JM STANLEY Antq 19thC & XRARE Native American Oleograph THE TRIAL OF RED JACKET

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JM STANLEY Antq 19thC & XRARE Native American Oleograph THE TRIAL OF RED JACKET:
$999.99

WELCOME ERS!

MEIBOHM FINE ARTS, INC. is pleased to be serving the community and art enthusiasts for over a century. A reputation for personalized attention and customer service is an important part of this family business. Residential and commercial clients benefit from our knowledge of the art world, our experience in quality custom framing and from our extensive inventory. We hope we can be of service to you.Please check back often for our future listings on or put us in your \"Favorite Sellers\" list. We have thousands of Antique, Vintage, Mid Century & Contemporary Prints, Original Artwork, and Etchings etc, that are in our archives, and most of which have not seen the Light-of-Day in over 75+ years or more. Thank you for looking, happy offerding and good luck!!!-From Grace Meibohm & the Staff at Meibohm Fine Arts, Inc.

OUR QUALITY & RARITY CODES:
QUALITY CODE: (Note: Older paintings or original artwork of any kind may be rated somewhat differently based on the codes below, due to the normal aging properties of the different mediums used (ex: normal paint cracking with older paintings, toning of paper, foxing on older pieces, etc...). ·Excellent+Museum Quality, with no damage or visible imperfections. ·ExcellentAlmost perfect given the age w/minimal imperfections,minimal blemishes. ·VeryGoodAbove average w/minor imperfections given the age, or minor blemishes. ·GoodAverage imperfections given the age, or moderate imperfections or wear. ·FairBelow average with more imperfections given the age, or with more wear. ·BelowGradeWith clear imperfections and/or possibly in need of minor restoration. ·BelowGrade-With clear imperfections and/or possibly in need of serious restoration.
RARITY CODE:
·Rare++Unique, one of a kind, or an original on the open market. ·Rare+Very uncommon and/or very difficult to find on the open market. ·RareUncommon and/or moderately difficult to find on the open market. ·PopularFrequently encountered, common and easy to find on the open market. All Measurements Are In Inches; Height Precedes Width.Note: All items are sold \"AS IS/AS DESCRIBED\", to the best of our knowledge, research and ability.

ITEM DESCRIPTION:
Hands Down, This is one of the Ultra-Rarest & Earliest Antique Late 19th Century 1871 Superior German Oleographs (Chromolithograph), of a Large & Stunning Example Depicting the well known Native American Indian Historical Incident titled “The Trial of Red Jacket”, after the 1869 painting by the well known listed artist ‘John Mix Stanley’ (American, 1814-1872) whose printed signature & date ‘J.M. Stanley 1869’, appears lower left in the image (grassy area) just beneath the first two seated Seneca Indians on the left. The German publisher info, ‘Entered According to Act of Congress in the Year 1871 by John M. Stanley in the Clerk’s Office of the Eastern District of Michigan’, as appears printed in the lower left image area, and ‘Chromolith’d by Storch & Kramer, Berlin’, as also appears barely visible printed lower right in the image corner respectively—publisher & printer info is barely visible & very tough to make out amidst the darkening of the piece from age. See additional historical information about “The Trial of Red Jacket” below. At the time, Stanley was interested in marketing his Native American Indian/Western images to a wider public who couldn’t afford his original paintings, and so he decided to use the relatively new and elaborate process of oleography (chromolithography). This process, with its numerous layers of chromolithographic color, most closely duplicated the appearance of original oil paintings, and Stanley hoped the resulting prints would help make his fortune. In May 1868, Stanley sailed to Europe and arranged for the German publisher Storch & Kramer in Berlin, to initially print & publish oleo-chromolithographic reproductions from seven of his Native American Indian paintings, with “The Trial of Red Jacket” being his most famous creation and which later brought unprecedented sales. The resulting prints proved to be quite popular, but the advent of the Franco-Prussian War soon made the business arrangement impossible to continue due to the printing schedule being interrupted in 1871, and the seven chromos reproduced from 1868-1870 included; “Young Chief Uncas” (AKA “Young Chief”, 1869), “Indian Telegraph” (1869), “The Deer-slayers” (AKA “Deer Slayers”, 1869), “Gambling for the Buck” (1869), “Blackfeet Card Players” (c.1869), “Snake in the Grass” (1870) and “The Trial of Red Jacket” (1870 [U.S. Copyright 1871]). With no other option in Europe, Stanley then turned to the domestic Calvert Lithographing Company out of Detroit, MI to help finish the production of other oleo-chromolithos. The company brought Robert T. Bishop in from England to do the drawings and the color separations, and they sold the chromos via subscription. One particular chromo produced by Calvert titled “On the Warpath” (AKA “On the War Path”, 1872), took 20 litho stones to reproduce the piece, and according to historical accounts, only 100 prints were ever made of that image before the company halted production due to a fire next to their warehouse in 1872 which damaged or destroyed many of the litho stones used in the printing of “On the Warpath”—making it another one of the rarest prints to find on the open market today. Stanley however, didn’t live long enough to continue with his artistic endeavors and he died suddenly of a heart attack that same year on April 10, 1872. The vast majority of the original seven Storch & Kramer oleo-chromolithographs from 1868-70 were destroyed in a warehouse fire in 1927 according to the artist’s son Louis C. Stanley, along with their household goods, and only a few prints had survived. This ultra rare example of one of Stanley\'s early oleo-chromolithographs is a fine example both of the quality of his artwork and of the early artform of oleo-chromolithography in the mid-late 19th Century. This Chromolitho is a consignment for one of our clients and will be sold “As Is” in its current “As Described” condition.… UPDATED INFO (06-21-16): As per our client who found recently documentation on the Chromolitho, restoration & conservation work was preformed on the piece and completed in May, 1973 by well known conservator Francis W. Dolloff of the Museum of Fine Arts, Boston, MA at a original cost of $120- (paperwork included). According to an old written newspaper article by our client’s mother in November, 1973, the Chromolithograph had originally been drymounted (dressed) to a canvas backing on a stretcher frame and was in very poor condition (blackened & brittle). It had also been varnished (as were many back in the day) and had several tears along the edges. Dolloff first removed the chromolitho from its canvas backing by soaking it in warm water (hence the water staining mentioned below possibly?), then tested with various solutions of alcohol until the correct one was found. Then it was cleaned and repaired, and finally glued to Japanese vellum. The Oleo-Chromolitho is on a heavy-weight cream-colored wove paper stock which is quite stiff (like it was drymounted at the time to a backing stock for support possibly), and features a very light canvas-like texture over the entire surface of the paper stock, which was typically applied back in the day to resemble an oil painting, and there is also an applied surface varnish to the sheet done at the time of printing as a separate print-process, which has yellowed considerably from age (normal for the old varnishes). See Complete Description of Condition Below. The Chromolitho is in BelowGrade- -to- Fair Rare+ condition for its antique 1871 age. Though the piece is in a fairly poor-to-fair state of condition as mentioned below and as shown in the images, the image is still discernable & very cool, but could possibly still use some additional paper restoration/conservation???, but we’ll leave that up to the winning buyer to have done if they so choose. These types of antique 19th Century oleographs & chromolithos are extremely rare to find on the open market, let alone fantastic Native American Indian scenes, and this ultra rare piece would make a wonderful addition to any Native American Indian, historical or chromolithographic history collection. The size is 23-3/8” x 35-3/4”. The piece had been framed a very long time ago and was wood-backed at some point, and is now loose, and there is wood acid burn on the back of the piece, as well as what looks to be some old moisture/water staining at some point as noticed in certain areas from behind (left edge, center and right) from through the wood backing itself maybe(not sure?) or from the above mentioned restoration/conservation from 1973???, but does not show from the front. As mentioned before, the piece has darkened considerably from age—not only from the overall grubby-ish look of the piece from some topical soiling from age which adds to the darker look of the piece (from probably old types of heating back in the day, oil, coal, soot from fireplace etc), but also from the toning/yellowing of the surface varnish, the paper itself, as well as from being wood-backed for a long time with a little more toning around the outer edges. The piece does exhibit some color fading from age, but still retains some rich color throughout. There are also some foxing spots here & there as noticed from the back as well which also do not show from the front. There is creasing here & there on the sheet with some more-pronounced crinkle-creasing in certain spots which slightly look buckled upward from age (for lack of a better description) and have caused some slight ink-cracking also in some creased areas and a few tiny surface flakes here & there. There are about seven significant small areas along the outer edges which have some old surface paper-loss areas in the image where it appears that conservator Francis W. Dolloff back in 1973 tried to fill in with what looks like a mixture of old dark varnish (which has yellowed considerably from age too) or is from the Japanese vellum toning (not sure???), then what looks like some black inks & graphite maybe (???) to darken and blend into the outer darker areas of the chromolitho (not sure what exactly was used as it was never stated in the above mentioned paperwork), but it is what it is….and the seven areas are listed as follows; lower left corner; a spot on left edge lower-left; left edge middle; upper right corner; right edge lower-right (near corner); lower right corner; and bottom edge middle. No additional tearing evident with exception of above mentioned surface paper-loss areas around outer edges & corners from when the original tears were first repaired by Francis Dolloff in 1973. Some tiny surface nicks and some denting scattered here & there on the sheet, and a few small spots that look like surface rub-wear that has affected/removed specks of the various surface color, but don’t show too bad at all. There is some outer edge-wear with dents, dings and edge chipping/flaking here & there along the edges. This ultra rare oleo-chromolitho would make a wonderful addition to any Native American Indian, historical or chromolithographic history collection.The Trial of Red Jacket: Red Jacket, whose real Indian name was ‘Sa-go-ye-wat-ha’ (Meaning: “He keeps them awake”, Native American, c.1750-1830) was a Seneca War Chief and leader of his nation during the American Revolution. It was during this war that he gained his English name, receiving a red dress uniform jacket, by a British officer impressed with Sagoyewatha’s leadership qualities, which became his trademark. Allied with the British, the Senecas found themselves on the losing side at the end of hostilities. From a weakened position, Red Jacket emerged as a negotiator and speaker rather than a warrior, to the consternation of many among the tribe. In 1792, he led a delegation of 50 Indians to Philadelphia where he met George Washington and received a large peace medal showing him shaking hands with the first president. As in this scene, Red Jacket was always portrayed wearing this medal.John Mix Stanley, who grew up in Buffalo, painted the infamous trial scene in 1868, as well as a smaller version in 1869, after the supposed event which was based on a remark New York Governor DeWitt Clinton (1769-1828) made around 1810—to the effect that; Concerning the rivalry between Cornplanter and Red Jacket, which came to a head when Cornplanter, Chief of the Six Nations prompted by the religious leader & prophet Handsome Lake, had accused Red Jacket of witchcraft. The huge original 1868 oil painting, 66” x 108”,took Stanley five years to complete and is in the permanent collection of the Buffalo History Museum, and the smaller version, 23-1/2” x 36-1/8”, (the one our oleo-chromolitho was printed from), is in the Smithsonian American At Museum. Cornplanter, the tribal leader who had supported the greatest sales of lands and signed them away on the tribe’s behalf, had fallen out of favor and Red Jacket, who had almost always opposed the same treaties which Cornplanter promoted, began to garner the favored position among his people….hence the accusation and subsequent trial. Such an accusation among the Seneca Indian required a trial, but whether or not the trial actually took place as a historical fact has been the source of speculation—regardless, it’s still an intriguing story.The trial took place in 1802, on the primeval banks of Buffalo Creek what is now present day South Buffalo, which can be seen winding in the background (right). The scene depicts Red Jacket (center) defending himself amidst a large gathering of Indians from his tribe in full dress & ornaments of the time period—75 figures and a dog, most of them seated and some standing in a small forest clearing in the foreground. The two Indian accusers, one at each side of the inner circle in the painting, are identified as Chief Cornplanter (right seated cross-legged) and his half-brother Handsome Lake (far left, standing). Notably, there are also two white men among the council circle of Red Jacket’s defense oration, and from research, one is evidently the painter Stanley, who painted himself into the scene (at left, I believe the man in the cowboy hat) which was pure artistic license, and the other is more interesting and possibly more telling of the missionary Reverend Samuel Kirkland (far right rear, near big tree), who was a Presbyterian missionary to the Iroquois Seneca. The shed on the left is such as was usually attached to the wigwam, the Indian women occupying it, not being allowed to take part in the council. Though his tribe was divided on the issue, Red Jacket’s great 3-hour oratory provided a successful defense, and he ultimately prevailed from the trial with the tribal council dismissing the charges. Red Jacket was restored to his position of Chief of the Six Nations who later preserved Seneca lands that included a reservation in the area of present-day Buffalo, New York. Had he been unsuccessful in defending himself he might have faced the ultimate condemnation, death. Red Jacket’s victory wore heavily on Cornplanter, dealing him a blow from which he never fully recovered. Cornplanter retired to land along the western bank of the Allegheny River which had been gifted to him by the Pennsylvania General Assembly in gratitude for his efforts of reconciliation. Red Jacket, though originally urging neutrality during the War of 1812, he along with the Seneca tribe fought on the American side during the war in several battles, and that participation enabled the Seneca to retain their land for years after the death of their noble leader. Red Jacket, who lived in one of the most dynamic periods of American history, died on January 20, 1830, at the Seneca tribal village and is interred in Forest Lawn Cemetery, Buffalo, NY.(Rewritten in parts & compiled by Mark Strong of Meibohm Fine Arts, Inc., East Aurora, NY, meibohmfinearts.com, sources: philaprintshop.com, historical information; artvoice.com, article, “The Trial of Red Jacket: John Mix Stanley’s painting at BECHS”, by Jack Foran, Issue v10n1, 01/05/11; newworldencyclopedia.org, online article, “Red Jacket”; archive.org, online digitized book, The Life of General Ely S. Parker: Last Grand Sachem of the Iroquois and General Grant’s Military Secretary, by Arthur C. Parker, Buffalo Historical Society, Baker, Jones, Hausauer, Inc., Printers and Binders, Buffalo, NY, 1919; archive.org, online digitized books, Among the Great Masters of Oratory: Scenes in the Lives of Famous Orators, by Walter Rowlands, Boston, MA, Dana Estes & Company, Electrotyped and Printed by C.H. Simonds & Co., Boston, MA, 1901; books.google.com, online digitized book, The Democratic Art: Pictures for a 19th-Century America; Chromolithography 1840-1900, by Peter C. Marzio, D.R. Godine, 1979; Pioneer Photographers of the Far West: A Biographical Dictionary, 1840-1865, by Peter E. Palmquist and Thomas R. Kailbourn, Pgs. 519-521, Stanford University Press, 2000; and books.google.com, Painted Journeys, The Art of John Mix Stanley, by Peter H. Hassrick and Mindy N. Besaw, The Charles M. Russell Center Series on Art and Photography of the American West, University of Oklahoma Press, 2015.)

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COMBINED SHIPPING: We offer Combined Shipping, for multiple winning sales if the items can be put into the same package. Note: Some Combined Rates may be higher due to Combined Weight changes or Oversized (OS1) dimensions, for items such as: Framed items, multiple paintings on canvas, oversized items etc. Please wait until we email you an appropriate invoice reflecting the discount for any multiple item sale wins before you pay via PayPal, or you can email us for an invoice after sale end.We will usually ship within 1 business day of receiving cleared payment for any winning sale(s). Note: We are closed Sundays & Mondays, so next business day would be Tuesday.. We make every effort to pack artwork securely and carefully as per the items’ specifications.Due to the Antique/Vintage nature of MOST of our items, at our discretion we ship items flat or in heavy-duty tubes and they are securely & safely packed with each item wrapped in packing paper or archival glassine, then secured in between oversized cardboard or rolled in a heavy duty tube, then bubble-wrap is added, as per the item\'s specifications. Smaller items (like postcards & small prints) will also be securely & safely packed with each item wrapped in packing paper or archival glassine, then secured in between oversized cardboard, then shipped in a bubble-lined envelope.*UPS DOES NOT SHIP TO P.O. BOXES*Meibohm Fine Arts, Inc. is NOT responsible for shipping service transit times, provided by USPS & UPS, which normally exclude weekends and holidays (with the exception of Saturday mail deliveries for USPS), and may vary with package origin and destination, particularly during peak periods such as; Christmas, Easter, Mother\'s Day etc.Meibohm Fine Arts, Inc. is NOT responsible for Customs Clearing & Delivery Times. Delivery &/OR Pickup times for your package may vary from country to country, so please be patient.

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