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SUMMER TOURS. YELLOWSTONE. ZION. BRYCE. GRAND CANYON. CALIFORNIA. PACIFIC NORTHWEST. COLORADO

SUMMER TOURS. YELLOWSTONE. ZION. BRYCE. GRAND CANYON. CALIFORNIA. PACIFIC NORTHWEST. COLORADO

CHICAGO & NORTH WESTERN-UNION PACIFIC] 9 7/8" x 6 3/4" in color pictorial wrappers. 57 pp., index, illustrations (many in color), maps, schedules, itineraries. Booklet filled with information about, pictures of, and Itineraries for 12 different tours, lasting from 8 - 27 days and costing from $74.35 to $356.60. An adjusted price sheet is laid-in. Most of the tours include Yellowstone National Park and go on to offer extending tours to Salt Lake City, The Royal Gorge, Colorado Springs, Denver, Zion, Bryce Canyon, Grand Canyon, Cedar Breaks, Estes Park. Offers a 14-day tour to California, Old Mexico, and Yosemite; a 13-day tour that visits the Pacific Northwest, Mt. Rainier, the Canadian Rockies, Banff, and Lake Louise; as well as a 19-day tour to Alaska, the Pacific Northwest, Mt. Rainier, the the Canadian Rockies. Descriptions of and information about Yellowstone National Park, Salt Lake City, Zion, Bryce & Grand Canyon National Parks. Map of Yellowstone National Park with route of railroad and route of auto trips marked; Map of Southern Utah Parks with bus tour and bus side-trips marked along with a small table of distances; Map showing the routes of all tours of the National Parks. General information offered including information on hotels and lodges in the parks, baggage, what to wear, church services, information for the woman who travels alone, touts the comfort, convenience and pleasure of each and every tour, etc. Numerous photographs throughout, (probably about half of all photographs are in color). Pictures include interior of train, Old Faithful, the Tetons, Tower Canyon, various wildlife, important buildings, Royal Gorge, Bear Creek Canyon, individuals participating in various activities, Horseshoe Park, Garden of the Gods, Columbia River, Lake Louise, San Francisco, Mariposa Grove, Grand Canyon, Bryce Canyon, etc. Light rubbing to spine. else a very good bright copy. A nicely produced booklet, filled with lovely photographs.
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THE WEST TEXAS FRONTIER, OR A DESCRIPTIVE HISTORY OF EARLY TIMES IN WESTERN TEXAS CONTAINING AN ACCURATE ACCOUNT OF MUCH HITHERTO UNPUBLISHED HISTORY. TWO VOLUMES

MCCONNELL, JOSEPH C. First edition. 8vo. Volume I: Original maroon cloth, gold stamping on front cover and spine, (6) III (3), 334 pp., introduction, illustrated. Full page inked presentation inscription on the front fly leaf by the author to the Hon. Raymond E. Buck, of the Texas and Tarrant County bar, signed and dated. This rare, privately printed work has escaped the notice of bibliographers. This book has never been reprinted. Many first-hand accounts of Indian encounters which mostly involved the Texas Rangers. Accounts that discuss ranch life and raids on cattle and horse herds, with cowboys in pursuit of the raiders. Much on West Texas county histories. Reviews in quite some depth Jim Bowie, Big Foot Wallace, Capt. Jack Hays, Ben and Henry McCulloch, as well as many others such as Texas Rangers and U.S. Cavalry Indian fighters. Excellent content. Some light cosmetic professional restoration to spine ends and corners, else a near fine copy. Volume II: [Palo Pinto: Texas Legal Bank & Book Co., 1939]. First edition. 8vo. Inscribed by the author on front fly leaf, "It affords the author the very highest pleasure to autograph this copy for my esteemed friend and former school mate, Hon. Raymond E. Buck, distinguished member of the Texas and Tarrant County bars, 7/7/1939." Original maroon cloth, gold stamping on front cover and spine, (6), 348 pp., introduction, illustrated, index. Volume II continues on with many first-hand accounts of Indian encounters, ranch life and raids on cattle and horse herds, crimes by and against citizens of West Texas, life-threatening experiences by citizens, etc. As previously stated, Volume I was missed by all the bibliographers except Rader's South of Forty which lists only Volume I as entry number 2281. The second volume was privately printed in 1939 to even less notoriety than Volume I received, and is not listed by any bibliographers. This is our second set of this very scarce set. A handsome set housed in a cloth slipcase with a leather label on spine and titles stamped in gold.
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COCHITI PUEBLO PAINTED DRUM WITH BEATER

HERRERA, SANTIAGO Pueblo dances are prayers. They are sacred occasions where Pueblo people give thanks for a bountiful harvest, good health and prosperity. The singer’s prayer songs are accompanied by the sound of drums. The beat of the drums reminds us of the sound of the heartbeat of mother earth, the source of all life. It could also be the sound of thunder, the signal that life-sustaining rain is on the way. Drums are an integral part of all Pueblo dances, but not all Pueblos make their own drums. The most desired drums are known to come from Cochiti Pueblo where the Herrera family has been making drums for three generations. Santiago “Jim” Herrera (? - 1971) taught his son Arnold to make drums in the 1960s and 70s. After the death of his father in 1971, Arnold continued the drum-making tradition and has now passed this art to his sons. This drum was made by Santiago Herrera. It was carefully carved out of cottonwood and decorated with a royal blue paint that contrasts with the natural color and grain of the cottonwood. The stretched rawhide covers a white band on one side and a red band on the other. The drum head is painted black and there are signs of use in the middle of the head. In addition to the drum, a beater is included. The beater has a top of sewn rawhide with stuffing inside. The drum size is 18" height x 19" diameter. The drum has two heads. Pueblo songs are written to start slowly and then go to a climax. At a certain point of the song, the drum is flipped over to achieve a higher beat. This lifts the dancers and gives them the impetus to continue dancing. Condition: The drum is in excellent condition, the rawhide head and the strings are very tight.
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POLISHED BLACK JAR WITH FLUTED RIM

GARCIA, TINA This Polished Black Jar with Fluted Rim is in like new condition. There are no scratches or flaws. The medium for this jar is clay and it is 7" height x 6" diameter. It was made at Santa Clara Pueblo, New Mexico in 1989 by Tina Garcia (1957-2005). This piece is not only well-crafted, it is absolutely perfect. Tina Garcia was born at Santa Clara Pueblo in 1957. She was the granddaughter of Santa Clara potter Severa Tafoya and the niece of Angela Baca. She spent her childhood watching her grandmother, mother and aunt make pottery. In the pueblo way, a child learns by watching and assisting the older potters during the entire process of making pottery, from the gathering of the materials to the final firing. Tina was making her own pottery by the age of 11. As a young adult, Tina spent time at the School of American Research (now School for Advanced Research) studying its pottery collection. After careful study she decided that she wanted to make her living as a potter and focus exclusively on the traditional shapes of Santa Clara pottery, not the carved ware for which Santa Clara is known. Her pieces are characterized by exquisite shape ad perfect polish. During her short career she won numerous awards at Santa Fe Indian Market and the Heard Museum Show. Her work is included in the collections of the Heard Museum in Phoenix Arizona and the Denver Art Museum. This pot features a traditional Tewa jar shape . A wide body that rises up to meet a sharp shoulder. From the shoulder, the neck gracefully ascends up to a fluted rim. The classic shape is enhanced with the artist's amazing polish finish. Looking at this it is easy to see why Tina Garcia was the recipient of so many awards.
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SANTA CLARA PUEBLO POLISHED BLACK JAR WITH BEAR PAW IMPRESSIONS

GARCIA, GREG This Polished Black Jar is in original condition. The medium for this jar is clay and it is 5 1/4" height x 5 1/4" diameter. It was made at Santa Clara Pueblo, New Mexico in about 1987 by Greg Garcia (1961-2010). This Polished Black Jar with Bear Paw Impressions is in fine condition. Greg Garcia's mother was from Santa Clara and his father from Ohkay Owingeh (San Juan Pueblo). He began to make pottery at the age of 14. Taught by his maternal grandmother, Severa Tafoya, he learned the traditional Tewa ways to gather, prepare, shape, polish and fire pottery. Garcia was a very talented potter, his work distinguished by excellent symmetry and high, even polish. Greg Garcia molded and polished this elegant small jar to perfection. He placed three bear paw impressions on the upper body just below the shoulder of the jar. The bear paw symbol comes from an old Santa Clara legend stating that during a time of drought a bear led the people to a fresh water spring and saved them. When Tewa potters created jars or ollas to hold water, the bear paw design was added to honor the bear because, "The bear always knows where the water is." The use of the design continues to the present day, even though the vessels are no longer used to hold water. As the world around the pueblo changes, the creation of pottery using traditional methods and designs connects them to their past. This pot is a beautiful example of how Greg Garcia used traditional methods to create a modern work of art in the spirit of his ancestors.