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Colorado
Fort Collins

Ms. Museum Estate Services

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Liston and Barbara Leyendecker Estate Collection Auction #3 in Fort Collins

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Sale Details
211 Online Auction Items

Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

701 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

702 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

703 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

704 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

705 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

706 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

707 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

708 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

709 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

710 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

711 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

712 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

713 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

714 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

715 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

716 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

717 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

718 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

719 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

720 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

721 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

722 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

723 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

724 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

725 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

726 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

727 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

728 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

729 / 1857 sold
Large one has some damge to the handles and dark spot on bottom.

730 / 1857 sold
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731 / 1857 sold
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732 / 1857 sold
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733 / 1857 sold
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734 / 1857 sold
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735 / 1857 sold
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736 / 1857 sold
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737 / 1857 sold
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738 / 1857 sold
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739 / 1857 sold
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740 / 1857 sold
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741 / 1857 sold
Appears to be an older piece of Folk Art.

742 / 1857 sold
Appears to be an older piece of Folk Art.

743 / 1857 sold
Appears to be an older piece of Folk Art.

744 / 1857 sold
Appears to be an older piece of Folk Art.

745 / 1857 sold
Appears to be an older piece of Folk Art.

746 / 1857 sold
Appears to be an older piece of Folk Art.

747 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

748 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

749 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

750 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

751 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

752 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

753 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

754 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

755 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

756 / 1857 sold
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbaraâ€™s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraftâ€™s white contrail moving far above the peak through the clear sky. I know itâ€™s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, â€œWhich medium (or media) should I use in order to express and communicate this experience?â€ The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic.

757 / 1857 sold
One has a scratch across the top.

758 / 1857 sold
One has a scratch across the top.

759 / 1857 sold
One has a scratch across the top.

760 / 1857 sold
One has a scratch across the top.

761 / 1857 sold
One has a scratch across the top.

762 / 1857 sold
One has a scratch across the top.

763 / 1857 sold
One has a scratch across the top.

764 / 1857 sold
One has a scratch across the top.

765 / 1857 sold
One has a scratch across the top.

766 / 1857 sold
One has a scratch across the top.

767 / 1857 sold
One has a scratch across the top.

768 / 1857 sold
One has a scratch across the top.

769 / 1857 sold
One has a scratch across the top.

770 / 1857 sold
One has a scratch across the top.

771 / 1857 sold
This lot features a beautiful Vintage TAXCO Sterling Silver Graduated Bead Necklace that has about a 9" Drop from the Clasp on the largest strand. This is an unpolished Necklace in need of a repair at the Clasp for one strand as well as a broke catch tab in the Clasp. Clasp does function but is not even due to missing tab. Perfect project for someone looking to restore an old Necklace with many years left.

772 / 1857 sold
This lot features a beautiful Vintage TAXCO Sterling Silver Graduated Bead Necklace that has about a 9" Drop from the Clasp on the largest strand. This is an unpolished Necklace in need of a repair at the Clasp for one strand as well as a broke catch tab in the Clasp. Clasp does function but is not even due to missing tab. Perfect project for someone looking to restore an old Necklace with many years left.

773 / 1857 sold
This lot features a beautiful Vintage TAXCO Sterling Silver Graduated Bead Necklace that has about a 9" Drop from the Clasp on the largest strand. This is an unpolished Necklace in need of a repair at the Clasp for one strand as well as a broke catch tab in the Clasp. Clasp does function but is not even due to missing tab. Perfect project for someone looking to restore an old Necklace with many years left.

774 / 1857 sold
This lot features a beautiful Vintage TAXCO Sterling Silver Graduated Bead Necklace that has about a 9" Drop from the Clasp on the largest strand. This is an unpolished Necklace in need of a repair at the Clasp for one strand as well as a broke catch tab in the Clasp. Clasp does function but is not even due to missing tab. Perfect project for someone looking to restore an old Necklace with many years left.

775 / 1857 sold
This lot features a beautiful Vintage TAXCO Sterling Silver Graduated Bead Necklace that has about a 9" Drop from the Clasp on the largest strand. This is an unpolished Necklace in need of a repair at the Clasp for one strand as well as a broke catch tab in the Clasp. Clasp does function but is not even due to missing tab. Perfect project for someone looking to restore an old Necklace with many years left.

776 / 1857 sold
This lot features a beautiful Vintage TAXCO Sterling Silver Graduated Bead Necklace that has about a 9" Drop from the Clasp on the largest strand. This is an unpolished Necklace in need of a repair at the Clasp for one strand as well as a broke catch tab in the Clasp. Clasp does function but is not even due to missing tab. Perfect project for someone looking to restore an old Necklace with many years left.

777 / 1857 sold
This lot features a beautiful Vintage TAXCO Sterling Silver Graduated Bead Necklace that has about a 9" Drop from the Clasp on the largest strand. This is an unpolished Necklace in need of a repair at the Clasp for one strand as well as a broke catch tab in the Clasp. Clasp does function but is not even due to missing tab. Perfect project for someone looking to restore an old Necklace with many years left.

778 / 1857 sold
This lot features a beautiful Vintage TAXCO Sterling Silver Graduated Bead Necklace that has about a 9" Drop from the Clasp on the largest strand. This is an unpolished Necklace in need of a repair at the Clasp for one strand as well as a broke catch tab in the Clasp. Clasp does function but is not even due to missing tab. Perfect project for someone looking to restore an old Necklace with many years left.

779 / 1857 sold
This lot features a beautiful Vintage TAXCO Sterling Silver Graduated Bead Necklace that has about a 9" Drop from the Clasp on the largest strand. This is an unpolished Necklace in need of a repair at the Clasp for one strand as well as a broke catch tab in the Clasp. Clasp does function but is not even due to missing tab. Perfect project for someone looking to restore an old Necklace with many years left.

780 / 1857 sold
This extremely rare artifact commemorates a personal Trophy presented to A.L. Eddington by COMPANY F of the Oklahoma National Guard in 1905. This trophy shows detailing of both hunting rifles and a hunting dog in fine craftsmanship. Measures about 11" Tall and 6" x 6". Unpolished. A fine artifact for any Military collector. One of the first actions taken by the Oklahoma Territorial Council when it convened in August 1890 was the creation of the Territorial Militia. Although the formation of two infantry regiments, two cavalry battalions, and one artillery battery was allowed, little funding was provided, and in 1895 the militia was reorganized as the Oklahoma National Guard. The Oklahoma National Guard was not federalized during the Spanish-American War, but numerous officers and enlisted men served with the Rough Riders and with the First Territorial Volunteer Infantry Regiment. In 1899 the Oklahoma National Guard was reorganized as the First Oklahoma Infantry Regiment, supported by a signal company. In 1903 an engineer company was added. With statehood in 1907, units were shifted from western Oklahoma (former Oklahoma Territory) to eastern Oklahoma (former Indian Territory), and a hospital unit and two cavalry troops were added. Before World War I the guardsmen were used by Gov. Lee Cruce to combat illegal boxing and horse-racing operations and liquor-law and blue-law violations. The Oklahoma National Guard was reorganized under the National Defense Act passed on June 3, 1916, and fifteen days later was called into federal service for duty along the Mexican border. Mobilized in Oklahoma City, the guardsmen were stationed at San Benito and Donna, Texas. They returned home and were mustered out on March 1â€“2, 1917. On March 31, 1917, the First Oklahoma Infantry was mobilized for service in World War I. At Camp Bowie, Texas, the First Oklahoma combined with the Seventh Texas Infantry to form the 142d Regiment of the Thirty-sixth Infantry Division. The guardsmen arrived in France on July 31, 1918, and in October served around Blanc Mont Ridge and in the Ferme Forest. They were in reserve when the war ended on November 11, 1918. Returning home, the troops were discharged in July 1919. To replace the guardsmen on active duty, in 1918 the Second and Third Oklahoma Infantry Regiments and a separate infantry battalion were recruited. These units later combined and constituted the Oklahoma National Guard until 1920. In 1919 these troops were sent to Drumright, Henryetta, Coalgate, and Haileyville during a labor disturbance. Under the provisions of the National Defense Act of 1920 Oklahoma was assigned to the Eighth Corps Area and allotted two National Guard divisions. The Second Oklahoma Infantry Regiment was designated the 179th Infantry Regiment and the Third Oklahoma Regiment became the 180th Infantry Regiment. Medical, engineer, and artillery regiments were allotted to Oklahoma, along with the headquarters of the Forty-fifth Infantry Division. Other troops of the division were distributed in New Mexico, Arizona, and Colorado. By 1923 the Forty-fifth's organization was complete. Between 1918 and 1941 the Oklahoma National Guard was frequently called to state duty. In 1921 the guardsmen were rushed to Tulsa to quell that city's violent racial conflict. Gov. John Walton used the troops to prevent the legislature from convening during his impeachment. Gov. William H. Murray dispatched the National Guard thirty-four times during his administration, and Gov. Ernest W. Marland used the guardsmen to allow the drilling of oil wells on the Capitol grounds in Oklahoma City.

781 / 1857 sold
This extremely rare artifact commemorates a personal Trophy presented to A.L. Eddington by COMPANY F of the Oklahoma National Guard in 1905. This trophy shows detailing of both hunting rifles and a hunting dog in fine craftsmanship. Measures about 11" Tall and 6" x 6". Unpolished. A fine artifact for any Military collector. One of the first actions taken by the Oklahoma Territorial Council when it convened in August 1890 was the creation of the Territorial Militia. Although the formation of two infantry regiments, two cavalry battalions, and one artillery battery was allowed, little funding was provided, and in 1895 the militia was reorganized as the Oklahoma National Guard. The Oklahoma National Guard was not federalized during the Spanish-American War, but numerous officers and enlisted men served with the Rough Riders and with the First Territorial Volunteer Infantry Regiment. In 1899 the Oklahoma National Guard was reorganized as the First Oklahoma Infantry Regiment, supported by a signal company. In 1903 an engineer company was added. With statehood in 1907, units were shifted from western Oklahoma (former Oklahoma Territory) to eastern Oklahoma (former Indian Territory), and a hospital unit and two cavalry troops were added. Before World War I the guardsmen were used by Gov. Lee Cruce to combat illegal boxing and horse-racing operations and liquor-law and blue-law violations. The Oklahoma National Guard was reorganized under the National Defense Act passed on June 3, 1916, and fifteen days later was called into federal service for duty along the Mexican border. Mobilized in Oklahoma City, the guardsmen were stationed at San Benito and Donna, Texas. They returned home and were mustered out on March 1â€“2, 1917. On March 31, 1917, the First Oklahoma Infantry was mobilized for service in World War I. At Camp Bowie, Texas, the First Oklahoma combined with the Seventh Texas Infantry to form the 142d Regiment of the Thirty-sixth Infantry Division. The guardsmen arrived in France on July 31, 1918, and in October served around Blanc Mont Ridge and in the Ferme Forest. They were in reserve when the war ended on November 11, 1918. Returning home, the troops were discharged in July 1919. To replace the guardsmen on active duty, in 1918 the Second and Third Oklahoma Infantry Regiments and a separate infantry battalion were recruited. These units later combined and constituted the Oklahoma National Guard until 1920. In 1919 these troops were sent to Drumright, Henryetta, Coalgate, and Haileyville during a labor disturbance. Under the provisions of the National Defense Act of 1920 Oklahoma was assigned to the Eighth Corps Area and allotted two National Guard divisions. The Second Oklahoma Infantry Regiment was designated the 179th Infantry Regiment and the Third Oklahoma Regiment became the 180th Infantry Regiment. Medical, engineer, and artillery regiments were allotted to Oklahoma, along with the headquarters of the Forty-fifth Infantry Division. Other troops of the division were distributed in New Mexico, Arizona, and Colorado. By 1923 the Forty-fifth's organization was complete. Between 1918 and 1941 the Oklahoma National Guard was frequently called to state duty. In 1921 the guardsmen were rushed to Tulsa to quell that city's violent racial conflict. Gov. John Walton used the troops to prevent the legislature from convening during his impeachment. Gov. William H. Murray dispatched the National Guard thirty-four times during his administration, and Gov. Ernest W. Marland used the guardsmen to allow the drilling of oil wells on the Capitol grounds in Oklahoma City.

782 / 1857 sold
This extremely rare artifact commemorates a personal Trophy presented to A.L. Eddington by COMPANY F of the Oklahoma National Guard in 1905. This trophy shows detailing of both hunting rifles and a hunting dog in fine craftsmanship. Measures about 11" Tall and 6" x 6". Unpolished. A fine artifact for any Military collector. One of the first actions taken by the Oklahoma Territorial Council when it convened in August 1890 was the creation of the Territorial Militia. Although the formation of two infantry regiments, two cavalry battalions, and one artillery battery was allowed, little funding was provided, and in 1895 the militia was reorganized as the Oklahoma National Guard. The Oklahoma National Guard was not federalized during the Spanish-American War, but numerous officers and enlisted men served with the Rough Riders and with the First Territorial Volunteer Infantry Regiment. In 1899 the Oklahoma National Guard was reorganized as the First Oklahoma Infantry Regiment, supported by a signal company. In 1903 an engineer company was added. With statehood in 1907, units were shifted from western Oklahoma (former Oklahoma Territory) to eastern Oklahoma (former Indian Territory), and a hospital unit and two cavalry troops were added. Before World War I the guardsmen were used by Gov. Lee Cruce to combat illegal boxing and horse-racing operations and liquor-law and blue-law violations. The Oklahoma National Guard was reorganized under the National Defense Act passed on June 3, 1916, and fifteen days later was called into federal service for duty along the Mexican border. Mobilized in Oklahoma City, the guardsmen were stationed at San Benito and Donna, Texas. They returned home and were mustered out on March 1â€“2, 1917. On March 31, 1917, the First Oklahoma Infantry was mobilized for service in World War I. At Camp Bowie, Texas, the First Oklahoma combined with the Seventh Texas Infantry to form the 142d Regiment of the Thirty-sixth Infantry Division. The guardsmen arrived in France on July 31, 1918, and in October served around Blanc Mont Ridge and in the Ferme Forest. They were in reserve when the war ended on November 11, 1918. Returning home, the troops were discharged in July 1919. To replace the guardsmen on active duty, in 1918 the Second and Third Oklahoma Infantry Regiments and a separate infantry battalion were recruited. These units later combined and constituted the Oklahoma National Guard until 1920. In 1919 these troops were sent to Drumright, Henryetta, Coalgate, and Haileyville during a labor disturbance. Under the provisions of the National Defense Act of 1920 Oklahoma was assigned to the Eighth Corps Area and allotted two National Guard divisions. The Second Oklahoma Infantry Regiment was designated the 179th Infantry Regiment and the Third Oklahoma Regiment became the 180th Infantry Regiment. Medical, engineer, and artillery regiments were allotted to Oklahoma, along with the headquarters of the Forty-fifth Infantry Division. Other troops of the division were distributed in New Mexico, Arizona, and Colorado. By 1923 the Forty-fifth's organization was complete. Between 1918 and 1941 the Oklahoma National Guard was frequently called to state duty. In 1921 the guardsmen were rushed to Tulsa to quell that city's violent racial conflict. Gov. John Walton used the troops to prevent the legislature from convening during his impeachment. Gov. William H. Murray dispatched the National Guard thirty-four times during his administration, and Gov. Ernest W. Marland used the guardsmen to allow the drilling of oil wells on the Capitol grounds in Oklahoma City.

783 / 1857 sold
This extremely rare artifact commemorates a personal Trophy presented to A.L. Eddington by COMPANY F of the Oklahoma National Guard in 1905. This trophy shows detailing of both hunting rifles and a hunting dog in fine craftsmanship. Measures about 11" Tall and 6" x 6". Unpolished. A fine artifact for any Military collector. One of the first actions taken by the Oklahoma Territorial Council when it convened in August 1890 was the creation of the Territorial Militia. Although the formation of two infantry regiments, two cavalry battalions, and one artillery battery was allowed, little funding was provided, and in 1895 the militia was reorganized as the Oklahoma National Guard. The Oklahoma National Guard was not federalized during the Spanish-American War, but numerous officers and enlisted men served with the Rough Riders and with the First Territorial Volunteer Infantry Regiment. In 1899 the Oklahoma National Guard was reorganized as the First Oklahoma Infantry Regiment, supported by a signal company. In 1903 an engineer company was added. With statehood in 1907, units were shifted from western Oklahoma (former Oklahoma Territory) to eastern Oklahoma (former Indian Territory), and a hospital unit and two cavalry troops were added. Before World War I the guardsmen were used by Gov. Lee Cruce to combat illegal boxing and horse-racing operations and liquor-law and blue-law violations. The Oklahoma National Guard was reorganized under the National Defense Act passed on June 3, 1916, and fifteen days later was called into federal service for duty along the Mexican border. Mobilized in Oklahoma City, the guardsmen were stationed at San Benito and Donna, Texas. They returned home and were mustered out on March 1â€“2, 1917. On March 31, 1917, the First Oklahoma Infantry was mobilized for service in World War I. At Camp Bowie, Texas, the First Oklahoma combined with the Seventh Texas Infantry to form the 142d Regiment of the Thirty-sixth Infantry Division. The guardsmen arrived in France on July 31, 1918, and in October served around Blanc Mont Ridge and in the Ferme Forest. They were in reserve when the war ended on November 11, 1918. Returning home, the troops were discharged in July 1919. To replace the guardsmen on active duty, in 1918 the Second and Third Oklahoma Infantry Regiments and a separate infantry battalion were recruited. These units later combined and constituted the Oklahoma National Guard until 1920. In 1919 these troops were sent to Drumright, Henryetta, Coalgate, and Haileyville during a labor disturbance. Under the provisions of the National Defense Act of 1920 Oklahoma was assigned to the Eighth Corps Area and allotted two National Guard divisions. The Second Oklahoma Infantry Regiment was designated the 179th Infantry Regiment and the Third Oklahoma Regiment became the 180th Infantry Regiment. Medical, engineer, and artillery regiments were allotted to Oklahoma, along with the headquarters of the Forty-fifth Infantry Division. Other troops of the division were distributed in New Mexico, Arizona, and Colorado. By 1923 the Forty-fifth's organization was complete. Between 1918 and 1941 the Oklahoma National Guard was frequently called to state duty. In 1921 the guardsmen were rushed to Tulsa to quell that city's violent racial conflict. Gov. John Walton used the troops to prevent the legislature from convening during his impeachment. Gov. William H. Murray dispatched the National Guard thirty-four times during his administration, and Gov. Ernest W. Marland used the guardsmen to allow the drilling of oil wells on the Capitol grounds in Oklahoma City.

784 / 1857 sold
This extremely rare artifact commemorates a personal Trophy presented to A.L. Eddington by COMPANY F of the Oklahoma National Guard in 1905. This trophy shows detailing of both hunting rifles and a hunting dog in fine craftsmanship. Measures about 11" Tall and 6" x 6". Unpolished. A fine artifact for any Military collector. One of the first actions taken by the Oklahoma Territorial Council when it convened in August 1890 was the creation of the Territorial Militia. Although the formation of two infantry regiments, two cavalry battalions, and one artillery battery was allowed, little funding was provided, and in 1895 the militia was reorganized as the Oklahoma National Guard. The Oklahoma National Guard was not federalized during the Spanish-American War, but numerous officers and enlisted men served with the Rough Riders and with the First Territorial Volunteer Infantry Regiment. In 1899 the Oklahoma National Guard was reorganized as the First Oklahoma Infantry Regiment, supported by a signal company. In 1903 an engineer company was added. With statehood in 1907, units were shifted from western Oklahoma (former Oklahoma Territory) to eastern Oklahoma (former Indian Territory), and a hospital unit and two cavalry troops were added. Before World War I the guardsmen were used by Gov. Lee Cruce to combat illegal boxing and horse-racing operations and liquor-law and blue-law violations. The Oklahoma National Guard was reorganized under the National Defense Act passed on June 3, 1916, and fifteen days later was called into federal service for duty along the Mexican border. Mobilized in Oklahoma City, the guardsmen were stationed at San Benito and Donna, Texas. They returned home and were mustered out on March 1â€“2, 1917. On March 31, 1917, the First Oklahoma Infantry was mobilized for service in World War I. At Camp Bowie, Texas, the First Oklahoma combined with the Seventh Texas Infantry to form the 142d Regiment of the Thirty-sixth Infantry Division. The guardsmen arrived in France on July 31, 1918, and in October served around Blanc Mont Ridge and in the Ferme Forest. They were in reserve when the war ended on November 11, 1918. Returning home, the troops were discharged in July 1919. To replace the guardsmen on active duty, in 1918 the Second and Third Oklahoma Infantry Regiments and a separate infantry battalion were recruited. These units later combined and constituted the Oklahoma National Guard until 1920. In 1919 these troops were sent to Drumright, Henryetta, Coalgate, and Haileyville during a labor disturbance. Under the provisions of the National Defense Act of 1920 Oklahoma was assigned to the Eighth Corps Area and allotted two National Guard divisions. The Second Oklahoma Infantry Regiment was designated the 179th Infantry Regiment and the Third Oklahoma Regiment became the 180th Infantry Regiment. Medical, engineer, and artillery regiments were allotted to Oklahoma, along with the headquarters of the Forty-fifth Infantry Division. Other troops of the division were distributed in New Mexico, Arizona, and Colorado. By 1923 the Forty-fifth's organization was complete. Between 1918 and 1941 the Oklahoma National Guard was frequently called to state duty. In 1921 the guardsmen were rushed to Tulsa to quell that city's violent racial conflict. Gov. John Walton used the troops to prevent the legislature from convening during his impeachment. Gov. William H. Murray dispatched the National Guard thirty-four times during his administration, and Gov. Ernest W. Marland used the guardsmen to allow the drilling of oil wells on the Capitol grounds in Oklahoma City.

785 / 1857 sold
This extremely rare artifact commemorates a personal Trophy presented to A.L. Eddington by COMPANY F of the Oklahoma National Guard in 1905. This trophy shows detailing of both hunting rifles and a hunting dog in fine craftsmanship. Measures about 11" Tall and 6" x 6". Unpolished. A fine artifact for any Military collector. One of the first actions taken by the Oklahoma Territorial Council when it convened in August 1890 was the creation of the Territorial Militia. Although the formation of two infantry regiments, two cavalry battalions, and one artillery battery was allowed, little funding was provided, and in 1895 the militia was reorganized as the Oklahoma National Guard. The Oklahoma National Guard was not federalized during the Spanish-American War, but numerous officers and enlisted men served with the Rough Riders and with the First Territorial Volunteer Infantry Regiment. In 1899 the Oklahoma National Guard was reorganized as the First Oklahoma Infantry Regiment, supported by a signal company. In 1903 an engineer company was added. With statehood in 1907, units were shifted from western Oklahoma (former Oklahoma Territory) to eastern Oklahoma (former Indian Territory), and a hospital unit and two cavalry troops were added. Before World War I the guardsmen were used by Gov. Lee Cruce to combat illegal boxing and horse-racing operations and liquor-law and blue-law violations. The Oklahoma National Guard was reorganized under the National Defense Act passed on June 3, 1916, and fifteen days later was called into federal service for duty along the Mexican border. Mobilized in Oklahoma City, the guardsmen were stationed at San Benito and Donna, Texas. They returned home and were mustered out on March 1â€“2, 1917. On March 31, 1917, the First Oklahoma Infantry was mobilized for service in World War I. At Camp Bowie, Texas, the First Oklahoma combined with the Seventh Texas Infantry to form the 142d Regiment of the Thirty-sixth Infantry Division. The guardsmen arrived in France on July 31, 1918, and in October served around Blanc Mont Ridge and in the Ferme Forest. They were in reserve when the war ended on November 11, 1918. Returning home, the troops were discharged in July 1919. To replace the guardsmen on active duty, in 1918 the Second and Third Oklahoma Infantry Regiments and a separate infantry battalion were recruited. These units later combined and constituted the Oklahoma National Guard until 1920. In 1919 these troops were sent to Drumright, Henryetta, Coalgate, and Haileyville during a labor disturbance. Under the provisions of the National Defense Act of 1920 Oklahoma was assigned to the Eighth Corps Area and allotted two National Guard divisions. The Second Oklahoma Infantry Regiment was designated the 179th Infantry Regiment and the Third Oklahoma Regiment became the 180th Infantry Regiment. Medical, engineer, and artillery regiments were allotted to Oklahoma, along with the headquarters of the Forty-fifth Infantry Division. Other troops of the division were distributed in New Mexico, Arizona, and Colorado. By 1923 the Forty-fifth's organization was complete. Between 1918 and 1941 the Oklahoma National Guard was frequently called to state duty. In 1921 the guardsmen were rushed to Tulsa to quell that city's violent racial conflict. Gov. John Walton used the troops to prevent the legislature from convening during his impeachment. Gov. William H. Murray dispatched the National Guard thirty-four times during his administration, and Gov. Ernest W. Marland used the guardsmen to allow the drilling of oil wells on the Capitol grounds in Oklahoma City.

786 / 1857 sold
This extremely rare artifact commemorates a personal Trophy presented to A.L. Eddington by COMPANY F of the Oklahoma National Guard in 1905. This trophy shows detailing of both hunting rifles and a hunting dog in fine craftsmanship. Measures about 11" Tall and 6" x 6". Unpolished. A fine artifact for any Military collector. One of the first actions taken by the Oklahoma Territorial Council when it convened in August 1890 was the creation of the Territorial Militia. Although the formation of two infantry regiments, two cavalry battalions, and one artillery battery was allowed, little funding was provided, and in 1895 the militia was reorganized as the Oklahoma National Guard. The Oklahoma National Guard was not federalized during the Spanish-American War, but numerous officers and enlisted men served with the Rough Riders and with the First Territorial Volunteer Infantry Regiment. In 1899 the Oklahoma National Guard was reorganized as the First Oklahoma Infantry Regiment, supported by a signal company. In 1903 an engineer company was added. With statehood in 1907, units were shifted from western Oklahoma (former Oklahoma Territory) to eastern Oklahoma (former Indian Territory), and a hospital unit and two cavalry troops were added. Before World War I the guardsmen were used by Gov. Lee Cruce to combat illegal boxing and horse-racing operations and liquor-law and blue-law violations. The Oklahoma National Guard was reorganized under the National Defense Act passed on June 3, 1916, and fifteen days later was called into federal service for duty along the Mexican border. Mobilized in Oklahoma City, the guardsmen were stationed at San Benito and Donna, Texas. They returned home and were mustered out on March 1â€“2, 1917. On March 31, 1917, the First Oklahoma Infantry was mobilized for service in World War I. At Camp Bowie, Texas, the First Oklahoma combined with the Seventh Texas Infantry to form the 142d Regiment of the Thirty-sixth Infantry Division. The guardsmen arrived in France on July 31, 1918, and in October served around Blanc Mont Ridge and in the Ferme Forest. They were in reserve when the war ended on November 11, 1918. Returning home, the troops were discharged in July 1919. To replace the guardsmen on active duty, in 1918 the Second and Third Oklahoma Infantry Regiments and a separate infantry battalion were recruited. These units later combined and constituted the Oklahoma National Guard until 1920. In 1919 these troops were sent to Drumright, Henryetta, Coalgate, and Haileyville during a labor disturbance. Under the provisions of the National Defense Act of 1920 Oklahoma was assigned to the Eighth Corps Area and allotted two National Guard divisions. The Second Oklahoma Infantry Regiment was designated the 179th Infantry Regiment and the Third Oklahoma Regiment became the 180th Infantry Regiment. Medical, engineer, and artillery regiments were allotted to Oklahoma, along with the headquarters of the Forty-fifth Infantry Division. Other troops of the division were distributed in New Mexico, Arizona, and Colorado. By 1923 the Forty-fifth's organization was complete. Between 1918 and 1941 the Oklahoma National Guard was frequently called to state duty. In 1921 the guardsmen were rushed to Tulsa to quell that city's violent racial conflict. Gov. John Walton used the troops to prevent the legislature from convening during his impeachment. Gov. William H. Murray dispatched the National Guard thirty-four times during his administration, and Gov. Ernest W. Marland used the guardsmen to allow the drilling of oil wells on the Capitol grounds in Oklahoma City.

787 / 1857 sold
This extremely rare artifact commemorates a personal Trophy presented to A.L. Eddington by COMPANY F of the Oklahoma National Guard in 1905. This trophy shows detailing of both hunting rifles and a hunting dog in fine craftsmanship. Measures about 11" Tall and 6" x 6". Unpolished. A fine artifact for any Military collector. One of the first actions taken by the Oklahoma Territorial Council when it convened in August 1890 was the creation of the Territorial Militia. Although the formation of two infantry regiments, two cavalry battalions, and one artillery battery was allowed, little funding was provided, and in 1895 the militia was reorganized as the Oklahoma National Guard. The Oklahoma National Guard was not federalized during the Spanish-American War, but numerous officers and enlisted men served with the Rough Riders and with the First Territorial Volunteer Infantry Regiment. In 1899 the Oklahoma National Guard was reorganized as the First Oklahoma Infantry Regiment, supported by a signal company. In 1903 an engineer company was added. With statehood in 1907, units were shifted from western Oklahoma (former Oklahoma Territory) to eastern Oklahoma (former Indian Territory), and a hospital unit and two cavalry troops were added. Before World War I the guardsmen were used by Gov. Lee Cruce to combat illegal boxing and horse-racing operations and liquor-law and blue-law violations. The Oklahoma National Guard was reorganized under the National Defense Act passed on June 3, 1916, and fifteen days later was called into federal service for duty along the Mexican border. Mobilized in Oklahoma City, the guardsmen were stationed at San Benito and Donna, Texas. They returned home and were mustered out on March 1â€“2, 1917. On March 31, 1917, the First Oklahoma Infantry was mobilized for service in World War I. At Camp Bowie, Texas, the First Oklahoma combined with the Seventh Texas Infantry to form the 142d Regiment of the Thirty-sixth Infantry Division. The guardsmen arrived in France on July 31, 1918, and in October served around Blanc Mont Ridge and in the Ferme Forest. They were in reserve when the war ended on November 11, 1918. Returning home, the troops were discharged in July 1919. To replace the guardsmen on active duty, in 1918 the Second and Third Oklahoma Infantry Regiments and a separate infantry battalion were recruited. These units later combined and constituted the Oklahoma National Guard until 1920. In 1919 these troops were sent to Drumright, Henryetta, Coalgate, and Haileyville during a labor disturbance. Under the provisions of the National Defense Act of 1920 Oklahoma was assigned to the Eighth Corps Area and allotted two National Guard divisions. The Second Oklahoma Infantry Regiment was designated the 179th Infantry Regiment and the Third Oklahoma Regiment became the 180th Infantry Regiment. Medical, engineer, and artillery regiments were allotted to Oklahoma, along with the headquarters of the Forty-fifth Infantry Division. Other troops of the division were distributed in New Mexico, Arizona, and Colorado. By 1923 the Forty-fifth's organization was complete. Between 1918 and 1941 the Oklahoma National Guard was frequently called to state duty. In 1921 the guardsmen were rushed to Tulsa to quell that city's violent racial conflict. Gov. John Walton used the troops to prevent the legislature from convening during his impeachment. Gov. William H. Murray dispatched the National Guard thirty-four times during his administration, and Gov. Ernest W. Marland used the guardsmen to allow the drilling of oil wells on the Capitol grounds in Oklahoma City.

788 / 1857 sold
This extremely rare artifact commemorates a personal Trophy presented to A.L. Eddington by COMPANY F of the Oklahoma National Guard in 1905. This trophy shows detailing of both hunting rifles and a hunting dog in fine craftsmanship. Measures about 11" Tall and 6" x 6". Unpolished. A fine artifact for any Military collector. One of the first actions taken by the Oklahoma Territorial Council when it convened in August 1890 was the creation of the Territorial Militia. Although the formation of two infantry regiments, two cavalry battalions, and one artillery battery was allowed, little funding was provided, and in 1895 the militia was reorganized as the Oklahoma National Guard. The Oklahoma National Guard was not federalized during the Spanish-American War, but numerous officers and enlisted men served with the Rough Riders and with the First Territorial Volunteer Infantry Regiment. In 1899 the Oklahoma National Guard was reorganized as the First Oklahoma Infantry Regiment, supported by a signal company. In 1903 an engineer company was added. With statehood in 1907, units were shifted from western Oklahoma (former Oklahoma Territory) to eastern Oklahoma (former Indian Territory), and a hospital unit and two cavalry troops were added. Before World War I the guardsmen were used by Gov. Lee Cruce to combat illegal boxing and horse-racing operations and liquor-law and blue-law violations. The Oklahoma National Guard was reorganized under the National Defense Act passed on June 3, 1916, and fifteen days later was called into federal service for duty along the Mexican border. Mobilized in Oklahoma City, the guardsmen were stationed at San Benito and Donna, Texas. They returned home and were mustered out on March 1â€“2, 1917. On March 31, 1917, the First Oklahoma Infantry was mobilized for service in World War I. At Camp Bowie, Texas, the First Oklahoma combined with the Seventh Texas Infantry to form the 142d Regiment of the Thirty-sixth Infantry Division. The guardsmen arrived in France on July 31, 1918, and in October served around Blanc Mont Ridge and in the Ferme Forest. They were in reserve when the war ended on November 11, 1918. Returning home, the troops were discharged in July 1919. To replace the guardsmen on active duty, in 1918 the Second and Third Oklahoma Infantry Regiments and a separate infantry battalion were recruited. These units later combined and constituted the Oklahoma National Guard until 1920. In 1919 these troops were sent to Drumright, Henryetta, Coalgate, and Haileyville during a labor disturbance. Under the provisions of the National Defense Act of 1920 Oklahoma was assigned to the Eighth Corps Area and allotted two National Guard divisions. The Second Oklahoma Infantry Regiment was designated the 179th Infantry Regiment and the Third Oklahoma Regiment became the 180th Infantry Regiment. Medical, engineer, and artillery regiments were allotted to Oklahoma, along with the headquarters of the Forty-fifth Infantry Division. Other troops of the division were distributed in New Mexico, Arizona, and Colorado. By 1923 the Forty-fifth's organization was complete. Between 1918 and 1941 the Oklahoma National Guard was frequently called to state duty. In 1921 the guardsmen were rushed to Tulsa to quell that city's violent racial conflict. Gov. John Walton used the troops to prevent the legislature from convening during his impeachment. Gov. William H. Murray dispatched the National Guard thirty-four times during his administration, and Gov. Ernest W. Marland used the guardsmen to allow the drilling of oil wells on the Capitol grounds in Oklahoma City.

789 / 1857 sold
This Vintage Sterling Clasp 30" (15" drop from clasp) Pearl Necklace also features a matching pair of earrings and the original Case.

790 / 1857 sold
This Vintage Sterling Clasp 30" (15" drop from clasp) Pearl Necklace also features a matching pair of earrings and the original Case.

791 / 1857 sold
This Vintage Sterling Clasp 30" (15" drop from clasp) Pearl Necklace also features a matching pair of earrings and the original Case.

792 / 1857 sold
This Vintage Sterling Clasp 30" (15" drop from clasp) Pearl Necklace also features a matching pair of earrings and the original Case.

793 / 1857 sold
This Vintage Sterling Clasp 30" (15" drop from clasp) Pearl Necklace also features a matching pair of earrings and the original Case.

794 / 1857 sold
This Vintage Sterling Clasp 30" (15" drop from clasp) Pearl Necklace also features a matching pair of earrings and the original Case.

795 / 1857 sold
This Vintage Sterling Clasp 30" (15" drop from clasp) Pearl Necklace also features a matching pair of earrings and the original Case.

796 / 1857 sold
This Vintage Sterling Clasp 30" (15" drop from clasp) Pearl Necklace also features a matching pair of earrings and the original Case.

797 / 1857 sold
This Vintage Sterling Clasp 30" (15" drop from clasp) Pearl Necklace also features a matching pair of earrings and the original Case.

798 / 1857 sold
This Vintage Sterling Clasp 30" (15" drop from clasp) Pearl Necklace also features a matching pair of earrings and the original Case.

799 / 1857 sold
This lot features a nice selection if good condition coins ready for any collector seasoned or beginner. $22 of total value. A few (6) of the Cracked Liberty Bell Bicentennial Liberty Dollar Coins are included.

800 / 1857 sold

Photos 701 - 800 of 1857

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