Fundproject

One extremely feminine, pretty and enchanting ladies platinum Diamond ring stamped PLAT, designed in an antique filigree with bright finish and contains thirteen stones in all as follows:

ONE round European cut Diamond of 0.25 carat with good color (I-J) and good clarity (VS 1 - VS 2) measuring 4.08mm-4.10mm in diameter. TWO round single cut Diamonds of 0.01-0.02 carat each with very good color (H-I) and very good clarity (VS 1-VS 2); four measuring 1.3mm in diameter, two measuring 1.5mm in diameter and four measuring 1.8mm in diameter. This ring has a metal weight of 2.11 pennyweights and is in wonderful, lustrous condition being from the early part of the century. It's a well made, strong setting and wears extremely well, bringing gentle elegance to any outfit. One appraiser, a Portland jewelry designer, asked to buy it five years ago to sell it for 1750 with an exact matching pair of antique earrings already in her window! She'd picked up the "rare" earrings at an estate sale and told me that they are "perfect Art Deco" from the 1920's.

This pretty ring was found by my Gentlewoman Grandmother at an antique store in San Francisco during a trip there in the 1950's. The photos do not come close to reflecting the natural light and bright essence. It has always turned heads with constant comments at how enchanting it is. I was puzzled (as was the jewelry designer, witnessing the same reaction by men as well as women with the earrings) by that until I discovered the eyecatching quality also reflects how blessed it is, bringing positive experience and company along the day's path.

The size of the ring for your finger is in between 5.5 - 5.75.

$1544.40. +Will ship USPS registered mail fully insured.

The following two artist's proofs are too beautiful to describe and speak for themselves. The digital photos however do not come close to how wonderful they are and I apologize for that.These exceptional hand signed C. W. Anderson race and steeplechase horse lithographs were gifted to a family friend who loved the races as well as his friend, the artist. Growing up in Massachusetts, my friend gave me these in 1971, when I was a teenager in honor of my own love of all things equine and while he was teaching me at Suffolk Downs about horse racing. They were gifted to him from his friend, the great New England illustrator

C. W. Anderson, famous for his equestrian art.

The appraiser told me they were likely created in the 1950's, although my friend got them in the 1960's. The first 16" x 12" lithograph print is signed in pencil by Mr. Anderson in the lower right, with the artist's title in quotes in the lower left. You can see where he numbered the proofs for what was to be printed. I've seen this offered as a famous reproduction print called "Ossabaw Over The Water Jump at Belmont." Mr. Anderson wrote simply "Water Jump." The detail is absolutely outstanding.

"When the almighty put hoofs on the Wind and a bridle on the lightning, He called it a horse."

The true color of the paper is an ecru or ivory, the drawing itself is crisp and dark. The print was framed, but is now in an acid free sleeve for protection. Minimal discoloration has begun at the edge of the paper as it is vintage. Great collection investment for generations to come. The prints will be very carefully packaged with double boxing to go out USPS within the US, which given the size runs about 19.50 fully insured.

$350.00 each

Measuring 15 3/4" x 12 1/8" the artist's proof lithograph of Tom Fool, below, is signed in pencil by Mr. Anderson in the lower right, with the horse's name in quotes in the lower left, next to the edition proof mark. There is some foxing behind the horse, over the rump, one dot out behind the legs near the edge, and several tiny dots near the edge out in front of the raised foreleg. A paper conservator could easiy address this.

"Tom Fool (1949-1976) was an American thoroughbred horse racing champion. Owned by Greentree Stables the bay colt was the son of Menow out of the mare, Gaga. Tom Fool was trained by John M. Gaver and ridden by Ted Atkinson. In his first season racing as a two-year-old, he had five wins and two seconds in seven starts, a performance that earned him Champion 2-Year-Old Colt honors for 1951.

Much was expected of Tom Fool in his three-year-old season but after finishing second in the Wood Memorial Stakes, the horse's veterinarian discovered he had been running with a high fever and the illness forced the horse out racing for more than two months. While the 1952 racing season was a difficult one, the horse still managed to win the majority of his races. In 1953, a healthy four-year-old Tom Fool showed his greatness. Undefeated in ten races, he became only the second horse to win New York's Handicap Triple Crown: the Metropolitan, Suburban, and Brooklyn Handicaps. En route to being voted Horse of the Year honors, Tom Fool also won the Whitney Stakes and captured the Pimlico Special in his final race. Retired to stud, with a career record of 21-7-1 in 30 starts, Tom Fool sired numerous stakes winners including Hall of Famers Tim Tam and Buckpasser. Tom Fool was inducted in the National Museum of Racing Hall of Fame in 1960 and in the Blood-Horse magazine ranking of the top 100 U.S. Thoroughbred Champions of the 20th Century he was ranked #11. He closed out his sophomore season in sensational fashion, hinting that he might just be a monster at age four in 1953. He did not disappoint. In 1953, Tom Fool started 10 times and won all 10. He won at 5-1/2 furlongs, 6 furlongs, 7 furlongs, 1 mile, 1 3/16 miles and 1 1/4 miles. He won with 136 pounds, 135 pounds, 130 pounds twice and 128 pounds twice.

Tom Fool returned to the races in April. His trainer, John Garver, chose the Sation Handicap, a 5-1/2 furlong overnight race at Jamaica Race Course as his initial race. Tom Fool won easily under 128 pounds. His next start was the Joe Palmer Handicap at Belmont Park, a six-furlong test. Under regular rider, Ted Atkinson ("The Slasher"), Tom Fool won by 1 3/4 lengths under 130 pounds. The Palmer was run on Tuesday. Five days later, on Saturday, Tom Fool began his quest for the New York Handicap Triple Crown. In the Metropolitan Handicap, he scored by a half-length under 130 pounds. A week later, on Memorial Day (in the era before Monday holidays), Tom Fool met the best field of his life in the Suburban Handicap. The post-time odds tell the story: Tom Fool: 2.05-to-1; Royal Vale, 2.20-to-1; and the entry of One Count and Kiss Me Kate, 2.30-to-1. Tom Fool was all out to defeat Royal Vale, who was ridden by the ill-fated Jackie Westrope, by a nose. Excluding the generally discredited 1 1/4 record of 2:00 set by Whisk Broom II in 1913, it was the fastest Suburban in the long history of the race (2:00 3/5).

Before the Brooklyn Handicap, the final leg of the handicap triple, Tom Fool picked up 135 pounds and won the Carter Handicap at seven furlongs. Despite carrying 136 pounds in the Brooklyn, Tom Fool was challenged by only four horses -- the next highest weight being 110 pounds. The Greentree ace won eased up and became only the second horse in history, and the first in 40 years, to win the New York Handicap Triple Crown (Whisk Broom II was the first). By late summer, Tom Fool had reached the weight-for-age events and no one wanted to challenge him. His final four races of the year, and his career, were essentially walkovers. All were betless exhibition races. He won the Wilson Stakes and Whitney Stakes at Saratoga; the Sysonby Stakes at Belmont Park; and the Pimlico Special. The Sysonby was to have been the much anticipated meeting with Native Dancer. The Westchester Racing Assn., which operated Belmont Park at that time, raised the purse of the Sysonby from $20,000 to $50,000 and moved the date back a week to accommodate each trainer's plans. Sadly, Native Dancer reinjured himself and the great match race never took place. Tom Fool was retired at the end of the season."

“To Battle depicts a band of Lakota warriors galloping out of their village to meet the oncoming enemy. The scouts have brought in word of the approach and the warriors in the village have painted themselves and their horses, grabbed up their weapons and are dashing out to meet the threat.”

Legendary western artist Frank C. McCarthy wrote this for the Greenwich Workshop certificate of authenticity to accompany his golden art. This limited edition, signed and numbered print was printed in 1978. The number seems to be 548/1000. It may be 598 the way Mr. McCarthy writes. The overall size with the matte measures 21” tall x 30.5” long.

We framed another of this outstanding size, which greatly bring to life the natural landscapes and people from history. Really offers a visceral experience within a room. We picked up “To Battle” in Scottsdale in 1997, before Mr. McCarthy went Home.

It has not ever been framed or rolled, and is, as the photos depict in excellent, unused condition. The intensity of the scene is palpable with this gorgeous sun-fire color, dramatic, vivid action of men on the move with purpose, and the beautiful homes they defend. We found Frank McCarthy’s work at the museum in Phoenix and were mesmerized by it. His work is often depicted there during the annual showing of art by the prestigious Cowboy Artists of America organization.

$1133.30 + s/h

"Frank McCarthy was born in New York City in 1924. He studied at the Art Students League in New York City during the summers starting at the age of 14. He was a graduate of Pratt Institute, Brooklyn, New York. Frank McCarthy began his art career as a commercial illustrator. He painted illustrations for most of the paperback book publishers, magazines, movie companies, and advertisements. He created works that became posters for such movies as the James Bond series. Frank McCarthy's talents were highly sought after by art directors enabling him to work as a free lance illustrator for many years. His art career spanned over 50 years, beginning with a request for a western cover for a magazine by an art director. He left the world of commercial art in 1968, and began his fine art career after moving to Sedona, Arizona.

Frank McCarthy's dynamic paintings frequently featured the people of the west with a special emphasis on the Plains Indian, mountain men, and

cavalry that made up the lore and lure of the old west. Appropriately

entitled "The Dean of Western Action Painters", Frank McCarthy's art was unsurpassed for its motion, drama, and absolute attention to accuracy and detail. Highly collected, and frequently imitated, Frank McCarthy's works were treasured throughout the world as classic examples of contemporary Western Art. Retrospective showings of Frank McCarthy's paintings have been held at the Museum of the Southwest, Midland, Texas; the R.W. Norton Museum in Shreveport, La.; the Thomas Gilcrease Museum in Tulsa, Ok.; and in 1992, at the Cowboy Artist of America Museum in Kerrville, Texas. Frank McCarthy was invited to join the prestigious Cowboy Artists of America organization in 1975 and was an active member in the CAA group for 23 years. He was inducted into the Society of Illustrators Hall of Fame in 1997. Internationally known artist, Frank C. McCarthy passed away from lung cancer, Sunday, November 17, 2002 at his home of 30 years in the beautiful red rocks of Sedona, Arizona. " Magazine article