2019 Infiniti QX50 LUXE:
4-door wagon/sport utility hatchback with 25,575 miles, with 2.0L I4 DOHC 16V gas engine, digital cockpit, electric sunroof, leather interior, and front wheel drive
Condition: Some minor scratches, and cracked tail light
VIN: #3PCAJ5M12KF145773
New England Patriots Multi-Signed Logo Football, 2017:
New England Patriots team signed logo football includes the autographs of Tom Brady, Bill Belichick, Julian Edelman, Rob Gronkowski, plus others from the 2016-17 team. Certificate of Authenticity by PAAS included.
Issued: 2016-2017
Dimensions: 6″L x 6″W x 12″ H
Condition
Age related wear.
HOF Tom Brady Autographed Navy-Blue Patriots Jersey with COA:
White, navy-blue, and red New England Patriots Jersey autographed on the #1 on the back of the jersey by The G.O.A.T. Tom Brady. Tag reads XL. Chest measures 25″W and from top of shoulder to bottom 32.5″L. Certificate of Authenticity from Pinpoint Services included.
Dimensions: See Description
Condition
Age related wear.
HOF Tom Brady Autographed White NE Patriots Jersey with COA:
Navy-Blue, red, and white New England Patriots Jersey autographed on the #1 on the back of the jersey by The G.O.A.T. Tom Brady. Tag reads XL. Chest measures 24″W and from top of shoulder to bottom 33″L. Certificate of Authenticity from Pinpoint Services included.
Dimensions: See Description
Condition
Age related wear.
Roman Musical Holiday Semi Truck:
New in Original packaging – Santa is driving the Semi Truck which plays various Christmas carols when plugged in with included adaptor. Window scene shown is the town decorated for Christmas. Roman Inc. tag.
Issued: c. 2012
Dimensions: 26″L x 7″W x 10″H
Manufacturer: Roman Inc.
Condition
New in original packaging.
Patience Brewster Ella Elf Standing Display Shelf:
Truly unique piece for any home with Ella bust sitting atop a 4-shelf display cabinet colored in lime green with gold toned exterior. Her arms hang on each side of cabinet.
Artist: Patience Brewster
Issued: 21st century
Dimensions: 14.5″L x 10″W x 80″H (to hat)
Manufacturer: Patience Brewster Inc. Country of Origin: United States
Condition
Age related wear. Light scratches and one dent on side of cabinet.
Department 56 Patience Brewster Krinkle High Heeled Table:
Rectangular lime green table with high-heeled legs that are green and white striped with red bows and gold toned shoes. Triangle edges along the table with hooks beneath to hang decorations or lights.
Issued: 21st century
Dimensions: 48″L x 24″W x 30″H
Manufacturer: Department 56
Condition
Age related wear. Scratches on side.
Frank Tenney Johnson (1874 – 1939) – Trail of the Paleface:
Frank Tenney Johnson (1874 – 1939)
Trail of the Paleface
oil on canvas
16 × 22 inches
signed lower left
VERSO
Signed and titled
Label, J. N. Bartfield Galleries, New York, New York
An original bill of sale from J. N. Bartfield Galleries will accompany the lot.
According to noted Johnson biographer Harold McCracken, “American art has been enriched by the work of a number of artists who devoted their talents to realistically portraying the factual story of the early American West. There is nothing in our history that is more dramatically colorful or more purely American than that story; and this school of artists have provided the most comprehensive portrayal that we have of that era. The pictorial record is more understandable even than all the volumes of history that have been written on the subject.
“Most widely and highly regarded among these Western artists are Frederic Remington and Charles Marion Russell. There are others who deserve recognition which has not been given; and probably the most worthy among these is Frank Tenney Johnson.
“Remington, Russell, and Johnson all followed the same subjective theme of portraying the early-day cowboys, Indians, and pioneers in a realistic and factual manner; although the work of these three is quite different in scope and perspective.”
PROVENANCE
J. N. Bartfield Galleries, New York, New York, 2008
Robert D. Reed Collection, Jacksonville, Florida
Surface condition is good. Canvas is lined. Hairline cracks throughout. Small spots of inpainting on horses, and lower-right and upper-left corners.
Thomas Hart Benton (1889 – 1975) – White Bluffs, Buffalo River (1973):
Thomas Hart Benton (1889 – 1975)
White Bluffs, Buffalo River(1973)
tempera on board
9.5 × 14 inches
signed and dated lower left
VERSO
Signed and titled
Label, J. N. Bartfield Galleries, New York, New York
An original bill of sale from J. N. Bartfield Galleries will accompany the lot.
Benton historian Andy Ostmeyer wrote, “Besides being America’s first national river, protected in 1972, the Buffalo is as red, white and blue a place as you can get. It passes at least two named Red Bluffs, ends at the White River and flows through numerous named Blue Holes. Add to that the bald eagles. With numerous prehistoric and historic sites along the river listed on the National Register of Historic Places, the Buffalo preserves not just the river, but many American stories.
“Benton spent a lifetime floating — and painting — Ozark rivers. He first visited the Buffalo in the 1920s, and returned many times over the next half-century. He also lent his name and talent to the fight to protect the river from dams in the 1960s. At one point, Benton wrote directly to the U.S. Army Corps of Engineers: ‘As a lover of the great scenic beauty of the Buffalo River, I would like to add my name to those others which are lined up against plans to put a dam across its waters.… Man, hog-tied as he largely is, with the steel tentacles of an increasingly mechanistic world and with the prospect of being tied ever tighter, needs some areas of escape, of escape to the natural world from which he came. He’ll need all the more of these in the future. The Buffalo River provides one of these areas. I say, and I intend it emphatically: Let the river be.’
“Over the years, Benton painted numerous scenes along the Buffalo. Many are unidentifiable bluffs, but others are known, such as White Bluffs. According to Benton: ‘The most beautiful rivers for making drawings and paintings are these rather small ones, with their bluffs in Missouri and Northwest Arkansas, like the Buffalo, which is one of the most beautiful in the United States.’”
PROVENANCE
J. N. Bartfield Galleries, New York, New York, 2011
Robert D. Reed Collection, Jacksonville, Florida
As viewed through glass. Painting appears to be in excellent condition.
Charles M. Russell (1864 – 1926) – The Rattlesnake (1897):
Charles M. Russell (1864 – 1926)
The Rattlesnake(1897)
oil on board
12.25 × 18.5 inches
signed and dated lower left
VERSO
Label, J. N. Bartfield Galleries, New York, New York
Label, Palm Springs Desert Museum, Palm Springs, California
The Rattlesnake is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.PC.251. An original bill of sale from J. N. Bartfield Galleries will accompany the lot.
According to Russell authority Dr. Larry Len Peterson, “By 1897 Charles M. Russell was known around Montana as the cowboy artist, even though he had left the itinerant life of a cowboy behind four years earlier. Requests for interviews from newspapers around the nation were pouring in as Russell’s fame grew. Eager to please, Charlie was more than happy to feed the legend that Kid Russell had first set foot in Montana as a boy, lived with the Indians, and experienced the life of a cowboy and of a mountain man with Jake Hoover. Charlie was portrayed as an artistic genius without formal training, untainted by the influence of the Eastern establishment – much like the Indian before the White man.
“Theodore Roosevelt who had his own ranch in Medora, Dakota Territory described his take on the cowboy, ‘But everywhere among these plainsmen and mountain-men, more important than any, are the cowboys – the men who follow the calling that has brought such towns into being. Singly, or in twos or threes, they gallop their wiry little ponies down the street, their lithe, supple figures erect or swaying slightly as they sit loosely in the saddle; while their stirrups are so long that their knees are hardly bent, the bridles not taut enough to keep the chains from clanking. They are smaller and less muscular than the wielders of ax and pick; but they are as hardy and self-reliant as any men who ever breathed – with bronzed, set faces, and keen eyes that look all the world straight in the face without flinching as they flash out from under the broad-brimmed hats. Peril and hardship, and years of long toil broken by weeks of brutal dissipation, draw haggard lines across their eager faces, but never dim their reckless eyes nor break their bearing of defiant self-confidence.’
“Besides self-protection, cowboys used their guns for target shooting or shooting the myriad of gophers that riddled the prairie landscape. Rattlesnakes seemed less ominous when one packed a six-shooter. The Colt .45 acted as the judge and jury in many saloons in the West. With his cowboy costume on full display, the mounted cavalier carried himself with a sort of acidic pride, fully convinced that he was the aristocrat among workingmen of the West. Russell’s personality was that of the stereotypical cowboy persona – self-effacing but confident, humorous, loyal, hardworking, playful, and late in life, reflective. While personality can’t be viewed like a physical trait, Russell’s character is evident in many of his works.
“In 1897 Charlie and his wife Nancy moved into a four-room rental on Seventh Avenue North in booming Great Falls, Montana. The tremendous amount of artwork he generated in the next two years was completed in his dining room studio. Nancy was handling all the sales, and Charlie stated in 1925, ‘The worst fight Nancy and I ever had was in 1897 when she asked $75 for a canvas, which I thought was highway robbery – and got it. I was willing to sell it for $5, but she insisted we had to eat.’”
PROVENANCE
Mr. and Mrs. R. Stanton Avery, Pasadena, California
J. N. Bartfield Galleries, New York, New York, 2009
Robert D. Reed Collection, Jacksonville, Florida
EXHIBITED
The West as Art: Changing Perceptions of Western Art in California Collections, Palm Springs Desert Museum, Palm Springs, California, 1982
LITERATURE
The West as Art: Changing Perceptions of Western Art in California Collections, Palm Springs Desert Museum, 1982, p. 124, illustrated
Surface is in excellent condition. Hairline inpainting in sky. Spots of inpainting on horse.
