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A special copy, bearing the South Korean Presidential Seal, quite conceivably a unique one-off presentation copy from the Korean Government, of the photogravure portfolio, showcasing a select few of the exquisite Korean art works, which were jointly selected by a Korean-American committee and displayed at the National Gallery of Art in Washington, D.C. exhibition "Masterpieces of Korean Arts" held from 15 December 1957 to 12 January 1958. Folio. Complete, with 12 full colour photogravures, each bordered with loosely placed captioned leaf, and contained in its own folding cardstock covers bearing the portfolio title to front and a detailed historical and physical description to interior. Folders open from left to right, suggesting that this work was printed in Korea. Text is in both Korean and English. Publisher's original cloth teal and gold patterned portfolio covers, with two intact bone clasps for secure closure, and gilt presidential seal to front. Photogravure leafs measure approximately 42,5 x 34 cm. Portfolio measures approximately 43 x 34,5 x 3,5 cm Mild age-toning and wear to boards with one cosmetic tear to cloth to interior of one flap, otherwise in very good and original condition, a most unusual variant of this beautiful work, and most likely a Presentation copy from the South Korean Government. The present item is quite rare in any state, but especially this one as it shows a gilt phoenix and flower (Rose of Sharon) emblem found on the presidential seal of South Korea. It is most likely a Presentation Copy from the Korean Government to America, as a memorial to their collaboration of hosting a superb exhibition of historic Korean Art. OCLC shows a few 'standard' editions in libraries. The status and authority of the President of South Korea, officially the Republic of Korea, is represented by a symbolic phoenix emblem. The virtues represented by the mythological bird are parallel to the values a king had to pursue in governing the people, and the design of phoenix was attached on the ceiling of the throne hall of Gyeongbokgung palace, which was the main palace during much of the Joseon Kingdom (1392-1910). The design of the phoenix is still used today as the emblem that represents the office of the President of Korea. The exhibition "Masterpieces of Korean Art" was held at the National Gallery of Art in Washington, D.C., from 15 December 1957 to 12 January 1958. A joint committee of Koreans and Americans selected 187 objects, with the aim of presenting a cross section of Korean art from 200 B.C. to about 1900.
Among the Hills: A Book of Joy in the High Places. - First Edition. Dedication Copy With Beautiful Original Ink Drawing. Headley Brothers, London, [nd] 1911. 8vo., [vi], 326 pages, and 1 page of publisher's ads. Illustrated with photographic plates as well as 14 colour plates of paintings by two artists, the latter mounted to teal-grey linen leafs with tissue guard. Publisher's original teal cloth, gilt title to front and spine. [Later editions were printed on ordinary paper rather than the finer production mounted in this first edition; tissue guards were also omitted.] Slight shelf wear to spine, otherwise in very good and original condition, a pleasing volume with a splendid drawing. The front end paper features a charming ink drawing of two birds fluttering over a river, by a skilled artist. The artist is identified only as A.J., who dedicates the volume to E. Horace Walpole, 1-10-1912. The recipient is perhaps the illegitimate son of Horatio Walpole (1813-1894) 4th Earl of Oxford (second creation) and Lady Susan Hamilton Douglas (1814-1889) wife of the 5th Duke of Newcastle. Research to this effect is warranted to substantiate. Farrer's narrative recounts a six week exploration in the Gratian, Cottian and Maritime Alps looking for particularly rare and precious plants, so stated in his first chapter. Written for the cultivator and lover of plants who share his passion, as opposed to the collector of samples, his work is a beautifully written and highly detailed account of the plants' features, habitat, preferred conditions for growth, and so forth. At the end of the work he evidently felt it necessary to dispel an accusation of having devastated regions in the valleys of the Alps, a charge which contradicted the very essence of his work.
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked boards and no bumping to corners. 64pp. Generations of artists have depicted angels as divine messengers, spiritual guides or heavenly musicians. This study shows some of these images with lengthy descriptions of each.
Archive of London Artist, featuring a tribute to king of Belgium; comprises 5 published book dustjackets for notable authors, 2 bookplate designs, 11 heraldic arms of the British monarchy and the Royal Armed Forces, 30 hand-drawn and coloured Oxford coat of arms, 21 unique greeting cards, 7 photographs, and a few other items pertaining to publications and to colleges. Artworks and photographs range in size, the smallest measuring approximately 8 x 11 cm and the largest measuring 20 x 25 cm. With the exception of the greeting cards and bookplates, all other works are mounted to large cardstock leafs measuring approximately 29 x 35 cm. Two series of works are accompanied by typescript descriptions; one is accompanied by a facsimile letter from the College of Arms in London. The lot in very good condition, providing insight into the works of an all but forgotten London-based commercial artist who was active before and during the Second World War. Norman Walker James (1886-1963) was a commercial artist and designer established in London from about 1910-1911. He is listed as a Decorative Designer residing at a boarding house in Kensington, in the 1911 census. Although little-known today, he evidently rose to some acclaim in his trade, as he was selected to design a memorial tablet for Belgian King Albert I. Born in Leicester, he was the son of a congregational minister. The present archive consists of an artist's own retained copies of his work, which form a fascinating portfolio of a man who was notable and active, not long ago from the 1920s into at least the 1940s, and yet seems to be vanished into obscurity. His undertakings and contracts connected him to Belgian royalty, notable publishers, and administrators of renowned college institutions. Especially interesting are the items pertaining to his contribution to a memorial located in the Sint-Maartenskathedraal in Ypres [St Martin's Cathedral re-built in 1930] , including a photograph of the tablet designed by James and accompanied by his design description, two coats of arms printed true-to-size as they would be on the tablet, as well as two rare large press photographs of its unveiling on 21 May 1938. The tablet served to honour Albert I King of Belgium together with the British Armed Forces for the gift of the exquisite rose stained glass window mounted above the south transept door. James designed the nine-foot tall tablet, on which he hand painted the inscription, and which was unveiled by King Leopold III. It featured the coat of arms of Albert I, as well as the Arms of the British Army, the RAF and the Dragoon Guards. Some of James' dustjacket designs retained here include: Commodore Anson's Voyage Into the South Seas and Around the World, by Boyle T. Somerville, published in 1934; The Recollections of Sir Henry Dickens, published in 1934; The Daughters of George III, by Dorothy Margaret Stuart, published in 1939; War & Peace, by Leo Tolstoy, published in 1942 (Also with original book boards); The Heart of Jade, by Salvador de Madariaga, published in 1944. Other book and publishing related designs include: Four photographs showing the dedication leafs and front boards of a book issued by Great Britain's Postal Administration to commemorate the tricentennial anniversary of Norway's postal service and to celebrate the two nations' collaboration in a Universal Postal Union; A front wrapper for a 1934 issue of "Paris Salon Illustrated" magazine for artists. On two leafs are mounted 30 hand coloured drawings of heraldic shields, being the Arms of the University of Oxford, and twenty-nine of its colleges or halls, some examples of which include Pembroke College, St. John's College, Jesus College, Queens College, Magdalen College, and Campion Hall. A ticket of R. P. Gossop Limited stamped "Norman James" reveals a connection to the agency. [Reginald Percy Gossop (1876-1951) was a commercial artist specializing in graphic and landscape art, and is best remembered for designing posters for the Underground Group from 1925 to 1932. He started an agency for artists circa 1920. He studied at Birkbeck College in London, then at the Hammersmith School of Art.] Manuscript
Appears unread. Ex college library book with marks to half title and copyright pages only. No other marks or inscriptions. A very clean very tight copy with unmarked board, tiny rub to upper rear board and no bumping to corners. Dust jacket not price clipped or marked or torn or creased with very minor traces of storage. 307pp. The work of some of the world's top illustrators, sourced from twenty-two countries, selected by the contributors themselves to portray the best, most exciting and innovative aspects of their talent.
A clean, unmarked copy with a tight binding. It introduces 99 artworks of paintings and sculptures that remain in Soto-Sect Zen Buddhist temples in Yamaguchi and Kyushu. It comprehensively defines the superb Zen culture that expanded in these areas in the Kamakura period (1192-1333). 176 pages. Text in Japanese. Captions to photos in Japanese and English.
Two reports in one issue, altogether 44 pages, including black and white plates, sketch maps. Plus a double-sided fold-out chart, and a large fold-out colour map measuring approximately 23 inches by 24 inches. Original condition with blue wrappers, titles to front, and containing all the ads. This is a complete issue, seldom found in such good and original condition. British North Greenland expedition is an enlightening report on the work and findings of the expedition. With contributions by several other valuable members of the expedition team, such as Lieutenant F. R. Brooke, K. C. Arnold, and Flight-Lieutenant S. Bowater in charge of air photography. Details comprise every aspect of this remarkable journey, from planning, equipment, methods, surveys, vertical air photography, seismic investigations, atmospheric pressure. With graphs, tables, appendixes, plates for illustration, a fold out chart, and colour map of the areas explored and surveyed. A Most Comprehensive Arctic Survey - Scientifically Recorded and with a Folding Map! Plus a brief report on the geographical characteristic of the coast of South-East Iceland and the main factors causing those features, such as the wave and wind, nature of the sand, the character of the rock of the area, the situation of the rocky island of Ingólfshöfði, and the proximity of the large and active outlet glaciers of Vatnajokull.
No marks or inscriptions. A very clean very tight copy with bright unmarked boards and no bumping to corners. 96pp. A history of the last tribal culture in Europe whose Mysteries begin in the frenzy of battle, where the hero is transfigured and the god appears, or in a circle of stones or in the centre of a Celtic cross or in the stone heads.
Paris, Sale title - Bibliothèque Marc Litzler, Date - 20th February 2019 ,308 pages, fully illustrated in colour. Text in French. Illustrates and describes 248 lots at auction.
Ex-library book with the usual stamps and markings. 8"w x 10"h. 64 pages.
Nine (9) portrait impressions of Chinese civilians, mostly scholars, two geishas, and at least one immortal, each handcrafted of silk, paper, and watercolour paints, each being a one-off unique two-dimensional figure. Figures measure approximately 6 x 20 cm. Six are mounted to paper, three per leaf, paper being creased. Two are not mounted. Very good original condition, bright, colourful, and fascinating nineteenth century peasant art from China. The present items were handcrafted circa 1890, as they come from a collection of varied arts from the estate of a Anglo-Chinese man who worked as Examiner for the Imperial Maritime Customs from circa 1895 to the 1910s. Items like these continued to be made after the turn of the century, expanding the choice of representations. They have been called paper dolls by modern collectors, however they were NOT made as children's play items, which is why they are usually in very good condition. These were ornamental artforms created by innovative Chinese artisans, to sell to foreign visitors who were fascinated by the costume, lifestyle, and ancient folklore of ancient China.
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked boards and no bumping to corners. 251pp. A celebration of Heavy Metal album covers from Black Sabbath and Iron Maiden to Slipknot of the 2000s and all in between.
Creator: Hiroshi Hirabayashi. Kamishibai propaganda play / Japanese picture show (kamishibai) illustrating the benefits and immense moral obligation of collaborating with one other for survival. Folio. The complete work, comprising 20 offset full-colour printed illustrative cards which together form a story to educate or indoctrinate the viewer with nationalist concepts during the Second World War, each with printed story text to verso, one of the cards being the title and publishing information. Text is in Japanese. Contained in publisher's original paper portfolio covers, with title label to front. Story cards measure approximately 38 x 26 cm. Portfolio covers measure approximately 39 x 27 x 1 cm. Some age-toning and wear to portfolio, otherwise in very good and original condition, cards retaining vivid impression, a fascinating and scarce Second World War propaganda presentation. Japanese wartime propaganda was distributed through films, magazines and newspapers, radio, books, cartoons and the education system. Publications such as the present illustrative stories, promoted the ideal citizen's nationalistic point of view, indoctrinating civilians to work collectively and in support of their government's actions, even when creating some form of imposition on the citizen himself. Kamishibai are Japanese paper plays that gained popularity among children in the 1930s and were subsequently used as a medium for propaganda during World War II. Also referred to as a "Picture Card Show," they were made for influencing youth with their engaging storylines and vivid imagery. In 1940, elementary schools were renamed "Citizen's Schools." Textbooks became vivid, engaging, and contained militaristic picture-books. During the course of World War II, the Japanese government attempted to indoctrinate Japanese children through education and propaganda. Both methods nationalized youth and encouraged them to support the war effort. Science curriculum, for example education taught children about agriculture so they could better assist in food production for the nation. Youth were expected to volunteer in factories and farms to replace the conscripted labor force. Additionally, "kokutai," meaning the uniqueness of the Japanese people in having a leader with spiritual origins, was officially promulgated by the government, including a text book distributed by the Ministry of Education. The purpose of this instruction was to ensure that every child regarded himself first of all as a Japanese and was grateful for the "family polity" structure of government, with its apex in the emperor. Indeed, little effort was made during the course of the war to explain to the Japanese people what it was fought for; instead, it was presented as a chance to rally about the emperor. This is a dramatic story of collaboration and innovation, its ultimate message being that these virtues are necessary for survival of a society and the individual. Sustenance being the key to survival, the story unfolds as follows. A village in Western Japan suffering a long arid season which led to drought, was unable to support vegetation and was seeing abandonment as many farmers left the region. Evidently this was a large village, having five shoya (village headman), and the latter devised an irrigation plan to restore its agriculture and ultimately preserve the village. In order to instill the urgency of success with the undertaking, the local bugyo (governor) approved the project under the alarming condition that if the project failed, the five headmen who also owned estates in the region, would be burnt alive at the stake. He had five hanging platforms erected in preparation of failure, and also to motivate them to accomplish the task lest they meet a gruesome public fate. Villagers supported the idea and all hands worked diligently to ensure its success. Indeed, working together with a common goal was the key. The water flowed abundantly. The village was saved, and so were the lives of the five headmen. The hanging platforms were set ablaze (without victims) in celebration.
Kamishibai propaganda plays / Japanese picture show (kamishibai) illustrating the importance of taxation, specifically relating to the all-important commodity: rice. Folio. The complete work, comprising 20 offset full-colour printed illustrative cards which together form a story to educate or indoctrinate the viewer with nationalist concepts during the Second World War, each with printed story text to verso, one of the cards being the title and publishing information. Text is in Japanese. Contained in publisher's original paper portfolio covers, with title label to front. Story cards measure approximately 38 x 26 cm. Portfolio covers measure approximately 39 x 27 x 1 cm. Some age-toning and wear to portfolio, otherwise in very good and original condition, cards retaining vivid impression, a fascinating Second World War propaganda presentation. Japanese wartime propaganda was distributed through films, magazines and newspapers, radio, books, cartoons and the education system. Publications such as the present illustrative stories, promoted the ideal citizen's nationalistic point of view, indoctrinating civilians to work collectively and in support of their government's actions, even when creating some form of imposition on the citizen himself. Kamishibai are Japanese paper plays that gained popularity among children in the 1930s and were subsequently used as a medium for propaganda during World War II. Also referred to as a "Picture Card Show," they were made for influencing youth with their engaging storylines and vivid imagery. In 1940, elementary schools were renamed "Citizen's Schools." Textbooks became vivid, engaging, and contained militaristic picture-books. During the course of World War II, the Japanese government attempted to indoctrinate Japanese children through education and propaganda. Both methods nationalized youth and encouraged them to support the war effort. Science curriculum, for example education taught children about agriculture so they could better assist in food production for the nation. Youth were expected to volunteer in factories and farms to replace the conscripted labor force. Additionally, "kokutai," meaning the uniqueness of the Japanese people in having a leader with spiritual origins, was officially promulgated by the government, including a text book distributed by the Ministry of Education. The purpose of this instruction was to ensure that every child regarded himself first of all as a Japanese and was grateful for the "family polity" structure of government, with its apex in the emperor. Indeed, little effort was made during the course of the war to explain to the Japanese people what it was fought for; instead, it was presented as a chance to rally about the emperor. By using the example of the esteemed agrarian reformer and economic savant Ninomiya Kinjiro who was born into peasantry, lost his family and home in a disaster, and overcame all odds to become a notable leader and economic reformer, this story promotes the importance of government taxation, even on basic needs such as rice. Ninomiya Kinjiro (1787-1856) was an important agrarian reformer and economic thinker of the late Edo period. His legendary diligence and studiousness as a child made him a natural exemplar for Japanese schoolchildren. At one time, most every elementary school in Japan displayed a statue depicting Ninomiya as a youth with a bundle of firewood on his back and an open book in his hand.
Kamishibai propaganda play / Japanese picture show (kamishibai) illustrating Samurai warriors plying away in the fields aid in food production for the nation at war. Folio. The complete work, comprising 20 offset full-colour printed illustrative cards which together form a story to educate or indoctrinate the viewer with nationalist concepts during the Second World War, each with printed story text to verso, one of the cards being the title and publishing information. Text is in Japanese. Contained in publisher's original paper portfolio covers, with title label to front. Story cards measure approximately 38 x 26 cm. Portfolio covers measure approximately 39 x 27 x 1 cm. Some age-toning and wear to portfolio, otherwise in very good and original condition, cards retaining vivid impression, a fascinating and scarce Second World War propaganda presentation. Japanese wartime propaganda was distributed through films, magazines and newspapers, radio, books, cartoons and the education system. Publications such as the present illustrative stories, promoted the ideal citizen's nationalistic point of view, indoctrinating civilians to work collectively and in support of their government's actions, even when creating some form of imposition on the citizen himself. Kamishibai are Japanese paper plays that gained popularity among children in the 1930s and were subsequently used as a medium for propaganda during World War II. Also referred to as a "Picture Card Show," they were made for influencing youth with their engaging storylines and vivid imagery. In 1940, elementary schools were renamed "Citizen's Schools." Textbooks became vivid, engaging, and contained militaristic picture-books. During the course of World War II, the Japanese government attempted to indoctrinate Japanese children through education and propaganda. Both methods nationalized youth and encouraged them to support the war effort. Science curriculum, for example education taught children about agriculture so they could better assist in food production for the nation. Youth were expected to volunteer in factories and farms to replace the conscripted labor force. Additionally, "kokutai," meaning the uniqueness of the Japanese people in having a leader with spiritual origins, was officially promulgated by the government, including a text book distributed by the Ministry of Education. The purpose of this instruction was to ensure that every child regarded himself first of all as a Japanese and was grateful for the "family polity" structure of government, with its apex in the emperor. Indeed, little effort was made during the course of the war to explain to the Japanese people what it was fought for; instead, it was presented as a chance to rally about the emperor. This is a story of Samurai warriors working in the fields with ordinary people in order to help grow food, a clever example using the elite class that all look up to, in order to encourage citizens to contribute to Japan's efforts in World War II. It is cleverly named after the famous and revered Uesugi Yozan, who at the young age of 17 became daimyo of the economically failing Yonezawa domain, and through hard work and sacrifice, led his people and feudal land back to prosperity. Uesugi Yozan (1751-1822), the daimyo (feudal baron) who restored the fortunes of the impoverished Yonezawa domain, is famously known as one of Japan's most virtuous lords. Perhaps the most famous words left by Yozan are, "To achieve, one must act. To not act is to not achieve; this is true in all things. The inability to achieve is the result of inaction." Indeed, Yozan is a fitting an influential figure to support this propaganda and motivate citizens to contribute their efforts to winning the war.
Japan: Suharaya, and others, Kaei 7 (1854). Fascinating and scarce account of a samurai's son whose personal determination led him to rise above the family's financial poverty, to properly care for his horse, build his own stables, and breed additional horses, all by learning the ancient long-forgotten ways of the ancient samurai. 8vo. 1 volume, 78 pages, including 9 full-page illustrations, two of which are hand coloured. Woodblock print. All text is in Japanese. Postscript records the first edition being published in 1806. Traditional karitoji paper binding string-stitched at spine, fukurotoji style ("bound-pocket" with folded leafs bound into spine), and opening from left to right. Natural paper covers, with manuscript title label to front. Together the volumes measure approximately 18 x 25,5 x 1 cm. Negligible creasing to boards and age-toning to upper margins, otherwise in very good and original condition, a pleasing and uncommon work. Based primarily on contemporary descriptions of the financial distress felt by the long-standing prestigious samurai class, such as the present account, it is accepted, without dissent that the ruling samurai class suffered increasing poverty during the Tokugawa (Edo) period. Seifu Murata (1746-1811) wrote: "For years now, the samurai have suffered from poverty and their minds have been occupied by making a living. ‘Buy this, sell that’ and ‘pawn this to pay for that’ has become all of their lives. Even for those dedicated to their duties, it was inevitable to debase themselves and to engage in unsavory conduct (i.e., engage in trading)". Even the wives of those who were earning as much as 200 koku busied themselves in trading and in shops. This is the hero's journey, imparted firsthand, of a brilliant young samurai born into poverty but wide-eyed and unrelentingly in pursuit of mastering the skills of a samurai and honouring his destined status in this class of nobility. Young Ryuzando Shujin began by learning the equestrian warrior traditions with a borrowed horse, and was eventually able to convince his father to buy him a horse of his own, despite of the family's economic situation. When the cost of caring for the horse became a burden no longer bearable, and he was told the horse would be sold, he fixated on finding a solution. Immediately, he began conducting extensive research into the ancient methods employed when most samurai were farmers who held the role of warrior in the event of a battle. The solution to combating the costs was breeding and selling. He began the process, while being scrutinized, mocked and judged by others, in particular jeering his rudimentary (cost-effective) hand-made stables. But he did not let any outside opinions pierce his confidence. After repeated trial and error, it was not long that he possessed six horses. Surely too, he had solved the challenges of the household finances. Shujin championed horsemanship as a duty of all samurai. With the belief that all samurai should therefore possess their own horse, in part to best perform archery, spearmanship, and swordsmanship, and owing to the fact that this was an era where some samurai families were poor, he published his methods for others to follow, and ultimately uphold their rights and responsibilities that their title suggests. The volume includes instructions for building horse stables by hand, without incurring high costs. He describes the breeding process, his training methodology, and proper feeding. His own experiences with horses falling to sickness and how he treated them back to health are also shared. Clearly a man with a charitable and honest heart, he concludes by stating that all of this aside, the single most important thing for a healthy and happy horse is "aishin" (affection).
Woodblock "kawaraban" broadside illustrating the arrival of Commodore Perry's four American vessels at Uraga in 8 July 1853, featuring a prominent stylized portrait of Perry himself and one of his formidable "black ships". All text is in Japanese. Thin hand-made laid paper measuring approximately 35,5 x 27cm. Small tears at folds and margins, some professional repair to verso, otherwise in very good condition, with clear imagery. A pleasing example of an uncommon variant. A contemporary broadside to alert Japanese civilians of the arrival of Commodore Perry's formidable American vessels. News was travelling fast by word of mouth along the coast and trade routes, and also began being illustrated with the "kawaraban" - broadsides with woodblock prints - for distribution. Naturally, Edo commoners were curious to learn about the imposing vessels that suddenly appeared within sight of their city.] The Japanese named the American vessels "kurofune" (black ships) for the colour of the hulls which were covered in tar and for the black smoke from the coal-fired steam engines. four "Black Ships"
Korea's most prestigious Yi Dynasty paintings reproduced and thus preserved in a most elegant single presentation, this is an exceedingly scare work. The famous original paintings are held in private and museum collections throughout Korea. Each painting here is illustrated in colour, most also being the same size as the original artworks. Some of the larger ones are foldout plates. Each is tipped to its own printed carrier folder with a descriptive text printed adjacent on the same large leaf. These four portfolios weigh 30 kg and we will provide free shipping anywhere in the world.
11 pages, including 3 in-text charts. Original condition with blue wrappers, titles to front, and containing all the ads. This is a complete issue, seldom found in such good and original condition. A scientific report on the frequency of Gales in the Arctic - between Greenland and Novaya Zemlya - and the Antarctic, accompanied by data tables, sketch maps, appendix and bibliography. Data tables include information on: the number of days a year with storm in specific location in Greenland and Iceland; average yearly wind force at Spitsbergen (Green Fjord); mean wind speed at Laurie Island, S. Orkney; frequency of gales at expedition bases ashore in east Antarctica; frequency of gales experienced by Antarctic sledging parties, Mawson's, Scott's, Shackleton's and Byrd's.
Original miniature self-portrait painting by Roosevelt family member Maud Sutton Pickhard (née Fortescue 1880-1961), in a most elegant daytime "best" dress, signed MSP by the artist. As she looks fairly young in this image, had a London address, and at the time was still using the title "Mrs," the painting was made no earlier than 1900 and presumably in 1908 or earlier while she was still married. Inscribed in manuscript to verso "No 1. Title: A Study in Silver. Artist: (Mrs) Maud F Sutton Pickhard R.B.A. Flat 8, 31 Buckingham Gate S.W." Mounted in a large oval pendant with copper frame over glass, expertly crafted with six copper pins securing the cloth covered cardstock mount into the frame, measuring approximately 8 x 7 x 0,5 cm. Contained in a recent purpose-made clamshell box with foam padding for protection. Very slight age-toning to frame, otherwise in Very Good to Near Fine, original condition. A remarkable miniature oval self-portrait pendant with numerous illustrious Roosevelt connections, the artist herself being a published female author, little-known for her skill as a painter. The artist was a published female author born into the prominent Roosevelt family through rather scandalous circumstances. She is first cousin to President 'Teddy' Roosevelt, and first cousin once removed to Miss Eleanor Roosevelt. She is also twice connected to President Franklin D. Roosevelt, through lineage as fifth cousins once removed, and more closely through Eleonore's marriage to Franklin. Maud Sutton Pickhard née Fortescue (born 25 August 1880 in Manhattan, died 1961) was the illegitimate child of U.S. Congressman Robert Barnwell Roosevelt, Sr. (1829-1906) and his Irish immigrant mistress Marion Theresa "Minnie" O'Shea Fortescue (1849-1902).
Original oil painting of a striking and stylish Chinese junk (Vessel), on thick cardstock. Made circa 1901-1910. Measuring approximately 25,5 cm x 20,5 cm. Indication at perimeters of previous framing, otherwise in very good condition. With its two strong sails inscribed with Chinese lettering by the artist, this handsome artisan work memorializes the traditions of the ancient Chinese junk, by highlighting the revolutionary and long-standing sailing designs as well as a fascinating superstitious practice. The vessel features painted eyes and an open stern with far reaching tips which exudes speed. A dragon-like flag flies from one of the masts. A stern rudder helps steer through the rough waters of the harbour, which is surrounded by mountains, possibly representing Hong Kong's Victoria Harbour. The peaked and winged-style stern of the vessel suggests speed and agility at high seas. Five Chinese seafarers onboard are wearing traditional dress.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the elder in this painting has distinctly Chinese features. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the man in this painting appears to be a Tibetan hunter. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the robust man in this painting displays exquisite hand-crafted jade jewellery. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
Tibet, circa 1955-60. An original pastel portrait of a Tibetan native by world renowned artist Goray Douglas, with signature. Beautifully framed behind glass. Image measures approximately 32.5 x 25cm. Gold colour frame measures approximately 40 x 50 cm. Very Good Condition, an exceptionally well rendered pastel painting on grey paper laid to a wide margin mount. This is not a reprint. This is a RARE ORIGINAL PAINTING by Douglas Goray. From the artist's "Faces of the Hills" collection, an immense work in which he portrayed 350 individual Tibetan and Burmese subjects with exquisite likeness, the man in this painting appears to be a monk from the Gelug sect, sometimes referred to as the Yellow Hat monks. Douglas is a noted Darjeeling artist, a master of portraiture, revered for his documentation of native peoples.
