with some rapidity, Langsdorff’s eye for detail is shown to advantage in his use of highlight color.

11) “Bonser[?]” Japanese nobleman in red kimono with blue sash and fabrics, detailed study. Laid paper sheet, 205 x 140 mm. A fine portrait of a man in a voluminous red robe with blue brocading.

12) “Minno.” Front and rear portrait of male figure in traditional grass garb. Cloak with blue cloth detail, bead necklaces, etc. Pale blue tinted laid paper sheet, 225 x 345 mm. A double portrait, front and back, of a man in his elaborate fur coat, with various accoutrements at his belt.

An extraordinary archive, from one of the most important of European Pacific voyages, by one of the key narrators of that voyage, depicting Japanese subjects at a time when it was virtually closed to European eyes. This archive is now offered for the first time since its creation, having descended in the Langsdorff family until the present. HOWGEGO I: K23, L11. $125,000.

Two Extraordinary Native American Portraits from the Malaspina Expedition

43. [Malaspina Expedition]: Pozo Ximénez, José del: [PAIR OF SEPIA PORTRAITS OF PATAGONIANS EX- ECUTED ON THE MALASPINA EXPEDITION]. Puerto Deseado, Argentina. [ca. 1789]. Two red chalk drawings: the young woman on a sheet measuring 228 x 190 mm., paper watermarked with a combined “P” and smaller “L”; the man “Junchar” on a sheet 228 x 195 mm. Both drawings window-mounted (probably about 1810) into a larger sheet of Whatman paper, with ink borders added. Fine.

A superb pair of highly finished red chalk portraits of two Patagonians made at Puerto Deseado in southern Argentina during the Malaspina expedition, by one of the expedition’s artists.

The Malaspina Expedition was Spain’s single effort at a voyage of exploration and discovery comparable to the great Eng- lish and French voyages of the late 18th and early 19th centuries. More specifically, it was designed to gain geographical knowledge and underpin Spain’s territorial claims to the Northwest Coast of America. It also had ambitious plans to publish its findings, in the tradition of the other great European voyages. The Malaspina voyage is famous for the quality of the scientific material collected, not least the anthropological drawings of peoples drawn at their many ports of call, accurate and lifelike depictions very much in the tradition of the artists who accompanied James Cook, William Hodges, and John Webber. The expedition circumnavigated the globe, leaving Cadiz on July 30, 1789, visiting the coast of Pa- tagonia in November, working on the west coast of the Americas in 1790 and 1791, and ultimately returned to Spain in 1794 after a five year voyage.

Although unsigned, both portraits offered here have been firmly attributed to voyage artist José de Pozo Ximénez (1757- 1821), who made a series of drawings in Patagonia, including one sketch in which he and his fellow artist, Pineda, are depicted in the act of drawing some of the local people. Pozo Ximénez was a native of Seville, hired as an expedition painter by the Spanish government in June 1789. At the time of his recruitment he was described as “an excellent subject and perspective painter, having a very good education, with a wealth of geometry and is very robust for the age of 32” (Puig- Samper, ILLUSTRATORS OF THE NEW WORLD, online). A specialist in perspective and portraits, his ethnological work is considered his greatest contribution to the results of the voyage, but although Malaspina admired his “accuracy and speed” (JOURNAL OF THE VOYAGE, I, p.140), the commander became increasingly infuriated with what he saw as the artist’s laziness and indifference, and forced him to leave the expedition in Callao in May 1790. Although ordered back to Spain, Pozo in fact never left Peru, founding a school of painting in Lima. The bulk of his Malaspina voyage originals are in the Museo Naval, Madrid, where much of the original material from the expedition resides.

The portraits depict a man and woman, drawn during a well-recorded encounter between the Spanish and the Patagonians in December 1789. It can be established that the man is a chief called “Junchar”; and the young woman is apparently the young woman called “Jujana” or “Cátama,” who is described in detail in Malaspina’s journal as having captivated the Spanish officers.

The expedition had reached Puerto Deseado in late 1789, and Malaspina personally describes their interaction with a local tribe of some forty people on three separate occasions (JOURNAL, I, pp.85-90). Pozo joined Malaspina on the second of these visits, drawing these portraits and a larger sketch of the encounter between the Spanish officers and a large group of Patagonians, a sketch which seems to have an each-way bet on whether they were in fact giants: Pozo’s Patagonians are strapping but not absurdly tall (Carmen Sotos Serrano, LOS PINTORES DE LA EXPEDICION DE ALEJANDRO MALASPINA, plate 36). Indeed, it is plausible that the two present portraits are of people who are also in that larger scene: Junchar may be the man with a cloak over one shoulder talking to one of the Spanish men, while the young woman could conceivably be the person standing at the far right of the Patagonians, with dark eyes and parted hair.

What is clear is that both subjects were described in detail by Malaspina personally. Of Junchar he notes: “In general they were all (including the women and children) very large and solidly built. Their height was not in proportion to their build but they were tall: the cacique Junchar who was carefully measured by Don Antonio Pineda and found to be six Burgos feet and ten inches in height, and almost twenty-three inches broad from shoulder to shoulder” (JOURNAL, I, p.87). No doubt Junchar was singled out by Pozo because his large stature spoke to the ancient misconception of Patagonians as giants, a myth which had gripped the European imagination since the time of Magellan. In a much longer passage Malaspina also describes how they singled out one particular woman to have her portrait taken: a “Patagonian girl aged about fourteen [later referred to as Jujana by Malaspina], whose good looks, great charm and exceptional loquacity had made us choose to portray her rather than the other women, was drawn to our attention even more when the time came for them to go ashore,” as she struggled to modestly use her poncho to carry away some biscuits and vegetables that had been given to her as a gift (p.89).

In the catalogue raisonné of the art of the Malaspina voyage Carmen Sotos Serrano located two preliminary gridded sketches of these portraits, “Patagon” and “contorno de la Patagone” respectively (see cat. 39 and 40). Pozo also did a full-length study of Junchar and two other studies of a second woman with child (cat. 41 and 42). All of these sketches are in the Museo Naval in Madrid, which collection also includes two later oil paintings of Junchar and the young woman, now called “Cátama.” The oils were acquired by the museum in 1932.

The drawings presently offered were originally in an album or portfolio entitled “Spanish Drawings” which had been acquired by Elizabeth, Lady Holland, when travelling extensively in Spain between 1802 and 1805. The Whatman paper into which they have been window-mounted for the album is watermarked 1801, confirming this approximate date of ac- quisition and their having been mounted in an album. Many of the other drawings in the collection were topographical works by another Malaspina voyage artist, Fernando Brambila. When the present drawings were sold in the large sale of drawings from Holland House in 1979, they were attributed to Brambila, with the rather telling comment that “no comparable drawings by the artist are recorded.” However, a comparison with the works illustrated by Serrano and a reading of the journals make it clear that Pozo Ximénez is the artist.

Because Malaspina quickly fell into official disfavor, and with the disruptions of the Napoleonic Wars, the extensive planned publications of the expeditions never came to be. Virtually all of the archives of the voyage are now to be found in the Museo Naval in Madrid. These drawings, acquired only a few years after the return of the voyage by Lady Holland, are thus among the very few original works of the voyage to ever appear in the market. An extraordinary opportunity to acquire two significant portraits of Native Americans from one of the greatest voyages of the Second Age of Exploration. HOWGEGO I, M26. Serrano, LOS PINTORES DE LA EXPEDICION DE ALEJANDRO MALASPINA (Madrid, 1982), cat. 39-42. $110,000.

A Scene of Native American Life in the Rocky Mountains

44. [Miller, Alfred Jacob]: FEMALE INDIANS TOILET [manuscript caption title]. [New Orleans. 1837]. Water- color, 8½ x 11¼ inches, made up of pencil on buff paper, with gray and brown washes, heightened with white. Fine. Matted and attractively framed.

A fine Alfred Jacob Miller watercolor showing a pair of Indian women bathing. Though unidentified beyond the caption, they are very likely members of the Snake Indian tribe, whom Miller encountered on an expedition to Wyoming in 1837. Miller (1810-74) was one of the earliest and most important artists to produce paintings of American Indians based on his firsthand experience on the frontier. In this, he was a contemporary of Karl Bodmer and George Catlin - an artist who travelled the American West in the 1830s and created paintings of North American Indians based on his own observations and experiences. Miller is significant for travelling further west than either Bodmer or Catlin, reaching the Rocky Mountains in 1837.

This image depicts a pair of Indian women in a wooded area, clad from the waist down, as they kneel beside a river and bathe themselves. Miller has rendered it in subdued earth tones, and the women themselves seem to be a part of the lush natural landscape. The outline of another group of Indians is visible in the background. Miller often featured Indian maidens in his art, and the present work is an outstanding example of the Anglo-American male gaze turned toward two Native American women, here in a state of semi-nudity.

Born in Baltimore, Miller studied painting in Europe in his early twenties. He returned to Baltimore in 1834 and opened a studio, exhibiting paintings in Baltimore and Boston shortly thereafter. In 1836, Miller moved to New Orleans and opened a studio there. The following year he met Scottish baronet Sir William Drummond Stewart, retired from the British army, and agreed to join his expedition to the Rocky Mountains as the company’s artist. “Miller was not driven by the fierce desire for posterity that motivated Catlin, but he would see more than both Catlin and Bodmer, for Stewart was en route to the annual rendezvous of fur trappers and traders, which [Stewart] had attended for the past four seasons” - Tyler. Captain Stewart had met Karl Bodmer and his patron, Prince Maximilian of Wied-Neuwied, in St. Louis a few years earlier, and was inspired by the details of their western journeys. Stewart, Miller, and their party began in St. Louis, completed their outfitting in Westport, then travelled along what would become known as the Oregon Trail through Kansas, Nebraska, Wyoming, Utah, and Colorado. The ultimate destination of Stewart’s group was the annual rendezvous of trappers and traders which, in 1837, took place at Horse Creek, a tributary of the Green River in present-day Wyoming. It was there that Miller first encountered the Snake Indians, who staged a grand entry to the rendezvous in Stewart’s honor.

Miller made dozens of sketches during the course of the three-week rendezvous, which he turned into finished watercolors and oil paintings when he returned to New Orleans in late 1837. He exhibited several of his western paintings in Baltimore and New York in 1838 and 1839. A large group of the watercolors he produced in New Orleans in late 1837 (the present work among them) were meant for Capt. Stewart’s personal collection. Miller travelled to Murthly Castle in Scotland in 1840 to present his paintings to Stewart and to paint further works for him. The present watercolor was part of “a fresh and lively group of pen, wash, and watercolor sketches that Stewart kept in a ‘richly bound portfolio’ in the drawing room” (Tyler).

This watercolor was part of the portfolio given to Sir William Drummond Stewart by Alfred Jacob Miller about 1840. It descended in the Stewart family at Murthly Castle until it appeared at auction at Chapman’s in Edinburgh, June 16-17, 1871, where it was purchased by Bonamy Mansell Power. It descended through the Power family until it was consigned to auction at Parke Bernet Galleries in New York on May 6, 1966, where the album was broken up and sold as a series of watercolor drawings by Miller, “the property of Major G.H. Power of Great Yarmouth, England.” This watercolor was acquired at that sale by Carl and Elizabeth Dentzel, becoming part of their collection. It was sold to the previous owner in 1996 by the Gerald Peters Gallery.

A lovely and early watercolor of American Indian women by this important artist, based on his travels in the West. TYLER, ALFRED JACOB MILLER 473A (“unlocated”). $62,500.

A Dangerous Sport of the Greatest Charm to the Reckless Indian

45. [Manner of Miller, Alfred Jacob]: INDIANS ATTACKING GRIZZLY BEARS. [1900s, based on sketches made in 1837]. Oil on panel, 11½ x 13½ inches. Calligraphic title lower image. American carved and gilded wood frame. Fine condition.

This colorful and lively painting of dangerous sport along the Oregon Trail depicts three mounted Indian warriors, armed with war club, spear, and bow and arrow, battling two towering and ferocious grizzly bears. Curiously, the Indians may not be enjoying a decided advantage. In a discussion of Albert Jacob Miller’s numerous bear hunting pictures, western historian Ron Tyler points out that often the best way to kill a bear was to run it to death because “sometimes an arrow would not pierce him because of the thick, matted hair.” An avid hunter himself, Miller produced many important paintings of traditional hunts for buffalo, elk, and bear; but he was also apparently something of an aficionado of the inter- species bloodsport illustrated here. In particular, Miller called bear fighting “dangerous sport” with “the greatest charm to reckless trapper and Indian.”

Miller’s romantic sketches and paintings gave the world its first salient glimpse of the American interior West. In 1837 he was selected by Capt. William Drummond Stewart as artist to record an expedition up the Oregon Trail. His only duty was to sketch what interested him and, for- tunately, his eye was for the wild and the unusual. The two hundred or so anecdotal sketches with which he returned served for the rest of his life as inspiration for a body of monumental western paintings that today are found in most major American art museums, including the Amon Carter Museum and the Thomas Gilcrease Museum. “Miller was a romantic painter of epic proportions [whose] works stunned sophisticated New Yorkers accustomed to the calmer canvases of Thomas Cole and his contemporaries. [Miller’s paintings] represent a unique aesthetic and historical document...He compiled an unparalleled visual record...of the Indians of the West” - Tyler.

“Indians Attacking Grizzly Bears” is a skilled interpretation of Albert Jacob Miller’s exceptional sketches of hunting in the American West. Ron Tyler, ALFRED JACOB MILLER: ARTIST ON THE OREGON TRAIL (Amon Carter Museum, 1982), passim. Joan Carpenter Troccoli, ALFRED JACOB MILLER - WATERCOLORS OF THE AMERICAN WEST (Thomas Gil- crease Museum Association, 1990). Peggy and Harold Samuels, ILLUSTRATED BIOGRAPHICAL ENCYCLOPEDIA OF ARTISTS OF THE AMERICAN WEST (Garden City, 1972), p.324. $3500.

Watercolor of a Native American

46. [Native Americans]: [After Smith, Charles Hamilton]: NORTH AMERICAN, SEWESSISSING CHIEF OF THE EOWAH INDIANS [manuscript caption title]. [N.p. ca. 1835]. Watercolor on a 9¼ x 7¼-inch sheet of paper. Mounted at the upper and lower edges to a slightly larger sheet. Fine.

A handsome watercolor of a Native American chief, after the original by Charles Hamilton Smith that appeared as a colored engraving in Baron Georges Cuvier’s THE ANIMAL KINGDOM. This illustration is unsigned, and depicts the Sewes- sissing, chief of the Iowa Indians. The unknown copyist of Smith’s original displays himself as an artist of some talent, having produced a remarkably accurate version of the original. The profile is strong and sharp, and the colors are lively and the shading sensitive. It is a highly accomplished portrait of a striking Native American warrior.

This illustration of “Sewessissing Chief of the Eowah Indians,” appears in the first volume of Baron Cuvier’s sixteen-volume work, THE ANIMAL KINGDOM, which was published in London from 1827-1835. The first four volumes of that work are dedicated to the the “class mammalia,” and contain hundreds of illustrations, mostly of animals. Of these illustrations, some eighty-three are by Charles Hamilton Smith, including this portrait of Sewessissing, and a portrait of a young African male. The portrait of Sewessissing is included in order to illustrate what Cuvier proposed as a new variety of the human species, the “American,” who Cuvier saw as “a link between the Caucasian and the Mongolian, but approximating more to the latter.” The text goes on to describe the (native) American thusly: “the skin is dark, with more or less of a copper tint. The hair is straight and black, the beard small, forehead low, eyes dark and oblique, face broad and prominent, and cheeks rounded. The features, in general, particularly the nose, are more distinct and projecting than in the Mongolian type. The mouth is large, and the lips are rather thick.” Smith’s portrait of Sewessissing is an excellent illustration of Cuvier’s “North American.”

Charles Hamilton Smith (1776-1859), a soldier, artist, and natural historian, was born in East Flanders and studied at the Austrian Academy for Artillery and Engineers, after which he embarked on a career in the British army. Smith saw duty in the Napoleonic wars, and in 1816 was sent on a mission to the United States and Canada. It is likely at this time that he observed Native Americans, and his resulting illustration of Sewessissing was almost certainly done from his firsthand observations. Following his retirement in 1820 Smith devoted himself to his art and natural history studies, producing thousands of watercolors, and lecturing and publishing widely. Smith worked closely with Cuvier on natural history publications, and was elected a Fellow of the Royal Society in 1824. “His industry enabled him to master several disciplines and his accuracy of observation assisted him in the making of accurate drawings of his subjects” - DNB (online). $9500.

Striking Watercolors of Mexico by Nebel

47. [Nebel, Carl]: [SUITE OF FOUR HIGHLY ACCOMPLISHED WATERCOLORS, PRODUCED BETWEEN 1829 AND 1834, WHICH SERVED AS THE MODELS FOR FOUR LITHOGRAPHS PUBLISHED IN CARL NEBEL’S VOYAGE PITTORESQUE ET ARCHÉOLOGIE, DANS LA PARTIE LA PLUS INTÉRESSANTE DU MEXIQUE]. Mexico. [n.d., but 1829-1834]. Four watercolors on paper. Watercolors of various sizes, as indicated below; each mounted on card stock, archivally matted (19 x 23 inches) and protected with a Mylar sheet. Contemporary pencil inscriptions in bottom right corners. A few extremely minor clean tears in a few corners repaired. Watercolors very clean, colors bright and fresh. The set in near fine condition.

A marvellous suite of four highly accomplished watercolors which served as the models for four lithographs published in Carl Nebel’s VOYAGE PITTORESQUE ET ARCHÉOLOGIE, DANS LA PARTIE LA PLUS INTÉRESSANTE DU MEXIQUE. The watercolors all depict native and mestizo inhabitants situated in dry landscapes with hills in the background. The images represent a variety of local types and occupations, including Indian women, men, and children; adult mestizos; coal miners; mule skinners; and fruit vendors. The costumes are portrayed with much attention to detail, particularly the embroidered clothing worn by the native women and the male laborers’ costumes; and the foregrounds and background are finely rendered with light washes.

A German architect and painter, Nebel travelled to Mexico in 1829 “to paint scenes of a country he knew from the writings of Humboldt, Antonio León y Gama, Bernal Díaz del Castillo, and Hernán Cortés. He remained in Mexico until 1834, visiting and painting the cities of Puebla, Zacatecas, Aguascalientes, Guadalajara, Veracruz, Jalapa, Mexico, and San Luis Potosí. He returned to Europe and in Paris prepared his memorable VOYAGE PITTORESQUE ET ARCHÉOLOGIE with its fifty plates” (Howgego). The university trained artist “was drawn there at first by an interest in the archaeo- logical remnants of the Aztec empire, but became a visual chronicler of modern Mexico as well. Nebel was one of many European artists intrigued by the landscape and peoples of the former Spanish empire in the Americas, barred from view for centuries, but from the 1820s onward open to both travel and investment, and of particular interest to the French and English. His book combines a taste for the picturesque with a clear-eyed evaluation of the country and its assets” (AMERICA PICTURED TO THE LIFE).

Nebel’s VOYAGE PITTORESQUE was first published in Paris in 1836 with fifty lithographic plates, twenty of which were issued in color. A Spanish translation of the work, utilizing the same plates, was published in Paris and Mexico three years later (but with nearly all the plates in the later edition handcolored or tinted). Of the twenty color lithographs in the 1836 edition, ten specifically portray local inhabitants of various classes; six of these are of natives or working-class mestizos. The present watercolors consists of four of these six images, including two of the three illustrations of Indians published in the VOYAGE. Comparison of these watercolors and the published images are instructive in regards to the lithographer’s art and craft. The individuals in all of the lithographs are darker than in the original artwork, lending weight to the figures and providing both the natives and mestizos with darker skin than originally portrayed. Certain details, such as elements of costumes and architectural motifs, are highlighted or expanded in the published images, while other visual elements in the foreground and background of the lithographs are given less emphasis than in the original. Such changes between the original watercolors and the printed images highlight the technical and aesthetic concerns of the lithographer and publisher in creating reproduced images for the market.

The four individual watercolors in this suite, with titles transcribed from the original pencil inscriptions and compared to the titles in the 1836 edition, are described as follows:

1) “Indios carboneros y la moradora de la vecinidad de Mexico.” 11 x 15 inches. The lithograph of this image is entitled “Indios carboneros y la buradores de la vecin dad de Mexico,” while the accompanying printed text reads: “Indios carboneros y laburadores de le vecindad de Mexico.” Two Indian coal miners, one carrying a large wooden crate on his back which is secured by a head-brace, with an Indian woman carrying a child. The figures are accompanied by a mule transporting large wooden crates containing fruit. One of the men wears a handsome cloak of animal skins.

2) “Indios de la Sierra al S E de Mexico.” 11 x 15 inches. This image is entitled “Indias de la Sierra al S.E. de Mexico” on the lithograph and in the printed text. Four Indian women in native costume, one holding flowers and accompanied by a young boy. All four women are wearing embroidered native clothing. Two of the women also have folded white cloths on their heads, while the one with the young boy wears an embroidered scarf as a hat. One woman, with her back to the viewer, is portrayed with red and blue cloth woven into her long braids.

3) “Gente de Sierra Lahonte entre Pahanlba y Misaubla.” 9¾ x 13 inches. The lithograph is entitled “Gente de Tierra Caliente entre Papantla y Misantla,” while the accompanying text reads: “Gente de la costa entre Papantla y Misantla.” Two Mexican men, one offering or selling fruit to the other man sitting on horseback, and one Mexican woman carrying two pots on her head. The woman is standing in a classical pose, which is emphasized by the geometric motif decorating the bottom of her clothing. A local building with a straw roof and a larger stone structure, perhaps a church, is seen in the background.

4) “Arrieros.” 11¾ x 16 inches. The lithograph has the same title, the published text with the variant spelling, “Arieros.” Three Mexican mule skinners working to coax an overloaded mule back on its feet. The man on the left, leading the animal with a rope, is dressed in a full poncho. The other two men, one riding a horse and brandishing a whip, are pushing and driving the mule from the rear. In the background, one other horse and three other mules with loads are seen. In the published image the mule’s load is considerably darker and looks even heavier than in this watercolor. The three men are also portrayed with darker skin than seen in this image.

Nebel’s renown as an illustrator working in Mexico was later confirmed with the publication of George Wilkins Kendall’s THE WAR BETWEEN THE UNITED STATES AND MEXICO ILLUSTRATED. This account of the Mexican-American War, published in 1851, included twelve handcolored lithographic plates based on Nebel’s paintings of major battles of the war. These dozen images became the source for numerous prints by other artists, who copied and adapted Nebel’s illustrations of various conflicts. In a similar manner, many of Nebel’s earlier illustrations in his VOYAGE PITTORESQUE were also reproduced and modified by the artist himself as well as other printers and publishers. These included topographic views found in numerous works on the Mexican-American War as well as his depictions of local inhabitants. “Nebel’s [VOYAGE] was a classic. It was published in both French and Spanish editions, and several of the fifty illustrations, many of them of the costumbrista or costume-picture genre, were widely copied” - EYEWITNESS TO WAR.

A marvellous group of watercolors which served as the basis for four lithographs in Carl Nebel’s landmark illustrated account of his travels in Mexico. HOWGEGO 1800-1850, N4. MILES & REESE, AMERICA PICTURED TO THE LIFE 19 (VOYAGE, 1836). Tyler, THE MEXICAN WAR, A LITHOGRAPHIC RECORD, p.18 and passim. M.A. Sandweiss, R. Stewart, & B.W. Huseman, EYEWITNESS TO WAR: PRINTS AND DAGUERREOTYPES OF THE MEXICAN WAR, 1846-1848, pp.7, 13, 110, 127, 206, and passim. $67,500.

48. [Peru]: CHUKRIN [i.e. Churin] PRES DU CERRO DE PASCO. [Peru. ca. 1850?] Graphite and pastel on brown paper, captioned on verso. Sheet size: 8½ x 6¼ inches. Small chips to two corners, else very good.

A scene in one of the Andean passes of Peru, showing the town of Churin, a swiftly flowing river, and two travellers on horseback. $300.

Frozen In During the Franklin Search

49. Quay, S.: [BRITISH SAILING VESSEL FROZEN IN THE ARCTIC ICE, WITH SAILORS CONSTRUCTING AN ICE-BLOCK HOUSE]. [N.p.] 1857. Oil on canvas, 27 x 36 inches. Gilt frame. Professionally and beautifully conserved. Excel- lent condition.

A handsome and striking painting of the “wintering” of an arctic voyage, signed: “S. Quay Pinxt 1857.” The painting is closely based on the color frontispiece of an 1850 book, EXPEDITIONS TO THE POLAR REGIONS INCLUDING ALL THE VOYAGES UNDERTAKEN IN SEARCH OF SIR JOHN FRANKLIN (London: William Wright, [1850]). The frontispiece, entitled “Winter Quarters in the Arctic Regions,” was itself copied from an engraving that appeared in the October 13, 1849, issue of THE ILLUSTRATED LONDON NEWS, accompanying a story about the missing expedition of Sir John Franklin and captioned, “Winter Quarters.”

When the ILLUSTRATED LONDON NEWS story appeared in the fall of 1849, it was commonly believed that survivors from Franklin’s expedition would still be found. Responding to public interest over recent reports on the expedition, the ILN produced a series of “pictures of the polar regions...copied from the Journals of the recent Voyages,” accompanied by a discussion of the various tasks and privations the Franklin crew might be enduring. In the “Winter Quarters” section, the 1819 voyage of William Edward Parry and his winter at Melville Island is discussed, and the engraving may be loosely based on Parry’s account of his experience. Generally speaking, however, the illustration from which Quay’s painting is derived is almost certainly the work of imagination rather than reportage.

The painting is a fine marine and Arctic view, conveying both the trials and heroism of the mid 19th-century Arctic voyagers and the romance of high Arctic endeavor. $10,000. A Fantastical Painting of the Sun Dance 50. Riggs, Robert: TRIBAL FANTASY. [Philadelphia. ca. 1949]. Dry pigment, mastic varnish, and drying alcohol, on panel, 25 x 36 inches. Signed lower right: “Robert Riggs.” In fine condition, in a burnished gilt wood frame. Fantastical painting by Robert Riggs, showing two Indian warriors performing the Sun Dance, the first with ropes attached to piercings on his chest, and the second attached by piercings at his eyelids. Buffalo skulls also swing from ropes attached to the dancers, while they hold feather-covered leather shields. Blood streams from all their piercings. In classic Riggs style, each bead on the moccasins of the dancers is picked out clearly, and the painting is thick with Native details. Robert Riggs (1896-1970) was in his heyday one of the best-known artists and illustrators in the United States. After studies at the Art Students League and service during World War I, Riggs settled in Philadelphia, his home base for the rest of his life. In the 1930s and ‘40s he rose to national prominence as an illustrator, lithographer, and commercial artist, producing well-known images of boxers and circuses (two life-long obsessions), and of soldiers during World War II. In 1940, around the peak of his career as an illustrator, his drawings commanded $750-$1500 each, and his name was as well-known in the trade as that of Norman Rockwell. But Riggs loathed this commercial work, and after 1950 he slid increasingly into obscurity, although revered by those who knew him in the Philadelphia art world. When he died in 1970, he was almost forgotten. Riggs was never comfortable working in oils or watercolor, preferring dry mediums such as pencil and charcoal. For the few large paintings he created, he employed a technique of blending dry pigments with mastic varnish and alcohol, working on panels he had especially manufactured for his use. This technique, which creates a surface similar to the look of egg tempera, adds to the extraordinary character of Riggs’ major compositions. Riggs had a particular fascination with American Indians. In his days of affluence during the Depression and World War II, he formed a major collection of American Indian artifacts. According to his biographer, he owned “an odd and unset- tling collection of American Indian artifacts...He was a serious and widely read amateur anthropologist, whose hobby, an expensive one into which he happily poured much of his substantial income...was guided in part by Frank N. Speck of the University of Pennsylvania, a friend who was perhaps the foremost authority then on Indians of the Northeast.” This collection played an important part in the creation of the present painting, and particular artifacts depicted are probably based on items in his collection. Riggs clearly went to great lengths to make the finely realized details of his painting completely accurate. His own collections and his friendship with Speck aided him in this (Riggs did small drawings of artifacts for several of Speck’s publications). Thus, such details as the figures’ elaborate body paint are based on Riggs’ understanding of the Native American traditions and practices at work in the ceremony. At the same time, the distortions of scale and perspective typical of Riggs’ flamboyant paintings are fully in evidence. $25,000. An Extraordinary Painting of Cheyenne Warrior Roman Nose

51. Riggs, Robert: [PAINTING ON PANEL OF ROMAN NOSE, THE FAMOUS CHEYENNE WARRIOR, IN THE FULL BATTLE REGALIA OF THE ELK SOLDIERS]. [Philadelphia. ca. 1948]. Dry pigment, mastic varnish, and alcohol, on panel, 25 x 36 inches. Signed lower right: “Riggs.” In fine condition, in a burnished gilt wood frame.

This remarkable painting by the well-known artist and illustrator, Robert Riggs, depicts famous Cheyenne warrior Ro- man Nose in battle, dressed in the full regalia of the Elk Soldier warrior society. A dramatic, powerful image, it is one of a handful of paintings by Riggs.

Riggs had a particular fascination with American Indians. In his days of affluence during the Depression and World War II, he formed a major collection of American Indian artifacts. According to his biographer, he owned “an odd and unset- tling collection of American Indian artifacts...He was a serious and widely read amateur anthropologist, whose hobby, an expensive one into which he happily poured much of his substantial income...was guided in part by Frank N. Speck of the University of Pennsylvania, a friend who was perhaps the foremost authority then on Indians of the Northeast.” This collection played an important part in the creation of the present painting, and particular artifacts depicted are probably based on items in his collection. For example, Riggs owned several of the grisly “finger necklaces” of dried human fingers, one of which Roman Nose wears in the painting.

Riggs clearly went to great lengths to make the finely realized details of his painting completely accurate. His own collections and his friendship with Speck aided him in this (Riggs did small drawings of artifacts for several of Speck’s publications). Thus, such apparently bizarre details as Roman Nose’s body paint are based on Riggs’ understanding of the Elk Soldier war regalia, and he has faithfully reproduced what is known of Roman Nose’s headdress, which supposedly had magical powers to ward off arrows and bullets. At the same time, the distortions of scale and perspective typical of Riggs’ flamboyant paintings are fully in evidence.

Roman Nose, a celebrated Northern Cheyenne warrior, was an apt subject for Riggs’ heroic portrait. According to the ANB, “His contemporaries described [Roman Nose] as being over six feet in height and possessing great physical powers. A man of fine character, quiet and self-contained, he was held in high esteem by all the Cheyennes...and was so renowned among whites that they credited him with being a leader in a number of engagements in which he did not participate.” He became active in fighting against whites only after the Sand Creek Massacre of 1864, most notably the Platte Bridge fight in 1865, along Powder River the same year, and in harassing railroad construction in 1866 and 1867. Refusing to participate in the Medicine Lodge peace treaties of the latter year, he led raids in Colorado in 1868. In the famous Battle of Beecher Island that September, his protective headdress rendered useless by violating a taboo against eating food prepared with metal, he led a fatal charge in which he was killed. Riggs may be depicting any of the engagements of these three bloody years in this painting. His purpose seems more to show Roman Nose as a mythic warrior figure than to document a specific event.

Riggs created only a handful of major paintings, and they have seldom appeared on the market. The only recent auction sale of a work of similar size and scope was his 1938 painting of the Joe Lewis-Max Schmeling fight, which realized $277,500 at Sotheby’s in 1999.

An extraordinary and dramatic painting. Ben Bassham, THE LITHOGRAPHS OF ROBERT RIGGS (Philadelphia, 1986), passim. $175,000.

52. Riggs, Robert: ROMAN CHARIOT. [N.p. ca. 1952]. Oil on panel, 12 x 20¾ inches. Colors characteristically bright. Very good.

After studies at the Art Students League and service during World War I, Riggs settled in Philadelphia, his home base for the rest of his life. In the 1930s and ‘40s he rose to national prominence as an illustrator, lithographer, and commercial artist, producing well-known images of boxers and circuses (two life-long obsessions), and of soldiers during World War II. In 1940, around the peak of his career as an illustrator, his drawings commanded $750-$1,500 each, and his name was as well-known in the trade as that of Norman Rockwell. But Riggs loathed this commercial work, and after 1950 he slid increasingly into obscurity, although revered by those who knew him in the Philadelphia art world. When he died in 1970, he was almost forgotten. He worked on panels produced expressly for him by F. Weber & Co. He often worked with dry pigment using mastic varnish and alcohol as his medium; and alternately, with oil paint if deadlines allowed. This is an excellent example of his illustration style. $15,000.

Building an Igloo During the Second Ross Expedition

53. [Ross, John]: [GRAY WASH SKETCH OF MEN BUILDING AN IGLOO DURING THE SECOND ROSS EXPEDITION TO THE ARCTIC]. [N.p. ca. 1834]. 5 x 3½ inches. Bright and clean. Mounted on stiff paper. Fine. Matted, 12½ x 9½ inches.

A gray wash sketch of three men building an igloo, while another group of three men and one husky dog stand off to the side. In the lower margin of the stiff paper upon which the illustration is mounted, a caption reads: “The Ross Expedition.”

This drawing is likely from Ross’ second expedition, during which he and his crew camped over three consecutive winters from 1830 to 1833. While the illustration is not reproduced as a plate in Ross’ official report, NARRATIVE OF A SECOND VOYAGE IN SEARCH OF A NORTH- WEST PASSAGE... (1835), it is similar in style to some of the published views. Ross made ample use of native construction methods, at one point overseeing the construction of a virtual arctic compound, complete with mess hall and officers’ quarters, during their final winter on the ice in 1832-33. Though it is possible the drawing was done in the warmth of the expedition’s winter quarters, it was likely composed after the expedition’s return to Britain. Wash was rarely a favored medium in a climate where the seasonal highs seldom reached ten degrees Fahrenheit.

Original art work concerning the early arctic expeditions is superlatively rare. $4500.

A Pair of Early Charles Russell Pencil Sketches

54. [Russell, Charles M.]: [PAIR OF ORIGINAL PENCIL DRAWINGS BY CHARLES RUSSELL, SHOWING SCENES OF AN INDIAN HUNTING WITH A RIFLE, AND A GROUP OF INDIANS RIDING HORSES]. [Great Falls, Mt. n.d., ca. 1900]. Each illustration drawn in pencil on the verso of a trade card of the Park Hotel, Great Falls, Montana, each card 3¼ x 5½ inches. Small stain in upper left corner of horse riding drawing, faint crease in lower left corner of hunting drawing, else fine. In a folding green cloth chemise and green cloth slipcase, spine gilt.

An outstanding pair of original pencil drawings by the great western illustrator, Charles Russell. One of the drawings shows a group of three Indian braves riding horses bareback at a high rate of speed. The lead rider is about to take a whip to his horse. The other illustration shows a male Indian holding a rifle and peering around a tree. Whether the brave’s prey is animal or human is a question left to the imagination of the viewer. Both of these illustrations are drawn on the verso of trade cards of the Park Hotel of Great Falls, Montana. Charles Russell and his wife moved from Cascade to Great Falls, Montana in 1897. One of Russell’s first paying jobs in Great Falls was to draw original illustrations on menus for a special Christmas dinner at the Park Hotel that December. These two sketches are unsigned, but their attribution to Charles M. Russell has been confirmed to us by Patrick Stewart, the former Director of the Amon Carter Museum and a leading Russell scholar. A pair of evocative sketches by one of the greatest western artists. $8500.

A Wonderful View of Fort Randall on the Missouri River, 1859

55. [Schonborn, Anton]: FORT RANDALL, N.T. [manuscript title]. Fort Randall, Nebraska Territory. 1859. Watercolor, pen, and ink on a sheet of very lightly-ruled paper, 12¼ x 14¼ inches. Captioned in ink in upper margin, dated in lower margin. Several small chips in the outer margin, not affecting the image. Central vertical fold. Several closed tears, expertly mended on verso. The colors are bright and vibrant. In very good condition overall. Matted.

An outstanding depiction of Fort Randall in Nebraska Territory in 1859, painted by the talented German-American artist, Anton Schonborn (d. 1871), while he was touring the area as part of the Yellowstone Expedition of 1859, commanded by Captain William F. Raynolds. The fort was located on the Missouri River, in an area of Nebraska Territory that is just north of the boundary into present- day South Dakota. Schonborn’s watercolor is a rare, attractive, and important view of this significant western outpost.

The Raynolds Expedition was authorized in April, 1859, and its mission was to explore the area along the Yellowstone River and its tributaries. The party was to ascertain information regarding the Indians dwelling in the region, gauge the agricultural and mineral resources of the area, study its topographical features, and report on its suitability for possible railroad routes and military outposts, and as a route for emigrants. Anton Schonborn was the artist and meteorologist on the expedition. The Raynolds Expedition departed St. Louis in late May, 1859 (which likely explains the inked date at the bottom of this scene), and arrived at Fort Randall on the Missouri River on June 13th. Schonborn may well have preceded the main party, and so spent time waiting at the fort, allowing him to create this fine watercolor. The fort, under the command of Captain C.S. Lovell, was garrisoned by four companies of the 2d Infantry. The Raynolds party, when it arrived, spent a day at Fort Randall before proceeding further up the river.

Fort Randall was established on June 26, 1856 to provide protection to settlers and explorers along the Missouri River, in Nebraska Territory. The post also deterred white explorers from trespassing on Indian reservations, and was an Army supply depot for the upper Missouri River. The site for Fort Randall was selected by General William S. Harney, and was named for Colonel Daniel Randall, Deputy Paymaster General of the Army. Construction of the fort began in August 1856 and consisted of twenty-four buildings, housing 500 soldiers. The fort protected lands between the Platte River in central Nebraska and Missouri River to the north - and the area’s fur traders - as well as escorting wagon trains of settlers and explorers across the plains. At the time the Raynolds expedition visited Fort Randall, it was the northernmost United States fort on the Missouri River.

Schonborn’s watercolor is unsigned, though clearly his work, given the style of the image, the German script of the captions, and the time and place at which it was executed. The birds-eye view from the other side of the Missouri River shows that the fort had grown substantially in the three years since its construction. More than three dozen buildings are shown, as well as several other smaller structures. Several of the buildings are identified in manuscript, including the hospital, guard house, quartermaster’s stores, and the house of the fort’s trader, or sutler. All of these buildings are shown on the periphery of the camp, the main part of which is made up of a series of large buildings (with smaller buildings just outside) forming a long rectangular shape surrounding a flagpole with a fully-colored American flag at full staff. Several of these dwellings are identified with the names of soldiers (almost certainly officers), including Lee, Hendershott, Lord, Lyon, Drake, Davidson, Crawford, Wessells, Long, and Gardner. A row of trees along the Missouri obscures several smaller buildings, and a steamboat is shown on the river. The name of the boat appears to be “Mink,” and a steamboat by that name is known to have plied the waters of the Missouri at that time. Possibly it was the boat that brought Schonborn upriver.

Anton Schonborn was one of the most impressive topographic artists to work the American western frontier. His first known work was with the Raynolds Yellowstone expedition in 1859, and his last in 1870. He committed suicide in Omaha in 1871. Of his relatively few known works, most are western military posts, made while on inspection tours with top military commanders such as Raynolds (a general after the Civil War), and William Tecumseh Sherman. “Schonborn left invaluable pictorial and social-historic documents of military posts” - Trenton and Hassrick. His pictures involve “no rearrangement of elements... They reflect concern for detail and precision... The use of watercolor wash is subdued and is applied with a skillful tonality...Their charm lies in their directness and immediacy” - Stenzel. Finally, in the official report of the Raynolds Expedition, published in 1868, there is a brief report by First Lieutenant John Mullins, who was a member of the Raynolds party. Mullins praised Schonborn for his efforts in gathering meteorological data and, with regard to Schon- born’s art, wrote that “his life-like views of the country speak for themselves.”

The Archives of American Art, Smithsonian Institution, locates a total of fourteen works of art by Schonborn. Our more recent census finds twenty-seven pieces. Fifteen of those works are in the permanent collections of three institutions: Amon Carter Museum (Fort Worth, Texas), Buffalo Bill Historical Center (Cody, Wyoming), and Beinecke Library at Yale University. Within those collections are eleven scenes in the Wyoming Territory, including views of Fort Laramie. The great collector of Western Americana, William Robertson Coe, donated his Schonborn pictures to Yale more than fifty years ago, while the Schonborn watercolors at the Amon Carter Museum were purchased in a single portfolio in the 1960s. The Schonborns owned by the Buffalo Bill Museum were purchased at auction in 1991. This firm handled two very fine Schonborn watercolors of Fort Laramie and Laramie Peak in the late 1990s. Aside from a group of four rather ordinary Schonborn watercolors of Kansas that sold in 2007, those are the only other Schonborns we know of on the market since 1991.

An outstanding and beautifully rendered watercolor of an important Western fort on the eve of the Civil War. AMON CARTER MUSEUM OF WESTERN ART. CATALOG OF THE COLLECTION 1972 (Fort Worth, 1972), see figures 457-467. Franz Stenzel, ANTON SCHONBORN WESTERN FORTS (Fort Worth, 1972), passim. A CATA- LOGUE OF MANUSCRIPTS IN THE COLLECTION OF WESTERN AMERICANA FOUNDED BY WILLIAM ROBERTSON COE, YALE UNIVERSITY (New Haven, 1952), p.215. Patricia Trenton and Peter Hassrick, THE ROCKY MOUNTAINS - A VISION FOR ARTISTS IN THE 19TH CENTURY (Norman, 1983), pp.110,112,133. Chappell, Phillip E., “Listing of Steamboats Operating on the Missouri River,” from Chappell’s HISTORY OF STEAMBOATING ON THE MISSOURI RIVER. $80,000.

A Fine Watercolor of the Mariposa Redwood Grove, 1874

56. Simpson, William (Scottish, 1823-99): THE GRIZZLY GIANT. [Mari- posa, Northern California. 1874]. Watercolor on paper, laid down on board, 21 x 14¼ inches. Signed, inscribed, and dated across lower image: “The Grizzly Giant. Mariposa / WM Simpson / 1874.” Perfectly preserved original condition, rich coloration. Framed and matted.

A beautiful watercolor of three men on horseback admiring a towering redwood, the lower formation of bearing a startling resemblance to a grizzly bear, in the Mariposa Grove of northern California, painted by the well known war correspondent and graphic artist, William Simpson. The great tree still stands.

Simpson won fame in England in the 1850s for his bold coverage of the Crimean War, and his production of a lavish color plate book, THE SEAT OF THE WAR IN THE EAST, commemorating the ILLUSTRATED LONDON NEWS. He arrived in San Francisco in April 1873, just as the war against the Modoc Indians was coming to a climax. Good correspondent that he was, Simpson headed for the battlefield, the Lava Beds near Mount Shasta on the California-Oregon line, and observed the demise of the Modocs. All of this, as well as further travels in Yosemite (with Bierstadt), San Francisco, and Japan, he describes in detail in his book, MEETING THE SUN (London, 1877).

This handsome watercolor is the only known California image by Simpson presently available in the American art market. A number of his California watercolors are in the permanent collection of the Bancroft Library, with other pieces located at the Peabody Museum (Harvard) and the Victoria and Albert Museum. William Simpson, MEETING THE SUN (London, 1877), pp.356-83. Hughes, ARTISTS IN CALIFORNIA 1786-1940 (San Francisco, 1986), p.428. $15,000.

A Remarkable Archive from the Harriman Alaska Expedition

57. Spader, William Edgar: [SIXTY-TWO ORIGINAL INK DRAWINGS ILLUSTRATING THE HARRIMAN ALASKA EXPEDITION, 1899]. [N.p., likely New York. ca. 1900-1905]. Sixty-two line drawings on thick card stock, each signed “W. E. Spader.” Sizes vary between 4¼ x 8 inches to 17½ x 10¾ inches, oriented both portrait and landscape. Minor edge wear, some thumb-soiling, a few examples with minor marginal surface wear. Very good. In a cloth clamshell case, leather label.

A substantial archive of original art by William E. Spader, one of the principal artists hired to create illustrations for Edward Harriman’s monumental fourteen-volume work THE HARRIMAN ALASKA SERIES, published throughout the first decade-and- a-half of the 20th century. This important collection documents one of the great scientific expeditions of the late 19th century.

Edward H. Harriman was a wealthy railroad mag- nate, one of the original robber barons of lore, who greatly desired to hunt bear in Alaska. Never one to do anything small, he decided not only to travel to Alaska to hunt bear on Kodiak Island, but to fi- nance a major scientific expedition to Alaska along the way. The Harriman Expedition comprised an elite roster of scientists, artists, photographers, and naturalists whose goal was to explore and document the Alaskan coastline. For almost two months, in June and July 1899, the S.S. GEORGE W. ELDER steamed up the coast from Seattle to Siberia while various experts, including John Muir, Edward Curtis, and other botanists, biologists, geologists, artists and photographers recorded what they encountered along the way. The greatest benefit of the expedition turned out to be the sizeable published record of the journey, which Harriman financed himself. The fourteen-volume HARRIMAN ALASKA SERIES was published by Doubleday beginning in 1901, and remains a landmark of Arctic exploration.

William Edgar Spader was a Brooklyn-born craftsperson, and illustrator, whose work appears in much of Harriman’s Alaska series. Spader lived and worked in New York, and is best remembered for his watercolors depicting beautiful women of the Art Deco period.

Spader’s drawings here show landscapes, numerous views of glaciers, seal hunting, camp scenes, several scenes featuring canoeing or kayaking, one illustration of death head carvings, and much more. Some of the illustrations are captioned in pencil on the reverse, identifying specific views of Davidson Glacier, Hinchinbrook Island, Spruce Island, Hanging Val- ley, Grewingk Glacier, Charpentier Glacier, Plover Bay, Reid Glacier, Yale Glacier, Chilkoot Lake, Russell Fiord, College Fiord, the head of Lynn Canal, a view upland near Walker Bay, the tundra near Port Clarence, a view showing the caves in Barry Glacier, a landscape showing the ridged surface of Columbia Glacier, a large landscape showing the moraine of Columbia Glacier, a landscape of the hills near Brady Glacier, a large scene of an overturned forest near the La Perouse Glacier, an indoor view of a church at Metlakahtla, and a distant view of St. Paul Village, among others. A few examples show production notes, including size notations and penciled frame lines.

Spader’s dozens of illustrations for Harriman’s published work are well-executed black-and-white line drawings after photographs from the expedition by the likes of Grove Karl Gilbert, C. Hart Merriam, A. K. Fisher, W. B. Devereaux, and others. Numerous examples of Spader’s original artwork was used to illustrate volume one of the HARRIMAN ALASKA SERIES, starting with John Burroughs’ introductory essay, “Narrative of the Expedition.” One illustration is captioned on the reverse, “Little Auklets Pribilof Islands, Bering Sea For Burroughs’ Article.” It is marked in pencil “Vol. 1, Pg. 98,” where it appears in the printed work. Another illustration captioned on the verso, in pencil, “Church at Metlakahtla” is captioned in the published work as “Interior of Church Made by Indians at Metlakahtla” on page 25 of Burroughs’ work. An illustration by Spader of an irrigating water wheel can be seen on page 13 of Burroughs’ essay, another of a canoe in drift ice in Yakutat Bay is found on page 95, and yet another of “Yakutat Indians Paddling” appears on page 60. More Spader illustrations can be found in John Muir’s contribution in volume one of the HARRIMAN ALASKA SERIES; two views of Davidson Glacier appear on page 121 of volume one with both of the original illustrations having pencil notations on the verso identifying them as “Davidson Glacier...Muir or After.” Yet more Spader illustrations appear in the final essay in volume one of the published work, George Bird Grinnell’s “The Natives of the Alaska Coast Region,” namely: The Tlinkit Dance Rattle (p. 139), a Tlinkit canoe of southeast Alaska (p. 140), a Yakutat sealing canoe (p. 162), the aforementioned death’s head carving (p. 165), an “Eskimo Summer House and Fireplace, Plover Bay, Siberia” (p. 171), an Eskimo man and woman at Plover Bay (p. 175), and an Eskimo umiak (p. 179).

Numerous illustrations of glaciers included here are featured in Gilbert’s GLACIERS AND GLACIATION (volume three of the series). An examination of the text yields no fewer than thirteen examples of Spader’s artwork featured in the published version of Gilbert’s work, highlights of which include large drawings of Barry Glacier, College Fiord, Reid Glacier from the Northeast, the ice cliff of Hubbard Glacier hovering over Disenchantment Bay, and the moraine of the Columbia Glacier.

Three of Spader’s drawings present here illustrate a poem called “The Song of the Innuit” by William H. Dall, which was printed at the end of the second volume of the HARRIMAN ALASKA SERIES. Dr. Dall was a paleontologist for the U.S. Geological Survey, Honorary Curator of Mollusks at the U.S. National Museum, and also a member of the scientific party for the Harriman expedition. One illustration titled “Black Iceberg” is marked on the reverse, “Harriman Alaska Expd. Return original & proof to C. Hart Merriam Washington D.C.” Clinton Hart Merriam was the head of the Divi- sion of Economic Ornithology and Mammalogy at the United States Department of Agriculture, one of the founders of the National Geographic Society, and most importantly here, the organizer of the scientific party for the Harriman Alaska Expedition. Merriam’s treatise on the Bogoslof volcano in volume two of Harriman’s Alaska yields yet another Spader illustration utilized in the published work, namely his drawing of Murre’s eggs on page 330.

This wonderful archive of Spader’s work for the Harriman publication is a wealth of research material for understanding the utilization of art during book publication, and for examination of the artist’s technique in translating photographs to drawings. $19,500.

Original Illustration for Krusenstern’s Voyage

58. Tilesius von Tilenau, Wilhelm Gottlieb: CHINESE WAR JUNK OR COMMANDER’S VESSEL IN FRONT OF THE DANISH SETTLEMENT, DRAWN AFTER NATURE IN THE CANTON RIVER [translation of manuscript caption title]. [China. ca. 1805]. Watercolor on paper, 9 x 14¼ inches. Original manuscript caption attached to verso. Small chip (less than one inch) in upper right corner, else near fine. Mounted at upper corners onto heavier paper stock. Archival matting, and protected with Mylar sheet.

An extremely important and visually appealing watercolor depicting trading practices on the Canton River in China, early 19th century. The work was done during the Krusen- stern expedition, Russia’s first major scientific voyage in the Pacific and first circumnavigation of the world by a Russian ship. It was executed by the ship’s artist, Wilhelm Got- tlieb Tilesius von Tilenau. The view is from the perspective of a boat on the river and shows several Danish trading houses set up on the riverside. The buildings are made of wood and thatch, and several barrels and logs are also present. The factories fly flags of a white cross on a red background. Several men are shown on the riverbank, a tower is seen in the middle distance, and mountains are shown across the background. A large Chinese ship, identified in the manuscript caption as a “war junk,” dominates the scene on the river, and six smaller vessels are also shown. The present image by Tilesius provides a rare and vivid record of these fleeting trade seasons, providing important details of the Danish post. The original manuscript caption is attached to the verso of the watercolor and reads: “Eine Chinesische Krieges Junke oder Kommandeurs Schiff vor dem Daenischen Bankshall. Dr. Tilesius v. T. ad nat. pinxit in flumine Sinico Taiho Cantonensi.”

In the early 19th century foreign merchants were allowed to trade in Canton for a short four-month season only. After that the warehouses and living quarters of the company were required to be torn down, only to rebuilt the following year at the company’s expense. Wilhelm Gottlieb Tilesius von Tilenau (1769-1857) accompanied the Krusenstern expedition on the ships, Nadeshda and Newa, during the first Russian circumnavigation, from 1803 to 1806. After the Russian painter, Kurjlandzow, left the expedition in Kamchatka in 1804, Tilesius became responsible for recording interesting observations relating to the geography and natural history of the places they visited. He contributed many detailed designs for the illustrations in the third volume of Krusenstern’s account of the voyage, and also published several papers of his own research. The largest part of his archive was presented to Leipzig University after his death, but the present work remained in the family of his son, Adolph Tilesius. $27,500.

59. Tilesius von Tilenau, Wilhelm Gottlieb: JAPANESE MERCHANT SHIP WITH THE FLAGS, CRESTS, AND INSIGNIA OF THE OWNERS AND THE MERCHANT HOUSES [translation of manuscript caption title]. [Off the coast of Japan. ca. 1805]. Watercolor on paper, 6½ x 9¾ inches. Original manuscript caption attached to verso. Small chip in upper left corner, else near fine. Mounted at upper corners onto heavier paper stock. Archival matting, and protected with Mylar sheet.

A fine watercolor view of a Japanese merchant ship plying the waters off the coast of Japan. The work was done during the Krusenstern expedition, the first major Russian scientific voyage in the Pacific and the first circumnavigation of the world by a Russian ship. It was executed by the expedition’s artist, Wilhelm Gottlieb Tilesius von Tilenau. The detailed work gives an excellent view of the technical aspects of Japanese vessels commonly used in the coastal trade, showing the ship’s high bow, its rigging, the long rudder used to steer the vessel, and six crew members hard at work. The insignia of the ship is clearly shown on its stern. The crests or flags used by four other merchants are shown on the same paper along the right edge, just outside the border which surrounds the image of the ship. The original manuscript caption reads: “Ein Japanisches Kauffahrtsschiff aus Miako mit den Flaggen, Wappen und Inschriften der Warenbesitzer und Handels Compagnien. Hermann L. v. Loewenstern hat das Schiff mit dem Tauwerk gezeichnet. Dr. W. G. Tilesius ad nat. pinxit.” The note explains that this watercolor was painted by Tilesius after a sketch by Loewenstern, fourth lieutenant on the Krusenstern expedition. In the English translation of the account of the Krusenstern voyage, Loewenstern is described as “an amiable and cultivated mind, he added a very extensive and well grounded knowledge of his profession.”

Such original art from the Krusenstern circumnavigation is exceedingly rare. $17,500.

60. [Tilesius von Tilenau, Wilhelm Gottlieb]: Frid- erici, Herman von: SKETCH OF THE HUTS OF KAMCHATKA COPIED AFTER COOK [translation of portion of manuscript caption title]. Nagasaki, Japan. March 1805. Gouache and ink on paper, 7½ x 12½ inches. Signed along lower edge of image, original manuscript caption written on verso. One-inch chip in upper left corner, small chip in upper right corner and center of lower edge, else very good. Mounted at upper corners onto heavier paper stock. Archival matting, and protected with Mylar sheet.

A handsome original gouache and ink on paper copy of plate seventy-two in the atlas of Cook’s third voyage, called “A View of Bolcheretzkoi, in Kamtschatka.” This copy of the view of Kamchatka natives, their huts, and their animals was made during the Krusenstern circumnavigation of the globe (1803 to 1806). It was drawn by Herman von Friderici, who was major of the General Staff for Ambas- sador Rezanov, and was presented to Wilhelm Gottlieb Tilesius von Tilenau, a naturalist and artist on the Krusenstern expedition. A manuscript note on the verso in Tilesius’ hand explains that it was made by Friderici and given as a gift. Comparison with the actual plate in the Cook atlas shows this to be a very accomplished copy, with all the details from the original reproduced very faithfully. Ambassador Rezanov’s mission was to attempt to open Japan to Russian trade, but he was ultimately unsuccessful.

An interesting artifact, linking the Krusenstern and Cook voyages. $6000.

61. [Watercolor Album]: VOYAGE AUX ETATS-UNIS. 1876 - 1877. [New York and various places]. 1876-1877. Nine- teen original watercolors, 11 3/8 x 7 7/8 inches and smaller, mounted recto and verso of seven thin card leaves. One page mounted with four drawings, one with three, and one with two; the others with one drawing per page, the final page blank. Oblong folio, 13¼ x 18½ inches. Modern blue half morocco gilt, blue morocco title label centrally placed on upper cover reading: “Voyage aux / Etats-Unis / 1876-1877.” All painted by a single hand, and all with the location identified in ink in the lower margin of each drawing or on the mount just below.

A fine series of original watercolor views of Lake George, New York, and elsewhere, including one watercolor of Cen- tral Park, New York. From the heading on the first page of this album (“Voyage aux Etats-Unis / 1876-1877”), as well as from the wording of the captions to the drawings, it is clear that these highly accomplished watercolors are the work of a French-speaking visitor to North America in 1876-77. They include fourteen views of Lake George and its vicinity (including one of Caldwell [now Lake George Village] and one of Tea Island). Also included is a single view of a rocky outcrop and trees in Central Park, another of Glenn Falls on the Hudson, and a third of the Montmorency Falls just outside Quebec, as well as two fine but rather unexpected Swiss views of Amphion, Lake Geneva (both dated 1877). $7500.

62. [Wickham, Harriet]: [ALBUM OF WATERCOLORS OF FLOWERING PLANTS, BOTH WILD AND CUL- TIVATED, IN YORKSHIRE OR CUMBRIA COUNTIES, NORTHERN ENGLAND]. [Leeds, West Yorkshire, England. 1796-1805]. [1]p. manuscript index (listing sixty-nine flowers). Seventy- four drawings on 67 leaves (seventy-two watercolor and gouache over graphite [some finished with gum arabic], two entirely graphite; one watercolor on sheet tipped into the album), on wove paper watermarked J. Whatman, each captioned in manuscript and dated. Small folio. Early green cloth wall-style binding, period brown endpapers. Very good. In a green half morocco box.

A lovely album of late 18th- and early 19th-century watercolors of flowering plants, by a talented female botanical artist. Harriet Wickham, of Cottingley Hall, Leeds was a botanist and sister of the famed diplomat and spymaster, William Wickham (1761-1840). Many of the drawings in the present album are of specimens from her family garden at Cottingley, or in the vicinity. The album includes: Yellow Poppy, Bryony, Convolvolus Major (“an annual that grows naturally in Asia and America, this drawing taken from a plant in Miss Dixon’s hothouse at Newlaithes, July 18 1796”); Snow Drop, Cipripedium (“Ladies Slipper, grows in Helms Wood near Ingleborough in Yorkshire, this drawing taken from a plant in the garden at Cottingley, May 25th, 1798”); Fly Orchid, Scarlet Thorn, Dactura Arborea (“drawn from a plant in Mr. Salisbury’s hothouse”); Ferraria Pavonia (“from a plant raisd by Mr Stodgson and the first that ever flowerd in England. The seeds were brought from California, drawn at Everton July 23-1798”); White Water Lilly; Wild Hyacinth, and many others.

A manuscript album of drawings of English grasses by Wickham is located in the Yale Center for British Art. $24,000. Indians of the Badlands

63. [Manner of Wimar, Carl]: [INDIAN WAR- RIORS RIDING AWAY FROM CAMP, AN AMERICAN FORT IN THE NEAR DISTANCE]. [20th-century, based on paintings and sketches ca. 1850s]. Oil on panel, 15½ x 23 inches. American carved and gilded wood frame. Fine condition.

An action-filled image of Indian life near an American Army fort (inscribed “Fort Pierre” lower right) along the Missouri River, this fine oil painting of a large party of heavily armed and war-painted braves riding out of their camp past their squaws and dogs, is similar to the style of the important frontier painter, Carl Wimar, but also shows the stylistic influences of other notable artists of the American West such as Seth Eastman, Anton Schonborn, and Alfred Jacob Miller.

The German-born Wimar based himself in St. Louis, which he used as a springboard for sketching trips through present- day Nebraska, North Dakota, South Dakota, and Montana. “He translated these [sketches] into paintings that authentically and powerfully depict Indian life....His dramatic portrayals of the conflict between native Americans and pioneers helped to establish many of the myths of the American West that prevail to this day” - Ron Tyler.

A handsome painting showing the upper Missouri in the fur trade era. Rick Stewart, CARL WIMAR: CHRONICLER OF THE MISSOURI RIVER FRONTIER (Amon Carter Museum, 1991), passim. Peggy & Harold Samuels, ILLUSTRATED BIOGRAPHICAL ENCYCLOPEDIA OF ARTISTS OF THE AMERICAN WEST (Garden City, 1976), passim. $6500.

An Indian Portrait by Carl Wimar

64. [Attributed to Wimar, Carl (Charles Ferdinand)]: [THE WARRIOR]. St. Louis, Mo. [ca. 1850]. Oil on canvas, 47 x 35 inches. In excellent condition, expertly conserved and relined in 2007. Framed in a period American Hudson River School frame, original gilding, applied composition ornament; twig top edge with foliate, fruit, nut and berry corners and centers; stenciled sand foliate pattern scotia; astragal; running lace on flat to hollow at sight edge.

Carl Wimar (1828-62) is one of the most significant painters to work in the American West prior to the Civil War. This striking and imposing portrait of an Indian warrior is an important addition to Wimar’s small body of known work. Thought to have been painted in St. Louis about 1850, the painting depicts a seated warrior, dressed in a shawl and leather leggings, seated by a campfire. The warrior holds a decorated rifle, sitting erect and vigilant, while his snarling dog sits at his feet and a pipe lies by the fire. Behind him, three standing warriors look in his direction. The work is a fine example of Wimar’s early style, prior to his European training. Although unsigned, “The Warrior” was attributed to Wimar in 2007 by Angela L. Miller, co-author of the most complete Wimar biography and paintings census, CARL WIMAR - CHRONICLER OF THE MISSOURI RIVER FRONTIER. The attribution is based on Miller’s examination of the painting in 2007, its “stylistic links with other Wimars,” and the interesting provenance of the picture.

Wimar was born near Bonn, Germany in 1828. He was fifteen in 1843, when he moved with his family to St. Louis, a city with a large German community, where his step-father established a public house on the edge of town. Here Wimar began to improve his natural talent for drawing, and also came into contact with Indians who came to the city to trade furs. Intent on becoming an artist, Wimar worked first for a sign painter, and in 1846 became an apprentice to Leon Pomerade, the most prominent artist resident in St. Louis. Wimar assisted in the creation of Pomerade’s vast panorama of the Mississippi, a huge work on canvas rollers intended to be exhibited in theatres and completed in 1848, as well as other apprentice tasks, until he went on his own, advertising himself as a portrait painter in the 1851 St. Louis directory.

Pomarede gave the young Wimar some sage advice, proposing that he use the western frontier, and especially Indians, as his primary subject matter: “Follow it exclusively...achieve a reputation that, in years to come when the Indians be ‘a race clean gone’, would increase to a peculiar brilliance, not only in this country but on the continent.” Wimar heeded this counsel, going on to execute a small but very important body of Indian paintings based upon his own field sketches and photographs of tribes in the Mississippi Valley and on the western plains. Based on the style of the present work, it was probably created near the time that advice was given, when Wimar had first struck out on his own as an artist.

In December 1851, Wimar returned to Germany, to formally study painting in Dusseldorf. He remained there until 1856, primarily working on canvases with Western or frontier themes. The German newspapers, astounded by Wimar’s imagi- native canvases of a wild American West, christened Wimar “The Indian Painter.” He shipped many of those paintings back to St. Louis (a large number of them were lost in transit, with perhaps a dozen now accounted for) before he himself returned in 1856. Sadly, the artist died of tuberculosis in St. Louis in 1862, aged only thirty-four. The surviving number of paintings by Wimar is quite small, with approximately sixty extant oil paintings on canvas (sketchbooks and some murals also survive). The Indian paintings are almost all in museums, the majority hanging in the permanent collections of the St. Louis Art Museum and the Mis- souri Historical Society (St. Louis); with major works also owned by Washington University Gallery of Art (St. Louis), Amon Carter Museum (Ft. Worth), Joslyn Art Museum (Omaha), Thomas Gilcrease Institute (Tulsa), Peabody Museum (Harvard University), and the Phoenix Art Museum.

“The Warrior” belonged for forty-five years to the late George R. Brooks, one-time director of the St. Louis Art Museum. According to the notes kept by Brooks, the painting was a gift to the Wednesday Club of St. Louis, a distinguished women’s civic organization, from the local collector Arthur Hoskins, whose Wimar collection is now part of the St. Louis Art Museum. The painting hung in the Club during the 1950s. In 1960 it was offered for sale through a St. Louis gallery, Margo’s. Brooks, then a curator at St. Louis Art Museum, also collected American paintings, and was immediately struck by the picture. His initial reaction to the painting, offered by Margo’s as the work of an “unknown American,” was: “I think it is surely Wimar -somebody awfully good- should be worth a great deal.” Brooks paid $250 dollars for the painting and kept it for himself.

Brooks periodically updated his notes on the painting, which he called “Wimar Thoughts.” In 1991 he wrote: “Looks like work of young man of great promise...After seeing the Wimar Show at Washington U - am convinced it is early Wimar (1850 or so) before he went to Dusseldorf & while he was ‘studying’ with Pomarede in St. Louis.” Brooks cited the similarities in costume in “The Warrior” and Wimar’s 1853-55 series of paintings called “The Abduction of Daniel Boone’s Daughter by the Indians”; and mentioned the primitive and elongated depictions of dogs and wolves found in this painting and in other Wimar pictures. He also described the original frame, one which would have framed an important work of art: “Framed - Wide (8 to 10 inch) dark wood frame with gold arrowheads and corners & light fixture over the top (frame disposed of by me as too large).”

Any work by Wimar is a great rarity in the market, since his output was so limited and since most of the known works are in institutions. “The Warrior” is a fine example of the artist’s early style, and a striking work reflecting the dominant theme which he pursued during his brief career. It is a notable addition to catalogue of his known works. Rick Stewart, Joseph D. Ketner II, and Angela L. Miller, CARL WIMAR. CHRONICLER OF THE MISSOURI RIVER FRONTIER (Fort Worth: Amon Carter Museum, 1991). William H. Gerdts, ART ACROSS AMERICA. TWO CENTU- RIES OF REGIONAL PAINTING 1710-1920. THE PLAINS STATES AND THE WEST (New York, London, Paris: Abbeville Press, [1990]) pp.40-41. George R. Brooks, Records/comments relating to the painting, ca. 1961 and later. Angela Miller: e-mail correspondence concerning attribution of painting, April 11, 2007. $275,000.

Wonderful Watercolor Views on the Snake River

65. [Wyoming Territory]: [Western Art]: [PAIR OF ORIGINAL WATERCOLORS OF THE CAMP OF K AND F COMPANIES OF THE NINTH U.S. INFANTRY DURING THE UTE WAR, AT SNAKE RIVER, WYOMING TERRITORY, IN 1879 - 1880]. [Wyoming. 1880]. Two watercolors, painted on the recto of two one-cent postcards, each measuring 3 x 5 inches. Description of each scene written in pencil on the verso of each card. Very minor wear. Near fine.

A pair of lovely watercolors of the camp of two U.S. Infantry companies in Wyoming Territory during the Ute War in 1879- 80. The watercolors show the camp of K and F companies of the Ninth Infantry near the Snake River. Based on the scenery, these must depict the southern part of Jackson’s Hole, the only area which corresponds to the views shown. One shows the camp during the summer, and the other shows it in the winter. The camp was established in a valley, which is shown as lush and green in the summer scene, but barren and snow-covered in the winter scene. A note on the verso of the summer scene says that the “pictures were painted with water colors by a soldier of this command.” The verso of each card contains pencil descriptions of each scene. For example, in the comments on the summer scene it is noted that “the brush back of the tents are sage brush...the timber back of the camp follows the river still to the right are mountains and hills with cedar timbers.” Some of the text on the verso of the winter scene discusses the various buildings in the camp, including the cook’s house and the sutler’s store. The Ninth Infantry was ordered into the field as part of Army strategy during the Ute War, and established their camp along the Snake River in Wyoming Territory in November 1879. They remained there until July 1880. Original artwork from the Indian wars of the West is rare. $9500.

Watercolors of Northern Siberian Tribes

66. Znamensky, Mikhail Stepanovich: [THREE WATERCOLORS SHOWING SCENES OF THE KHANTY PEOPLE, A NORTHERN SIBERIAN TRIBE FROM THE VICINITY OF TOBOLSK, PAINTED TO CELEBRATE THE 300th ANNI- VERSARY OF THE FOUNDING OF TOBOLSK AND THE ANNEXATION OF SIBERIA TO RUS- SIA]. Tobolsk. [ca. 1880]. Three watercolors, 7½ x 10½ inches, matted to 13 x 16 inches. Fine. In a blue three-quarter cloth portfolio.

A set of three lovely watercolors by Mikhail Stepanovich Znamensky, a prominent 19th-century Siberian artist, writer, historian, archaeologist, and ethnographer. Each is captioned in pencil and all are signed by the artist. The first scene shows two summer tents with three Khanty women seated in or just outside them. One woman holds a child. The second image is a winter snowscape showing a man with three reindeer standing outside a log cabin. The third scene depicts three Khanty people in traditional clothing standing in a dining room, with a Russian official seated on the left; a portrait of the Tsar hangs on the wall in the background and an animal skin is draped on the table.

Very well educated as a religious artist, Znamensky was among the elite of Tobolsk and was close to many exiled members of the famous Decemberist revolt of 1825 (Puschin, Yakushkin, and others), as well as the outstanding Russian writer, Pyotr Yershov. Znamensky worked as a teacher in several religious and secular colleges in Tobolsk, was a translator of the Tatar language, and illustrated the literary works of Gogol, Yershov, Goncharov, and Tolstoy. He regularly published his caricatures in the magazines of Saint Petersburg. His main interest, however, was Siberian history and ethnography. Znamensky’s essays and stories on Siberian history were regularly published in the local magazines, and several of his books on the subject were published in Tobolsk, Tyumen, and Saint Petersburg. In pursuance of his interest, Znamensky traveled extensively in Siberia, Central Asia, and the northern regions of Asiatic Russia in the 1850s and 1860s, making sketches and paintings of the landscapes and tribes. In 1872 his works were exhibited at the Moscow Polytechnic Exhibi- tion, where they were awarded the silver medal from Moscow University.

The present watercolors are from a series of works created to celebrate the 300th anniversary of the founding of Tobolsk and the annexation of Siberia to Russia, which was celebrated in 1885. The artist took a special trip around the towns of the region, the result of which was a unique series of sketches and watercolors. From this body of work an album entitled “From Tobolsk to Obdorsk” was created, specially bound in birch bark. It was comprised of thirty-two images showcasing local life in Tobolsk, Berezov, and Obdorsk, with images of local people, the surrounding area, and historical sketches. The album was exhibited in the Tobolsk Art Gallery in 1889. Later, in 1894, the heir to the Russian throne - the future Nikolai II - visited Tobolsk during his round-the-world trip. He was quite taken with the album, which he acquired for the high price of 800 roubles (per his inscription on the verso of the folder). The album came to the Emperor’s library in the Winter Palace in Saint Petersburg, and after the Revolution of 1917 it became part of the Russian State Library in Moscow where it currently resides. The three watercolors offered here were not part of that album, but are similar stylistically and clearly come from the same series. For example, the image with the three Khanty and the Russian official appears almost exactly in the album, with trivial changes in detail, such as a different color of tablecloth.

Znamensky’s watercolors weren’t published in Russia before the Revolution of 1917. His album “From Tobolsk to Obdorsk” was printed in facsimile for the first time in 2008. His drawings were used, however, as illustrations in the first and only edition of the book by the Italian ethnographer and anthropologist, Stefano Sommier, UN’ ESTATE IN SIBERIA FRA OSTIACCHI, SAMOIEDI, SIRIENI, TATARI, KIRGHISI e BASKIRI (Florence, 1885). This valuable report of Som- mier’s travels through Siberia in 188 contains fourteen interesting woodcuts based on Znamensky’s watercolors and depicts Samoyeds and Ostyaks resting in their dwellings, riding deer, playing musical instruments, walking in market places, and more. Znamensky’s original works can be found in many Russian state institutions. $12,500.