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Sicily, Syracuse. Decadrachm, unsigned work by Euainetos, circa 400 BC, AR 43.33 g.
Description Fast quadriga driven l. by charioteer, holding reins and kentron; in field above, Nike flying r. to crown him. In exergue, display of military harness set on two steps and below l., [AQLA]. Rev. SU – R – A - K – OSIWN Head of Arethusa (Kore-Persephone) l., wearing barley-wreath, triple pendant earring and beaded necklace; around three dolphins, while a fourth makes dorsal contact with neck truncation. Below chin, pellet. References
Rizzo pl. LIII, 18 (these dies)
SNG Lloyd 472 (this obverse die)
Dewing 923 (this obverse die)
Gallatin J.V/R.XXII, 4 (this coin) Condition
A spectacular specimen of this prestigious and important issue. A wonderful portrait struck in high relief on exceptionally fresh metal. Good extremely fine Provenance
Rollin & Feuardent sale 10 May 1910, Duruflé collection, 214
Leu sale 54, 1992, 42
Gemini sale IX, 2012, 5
Roma Numismatics sale 5, 2013, 132
The Ed Milas collection.
Both his contemporaries and successors regarded Euainetos as the ultimate master. No work of ancient coinage has been copied over a longer period or more frequently than his signed Syracusan decadrachm. Most Siculo-punic issues replicate the chariot and team, as well as the head on the obverse. The female head in particular must have made an unusually deep impression on the ancients, appearing not only on gold and electrum Carthaginian issues, but also on many 4th and 3rd century B.C. coins from sites as geographically disparate as Spain and Crete. In the 3rd century B.C., the head even served as the model for the tondo on varnished Greek bowls. From copyists’ embellishments of corn-ears and stalks, we can only assume that they interpreted Euainetos’ female head as an effigy of Kore-Persephone. Most researchers have nonetheless interpreted the work as representing Arethusa, in which case the corn ears are out of place, although reeds of similar appearance would have fitted in very well. Such long-lasting impact and exceptional ubiquity is nevertheless understandable only in the context of a much-revered goddess, certainly not a local nymph.
NAC96, 1026
Syracuse. Decadrachm unsigned work by Kimon circa 404-400, AR 43.42 g. Fast quadriga driven l. by charioteer, holding reins and kentron; in field above, Nike flying r. to crown him. In exergue, display of military harness set on two steps and beneath, ΑΘΛΑ. Rev. ΣΥΡΑ[ΚΟΣΙ]ΩN Head of Arethusa l., wearing earring with pendant and beaded necklace; wavy hair bound in front with ampyx and caught up behind by net. Around three dolphins, while a fourth makes dorsal contact with neck truncation. Regling, Syrakus 11c (this coin). Seltman, Greek Coins, pl. 24, 1 (this coin). Rizzo pl. L, 6 (this obverse die). Gulbenkian 307 (these dies). Mildenberg, Essays Kraay-Mørkholm, pl. XLIV, 11 (these dies). Jongkees 11c (this coin).
Very rare. A spectacular specimen of this important and desirable issue. Struck on
a very broad flan and exceptionally complete. Of superb Classical style
and with an enchanting old cabinet tone. Good extremely fine
Ex Hirsch XXXIV, 1914, 196; Naville V, 1923, 112; Ars Classica XIII, 1928, 337; CNG 50, 1999, 509 sales and Nomos FPL 2012, 5.
NAC100, 100
Unsigned
Oil on board
3 1/16" x 5"
This small piece was hanging in Frank's former beach house when his father bought it in 1942. The previous owners, fearing a Japanese invasion of the Washington coast, had fled to Walla Walla, selling everything lock, stock and barrel.
If you follow early Pacific Northwest painting, eventually you will encounter the works of Eliza Barchus. I admire Eliza Barchus immensely because she was a self-made entrepreneur in the late nineteenth and early twentieth century in a field that was dominated by men. I also love her style because it is unique and runs counter to conventional tastes in art.
This painting is very typical of her style.
At first, I didn't get the skies in her pieces. I suppose she must have painted a blue sky once or twice, but they're often the weird shade of grey seen here. Are we really on Planet Earth?
Well, now that I've lived with a view of Mt. Hood for a while, I can say that it often does look like this late in the afternoon when seen from Portland.
The piece isn't signed, but I don't know enough about Barchus's work to say whether or not that's unusual.
Wikipedia says Barchus "produced thousands of works of various sizes in an 'assembly-line' style that was effective but sometimes criticized."
You see, Barchus was a widow, and she really did have to make a living to support herself and her family. She didn't have family wealth and position to fall back on. So it wouldn't surprise me if this is indeed one of hers, perhaps sold at the "B. B. Rich cigar and souvenir concession at the Portland Hotel."
The curved horizontal streaks in this photo are hardly noticeable in real life. They look like they could be scratches, but I think they're actually traces of a surface coat Barchus applied before the pieces left her studio.
Wikipedia recaps Barchus's life and works as follows:
Eliza Barchus (December 4, 1857 – December 31, 1959) was a prolific, prize-winning landscape painter who lived in Portland in the U.S. state of Oregon for most of her life.
Born in Salt Lake City, Utah, Barchus moved to Portland in 1880. After taking art lessons from another landscape painter, Will S. Parrott, Barchus sold her first painting in 1885.
Between then and 1935, she produced thousands of oil paintings and reproductions of subjects such as Mount Hood, Yellowstone Falls, Muir Glacier, and San Francisco Bay.
Barchus, who had won medals at Mechanics Fairs in Portland in the late 1880s, drew national attention in 1890, when one of her large canvases of Mount Hood was displayed at the National Academy of Design exhibition in New York City. In 1901, several of her works were shown at the Pan-American Exposition in Buffalo, New York, and in 1905 she won a gold medal at the Lewis and Clark Centennial Exposition in Portland for oil paintings of Pacific coast scenery.
Widowed in 1899, Barchus supported herself and her family for decades largely by selling or trading her art. Several years after her death at age 102, the Oregon Legislative Assembly named her "The Oregon Artist". Many art collections in Portland and elsewhere include examples of her work.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned humble copy of dutch artist Carel Fabritius - just for my own study. There are some paintings in history that fascinate me. Goldfinches were often kept and trained as household pets and I believe this was the case for this one, as he was chained to the mailbox. This work may have been in Carel Fabritius's home in Delft at the time of a gunpowder explosion that killed him and destroyed much of the city (I am reading more about that now). After this, the painting was lost for more than two centuries before its rediscovery in Brussels. It is now in the collection of the Mauritshuis in The Hague, Netherlands. It was restored in 2003. I had a few hours today before the holiday whirlwind begins, so I painted this for myself. Apparently, gunpowder was stored in barrels in a former convent and the cause of the explosion is unknown.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Dorothea McCoy (1897-1967) was an Oakland artist. Her work was generally landscapes, focusing on East Bay and Contra Costa scenes. These works are some of her unsigned art from her studio at the time of her death.
A collection of photos from the Black Music Festivals Annual "Unsigned" concert for 2016 at the TJ's Club in Leeds
CRUMB R. ROBERT-AUTHENTIC UNSIGNED LITHO ON CANVAS -20 X 16 INCHES-FRAMED-EXTREMELY RARE!!!
The silkscreen was made originally as a giant decalcomonia remember those? Like a fake tattoo. You used to be able to wet them and slide off the image onto your skin. Same concept, except the decal was designed to be dipped in a big pail of water and slide off the backing paper to be applied to the side of a van.
Except I saved this one. And kept it in a frame. The ripples are the backing paper. It was a kind of heavy duty butcher paper with a smooth side the image was printed to. The medium was a kind of vinyl ink.
The original was also used to make tee-shirts (red on white). I have the original, given to me by Robert Crumb, and it's not for sale.
Item specifics
20"W x 16"H, printed on white canvas and stretched on a 2-inch FRAME.
This is an original print from the most celebrated – and the most imitated of the Zap Comix pantheon. If you know the Crumb canon, you know these have never been published. See my story below.
ROBERT CRUMB UN-SIGNED PRINT
Drawn in New York City on a Visit to Geo. DiCaprio and Me, a pair of charming Crumb crustaceans -- comix art in miniature form.
OK, so there's a story behind this piece. Back in 1975, we were all living in a loft in the West Village – my college chum George DiCaprio and his wife Irmalin and their little 1-year-old Leo, my two cabdriving buddies Doug and Scott, and me. It was a communal situation, each of us with his own corner of the huge former industrial space. George was the guru of our intellectual cadre, based as it was on things subterranean and artistic. The intersection of William Burroughs, William Shakespeare and William Blake with a little bit of Tim Leary thrown in. George was already active in the comix subculture that would one day become his full-time job. He'd already put out the first issue of Greaser, a New York answer to the Bay-area graphic tomes that were all the rage.I remember it was a hot New York summer when we got a 2-week visit from Robert Crumb and his Cheap Suit Serenaders sideckick Robert Armstrong, illustrator-maven of Mickey Rat. My buddy Scott gave up his room for the visiting royalty and Crumb expressed his appreciation by making a couple of illustrations that Scottie could use for his lobster clambake business out on Long Island. He did wind up using one of these, the man eating the lobster, as the logo for the outfit. I designed a silkscreen press and we made up tee shirts with the image that all the workers wore as they brought this big step van around to Hamptons estates doing their mobile catering thing.
I also made up a huge silkscreen decal that we plastered to the side of this step van. I still have one of these in a frame after all these years. And I have the original transfers from Crumb's pen-and-ink drawings on plain paper, which we used to make the silkscreen masters. Those silkscreen frames are long gone but I kept the master prints used to make 'em in a cellophane envelope all these years in my zippered loose-leaf journal. There are two of them – two the world – and they are not for sale.
Unsigned
One of a collection of 'saucy' seaside postcard images adoring beach huts on Herne Bay pier.
_FX64939e
All Rights Reserved © 2020 Frederick Roll ~ fjroll.com
Please do not use this image without prior permission
An unsigned document provides workshop reports and notes from the plenary session of the Revolutionary People’s Constitutional Convention in Philadelphia held Sept. 5-7, 1970 for the upcoming Constitutional Convention scheduled in Washington, D.C. Nov. 27-29, 1970.
The convention was an attempt by the Black Panther Party to unite disparate elements of a larger “movement” and provide a revolutionary blueprint for future struggle.
The Washington convention faltered when a large venue could not be secured due in part to FBI and other federal interference.
The Washington convention concluded without formalizing a revolutionary constitution.
The workshop reports include the following areas:
Women
Gay Men
Lesbian
Control of the means of production
Control and use of the land
Control and use of the military
Internationalism
Self determination for minorities
Self determination for street people
The family and the rights of children
Revolutionary Artist
Religious Oppression/New Humanism
Drugs
Health
Noticeably absent was any discussion of the environment nor a specific workshop on law enforcement, education, housing, guaranteed national income, or social security/pensions.
Shortly after the convention, the Black Panther Party underwent a split between elements around Eldridge and Kathleen Cleaver who advocated immediate armed struggle and most of the rest of the Panther leadership who favored a community based effort. The FBI’s Cointelpro program helped to foster the split.
The Panther Party went into a long decline after the split.
For a PDF of this 13-page, 8 ½ x 11 document, see washingtonareaspark.com/wp-content/uploads/2021/10/1970-1...
For more information and related images, see flic.kr/s/aHsjBUuu3J
Original held in the Bonnie Atwood papers, 1965-2005, Collection, Special Collections and Archives, James Branch Cabell Library, Virginia Commonwealth University, Richmond, VA.
A collection of photos from the Black Music Festivals Annual "Unsigned" concert for 2016 at the TJ's Club in Leeds
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
An unsigned call for Montgomery County, Md. students to rally at Springbrook High School May 8, 1970 to protest the killing of four students at Kent State University during an anti-Vietnam War demonstration.
The flyer also calls upon students to attend a memorial service in New York City and to also participate in a University of Maryland rally along with canvassing, picketing and leafleting.
The Kent State shootings, also known as the May 4 massacre and the Kent State massacre, were the killings of four and wounding of nine other unarmed Kent State University students by the Ohio National Guard on May 4, 1970 in Kent, Ohio, 40 miles south of Cleveland.
The killings took place during a peace rally opposing the expanding involvement of the Vietnam War into neutral Cambodia by United States military forces as well as protesting the National Guard presence on campus. The incident marked the first time that a student had been killed in an anti-war gathering in United States history.
Twenty-eight National Guard soldiers fired approximately 67 rounds over a period of 13 seconds, killing four students and wounding nine others, one of whom suffered permanent paralysis. Students Allison Beth Krause, 19, Jeffrey Glenn Miller, 20, and Sandra Lee Scheuer, 20, died on the scene, while William Knox Schroeder, 19, was pronounced dead at Robinson Memorial Hospital in nearby Ravenna shortly afterward.
Krause and Miller were among the upward of 300 students who gathered to protest the expansion of the Cambodian Campaign, which President Richard Nixon had announced in an April 30 television address one week earlier. Scheuer and Schroeder were in the crowd of several hundred others who had been observing the proceedings at distances of more than 300 feet from the firing line; like most of the observers, they were watching the protest during a break between their classes.
The fatal shootings triggered immediate and massive outrage on campuses around the country. More than 4 million students participated in organized walk-outs at hundreds of universities, colleges and high schools, the largest student strike in the history of the United States at that time.
The outrage over the shootings reached down to high school students like those at Springbrook, who staged a strike as well.
Eleven days after the Kent State shootings, two students were killed by police at Jackson State University.
The Jackson State killings occurred on Friday, May 15, 1970, at Jackson State College (now Jackson State University) in Jackson, Mississippi. On May 14, 1970, city and state police confronted a group of Black students in their dorm room. Shortly after midnight, the police opened fire, killing two students and injuring twelve.
“Remember Kent and Jackson State” became a rallying cry over the next few years at antiwar demonstrations that receded after the U.S. combat role was ended with the Paris Peace Accords in January 1973.
For a PDF of this two-sided 8 ½ x 11 flyer, see washingtonareaspark.com/wp-content/uploads/2022/02/1970-S...
For more information and related images, see
Donated by Craig Simpson
An unsigned flyer circa 1967 urges men reporting for their induction into the U.S. Armed Forces to walk away and contact peace groups for draft counseling. It finishes by urging the men to “Seize the Time, Resist Illegitimate Authority.”
The flyer lists a. number of peace groups to contact, along with their phone numbers, including The Washington Peace Center, George Washington Draft Counseling, Washington Draft Information, the Washington Free Clinic and Montgomery County Draft Counseling.
For a PDF of this 8 ½ x 11, one-sided flyer, see washingtonspark.files.wordpress.com/2020/09/1967-ca-dc-dr...
For more information and related images, see www.flickr.com/gp/washington_area_spark/C77CQc
Donated by Robert “Bob” Simpson
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.