33 Volumes of Christmas Keepsakes from A. R. Tommy Tommasini. N.p: Privately Printed, 1949-1982. 33 volumes. Illustrated. 16mo, various colorful boards and wrappers. Fine. One of 50 to one of 900 copies by various printers for Tommasini. Unique and beautiful volumes presented by Tommasini to his friends at Christmas: 1949-1978, 1980-1982.
$350.00. #16552

Barrie, J[ames] B. Thompson, Hugh. Quality Street. A Comedy in Four Acts. London: Hodder and Stoughton, (1901). Illustrated by Hugh Thompson with tipped in colour plates. Large quarto, original blue cloth elaborately decorated in gilt, lettered in gilt, pictorial endpapers. Spine ends and corners slightly rubbed, spine a little faded, a few preliminary leaves opened to gutter, albeit a nice, bright copy.
$135.00. #27270 View larger image here

Bartlett, Dana. Indian portrait. Woodcut print. Approximately 13 x 10 inches image area, matted, framed and glazed. Fine condition. Signed in the plate.
Dana Bartlett (1882 - 1957) was a painter, printmaker, teacher, and gallery owner, Dana Bartlett was born in Ionia, Michigan. He studied at the Art Students' League and with William Merrit Chase in New York and Coussens in Paris.
Bartlett had a studio for a few years in Boston. He then moved to Portland, Oregon where he worked as a commercial artist for the Foster-Kleiser Company. About 1915 he briefly had a studio in San Francisco. Bartlett moved to Los Angeles in 1915 and opened his studio there. In 1924 he joined the staff of the Chouinard Art Institute. He was a member of the Print Makers Society of California and the California Arts Club. He exhibited at the Stendall Gallery in Los Angeles and the Los Angeles Museum of Art. Bartlett was one of the original fourteen artists to exhibit in the first California Water Color Society show in 1921 and was the Society's first president.
His work is represented in he Sacramento State Library, Los Angeles Museum of Art, Southwest Museum, Los Angeles Public Library and the Boston Public Library.
$750.00. #29343 View larger image here

BOREIN, Edward. California Vaqueros. Etching and drypoint, signed in the plate. Approximately 7-15/16 x 6-11/16 inches image area, matted, framed and glazed. Fine condition. Second state, (printed from left half of "Rodeo Boss"). Signed in pencil lower right. [Galvin #54].
$2,800.00. #29262 View larger image here

BOREIN, Edward. Cowboy on horseback with raised arm. Pen and ink drawing. Approximately 6 x 4-1/2 inches image area, matted, framed and glazed. Fine condition. A fluid and nicely shaded drawing. As is typical of Borein drawings it is not signed.
$1,500.00. #29263 View larger image here

Borg, Carl Oscar. Hopi Patriarch (Su-pe-la). [1923]. Woodblock print. Approximately 11-1/4 x 9-1/2 inches image area, matted, framed and glazed. Fine condition. One of 40 impressions. Signed in graphite lower right.
Carl Oskar Borg (March 3, 1879 � May 8, 1947) was a Swedish born, American painter who was known for themes of the Southwestern United States. Borg was born into a poor family in Vastergotland , Sweden. He moved to London at age 20 to assist portrait and marine artist George Johansen. In 1901, he sailed for the United States. Borg taught art at the California Art Institute in Los Angeles and at the Santa Barbara School of the Arts. He became a protege of American philanthropist and art patron Phoebe Hearst. She gave him the opportunity to return to Europe to study art.
Borg was influenced by the nature of the southwestern United States, especially the states of Arizona and New Mexico. He worked in various mediums including oil, watercolor, etchings, and woodblock. He was commissioned to paint posters for the railway company, Atchison, Topeka and Santa Fe Railway. His posters were put up on the company's sales offices and attracted attention. He was known for his dramatic paintings of the Grand Canyon.
Borg was a founding member of the Painter's Club of Los Angeles and the California Art Club. He was one of the first art directors for a major movie studio in Hollywood and he worked with the production of silent films in the years 1925-1928 with Sam Goldwyn, Douglas Fairbanks and Cecil B. de Mille. Examples of his art are on display at Brigham Young University, Harvard University, Smithsonian American Art Museum and the Fine Arts Museums of San Francisco.
[Laird: Carl Oscar Borg, p. 113]. $3,000.00. #29333 View larger image here

Borg, Carl Oscar. Mission Towers' Santa Barbara. [c. 1920]. Woodblock print. Approximately 10-1/2 x 8-1/2 inches image area, matted, framed and glazed. Fine condition. Signed in pencil lower right. Possibly one of 40 impressions.
$2,750.00. #29334 View larger image here

Borg, Carl Oscar. Su-Pe-La, Hopi Patriarch. [1934]. Etching and drypoint. Approximately 9-1/4 x 8-1/2 inches image area, matted, framed and glazed. Fine condition. Signed in pencil lower right.
[See Laird: Carl Oscar Borg, p. 113, for the woodblock of this image]. $3,000.00. #29332 View larger image here

Botke, Cornelis. Fish Wharf, Morro Bay. Etching and drypoint. Approximately 10-1/4 x 9-3/4 inches image area, matted, framed and glazed. Fine condition. Signed in pencil lower right. No. 15 of 50 impressions.
Cornelis Botke was born in Leewarden, Holland in 1887. He studied at the School of Applied Design in Haarlem before emigrating the United States in 1906, settling in Chicago. There he studied at the Chicago Art Institute. With fellow artist and new wife Jessie Arms now by his side, the duo began a life long joint career, at times collaborating on mural projects.
In 1919 Cornelis Botke and Jesse moved to Carmel, California, where Cornelis taught at Carmel Arts and Crafts. In 1920, they toured Europe. Returning home and finally settled in Santa Paula in Southern California in 1927, where they had a studio big enough to share. They were often commissioned together for very large works, usually murals.
Cornelis Botke was predominantly a landscape painter in his singular work, and his pieces were displayed at the Los Angeles County Museum as well as the Art Institute of Chicago. Surviving murals of Botke's also exist in the Kellogg factory in Battle Creek, Michigan and the Ida Noyes Hall at the University of Chicago
The Botkes were members of the California Art Club, the California Society of etchers, and the Foundation of Western Art. Cornelis exhibited his work at the Los Angeles County Museum of Art and at the Art Institute in Chicago.
$2,750.00. #29338 View larger image here

[California Historical Society], Californians Collect California Art. Printed poster. Approximately 21 x 13-1/2 inches image area , matted, framed and glazed. Fine condition.
"Women's Board, California Historical Society Presents Early Paintings & Sculpture from private collections for the month of May ... ".
#29342 View larger image here

Churchill, Sir Winston Spencer. The Collected Works of Sir Winston Churchill. [London]: Library of Imperial History in Association with the Hamlyn Publishing Group Limited, (1973). 34 volumes, complete. Illustrated.
Royal octavo, original cream vellum over stiff boards, decorated and lettered in gilt, all edges gilt, marbled endpapers, silk bookmark bound in, each volume in it's own green morocco covered gilt decorated slipcase. A few of the slipcases very slightly rubbed, two with slightly different colour green, all volumes as new. Centenary edition. Each set sold by subscription only, for a total of 3,000 sets world wide.
$7,000.00. #28789 View larger image here

DICKENS, Charles. A Christmas Carol. In Prose. Being A Ghost Story of Christmas. Philadelphia: Carey & Hart, 1844. Illustrated by John Leech with frontispiece and three plates which are hand coloured and four black and white illustrations. Title page in red and blue. 16mo, original brown cloth ruled, decorated and lettered in gilt on front cover, decorated in blind on rear cover, pale yellow endpapers by J. C. Russell (signed in gilt on front cover, in blind on rear cover); publisher's special gift binding. Center of foreedge slightly "crimped" giving the boards a slight bow, spine a tad faded, endpapers with slight spotting, upper spine with a tiny less than 1/8 tear, else a bright, tight and crisp copy. First U.S. edition, complete with half title (printed in blue) and fly leaves.
A Christmas Carol. In Prose. Being A Ghost Story of Christmas] is a novella by English author Charles Dickens about miserly, cold, unfeeling, old and curmudgeonly Ebenezer Scrooge and his secular conversion and redemption after being visited by four ghosts on Christmas Eve. The book was first published on 19 December 1843 with illustrations by John Leech, and quickly met with commercial success and critical acclaim. The tale has been viewed as an indictment of nineteenth century industrial capitalism and has been credited with returning the holiday to one of merriment and festivity in Britain and America after a period of sobriety and somberness. A Christmas Carol remains popular, has never been out of print, and has been adapted to film, opera, and other media.
This copy is in the rare "gift" binding and is in remarkable condition. Dickens had made an impassioned plea for international copyright protection during his visit to America the previous year, but to no avail. A Christmas Carol was pirated and Carey and Hart's edition took not only Dicken's text, but Leech's illustrations, and also many of the design elements.
$6,500.00. #28441 View larger image here

DICKENS, Charles. A Christmas Tree. (Philadelphia: Samuel A. Dalton, 1961). Illustrated by Ray Abruzzi with colored tissue paper overlays. Quarto, green boards stamped in white and lettered in gilt, in publisher's box (a little faded). Fine. One of 1,300 copies.
Prepared as a holiday greeting by Samuel A. Dalton.
$50.00. #14443

DICKENS, Charles. The Chimes; A Goblin Story of Some Bells That Rang An Old Year Out and A New Year In. Philadelphia: Lea and Blanchard, 1845. Illustrated with double engraved title page and ten plates. 16mo, original blue cloth ruled and decorated in blind on coveres, lettered in gilt on front cover and spine, pale yellow endpapers by J. C. Russell (signed in blind on front cover). Upper board slightly bowed at center of fore edge, small black streak near spine, spine slightly sunned with ends very slightly rubbed. A very nice copy, seldom found in this condition. First U.S. edition, complete with half title and fly leaves.
$375.00. #28442 View larger image here

Dickens, Charles. The Personal History of David Copperfield. London: Hodder and Stoughton, n.d. Illustrated in colour by Frank Reynolds, R. I.. Quarto, original red cloth decoratively stamped and lettered in gilt and black, pictorial endpapers. Spine a little faded and sunned, top edges a bit dust soiled. First edition thus.
$100.00 #28976 View larger image here

Dixon, Maynard. Partredge, Roi. Indian Beating a Drum. 1920. Etching and drypoint. Approximately 6-1/2 x 4-1/2 inches image area , matted, framed and glazed. Fine condition. Signed in the plate by Dixon, and signed in pencil lower right by the etcher Roi Partredge.
Born on a ranch near Fresno, California in the San Joaquin Valley on January 24, 1875, Maynard Dixon (1875 - 1946), originally named Henry St. John Dixon which later changed to Lafayette Maynard Dixon on September 8, 1875, became a noted illustrator, landscape, and mural painter of the early 20th-century American West, especially the desert, Indians, early settlers, and cowboys.
Maynard Dixon's mentor, Charles Lummis, encouraged Dixon early in his painting career to leave California, and "travel East to see the real West". Maynard Dixon did just that, traveling the many roads that crisscrossed the West: Montana, Utah, Nevada, Arizona, and New Mexico. Lasting weeks, to even months, these trips provided Maynard Dixon with the inspiration to create. He was forever drawn to the vistas and peoples inhabiting these remote western lands.
When Maynard Dixon first visited Arizona, at the turn of the 20th century, it was wild, open territory, inhabited primarily by Hispanics and Native Americans. In 1902, he made his first visit to Lorenzo Hubbell's Ganado trading post, and came away with wonderful sketches he would use as inspiration for many years to come. Viewing these works, one can imagine the awe Maynard Dixon felt in the raw beauty of the landscape and its inhabitants. He would return to Arizona many times, ultimately making Tucson his final home.
The time Maynard Dixon spent in New Mexico from September 1931 through January 1932 was a happy, contented time for Dixon. Living with wife Dorothea Lange, and children John and Dan, in a house provided by his dear friend Mabel Dodge Luhan, Maynard Dixon completed some of his most productive, and inspired paintings. During the five-month stay, Maynard Dixon was very prolific, painting more than forty canvases of all sizes. Many of these paintings told a story about the interaction between the land and its people. At that time, Northern New Mexico was the heart of a thriving art community.
The Taos Society, a group of well-trained and respected artists invited Maynard Dixon to join their exclusive alliance. True to form, Maynard Dixon declined the offer, finding their bylaws on which paintings could be exhibited too confining and rigid. Dixon, the self-taught, highly individualistic painter, had great inner strength and distinctiveness. The New Mexico period represents some of Maynard Dixon's finest works, ones in which his special qualities are clearly imparted.
The people Maynard Dixon depicted in his paintings reflect the cultural mix of the American West of the early 20th century. Maynard Dixon was delighted to live among all the peoples of the region, and his portrayals of the Hispanic, Native American, and Anglo inhabitants are without comparison. Maynard Dixon also used the human form to allude to more ethereal subjects. Some of his most poignant and gripping works were the handful of Great Depression-era paintings done in 1934 and 1935. Maynard Dixon's wife, famed photographer Dorothea Lange, was devoted to chronicling the plight of the migrant workers and the San Francisco maritime worker's strike. Her involvement undoubtedly influenced Maynard Dixon's choice of this atypical subject matter. The images of expressionless men done in somber grays and blues show skillful use of light and shadow to accentuate the distress in the subjects he portrayed.
$1,500.00. #29339 View larger image here

Fryer, Jane Ayre. The Mary Frances Sewing Book or Adventures Among the Thimble People. Philadelphia: John C. Winston Company , (1913). Illustrated by Jane Allen Boyer with black and white, and colour drawings. Also included are 10 patters for clothes, one which has been used but is complete. Quarto, original blue cloth with large colour plate affixed to front cover and ruled in gilt, lettered in gilt on spine, pictorial endpapers. Spine a bit darkened, old ink inscription on front fly leaf. First edition.
$90.00. #27274 View larger image here

Hawkesworth, John. An Account of the Voyages Undertaken by the Order of His Majesty for Making Discoveries in the Southern Hemisphere and successively performed by Commodore Byron, Captain Wallis, Captain Carteret, and Captain Cook, in the Dolphin, the Swallow, and the Endeavour: Drawn up from the Journals Which Were Kept by the Several Commanders, and From the Papers of Joseph Banks, Esq. London: W. Strahan and T. Cadell, 1773. Three volumes. [12], xxxvi, [3], [1, blank], [458, numbered 678, omitting 140-360]; [1, blank], xv, [1], (1)-410; [6],(411) -799, [1, blank] pp. . Illustrated with engraved plates and charts (some folding) all in clean and crisp condition, no tears or brown spots, with the exception of "Hawkin's Maidenland" which is a little browned with some spotting in right margin, and "Queen Charlotte Island" bound upside down at p. 578 not 577 as called for in volume I, also lacking (as is usual in the first edition) "Chart of the Streights of Magellan" ; volume II is missing "Chart of New Zealand" at p. 281; all plates and charts in volume III are present and in fine condition. Quarto [leaf size 28.5 x 23 cm), three-quarter brown calf over marbled boards, gilt lettered spine labels in red and green morocco, all edges sprinkled, marbled endpapers. Spines a bit rubbed with slight loss of leather at top of volume I, covers slightly rubbed, some moderate water staining primarily in lower margin only affecting a few leaves in volume I, moderate waterstain about 3/4 height of first 11 leaves in inner margins of volume II, very minor waterstain upper right margin affecting 4 leaves of volume III, spine labels lacking on volume III; leaf 557/558 with small closed tear in right margin.
First edition. With the bookplate of Thomas Erskine [of] Linlathen (1788-1870) in each volume. Erskine was an outstanding revisionary and constructive lay theologian in the early part of the 19th century and was, with his good friend the Reverend John Mcleod Campbell, one of Scotland's most important nineteenth century constructive theologians.

"On his first voyage, 25 August 1768 to 12 July 1771, Cook circumnavigated New Zealand and for the first time explored the east coast of Australia�of which he took possession for Great Britain; he also sailed through the straits separating New Guinea and Australia. On the second, and historically most important, voyage (13 July 1772 to 30 July 1775) he began by cruising as far south as possible around the edge of the antarctic ice. He again visited New Zealand and, cruising through the Pacific, discovered, or explored again, many of the islands, in particular New Caledonia, Palmerston and Norfolk Islands, Easter Island, the Marquesas, New Hebrides, Tonga, the South Sandwich Islands and South Georgia. "The third voyage (11 July 1776 to 4 October 1780) was undertaken to find the North-West Passage from Europe to the East.
After again visiting Tasmania, New Zealand and many Pacific Islands, Cook sailed on to North America, discovering on the way the Cook Islands and the Hawaiian group. He charted the North American coast from Oregon as far north as the Bering Strait, where ice turned him back. On the way back the great explorer was killed [in 1779] in a fight with natives in Hawaii. "Cook earned his place in history by opening up the Pacific to western civilization and by the foundation of British Australia. The world was given for the first time an essentially complete knowledge of the Pacific Ocean and Australia, and Cook proved once and for all that there was no great southern continent, as had always been believed.
He also suggested the existence of antarctic land in the southern ice ring, a fact which was not proved until the explorations of the nineteenth century. "Cook was a brilliant navigator and hydrographer, and excellent administrator and planner, and probably the first sea captain to realize the importance of preserving the health and well-being of his crew" (Printing and the Mind of Man). These voyages of discovery were also the first to carry illustrations by professional artists (notably Parkinson, Hodges, and Webber). The volumes are justly famous for their splendid plates, many of which were engraved by Bartolozzi.. [Hill p. 139. See also PMM 223].
$5,000.00. #27223 View larger image here

Hebert, Marian. Evening Prayer, Mission Santa Barbara. 1936. Lithograph. Approximately 8-1/4 x 10-1/8 inches image area , matted, framed and glazed. Fine condition. Signed in pencil lower right. No 11 of 35 impressions.
Marian Hebert was born in Spencer, Iowa on June 5, 1899. Hebert graduated from the University of Montana with a B.A. degree in physics and mathematics. Recovering from tuberculosis, she moved California in 1923 and soon settled in Santa Barbara. There she graduated from the State Teacher's College in 1929 and then studied art with Edward Borein and Frank M. Fletcher. From 1946 to 1957 she was head of the art department at Mary Hardin-Baylor College in Belton, Texas. She died in 1960.
$1,000.00. #29344 View larger image here

MACDONALD, George. At the Back of the North Wind. Philadelphia: David McKay, 1919. Illustrated by Jessie Willcox Smith with colour plates. Quarto, original gray cloth ruled and lettered in blue and gilt, colour plate affixed to front cover, lettered in gilt on spine, top edges gilt, pictorial endpapers. Very tiny nick in colour plate and gilt rule on front cover, edges slightly dust soiled, hinges starting, else fine. First edition thus.
$75.00. #28975 View larger image here

Millier, Arthur. Old Los Angeles. 1922. Etching and dry point. Approximately 6 x 6 inches image area, matted, framed and glazed. Fine condition. Signed and dated in pencil lower right. No. 32 of 50 impressions.
Arthur Millier (1893-1975) was an etcher and watercolorist. Born in Somerset, England on Oct. 19, 1893. Millier immigrated to California in 1908 and, after graduating from Los Angeles High School, studied at the local ASL. His art pursuits were interrupted by WWI in which he served in France with the First Canadian Pioneers and was wounded at the Battle of the Somme. Following the war he lived in San Francisco where he attended the CSFA and etched a series of street scenes. Upon returning to Los Angeles in 1922, he taught part time at the Chouinard School, Otis Art Institute, USC, and Pasadena Art Institute. Millier's art output was minimal after becoming an art critic for the Los Angeles Times in 1926. His last three years were spent in Hackensack, NJ where he died on March 30, 1975.
$400.00. #29336 View larger image here

Moore, Clement and C. Denslow, W. W. Night Before Christmas. New York: G. W. Dillingham Co., 1902. Illustrated by W. W. Denslow in colour. Large quarto, original gray cloth lettered in dark brown, with coloured paper plate affixed to front cover, pictorial endpapers. Some very faint smudging on endpapers, else a nice, bright copy. First edition, second state binding (first was softcover without the picture of Santa on the cover).
$750.00. #29211 View larger image here

Perceval, Don. Indian encampment scene in double windows. Ink drawing. Approximately 5-5/8 x 6-3/4 inches image area for each opening in the mat, matted, framed and glazed. Fine condition. Signed in pencil lower right.
This drawing was an illustration in the book "General Crook and the Apache Wars" by Chas Lummis, pp. 38-39.
Don Louis Perceval was born to an artist mother in Woodford, Essex, England in 1908. He was raised in Los Angeles, where Don Perceval attended the Pasadena Military Academy and Chouinard Art Institute. By the age of 19 Don Perceval had begun taking sketching trips to the desert, reaching Arizona first in 1927 and becoming taken with the way of life of the Hopi and Navajo. Perceval returned to England for a time, studying at the Royal Academy in London and becoming exposed to classical art for the first time. From there he went to Spain and then back to the American southwest on a commission to create advertisements for the Rio Grande Oil Company. During the Second World War, Perceval served with the Royal Navy on a patrol boat in the Thames Estuary and by creating a cartoon manual to teach gunnery to cadets.
The end of the war meant a return to the States, and Don Perceval settled in California again, teaching at the Chouinard Art School and Pomona College. In the 1950s he traveled extensively in Arizona, living with Hopi tribes in 1952 and in Tucson from 1954 to 1959. Don Perceval's final years were in Santa Barbara, California, where he died in 1979.
$750.00. #29335 View larger image here

Reille, Karl Baron. La V�nerie Fran�aise Contemporaine. Paris: Adolph de Goupy, 1914. Profusely illustrated with in text drawings and music scores, frontispiece and numerous full page plates in colour. Half folio, original green cloth lettered in gilt, front cover with padded design of deer head with antlers in brown and cream, gilt medallion of fox at top, lettered in gilt on spine . Minor silverfishing to green cloth, else a fine copy. One of 600 copies, No. ASH for Mr. H. Sinney.
La V�nerie Fran�aise Contemporaine is a famous and important book of the twentieth century about hunting in France. It gives a comprehensive overview of the French Hunts, which were then at their peak. The text is filled with anecdotes and, often amusing, comments. The individals portrayed are identified by handwritten notes that the author had left in his own copy (not present here).
Baron Karl Reille (1886 - 1975) was the great grandson of Honore Reille, Marshal of France, who had married the daughter of [Andre] Massena [the great Marshall under Napoleon, and perhaps the only possible rival to him]. Karl Reille had a happy childhood, divided between Paris and the Chateau de Baudry in Touraine, in the period preceding World War I. Reillee had shown at an early age a talent for art and design and his uncle Peter Verteville was his guide in developing these talents. They worked in an artistic affinity and often treated the same subject identically. In 1906 they produced jointly a series of portraits and caricatures of actors The V�n�rie Montpoupon.
A passion for hunting with hounds ultimately determined where the talent of Karl Reille should be directed and bore fruit in the publishing in 1914 of V�n�rie Francaise Contemporaine. This important work presents all the hunts existing in France at the time, with each hunt illustrated by the author, and also its hunting song musically notated.
Throughout his prolific career, Reille illustrated many books written by other authors about hunting. He also looked closely at the world of horses and horse racing which were his constant inspiration.
Mobilized in 1914, he was taken prisoner early in the war. He spent four years in captivity at Plassenburg Ingolstadt in Bavaria. After the war, in 1922, Karl Reille created in association with the Baron de Lauriston, Rally Gaiment, a Hunt for deer. In April 1924, Karl Reille married Odette Goury of Roslan, and they had six children.
In 1939 he enlisted again at the outbreak of war, and was again taken prisoner by the Germans. Released in 1941, he returned to Baudry and became mayor of his town, Cerelles, at the end of the war. After the armistice, he was vice-president of the Society V�n�rie. Having previously painted in watercolour and gouache, Reille worked in oil from 1960 on. He was struck by disease in 1973, and died in 1975.
$7,000.00. #28069 View larger image here

Rollins, W[arren]. E[liphalet]. (1861-1962). Seated Indian smoking a Pipe [Study - for consecrating - Bahos - Oraibi]. 1905. Pencil drawing. Approximately 9-3/4 x 7.5 inches image area , matted, framed and glazed. Fine condition. Signed and dated in pencil lower right.
Illustrated in "Western Americana" by Harmsen.
Warren Rollins (1861- 1962) was born and raised in California. He studied under Virgil Williams at the San Francisco School of Design, eventually becoming the Associate Director of the school. After studying in the East, Warren Rollins moved to San Diego, where he began to paint Indian scenes, basing his work on his travels in the western states.
These Indian scenes became quite popular and, in 1917, the Santa Fe Railroad gave him a studio in El Tovar where he could paint the Grand Canyon. Warren Rollins traveled extensively in New Mexico, being amongst the first white artists in Santa Fe. Warren Rollins' first painting show in Santa Fe were before 1910, and he moved there for the first time in 1915, encouraged to do so by his friend E.I. Couse.
Warren Rollins exhibited often in Santa Fe, having twenty-five exhibitions between 1916 and 1977. He was known as "The Dean of the Santa Fe Art Colony," and was commissioned for both commercial and consumer pieces, including a portrait of Calamity Jane that hung in the Billings Club until it was destroyed in a fire. Warren Rollins taught at the Palace of the Governors and served as the Santa Fe Art Club's first president. In the 1940s he spent time in Baltimore creating seascapes, predominantly in crayon. Warren Rollins died at the age of 100 in Winslow, Arizona.
$3,000.00. #29337 View larger image here

Stedman, Charles. The History of the Origin, Progress, and Termination of The American War. London: J. Murray for the Author, 1794. Two volumes. Vol I: xv, 399pp. Vol II: xv, 449pp., (14). Illustrated with 15 maps and plans. Quarto (10-3/8 x8-3/8 inches), original full tree calf tooled in blind, decorated in gilt, morocco spine labels in red and orange lettered in gilt, all edges marbled, marbled endpapers. Edges and boards a little scuffed, bookplates on front pastedown, old inscription in brown ink on verso of front free endpaper in vol. I, occasional light foxing. A very nice set. First edition.
First edition of a work that is fundamental to any collection of books relating to the American Revolution. This work is "generally considered the best contemporary account of the Revolution written from the British side" - Sabin. The beautifully engraved maps (the largest of which is approximately 20 x 30 inches) constitute the finest collection of plans assembled by an eyewitness. They depict the sieges of Savannah and Charlestown, plus the battles of Saratoga, Camden, Guilford, Hobkirk's Hill, and Yorktown.
Stedman was a native of Philadelphia, a Loyalist who served as an officer under Howe, Clinton, and Cornwallis, and later became an examiner of Loyalist claims for the British government. He had first-hand knowledge of many of the campaigns and persons involved in the effort. He is critical of Howe, and describes all the major theaters of war, as well as individual battles from Bunker Hill to Yorktown.
[Gephart 1033. Sabin 91057. Howes 914, "b". JCB II:372. Lowndes V, p. 2504. Winsor VI, p. 518].
$17,500.00. #27502 View larger image here

STEVENSON, Robert Louis. A Child's Garden of Verses. London: Longmans, Green, 1885. 12mo, original blue cloth decoratively stamped and lettered in gilt, top edges gilt, in half blue morocco slipcase by Sangorski. Lower spine edge slightly rubbed, a tad cocked, else fine. First edition. Inscribed on front fly leaf "To Miss Pigot with every kind wish from M. I. Stevenson, May 1885".
A fine association copy presented to a friend of Mrs. Stevenson soon after the book was published. After the death of Stevenson's father, he and his mother were often together. She accompanied him to America when he spent some time at Saranac and on his voyage through the South Sea Islands which followed. When he settled in Samoa, she became a permanent member of the household.
Miss Pigot went to India at the age of seventeen and worked there as a missionary. In November 1882 charges had been made "against the moral character" of Ms. Mary Pigot, then Superintendent of the Female Mission in Calcutta, The charges were brought in a document given to the Rev. William Hastie, who had been dismissed from his post as Principal of the Foreign Missions College in Calcutta, in 1883. He had appealed the charges "want of tact and tempers and his discourtesy" and in spite of an eight hour speech in his defense lost the appeal. Mr. Hastie had sent the charges to the Foreign Missions Committee with a post script in effect confirming the charges. The Committee handed the paper to Ms. Pigot who happened to be in Edinburgh on a visit. She returned to Calcutta and raised a libel action against Hastie. She finally won the case and Hastie was found guilty of malicious libel. The Commissioners had investigated the accusation against Ms. Pigot and found "the only serious charge brought home to Miss Pigot was that she had unwittingly appointed a Roman Catholic as matron of the orphanage, and had retained her services after she knew the fact that she was not a Protestant". .. This was Miss Pigot's chief fault and it is said that the Commissioners "saw no reason to believe that she tolerated any known impropriey, and they have a strong impression, from what they have learned elsewhere, that the orphanage was no worse off in respect to its native agents than all other mission of similar character."
Fanny wrote to her mother-in-law in May, 1884 "He [Stevenson] was greatly taken up with the Miss Pigot triumph, and wrote her a short note when he first heard of it, to say so." Miss Pigot wrote in July, 1884 "Mrs. T. Stevenson has made me her debtor for many years. And my intense appreciation of literature has bound me in full homage to her gifted son whose gem of a letter is a treasure to possess."
A fine copy in the preferred binding in which the apostrophe in the word "Child's" on the spine has a curved tail, quite scarce thus. Other copies of the first, and second, editions as well, have been noted on which this apostrophe resembles a small figure seven.
[Beinecke 192. Hayward 297. Booth and Mehew The Letters of Robert Louis Stevenson, v. IV pp. 71, 79. Yale Letters, Letter 1005. Lewis and Mills, Feminist Postcolonial Theory.�Kent, Converting Women.].
$7,500.00. #19141View larger image here

Swinnerton, James. Three "vignette" watercolours of Indian children. Original watercolour. Approximately 8 x 10-1/2 inches image area , matted, framed and glazed. Fine condition. Signed by Swinnerton in ink lower right.
Considered to be the "Dean of Desert Artists," as well as one of the most influential cartoonists of his time, James Swinnerton's life spanned nearly a century. In addition to painting hundreds of Southwestern desert scenes, Swinnerton was America's first newspaper comic artist and was the creator of numerous series and characters. His long journey was in essence a story of two lives, both defined by distinctive and accomplished legacies �one of a cartoonist of historical significance and the other of a fine artist devoted to faithfully portraying the subject matter he loved best.
On September 19, 1871, the younger James Guilford Swinnerton married a "winsome, young" Canadian named Jennie Wise. Four years later their only child, James Guilford Swinnerton Jr., was born. When Jennie died fifteen months later young Jimmy was taken in by his grandparents in San Jose where he remained until his father remarried in 1879. By the age of fifteen Swinnerton's grandparents had become too old to care for him and his dislike for his stepmother too intense to live with. He decided to run away. In 1891 sixteen year old Jimmy Swinnerton enrolled in the Mark Hopkins School of Design, the San Francisco Art Association's art school. In retrospect the school's 1891 class was a remarkable lot. Swinnerton's classmates included eventual Western art icons Maynard Dixon and Edward Borein and landscape painter Xavier Martinez. Also present was Homer Davenport, who would later rise to fame as a political cartoonist. Dixon, unwilling to deal with the abrasive personality of the school's director Arthur F. Matthews, left after just a few months, but not before developing and maintaining a lifelong friendship with Swinnerton. The two frequently made sketching trips together into northern Arizona and the Colorado Desert.
By chance, some of his caricatures were seen by William Randolph Hearst. Impressed by what he saw, Hearst hired Swinnerton as a sketch artist for The San Francisco Examiner in 1892. After hearing that Swinnerton was going to work for a newspaper, William Keith allegedly refused to ever speak to him again. At The Examiner Swinnerton's caricature skills naturally led him to cartooning. Swinnerton's drawings soon appeared throughout the paper in sections ranging from the editorial to the sports pages, but his most well known figures were the "Weather Bears," sketches of bear cubs which appeared on The Examiner's daily weather report. Eventually Swinnerton began drawing images of small children to accompany the bears, and then began placing two frames together connected by a banner which spanned the page.
$3,000.00. #29340 View larger image here

Swinnerton, James [Guilford]. Chee and the Tattle-Bird. Original watercolour, mixed media. Approximately 7 x 4-1/4 inches image area , matted, framed and glazed. Fine condition. Signed by Swinnerton in ink lower right.
$1,500.00. #29341 View larger image here