The Great Republic Furniture

Freeman, Douglas Southall. R. E. Lee: A Biography. New York: Charles Scribner’s Sons, 1936. Four volumes, Octavo. Early edition. Rebound in ¼ leather and cloth, with raised bands, gilt titles and tooling to spine, new endpapers, and a matching archival slipcase to house all four volumes. Presented is a beautiful, four volume set of R. E. Lee: A Biography, by author and historian Douglas Southall Freeman...

Presented is a vintage poster, titled “Meeting of the Chiefs.” This poster was designed in 1949 by Hernando Gonzalo Villa for the Atchinson, Topeka, and Santa Fe Railway. The poster depicts a Native American chief on horseback, raising his spear to the passing train, drawn so as to align the Santa Fe railroad with a romanticized version of America's old west. The Santa Fe Southern Railway named several of their train models "Chief," including the San Francisco Chief, Texan Chief, Kansas City Chief...

Presented is a vintage WWII recruitment poster by the artist team Dan V. Smith and Albrow F. Downe. The poster features three Boeing B-17 Flying Fortresses...

Presented is a vintage U.S. Army Air Forces recruitment poster from WWII. The poster was published in August of 1943 by the Recruiting Publicity Bureau....

Presented is a vintage WWII U.S. Army poster of a Martin B-26 Marauder bomber plane. The poster was published by the Recruiting Publicity Bureau in 1943. The poster depicts a B-26 fr...

This is a beautiful wooden Sensenich propeller, dating to 1945. The propeller is stamped "H 3668" on the rear of the hub. Given its construction and designation, it is likely this propeller was flown at the very end of WWII. The Sensenich Propeller Company was established in 1932 to manufacture fixed-pitch wood aircraft propellers for the growing aviation market. The company started in Pennsylvania by two brothers. Their first experiments included pushing propeller-driven farm wagons down the narrow dirt roads of Lancaster County and, in the winter, strapping an engine and their wooden propeller to an ice sled, which they tethered by a hundred-foot hawser to a stout stake set...

Presented is an uncommon 1889 map of the western United States, titled “The Pacific States and Territories.” The vertical map depicts the Western states at the time: Washington, Oregon, California, Montana, Idaho, Wyoming, Utah, Colorado, Arizona, and New Mexico. They are bordered by British America to the north, Lower California, Mexico and Texas to the south, and North Dakota, South Dakota, Nebraska and Texas to the east. The map provides a fascinating look at the western states of the United States, just before the turn of the century. In addition to excellent topographical detail of mountain ranges, the map identifies towns and cities, rivers, lakes, deserts and valleys. Crisscrossing across the states, railroad routes are identified with hatched blacklines. Death Valley, Yosemite, Yellowstone National Park, as well as the key mining towns, like Virginia City...

This colorful original map, titled “United States of America, Western Part,” was issued in Volume 16 of “The American Cyclopædia.” A detailed reference map, the map was printed in co...

Presented is an original 1875 map of “North America.” The map was issued in Volume 1 of the Ninth Edition of the Encyclopædia Britannica, published in Edinburgh. The map was drawn by famous Scottish mapmaker John Bartholomew. The map depicts North America, to include Greenland, the Dominion of Canada, the United States, Mexico, the countries of Central America, and the islands of the West Indies. Prominent rivers, mountain ranges, and cities are labeled on the map, and country borders are emphasized in red. The Encyclopædia Britannica has been published continuously since 1768, appearing in fifteen official editions. The landmark ninth edition of the Encyclopædia Britannica, often called "the Scholar's Edition," was published from January 1875 to 1889 in 25 volumes. The editor and author of the “Foreword” was Thomas Spencer Baynes, the first English-born editor after a series of Scots. After 1880, Baynes was assisted by William Robertson Smith. The 9th edition is often lauded as a high point among early editions for scholarship. The 9th edition was far more luxurious than any previously printed Encyclopædia Britannicas, with thick boards and quality leather bindings, premier paper, and a production which took full advantage of the technological advances of printing in the years between the 1850s and 1870s. The publishers took advantage of the new ability to print large graphic illustrations on the same pages as the text, as opposed to limiting illustrations to separate copper plate engravings. Although this technology had first been used in a primitive fashion the 7th edition, and to a much lesser extent in the 8th, in the 9th edition there were thousands of quality illustrations and maps set...

Presented is an antique map of the state of Texas, printed as a pocket map in 1908 by The Kenyon Company. The state map is brightly colored by county, with principal cities and towns listed. The congressional districts are numbered and boldly outlined in red. Rivers, roads, and railroads all appear prominently on this fantastic map...

Presented here is an 1876 engraving of John B. Bachelder and James Walker’s Gettysburg. The Repulse of Longstreet’s Assault. The engraved scene depicts the decisive battle on the final day of the Battle of Gettysburg. Researched by the photographer and topographer John B. Bachelder and painted by James Walker, the original painting was created in 1870. This detailed engraving was done by H. B. Hall Jr. and published by James Drummond Ball. Otherwise called Pickett’s Charge, the battle occurred on July 3, 1863. Pickett’s corp commander, Lieutenant General James Longstreet was placed in charge of the attack despite his hesitations. Longstreet’s central role led to the title of the work, Repulse of Longstreet’s Assault. In an attempt to gain control of an important supply route, nine Confederate brigades charged across three-quarters of a mile of open ground against cannon fire to take Cemetery Ridge from the defending Union Army. Despite their overwhelming numbers, the Confederate forces were repelled with considerable casualties marking not only a decisive victory for the Union, but also the beginning of the slow defeat of Lee’s Army. The furthest the charging forces advanced before being repulsed would forever be known as the “High Water Mark of the Confederacy.” The Confederate army never recovered from the losses at Gettysburg and it effectively ended Lee’s campaign into Pennsylvania. The engraving gives the perspective from the Union rear, one that encompasses most of the battlefield, from Big Round Top on the left to the northern reaches of Cemetery Ridge on the right. The Confederate lines at Seminary Ridge are in the far distance, partially obscured by bursting shells. The image centers on the main Confederate assault, in the vicinity of what today are known as "The Copse" and "The Bloody Angle." The composition has elemen...

This 45-star United States flag celebrates the statehood of Utah. 45-star flags served as the official American flag from 1896-1908. This particular flag was flown as a parade flag, ...

Fleming, Ian. The Spy Who Loved Me. London: Jonathan Cape, 1962. First edition, first printing. Octavo. Presented in the publisher's original dust jacket and original black cloth boa...

Hemingway, Ernest. For Whom The Bell Tolls. New York: Charles Schribner’s Sons, 1955. Later edition. Signed and inscribed by Hemingway on front free endpaper. Octavo. Rebound in ¼ black leather and burgundy cloth boards with gilt tooling to the spine. Presented with a new archival slipcase. This is a later edition of the classic Hemingway novel, For Whom the Bell Tolls. Published in 1955, this printing was signed and inscribed by Hemingway two years later, in 1957, while aboard the liner Ile de France. Written on the front free endpaper, the inscription reads, "To Robert Stein...

Presented is an original signed bronze sculpture by American artist Veryl Goodnight. The sculpture is called "Come Forth A Dream" and depicts four running horses, galloping together with free-spirited and unbridled energy. The patinated bronze was cast in 1987 in a very limited edition of only 25. This specific bronze is signed, dated, and numbered 19/25. Veryl Goodnight(b, 1947) is a celebrated contemporary American artist working in Southwest Colorado. Her studio ranch is situated between Durango and Mesa Verde National Park and the dramatic landscape, abundant wildlife, and fellow ranching community provide endless inspiration for her art. Her many years spent in the West, observing, painting, and sketching her surroundings, gave Goodnight a profound awareness of the mannerisms of ranchers and animals alike. This experience translates directly to her art. Goodnight has monumental sculptures across the United States, in Europe, and Japan. The most notable is “The Day The Wall Came Down...

Presented is a fine photogravure portrait of Bear’s Teeth of the Arikara tribe by Edward Curtis. The image is Plate 154 from Supplementary Portfolio 5 of Edward Curtis' epic project ...

Presented is a fine photogravure portrait of an Atsina man named Horse Capture by Edward Curtis. The image is Plate 170 from Supplementary Portfolio 5 of Edward Curtis' epic project ...

Presented is a fine photogravure portrait of a Piegan man named New Chest by Edward Curtis. The image is Plate 200 from Supplementary Portfolio 6 of Edward Curtis' epic project The N...

Presented is a fine photogravure portrait of an Ogalala woman by Edward Curtis. The image is Plate 94 from Supplementary Portfolio 3 of Edward Curtis' epic project The North American...

Presented is a fine photogravure portrait of a Cheyenne man with cottonwood leave headdress by Edward Curtis. The image is Plate 216 from Supplementary Portfolio 6 of Edward Curtis' ...

Presented is a typed letter from John F. Kennedy on official stationary from his presidential campaign. The letter is addressed to Mrs. Pearl Zel...

Presented is a much sought-after, limited edition lithograph entitled Moonwalkers by Ron Lewis. This piece of space history contains the original signatures of eleven of the twelve A...

Presented is an original autographed poster from a 1973 issue of National Geographic magazine, celebrating the historic Apollo missions from the fir...

This is a chromolithograph of "The Emigrants" by Frederic Remington. The print includes Remington's printed signature in the bottom right. The compositio...

Presented is a collage of three vintage cabinet card photographs of the Manitou and Pikes Peak Railway, in Colorado dating to the 1890s. The sepia...

Presented is a collage of three vintage cabinet card photographs of the Garden of the Gods, in Colorado dating to the 1890s. The sepia toned photo...

Presented is a collage of six vintage cabinet card photographs of Colorado Springs and its surrounding areas, dating to the 1890s. The sepia toned...

This original wood engraving is titled “The Lobby of the House of Representatives at Washington During the Passage of the Civil Rights Bill.” ...

This original wood engraving is titled “The Restaurant of the House of Representatives, Washington, DC.” It was published as a double-page image, in the August 12, 1893 issue of the famous 19th century newspaper Harper’s Weekly. The print was illustrated by Charles Stanley Reinhardt. The House Restaurant, a unique part of life in the Capitol, has been in the same location since the 1857 Capitol Expansion. Congressional members’ busy work schedule made the availability of food on site a necessity. But the restaurant also served as an informal meeting spot for members to continue conversations and deal making. This 1893 print illustrates the convivial atmosphere. Details including elegantly dressed tables...

Presented is an original George Washington signature, presented framed with an oval chromolithographed portrait of George Washington printed by E. C....

This dramatic Revolutionary War engraving of the Battle of Bunker Hill is after the famous 1785 oil-on-canvas by John Trumbull. Capturing the intensity of the battle, the engraving centers on Major John Small restraining a “lobster-back” from bayoneting Major General Joseph Warren. Warren lies mortally wounded in the midst of chaos around him. In the background, British forces are seen cresting the last defenses of the brave, yet green army of Colonial soldiers. The Battle of Bunker Hill was fought on June 17, 1775, in the early stages of the American Revolutionary War. The battle is named after Bunker Hill in Charlestown, Massachusetts. Although it was the original objective of both the Colonial and British troops, the area was only peripherally involved in the battle. Rather, the majority of the combat took place on the adjacent Breed’s Hill. The battle pitted a more organized British force against a young and inexperienced American militia. Although considered a tactical victory for the British, it came at the cost of considerable casualties, including a large number of officers. The battle demonstrated that the inexperienced American militia was able to stand up to the British army troops in battle. The battle results discouraged the British from any further frontal attacks against well-defended front lines. American casualties were comparatively fewer, although their losses included Gen. Joseph Warren. During the battle, the patriot-turned-painter John Trumbull (1756-1843) was stationed in Roxbury on the far side of Boston, where he could hear the sounds of fighting. In late 1785, Trumbull decided to devote himself to the depiction of Revolutionary War scenes, a series of eight epic pictures. From the beginning, Trumbull intended for the paintings to be later engraved for sale. Trumbull began the oil-on-canvas of The Death of General Warren at the Battle of Bunker’s Hill and The Death of General Montgomery in the Attack of Quebec, in the studio of Benjamin West in London. Bunker’s Hill was completed in March 1786; Trumbull started Attack of Quebec in February 1785 and finished it before he brought it to Paris in 1786. He then started The Declaration of Independence at Thomas Jefferson's house in Paris. As soon as Bunker’s Hill was completed, Trumbull searched for a suitable engraver in London. He was unsuccessful, as many British engravers were nervous about engraving an American battle...

Presented is an original Ulysses S. Grant signed Presidential Appointment, dating to February 28, 1871. Signed during the first term of Grant's presidency, the document appoints "Robert W. Healy" to the role of "Marshal of the United States in and for the Southern District of Alabama." The appointment is countersigned by "Hamilton Fish" as Secretary of State. The document is partially printed in formal script, and completed by hand in black ink. The document reads in full: “Ulysses S. Grant, President of the United States of America. To all who shall see these presents greeting: Know ye, That reposing special trust and confidence in the Integrity, Ability, and Diligence of Robert W. Healy, I have Nominated, and, by and with the advice and consent of the Senate, DO APPOINT HIM Marshal of the United States in & for the Southern District of Alabama; and do authorize & empower him to execute and fulfill the duties of that Office according to Law. And to hold and hold the said Office, with all the powers, privileges, and emoluments to the same of right appertaining, unto him, the said Robert W. Healy, for the term of four years from the day of the date hereof, subject to the conditions prescribed by law. In Testimony Whereof, I have caused these Letters to be made Patent, and the Seat of the United States to be hereunto affixed. Given under my hand, at the city of Washington, the Twenty eighth...

This is a beautifully preserved WWII Navy aircraft carrier banner, emblazoned with a welcome for the ship's firemen. The banner is partially printed and has sewn elements. The flag's field is dyed a rich navy blue, with a resist dyed white stripe and a sewn red stripe at both top and bottom. A large "WELCOME" is resist dyed at center, in big white letters. This is followed by a sewn yellow strip of contrasting fabric, printed with the word "FIREMEN" in blue. Thirteen white stars complete the design of this patriotic piece of WWII and Navy history. The banner retains its original white hoist, with two metal grommets on each side, for ease in display on the ship. Along the center of the hoist is the printed name of "J.S. Sullivan." "Naugatuck, Conn." is printed along the left and the size "2 x3 FT" is printed along the right. The flag maker, Annin, has sewn in its label, boasting "guaranteed defiance fast colors." CONDITION: Very good condition, considering age and past use. Partially printed and hand-sewn flag construction. Some toning to the white of the flag and along the top hoist. Original grommets at left and right of the hoist. The flag measures 36" X 22". Expertly framed on black linen with an antiqued black wood...

Presented is an Apollo 16 mission photograph, signed and inscribed by Apollo 16 moonwalker Charlie Duke. The photograph shows Duke collecting lunar samples n...

Presented is a patriotic silk scarf, celebrating the Declaration of Independence. At center of the silk scarf design is artistic rendering of the Declaration of Independence. The famous text and signatures are printed in black ink on white silk. A border of bright red encloses the text, with a five-pointed white star set against a blue square appearing at each corner. This is a newly made silk scarf, printed to celebrate our Nation's foundational text. The United States Declaration of Independence...

Rand, Ayn. The Fountainhead. New York: The Bobbs-Merrill Company, 1943. First edition printing. Octavo. Rebound in modern half red Moroccan leather an...

Evans, C.S. (editor). Rackham, Arthur (illustrator). The Sleeping Beauty. London and Philadelphia: William Heinemann & J.B. Lippincott Co., 1920. F...

Byrd, Richard E. Skyward. New York: Blue Ribbon Books, 1931. Octavo. First edition, eleventh printing. In original hardcover boards and original pictorial dust jacket. Presented in a new archival slipcase. This is a 1931 first edition, eleventh printing of Richard Byrd’s Skyward. The book was published in New York by Blue Ribbon Books in 1931. This is the eleventh printing of Skyward, which was first published in 1928. The book is presented in its original hardcover boards and pictorial dust jacket, with a new archival slipcase. Rear admiral Richard E. Byrd (1888-1957) is celebrated as a pioneering American aviator, polar explorer...

Byrd, Richard E., Little America: Aerial Exploration in the Antarctic, The Flight to the South Pole. New York: G.P. Putnam's Sons, 1930. First edition. Octavo. Presented in quarter royal blue Moroccan leather and cloth binding, with gilt titles and stamps to the spine, and a new archival slipcase. Presented is the first edition printing of Richard E. Byrd's book, Little America: Aerial Exploration in the Antarctic, The Flight to the South Pole. It was published in New York by G. P. Putnam’s Sons in 1930. The book has been handsomely rebound in quarter royal blue Moroccan leather and cloth binding, with gilt titles and stamps to the spine, and a new archival slipcase. Rear admiral Richard E. Byrd (1888-1957) was an American naval officer and recipient of the United States Medal of Honor. Byrd was also known as a pioneering American aviator, polar explorer...

Byrd, Richard E, Alone. New York: G. P. Putnam's Sons, 1938. First edition, stated second impression. Signed by Byrd on free end paper. Octavo. Presented in quarter blue Moroccan leather and cloth binding, with gilt titles and stamps to the spine, and a new archival slipcase. Presented is the first edition, stated second impression of Richard E. Byrd's book Alone. It was published in New York by G. P. Putnam’s Sons in 1938. The book is signed by the author on the first free endpage in black ink. Rear admiral Richard E. Byrd (1888-1957) was an American naval officer and recipient of the United States Medal of Honor. Byrd was also known as a pioneering American aviator, polar explorer...

Hemingway, Ernest, To Have and Have Not. New York: Charles Scriber’s Sons, 1937. First edition, first printing. Beautifully rebound in 1/4 gray Moroccan leather and cloth boards, with raised bands and gilt tooling and titles to the spine. Housed in a matching cloth slipcase. This first edition, first printing of Ernest Hemingway’s To Have and Have Not was published in New York by Charles Scribner’s Sons in 1937. The original internal pages have been professionally rebound in quarter gray Moroccan leather and cloth boards with raised bands, gilt titles, and gilt tooling to the spine. The book is housed in a custom matching archival slipcase. Set during the Depression, Hemingway’s novel follows the dramatic story of fishing boat captain Henry Morgan who turns to a life of contraband running between Cuba and Florida to save himself and his family. To Have and Have Not began as a short story, published as "One Trip Across" in Cosmopolitan in 1934, introducing the character of Harry Morgan...

Kingsley, Charles. Westward Ho! or, the Voyages and Adventures of Sir Amyas Leigh, Knight, of Burrough, in the County of Devon, In the Reign of Her Most Glorious Majesty Queen Elizab...

Presented is a vintage brass sculpture of a bald eagle on rocks. Made in America in the early 1960s, this sculpture features a large-scale, rea...

This is a coveted, patriotic silk scarf, issued by American designer Ann Hand. The silk scarf was issued in a deep navy and gold colorway. At center is an art...

This silver trophy was designed to celebrate the winner of an angling competition. Three fishing rods with large reels intersect over one another, forming a three-pronged base for the trophy. Looped onto the rods is a wreath, signifying victory for the recipient of the trophy. The chalice of the trophy is clear and nondescript, free of any markings or initials. Well maintained and sturdy, this is an excellent example of antique silver craftsmanship. Sportfishing began in earnest in 15th century England...

This is a beautiful silver-plated egg cup and spoon set with an airplane motif, dating to the early 1910s. The set includes four matching footed egg cups. The cups sit upon the stack...

This is a handsome sterling silver trophy dating to circa 1923. Detailed in raised relief on the the goblet-shaped trophy is an energetic cricket scene. It shows a cricket batter as ...

Offered is a stunning Sheffield silver keepsake box dating to 1900, with associated hallmark. This small box includes a clean interior and rounded corners. The box is free of names or initials, but would have been used to house keepsakes such as jewelry or cufflinks. A well maintained, elegant piece, this antique silver box is an excellent addition to any silver collection. Trinket or keepsake boxes have taken on many forms since their first conception in ancient times. However their purpose remains the same; to store jewelry and other items precious to the owner. Originally, these boxes were used specifically for jewelry. These were in common use as early as 5000 BC in Ancient Egypt, when the majority of Egyptians, both male and female, wore jewelry. Boxes were used to keep these gemstone encrusted items safe. In Ancient Rome, jewelry was a status symbol. Rings and brooches were utilized to represent ones status in society. Again, boxes were needed for security and storage purposes. Finding early examples of these are quite rare. Victorian and Edwardian examples of trinket boxes are far more common. This is because owning jewellery was a luxury until the Victorian era- let alone possessing so much a box was needed to store it all. Fine jewelry and other items became available to the masses after the industrial revolution due to the reduction in production costs. This led to a demand for trinket boxes, which were much smaller than jewelry boxes and therefore better suited to the needs of the middle class who did not yet possess an abundance of jewelry. In Victorian households, collectables and other items of interested were also stashed inside these boxes. This is why they are known as trinket or keepsake boxes, rather than just jewelry boxes, although of course jewelry was also stored in them. Trinket boxes were produced in large numbers around this time. Many were lined with colored plush or velvet or rich wood. More elaborate designs had interior divisions and trays for rings and other pieces of jewellery. It was also common to see trinket boxes so small that they could only contain one item, such as a single ring. Ornate exteriors were created to reflect the value of the trinket boxes contents. The Edwardian era saw the introduction of new styles of trinket box. These included small circular or oblong boxes...

Offered is a stunning silver plated keepsake box dating to 1900, with associated hallmark. This small box includes a wooden interior with two slots and a blank square on top where initials could have been engraved. A well maintained, elegant piece, this antique silver box is an excellent addition to any silver or home decor collection. Trinket or keepsake boxes have taken on many forms since their first conception in ancient times. However their purpose remains the same; to store jewelry and other items precious to the owner. Originally, these boxes were used specifically for jewelry. These were in common use as early as 5000 BC in Ancient Egypt, when the majority of Egyptians, both male and female, wore jewelry. Boxes were used to keep these gemstone encrusted items safe. In Ancient Rome, jewelry was a status symbol. Rings and brooches were utilized to represent ones status in society. Again, boxes were needed for security and storage purposes. Finding early examples of these are quite rare. Victorian and Edwardian examples of trinket boxes are far more common. This is because owning jewellery was a luxury until the Victorian era- let alone possessing so much a box was needed to store it all. Fine jewelry and other items became available to the masses after the industrial revolution due to the reduction in production costs. This led to a demand for trinket boxes, which were much smaller than jewelry boxes and therefore better suited to the needs of the middle class who did not yet possess an abundance of jewelry. In Victorian households, collectables and other items of interested were also stashed inside these boxes. This is why they are known as trinket or keepsake boxes, rather than just jewelry boxes, although of course jewelry was also stored in them. Trinket boxes were produced in large numbers around this time. Many were lined with colored plush or velvet or rich wood. More elaborate designs had interior divisions and trays for rings and other pieces of jewellery. It was also common to see trinket boxes so small that they could only contain one item, such as a single ring. Ornate exteriors were created to reflect the value of the trinket boxes contents. The Edwardian era saw the introduction of new styles of trinket box. These included small circular or oblong boxes...

Presented is Warren Holt and Charles Drayton Gibbes' 1873 “Map of California and Nevada.” This map is considered to be one of the finest large-scale ...

Presented is an 1859 “Map of the United States of America, the British Provinces, Mexico, the West Indies and Central America with Part of...

This is a rare 31-star medallion printed American flag, celebrating the addition of California to the Union. The flag is printed on silk and has a spectacular “Great Star” canton pat...

Presented is a photograph of the Phoenix Lander on Mars, signed and inscribed by Apollo 16 moonwalker Charlie Duke. In the inscription, Duke shares his thoug...

Presented is a vintage U.S. Army recruitment poster, dating to World War I. The poster depicts an Army officer conferring with a soldier. They stand next to an artillery battery, manned by two soldiers. Their fort looks over a cliff, with water and clouds completing the background. The text "Men Wanted for the Army" is printed in bold red letters at the top of the poster. The bottom margin of the poster includes a cartouche where the name of the recruiting station can be filled in. The color lithograph was illustrated by Michael P...

Hemingway, Ernest. For Whom the Bell Tolls. Philadelphia: The Blakiston Company, 1940. First Blakiston Edition. Rebound in quarter navy leather...

Fleming, Ian. Diamonds are Forever. London: Jonathan Cape, 1956. First edition, first printing. Octavo. Rebound in full black calf leather, with diamond stamped boards, gilt tooling, gilt titles, and raised bands to spine, and a spectacular quarter leather clamshell case. This is the first edition, first printing of Ian Fleming’s fourth James Bond novel, Diamonds are Forever. The book was published by Jonathan Cape in London on March 26, 1956. The book tracks 007 as he infiltrates the deadly world of diamond smuggling, tracking smugglers from Sierra Leone to the United States. Fleming wrote the story at his Goldeneye estate in Jamaica, inspired by a Sunday Times article on diamond smuggling. As with the three previous Bond books, the first edition of 12,500 copies sold out quickly. The novel was serialized in The Daily Express newspaper in April 1956 onwards. It was the first novel Fleming sold to the newspaper, a decision that led to an overall rise in the novel’s sales. Book sales were also assisted by the press in November 1956, following the visit of Prime Minister Sir Anthony Eden...

Presented is a rare, platinum Master Exhibition Print of Edward Curtis’ The Three Chiefs. Typical of Curtis’ Master Exhibition Prints, this platinum print is double-mounted, signed, with an embossed copyright credit and date stamp. His numeric notation “52-00” is in the photographic negative. Curtis photographed The Three Chiefs during his two weeks on a Blackfoot reservation in the summer of 1900. The photograph depicts three Piegan men in traditional dress on horseback, situated next to a small stream with an expansive cloud-filled sky behind them. The Piegans were the largest group in the Blackfoot Confederacy and still retained a majority of their original culture when Curtis visited the tribe. It reportedly took Curtis several days to find the perfect prairie backdrop and riders for this photo, yet his patience paid off. The image was pivotal in enabling Curtis to form his vision for his next project - his ambitious 20 volumes “North American Indian”publication. This print is believed to be one of only three oversized, platinum Master Exhibition Prints of this image in existence. It was printed by Curtis specifically for his East Coast exhibition tour of 1905-1906. Curtis chose only a small number of what he believed to be his finest negatives to produce prints for the show. He never again mounted an exhibition of his work, nor produced such distinctive, large-format platinum prints. “The extraordinary rarity of The Three Chiefs becomes clearer when viewed in the context of other Master Exhibition Prints, principally the 108 in the Peabody Essex Museum in Salem, Massachusetts, the largest collection in existence. The Museum, however, is missing a number of early, iconic images, including The Three Chiefs. It has long been assumed that these missing prints were held elsewhere, possibly in the collection of The New York Public Library. This theory has been substantiated by the Curtis scholar, Bruce Kapson, who unearthed a cache of letters from Curtis to J.P. Morgan and to Morgan's librarian, Ms. Bella da Costa Greene in the Pierpont Morgan Library archives in 2007. The correspondence establishes that 58 of the 100 prints in The New York Public Library's collection are actually Master Exhibition Prints, specifically selected by Curtis for J.P. Morgan as the best examples of his work. A typed letter, dated March 1907, from Ms. Greene to Curtis states: 'I enclose herewith a list of Indian photographs which you sent to Mr. J.P. Morgan'. The letter is accompanied by a handwritten list of 58 photographs, including The Three Chiefs (print number 52.) Morgan donated this group of prints to The New York Public Library in 1912.” (Christie’s Live Auction 1893 Catalog, 2007). Curtis’ platinum prints make up less than 1/2 of 1% of all of the work he created. Curtis’ platinum prints were created only for exhibition or direct sales to patrons and they were always made by Curtis himself. One significant dealer in Curtis prints...

This is a vintage savings bond poster from WWII, dating to 1941. The poster reads "For Defense. Buy United States Savings Bonds and Stamps. Ask About Our Pay Roll Allotment Plan" in dark green, teal, and red lettering. The poster was published in Washington, D.C. by the U. S. Government Printing Office. It depicts the Concord Minute Man...

This is an original World War II poster, dating to 1943. The poster reads "Let 'Em Have It" and “Buy Extra Bonds” in bold yellow and white block letters. The poster's composition features a soldier throwing a grenade on the battlefield. Black and blue smoked filled skies and barbed wire are seen behind him. The 4th War Loan Shield is illustrated prominently at center left. The poster was illustrated by Bernard Perlin...

This original WWI poster was issued as part of the Second Liberty Loan run and dates to 1917. The poster depicts a young soldier holding an American flag in one hand and his uniformed hat in the other. Next to him, a sailor holds a leaflet outstretched toward the viewer. The leaflet is printed with an emblem of the Statue of Liberty and says “We Depend On You.” At the top of the poster is a quote by Secretary of the Treasury McAdoo, “Shall we be more tender with our dollars than we are with the lives of our sons?” The quote is printed in white block letters on a red field. Below, the poster encourages viewers to “Buy A United States Government Bond of the 2nd Liberty Loan of 1917” in white block letters on a blue field. The poster was printed for the U.S. Treasury by Edwards & Deutsch Litho. Co. in Chicago. The poster encourages Americans to help with the war effort by purchasing bonds to finance the war. Each of the four Liberty Loan campaigns (two in 1917, two in 1918) and the Victory Loan campaign of early 1919 aimed for rapid subscription in the loan and bond programs, to generate quick funding of the war effort. Subscribing to the bonds became a symbol of patriotic duty in the United States and introduced the idea of financial securities to many citizens for the first time. Working Americans could buy bonds...