Milton Bradley Beacon Library 406pc Green River Buttes DSC07812
Photo showing the principal dissection lines along colour boundaries and the whimsies out. The large 'Beacon' multi-piece whimsy has been only partly removed - the text is along the border between the upper and lower portions of the whimsy - I have left one of the portions behind and you can see the hole of the 'B'. (I think I will tape them together with 'magic tape' across the back to protect the delicate letters.)
This plywood jigsaw was made by American manufacturer Milton Bradley, of Springfield Massachusetts in their Premier range. It has 406pc, was sawn by worker 91 and sanded by 23. The cut includes a lighthouse whimsy, with the word 'BEACON', where the cutter has personalised the jigsaw for the club. The jigsaw is line-cut and includes a large number of whimsies. The cutting line often has a saw-tooth character. One piece is a replacement and another is chewed and a former owner has taped a number of pieces together across the back to support delicate extensions against wear and tear.
It was no w10 in the Beacon Jigsaw Lending Library, New Britain, Connecticut and the label has loans dating from Nov 1932. The original cost of the jigsaw was stated to be $400 (??$4.00), and it was lent at 40c/1-3 days with additional charges for each additional day. An inner label gives instructions if pieces have been found to be missing and advertises jigsaws as gifts charged at 1c/piece.
The image seems to be one of a number of paintings (at least 17) by Thomas Moran of the Green River Cliffs in Wyoming, from about 1871.
The Green River valley of Wyoming was once the site of fur trappers’ annual rendezvous, and the town later served as the western terminus for the Union Pacific Railroad. By the time Moran arrived, the burgeoning town on the banks of the river boasted a schoolhouse, church, hotel, and brewery. Moran chose to eliminate signs of commercial development, concentrating instead on the multicolored buttes rising above the river. Moran replaced railroad tracks with Native American caravans or traveling parties, and the languorous river lies uninterrupted by bridges. Skillfully combining the spectacular landscape of Green River with figures that reflected a nostalgic view of Native American life, Moran produced a series of paintings that were so popular that he continued to sell variations on the theme well into the twentieth century.
Moran found the angled cliff towers of the Green River continually inspiring and challenging. Although he varied his point of view frequently, Moran’s favorite formations at Green River seem to have been Toll-Gate Rock (or Castle Rock), the largest of the cascading cliffs, and its neighboring buttes, the Palisades. Toll-Gate Rock was so named because at one time toll fees were collected at this location from travelers along the river. The contrasting bands of rich red, brown, and cream limestone created a striking range of tones for artists and photographers alike.
Moran’s bright canvas aroused much interest in New York at the 1875 National Academy of Design exhibition, a showcase for new works of art. While one critic praised Moran’s “accurate feeling for a true key of color” and “remarkably extensive range of tints” that suggest “the effect of stirring music in a major key,” others questioned the truthfulness of them. As the wonders of Yellowstone became known, however, Moran’s colorful canvases were no longer doubted, and Cliffs of Green River stands as an early and characteristic example of his finest work.
In 1998 Thomas Moran’s Cliffs of Green River was selected as one of two Amon Carter Museum works depicted in a set of postage stamps. They are among the icons of American art reproduced in a twenty-piece set of U.S. thirty-two-cent denominations.
www.cartermuseum.org/Inspiring_Visions/Moran/moran_art.html
www.thomas-moran.org/biography.html
The Wikipedia article includes a link to an 1878 painting, Green River Wyoming which includes a group of native American Indians.
en.wikipedia.org/wiki/Thomas_Moran
Milton Bradley Beacon Library 406pc Green River Buttes DSC07812
Photo showing the principal dissection lines along colour boundaries and the whimsies out. The large 'Beacon' multi-piece whimsy has been only partly removed - the text is along the border between the upper and lower portions of the whimsy - I have left one of the portions behind and you can see the hole of the 'B'. (I think I will tape them together with 'magic tape' across the back to protect the delicate letters.)
This plywood jigsaw was made by American manufacturer Milton Bradley, of Springfield Massachusetts in their Premier range. It has 406pc, was sawn by worker 91 and sanded by 23. The cut includes a lighthouse whimsy, with the word 'BEACON', where the cutter has personalised the jigsaw for the club. The jigsaw is line-cut and includes a large number of whimsies. The cutting line often has a saw-tooth character. One piece is a replacement and another is chewed and a former owner has taped a number of pieces together across the back to support delicate extensions against wear and tear.
It was no w10 in the Beacon Jigsaw Lending Library, New Britain, Connecticut and the label has loans dating from Nov 1932. The original cost of the jigsaw was stated to be $400 (??$4.00), and it was lent at 40c/1-3 days with additional charges for each additional day. An inner label gives instructions if pieces have been found to be missing and advertises jigsaws as gifts charged at 1c/piece.
The image seems to be one of a number of paintings (at least 17) by Thomas Moran of the Green River Cliffs in Wyoming, from about 1871.
The Green River valley of Wyoming was once the site of fur trappers’ annual rendezvous, and the town later served as the western terminus for the Union Pacific Railroad. By the time Moran arrived, the burgeoning town on the banks of the river boasted a schoolhouse, church, hotel, and brewery. Moran chose to eliminate signs of commercial development, concentrating instead on the multicolored buttes rising above the river. Moran replaced railroad tracks with Native American caravans or traveling parties, and the languorous river lies uninterrupted by bridges. Skillfully combining the spectacular landscape of Green River with figures that reflected a nostalgic view of Native American life, Moran produced a series of paintings that were so popular that he continued to sell variations on the theme well into the twentieth century.
Moran found the angled cliff towers of the Green River continually inspiring and challenging. Although he varied his point of view frequently, Moran’s favorite formations at Green River seem to have been Toll-Gate Rock (or Castle Rock), the largest of the cascading cliffs, and its neighboring buttes, the Palisades. Toll-Gate Rock was so named because at one time toll fees were collected at this location from travelers along the river. The contrasting bands of rich red, brown, and cream limestone created a striking range of tones for artists and photographers alike.
Moran’s bright canvas aroused much interest in New York at the 1875 National Academy of Design exhibition, a showcase for new works of art. While one critic praised Moran’s “accurate feeling for a true key of color” and “remarkably extensive range of tints” that suggest “the effect of stirring music in a major key,” others questioned the truthfulness of them. As the wonders of Yellowstone became known, however, Moran’s colorful canvases were no longer doubted, and Cliffs of Green River stands as an early and characteristic example of his finest work.
In 1998 Thomas Moran’s Cliffs of Green River was selected as one of two Amon Carter Museum works depicted in a set of postage stamps. They are among the icons of American art reproduced in a twenty-piece set of U.S. thirty-two-cent denominations.
www.cartermuseum.org/Inspiring_Visions/Moran/moran_art.html
www.thomas-moran.org/biography.html
The Wikipedia article includes a link to an 1878 painting, Green River Wyoming which includes a group of native American Indians.
en.wikipedia.org/wiki/Thomas_Moran