Massachusetts State Seal Plaque - A Beautiful Antique!

In yet another awesome online deal I managed to buy this lovely antique bronze plaque of the Coat of Arms of the State of Massachusetts. According to the seller, it was salvaged during the demolition of a former state building that dated from ca. 1880-1910. It was obviously cemented to an outside wall, as it has both significant weathering and patina as well as a fair amount of cement remaining on the back. It also has a bit of damage to the top edge of the shield and the face of the star which occurred during the demolition. I may have that repaired...

Even with the minor damage, this is a very cool antique plaque that rarely (if ever) comes up for private sale. It's a lovely and welcome addition to my collection!

Massachusetts State Coat of Arms, ca 1880-1910

Massachusetts State Coat of Arms, ca 1880-1910, shield close-up

Massachusetts State Coat of Arms, ca 1880-1910, back

Massachusetts State Coat of Arms, ca 1880-1910, back showing depths

Massachusetts State Coat of Arms, ca 1880-1910, damage close-up

Harvey Rattey (October 29, 1938 - December 7, 2015, Chippewa) - "Crazy Horse"

I truly love collecting bronzes that come from Indian artists, and this wonderful sculpture by Montana artist Harvey Rattey (enrolled tribal member of the Little Shell Band of Chippewa) is no exception. I bought it in an online auction and was thrilled that I won it. When it arrived, I was quite shocked to discover that it is tiny - it's only about 7" tall, including the base! The level of detail is amazing, and in pictures it shows so well that I thought it had to be much larger. Now THAT is talent!

Harvey Rattey was born in Montana and raised on a cattle ranch near Harlem, MT and next to the Assiniboin Reservation. He is a much-collected sculptor with many commissions, awards and honors under his belt. He continues to sculpt and is represented by Bridger Bronze Gallery, link to the right. I find his sculptures to be very reminiscent of the works of another Montana talent, Charles Marion Russell. I really think he captures both the style and spirit of Russell in his work. Now, while style might be relatively easy to duplicate, capturing that spirit is far more elusive. I find that Mr. Rattey's works have the same sense of 'this is real life here' infusing them as Russell's sculptures. That is so very rare. As I've said before, so many sculptors miss that spirit that the majority of works come off to me as posed portraits versus an instant of life captured. It's hard for me to explain, but you can almost imagine the motion that's captured continuing when you're not looking, can just about hear the tiny hoofbeats and the rest of the war whoop as soon as you turn away. For me, that's what Mr. Rattey brings to his sculptures, just like Charles Russell did.

Mr. Rattey chose as his subject Crazy Horse (Tȟašúŋke Witkó) astride his horse, holding a rifle low and war club high over his head as his horse runs at full gallop. The sense of motion and intent in the piece are clear and well defined. Indeed, I think he captured the feel of Crazy Horse riding into battle incredibly well.

This bronze was sculpted in 1991 and still shows like new today. It's a quite beautiful and powerful work, and I'm very glad it is a part of my collection!

Edit: I had to repost his obituary, it really captures the man as he was, his dedication to his work and his innate humor far better than I ever could. I never had the chance to meet him, and I regret it.

GLENDIVE — Harvey Rattey, age 77, of Glendive, passed away with his family by his side on Monday, Dec. 7, 2015 at the Eastern Montana Veterans Home in Glendive. Memorial Services with military honors will be held at 10 a.m., on Saturday, Dec. 12 at First Congregational United Church of Christ with Lay Pastor Darrin Clinton officiating. Silha Funeral Home of Glendive has been entrusted with the arrangements.

Harvey was born on Oct. 29, 1938 in Chinook, a son of Lester H. and Rose M. (Latray) Rattey. He was raised and educated in Harlem, where he graduated with the class of 1960. Following high school, Harvey enlisted in the United States Army on June 3, 1960, he served for one year before he was honorably discharged to return home to help on the family ranch after his father was injured. Harvey later enlisted in the National Guard where he served for four years. He returned back to Harlem where he worked as a Ranch Foreman. During this time he was married and later divorced and to this union one daughter was born. Harvey started a career in art and during this time he met Pamela Harr and they were united in marriage on Aug. 6, 1977 in Big Timber. To this union they adopted five children. Together they started their own bronze casting foundry in Bozeman and raised six children. Later they purchased a ranch and moved to Glendive. "Where the Pavement Ends and the West Begins."

Harvey was an internationally known sculptor. A Native American enrolled tribal member of the Little Shell Band of the Chippewa. He and his three sisters and a brother were raised on a cattle ranch bordering the Assiniboine reservation near Harlem. During the past forty years, his love of the cowboy and of wildlife has inspired him to sculpt both subjects with "wild and wooly" action and empathy.

Harvey had a strong faith in the Lord and was a born again Christian. He loved his church, his wife, his family and his many friends. He enjoyed calf roping, ranching, fixing fence or anything to do with the Ranching Lifestyle, turkey hunting and turkey calling and having coffee with his friends every morning.

A couple of Harvey's favorite quotes were; "Heck of a Deal", "Lock your car, there's a lot of white guys around here!" and "Shoot low, they might be crawling."

Harvey was a member of the Western Artist of America, Community Bible Church, Lions Club, Montana Veterans Commissions, Wild Turkey Federation, Indian Arts and Crafts Association and the American Legion

"Crazy Horse" by Harvey Rattey (Chippewa), 1991, bronze, front

"Crazy Horse" by Harvey Rattey (Chippewa), 1991, bronze, left

"Crazy Horse" by Harvey Rattey (Chippewa), 1991, bronze, back

"Crazy Horse" by Harvey Rattey (Chippewa), 1991, bronze, right

"Crazy Horse" by Harvey Rattey (Chippewa), 1991, bronze, close-up

Alfred J. Flauder (January 25, 1887 - March 1977) - The Scout

Yet another Buy-It-Now auction resulted in my acquiring this lovely copy of "The Scout" by Alfred J. Flauder and Weidlich Brothers Manufacturing Company. This is another example of a "decorative art" versus "fine art." These statues came in a several different versions and finishes, with the Indian loose as in this case, mounted to a base of various optional materials or even as part of a larger casting. I've seen this in both the copper finish represented here as well as a silver plated version, though I see far more of the silvered statues than the copper.

Alfred J. Flauder was a very prolific designer and inventor who worked for the Weidlich Brothers Manufacturing Company (1901-1950) in Bridgeport, Connecticut.  Born John Alfred Flauder on January 25, 1887 in Austria/Hungary, he emigrated to the US at an early age and settled eventually in Trumball, Connecticut. He was known professionally as Alfred J. Flauder. Mr. Flauder held over 60 patents, copyrights and design patents, all of which were assigned to the Weidlich Brothers MFG Company, for whom he was the chief designer and artist along with Louis Weidlich. Weidlich Brothers MFG Co. made a variety of high-middle end decorative and useful pieces, including hollowware and flatware for table service as well as decorative desktop items for gentlemen and higher end novelties. None of their pieces were in any way limited, but they were certainly not cheap. They made the sort of goods one would have found in early high end department stores, the equivalent of Lord & Taylor or fine gift shop today. Alfred J. Flauder died in Debary, Florida in March of 1977 at 90 years old.

Depicted here is an Indian scout. The Indian wears two feathers in his braided hair, a quiver of arrows slung across his back, a sheathed knife on his left hip, a fringed loincloth that extends around his hips in an almost demi-skirt and moccasins on his feet. He is kneeling on his right leg on a rock with left leg extended behind. He leans on a bow that is held in his right hand as his left shields his eyes from glare while he looks far off into the distance. There are small pieces of felt under both the extended foot and the rock, to keep the metal from scratching the tabletop. The condition of this piece is excellent.

This is another piece that fits well into the definition of "decorative arts." Available in many stores over many decades, this statue is not unusual to find, but is still in some demand today because it's quite well made and very eye-catching. I searched for a Scout in copper finish because it holds up better than the thin silver plating also offered. Once the silver plating tarnishes, it is almost impossible to clean without polishing through the silver to the base metal.

Enjoy!

"The Scout" by Alfred J. Flauder, copper over base metal, for Weidlich Brothers MFG Co., right

"The Scout" by Alfred J. Flauder, copper over base metal, for Weidlich Brothers MFG Co., front

"The Scout" by Alfred J. Flauder, copper over base metal, for Weidlich Brothers MFG Co., right

"The Scout" by Alfred J. Flauder, copper over base metal, for Weidlich Brothers MFG Co., back

Souvenir Statue From Lake George, NY - Artistic Antique!

Yet another auction purchase was this cool little Indian statuette from Lake George, NY, though I've seen the same image with many different locales attached to it. I believe it dates back to the 1950's, but usually these were made for many decades. They were sold in area souvenir stores and were a popular take-home item. When I was a kid, I used to buy tchachkis and trinkets just like this when on vacation. They hold a rather special place in my heart. In a way, I see these figurines as being the modern equivalent of "Grand Tour" bronzes. Even though this statuette is made of painted pot metal or spelter, it is still a good leap in quality above what is available in those same gift shops today. I've been to Lake George, but I don't need to buy my souvenirs at the site to evoke memories of the place if I can get a better one online. Just reading the plaque at the feet of the Indian takes me back to the lake, and that's a better memory than of buying a disappointing plastic remembrance there.

Aside from the obvious plaque, there are no maker's or artist's marks on the piece. This is not unusual for items like this. Usually the sculpture was made either in-house or was contracted out to an artist as work-for-hire. The copyright stayed with the company that mass produced the piece, so they "owned" the work outright.

Depicted here is an Indian scout, dressed in full buckskins, moccasins, a breast plate and feather headdress. He holds a rifle in his right hand and his left hand shades his brow as he peers into the distance. The outfit is much more Plains Indian than Eastern Woodland. Were this made today one would hope that such souvenirs would be a bit more locally oriented and sensitive than a plaque slapped on a generic and rather stereotypical image of an "Indian" that is really no way representative of the local tribes. But given the time in which this was produced, it's not too surprising.

I classify this as an antique rather than fine art, but a generally pleasing and decorative one. I have many such vintage tourist trade statuettes and souvenirs. I'll be posting them up as I go along.

If anyone knows who made this, please let me know!

Souvenir Indian Scout, from Lake George, NY, painted spelter, front

Souvenir Indian Scout, from Lake George, NY, painted spelter, right

Souvenir Indian Scout, from Lake George, NY, painted spelter, back

Souvenir Indian Scout, from Lake George, NY, painted spelter, right

Souvenir Indian Scout, from Lake George, NY, painted spelter, in better light

Ralph Roybal (contemporary) - "The Lost Apaches"

I bought this lovely bronze a couple years ago in an online auction. I remember that I got an exceptional deal on it, but the specifics have eluded my memory. I do know that it was the first bronze with a polychrome patina that I ever purchased. Not only is the sculpture highly detailed, but the patina is so carefully and specifically applied that it is even correct in places that a person would normally never see it or even look for it, but the coloration would be found if one were to look in those places on the models. I'm impressed!

Ralph Roybal hails from Albuquerque, New Mexico. He studied sculpture from the ground up, apprenticing for 15 years at the Santa Fe Foundry and Dell Weston Studios Foundry (I have one of Mr. Weston's sculptures as well, see the prior post on this piece). This sculpture predates the artist's transition to art as his full time profession in 1985, having been sculpted in 1983. As I understand it, Mr. Roybal performs every step of the creative process himself save the actual casting of the bronze, preferring to chase and patinate his sculptures personally. Now that is dedication!

The title of this wonderful bronze, "The Lost Apaches," is one I find a bit confusing given the subject matter. Depicted is an Indian in traditional Apache moccasins and loincloth, holding a stone tipped spear and staring down at a coffeepot which is sitting on a fire ring. I mean, is he lost? Is he looking at the coffeepot and reflecting on Apaches past? Is he a ghost of an Apache who is looking down on a coffeepot and wondering what the hell that thing is? Maybe he's supposed to be a "Lost Apache" coming out of the mountains of Old Mexico and encountering his first accoutrement of the white man. Or is this a statement on the addictive power of caffeine? Even the biggest, baddest, meanest warrior just doesn't feel awake and ready to go until after that first cup, after all. I just don't get the reference. Remove the title however and it goes back to being an interesting piece. Doesn't everyone wait for that first pot of coffee to finish brewing? I know I find myself in a similar position almost every morning.

Edit: During a very pleasant conversation with Mr. Roybal, he clarified the meaning behind the title for me. To paraphrase, this is one of the Apaches who chose to flee the armies of the US and Mexico into the mountains (Geronimo's band eluded not only capture but even discovery for several years, only surrendering because his men missed their families), so he could be considered one of the "Lost Apaches". This fellow has left the stronghold and come upon an abandoned army camp only to find a coffeepot that had been left behind, and is reflecting upon it. You can draw your own conclusions about what was going through his head. ;)

The sculpture is equally enjoyable from just about every angle, so I've chosen the front rather arbitrarily. Pardon the sketchy lighting - his face isn't really darker, it's just in shadow. Enjoy!

"The Lost Apaches" by Ralph Roybal, polychrome bronze, 1983, 21/25, right

"The Lost Apaches" by Ralph Roybal, polychrome bronze, 1983, 21/25, front

"The Lost Apaches" by Ralph Roybal, polychrome bronze, 1983, 21/25, left

"The Lost Apaches" by Ralph Roybal, polychrome bronze, 1983, 21/25, back

"The Lost Apaches" by Ralph Roybal, polychrome bronze, 1983, 21/25, Indian

"The Lost Apaches" by Ralph Roybal, polychrome bronze, 1983, 21/25, signature

Ernie Cselko (May 11, 1947 - March 1, 2007) - "Intruder Alert"

I was in the right place at the right time to pick this up in a Buy-It-Now auction from a seller who just wanted it gone. Sadly I didn't have the cash to buy the other two sculptures that he was selling for the lowest price I've ever seen! While it might more properly be considered a "collectible" than "fine art," the skill of the artist and the quality of the work make it worthy of my collection.

Hungarian born, Canadian raised painter Ernie Cselko was well known for his art featuring Native Indian and Western themes, with an emphasis on the early peoples of Canada. Much of his work was reproduced for the collectibles market on everything from collector plates to Zippo lighters for the Bradford Exchange. His original oils do command a good price however.

This bronze, made by the Franklin Mint as a "limited edition", was based on one of his paintings. It is in perfect condition and is quite striking. I'd been keeping an eye out for one of these that I could afford for some years, and I'm glad that I was able to acquire it!

"Intruder Alert" by Ernie Cselko, Franklin Mint, front

"Intruder Alert" by Ernie Cselko, Franklin Mint, left

"Intruder Alert" by Ernie Cselko, Franklin Mint, back

"Intruder Alert" by Ernie Cselko, Franklin Mint, right

"Intruder Alert" by Ernie Cselko, Franklin Mint, signature

Paul Manship (December 24, 1885 – January 28, 1966), Indian Hunter (Without Pronghorn Antelope)

When I found this for sale in an online auction, the seller didn't know what it was made of. Neither did I, but I certainly recognized the sculpture as a "copy" of Paul Manship's 1914 sculpture, "Indian with Pronghorn Antelope." The seller actually lived close to my job, so I arranged to meet her to pick it up. As soon as I had my hands on it, I was fairly certain it was a bronze, though because it has a heavy clear coating that makes it feel like plastic, I wasn't 100% sure. The bow was definitely plastic however. But the good news was, I paid less for the sculpture than I had paid in gas to get to work!

Paul Manship designed and sculpted this Indian and the Pronghorn Antelope it was paired with in 1914. It depicts a nude Indian hunter, with the skin of a mountain lion draped over his leg, kneeling as he fires his bow at a leaping pronghorn antelope (which was a separate sculpture). He made it for himself, to dress up the ugly and drab mantle over the fireplace in his small New York City apartment. When he displayed it at the National Academy of Design in 1914, he was commissioned to scale it to life size and have it cast in bronze for the patron's garden, but having a brief loincloth added for modesty's sake - this now resides at the Mead Museum in Amherst, MA. Manship began to show the work and was commissioned to cast several sets of the original size sculptures in bronze. I believe about seven or eight small sets were made. While I would dearly love to own an original, I am a po little mortal, I couldn't hope to compete with the money that gets thrown at the sellers when an original of this lovely work comes up for infrequent sale - the last set of original castings sold in 2012 for a whopping $782,500. I'd have to hit a major lottery win to ever hope to afford THAT much!

This is not a direct, molded-from-an-original copy, but more of a re-creation or pastiche of the original. If you look at the face, this version is much more realistically sculpted, as compared to the very Ancient Greek style of the original (his style had a huge influence on what became known as Art Deco). A lot of the other details are quite different as well, including the base and that this one is not even wearing moccasins. There is a sticker on the underside of the plaster base with the manufacturer's name and the original price ($249). I did some research on the company. I found out that they make very high end and expensive reproductions of antique French and Italian furniture (think Louis XIV or Rococo style) and sculptures. I found a phone number for them, so I called and talked to the nice lady at the front desk. I inquired about my statue. It has not been in their catalog for some time and she wasn't familiar with it, but she did inform me that EVERY statue that was not carved out of marble by artisans in Europe was hand crafted of hot cast bronze. The coating had been applied to keep the bronze from deteriorating due to being handled in the stores.

Even though it's a copy, this is a nice one. I've seen some others that are VERY crude by comparison. It is easy to keep clean, and never needs to be waxed either! Pardon the pictures - my backdrop was not up to the task with a sculpture this size. I'll take better ones as soon as I fix it.

Indian With Pronghorn Antelope (Indian only), by Paul Manship, 1914, copy ca. 1990, front

Indian With Pronghorn Antelope (Indian only), by Paul Manship, 1914, copy ca. 1990, right

Indian With Pronghorn Antelope (Indian only), by Paul Manship, 1914, copy ca. 1990, face

Indian With Pronghorn Antelope (Indian only), by Paul Manship, 1914, copy ca. 1990, back

Indian With Pronghorn Antelope (Indian only), by Paul Manship, 1914, copy ca. 1990, left

Once a Trophy, Now a Statue, Maybe Soon a Lamp!

Through yet another online auction about two years ago, I acquired this bronze mystery. I paid a hefty price for it (for my wallet, that is!), but it was so striking that I felt it should be a part of my collection. When it arrived at my home, I began looking for a signature or foundry chop marks, or really anything that might identify or date it. I found nothing.

The marble base is clearly not the original and the details of the figure are not as crisp as most sculptures that I've seen, though it is definitely well made. Since the base is just a standard marble lamp base and not that old or special, I've been considering turning it into a lamp by adding a thin tube of blacked out bronze that is bent to a curve with a small light at the upper end. I'd make a stained glass "shade" for it shaped like a star that would fit over the small bulb, possibly with an arrow in it too. Shoot for the stars, I say!

I searched for almost a year before I finally found out where this came from, and it was a bit of a surprise. While surfing online auctions one day, I decided to add the word "trophy" to my search terms. Up popped this statue albeit on its original base! It turns out that my Indian archer is actually the top from a trophy that had been given out in the 'teens through the '30's by Stanley Home Products, a part of the Fuller Brush Company. The one I saw for sale had been awarded in the early '20's to a salesman. The complete trophy sold for well in excess of double what I paid for the top alone, and since that's the part I like best, it made me even happier with my purchase. For a nice piece that is almost a hundred years old, it's in beautiful condition.

Edit: I've just acquired an original Stanley Home Products trophy, complete with the original wood base and engraved plaque. It is missing the bow, but I'll make a new one. I have plenty of odd gauges of brass wire in my workshop... This one dates to 1957, so it looks like more research is called for! Pics to follow soon...

Indian Archer, ca. 1920's, Stanley Home Products trophy, front

Indian Archer, ca. 1920's, Stanley Home Products trophy, 1/4 left

Indian Archer, ca. 1920's, Stanley Home Products trophy, left

Indian Archer, ca. 1920's, Stanley Home Products trophy, back

Indian Archer, ca. 1920's, Stanley Home Products trophy, right

Indian Archer, ca. 1920's, Stanley Home Products trophy, from above

"Head Of A Woman" Bronze Casket Box By Eugène Léon L'Hoëst (1874-1937) - Incredible Art Nouveau Beauty

This came to me through another online auction about a year ago. The same seller that sold me the bronze copy of the "First American" incense burner had it listed, and it was so unusual that I had to bid on it. Once again it's not the sort of thing that I typically buy, but this little bronze "casket" box (usually meant to be used for jewelry or some such on a woman's dresser) or possibly a snuff box was so pretty that I just had to try for it. Happily, I won!

My lovely box is absolutely covered in sculptural works. The lid is almost entirely comprised of a beautiful and almost elfin face surrounded by long, flowing hair. Around the face and hair are plants with leaves and berries and vines. The net effect is that of an elf peering through the wild foliage or growing out of a flower. It's really quite breathtaking, even moreso in person than in pictures. At the four cardinal points on the sides of the box itself are sculpted yet more plants and flowers. Given the small size, this must have taken an incredible amount of work to sculpt. The details are exquisitely rendered. It's just a thing of beauty to behold.

I strongly believe that this box dates from the Art Nouveau period, and was probably cast anywhere from the late 1880's right up to the 1920's. It's definite that it's an antique, and without a doubt the "real deal." The patina is original and has aged to an overall dark chocolate brown with a deep verdigris green that almost seems to underlie the brown. This verdigris is benign and may well have been applied as original patina. I have no intention of disturbing it! The patina, whether applied or developed, truly enhances the artistry of this piece and raises it to a level that is quite sublime. I just keep it waxed.

The top and bottom are each numbered inside, so that as they are cast in matched pairs the correct top stays with its matching bottom. On the underside of the bottom of the box is stamped "Gorham Founders," which (of course) means it was cast by that famous foundry. There is a signature on the lid which reads, "E L'Hoest." I've just found out that this is the signature of Eugène Léon L'Hoëst. He was apparently a very famous French sculptor of the Beaux Arts and Orientalism movements. The title of this piece is "Head of a Woman" - another box that had been cast at a different foundry sold at auction in France in 2010. More to follow soon...

"Head of a Woman" by Eugène Léon L'Hoëst, Gorham Founders, lid

"Head of a Woman" by Eugène Léon L'Hoëst, Gorham Founders, bottom side

"Head of a Woman" by Eugène Léon L'Hoëst, Gorham Founders, right side

"Head of a Woman" by Eugène Léon L'Hoëst, Gorham Founders, top side

"Head of a Woman" by Eugène Léon L'Hoëst, Gorham Founders, right side

"Head of a Woman" by Eugène Léon L'Hoëst, Gorham Founders, foundry mark on underside

"Head of a Woman" by Eugène Léon L'Hoëst, Gorham Founders, signature on lid

Lake Compounce Indian Head Plaque No. 15 - Art With History!

I got lucky once again when this piece, which I had been watching for some time, was recently re-listed with a very low buy-it-now price. I jumped on it! Even though it was only an hour and a half drive away, it took over a month to arrive in the mail. The seller sure took their time sending it!

Still in all, once I had this large and heavy plaque in hand, I was very glad I had purchased it. The image is one that is frequently seen, albeit often with significantly different details - indeed, I have posted a similar (but I'll admit cruder) version of this very image in a prior post. I'd date this bronze to somewhere from 1910 to the 30's, probably contemporary with my other one. This was definitely meant to be affixed to an upright surface, probably a wall or post. It has three small drilled holes around the circumference, perfect for small screws or nails. The patina on the piece is a rich chocolate brown without any sign of verdigris, so I can assume that this plaque was well protected and not frequently touched, much less abused. There is no damage on it that I can find anywhere. It is signed "BERN" in the casting, under the lower edge of the neck. The signature is crisp and clear as are the other details.

According to my research so far, a similar plaque with an identical signature was attributed to an American sculptor named "Schutte Bern." I can only find references to a "Bern Schutte," who is listed as a butcher who immigrated in 1888 at age 26 from Germany. I've seen mentions of a sculptor named "Bern Schutte" in a German auction who worked for the National Cash Register Company in 1905 and sculpted two Indian plaques for them - BINGO!

The vast majority of plaques with this image that I have seen have significant differences in detail from mine. I've seen the background having a different texture, the headband a different pattern (mine even has a different pattern between the front and back!) and the feathers a different depth of detail. I've even seen bronze plaques that are so crudely cast that they have pits and flaws across the entire surface, or have been cast in iron. On one such, the signature was so rough and faded that it was almost unreadable. In my opinion, this image (like the works of Frederic Remington and James Earle Fraser) was widely copied throughout the years since it was introduced. The changes in the details were, also in my opinion, an attempt to head off charges of copyright infringement. It seems the original signature was missed by the copyists however! Probably the sharpest bronze I've ever seen of this image was an award from the National Cash Register Company dated 1908 (if I remember right). My copy has stippling around the circumference both above and below the Indian which is suspiciously in the same place as the lettering on that award plaque. I think mine may be an "early generation" copy of the NCR sales award plaque, perhaps molded directly from an original. I've seen stippling like this before, namely on the copy of the American Paper and Pulp Association plaque that I almost bought (I own an original version with the lettering though, it's featured in an earlier post). To make a copy, all one has to do is throw a mold from the original, cast a wax copy and stipple out the lettering with a pointed wood dowel. Coat the wax in plaster, melt out the wax, fill the cavity with bronze and you have a copy without lettering. If you were sand casting, you'd coat the original in alginate and make a plaster copy, on which you would stipple out the lettering. Then you'd use that plaster to mold up your sand and cast the bronze copies. Voilà!

The seller stated that it had something about Connecticut written on it in tiny dots. In looking at it closely, I can make out the writing. Above the Indian's head, starting at about the forehead and curving around the circumference to the drilled hole is punched "COMPOUNCE. NO. 15". Below the Indian, starting under the chin and following the bottom circumference to the hole drilled under the hair is punched, "BRISTOL. CONN.".  The dots are all small, shallow and spaced so that they are very difficult to see, especially from a distance greater than a few feet away. It didn't take much research to find out that Lake Compounce in Bristol, Connecticut is the country's oldest operating amusement park. The park is named after the lake it sits beside, which was named for Chief Compounce of the Mattituck/Tunxis tribe who sold the land to the white settlers in 1684 and (according to legend) drowned in the lake shortly after. Gad Norton, a descendent of the settler who first bought the land from the Chief, opened the amusement park in 1846. The land stayed in the same family for over 200 years, the amusement park for over 140 years, until it was sold in 1986. Today it is owned by a large amusement company, having passed through hands as illustrious as the Hershey Corporation.

My assumption is that this plaque once was one of at least 15 that hung in various locations within the park, perhaps in a picnic pavilion or other amusement, though I don't know if the other 14 (or more) were the same image or not. Indeed, given the history of the park, this may well predate my own estimate of its age. I can only assume that these plaques were all removed during some past renovation, perhaps after the sale of the park by the original owners to a major corporation in 1985. It wouldn't exactly be "politically correct" to display an image like this in a modern commercial amusement park.

I'm still looking for early photographs of the park. Hopefully I'll find one with this plaque (or another one) in it. If anyone out there knows anything, please let me know!

I love that this piece not only has value as a work of bronze art, but that it can also be definitively tied to a historic place. To me that's a really nice bonus, like finding you bought something that was once owned by someone famous. I'm sure many people once gazed on this plaque, and it surely was a part of plenty of memories.

The color of the patina is actually closer to the first picture, but the dot lettering wouldn't show up under that lighting. I used a cooler light for the other pictures - the color may not be representative, but the details pop quite a bit more.

Edit: I have been seeing vintage copies of this piece show up made of various materials ranging from ceramic to aluminum. I've recently purchased one made of bronzed cast iron and another made from "some kind of painted metal." When this mystery metal one arrives, I'll post pictures of both and add what I know of them as well as my theories regarding their origins. Stay tuned!

Indian Plaque attributed to Bern Schutte, bronze, from Lake Compounce Park

Indian Plaque attr. to Bern Schutte, bronze, from Lake Compounce Park

Indian Plaque attr. to Bern Schutte, bronze, from Lake Compounce Park, upper punched lettering "COMPOUNCE. NO. 15"

Indian Plaque attr. to Bern Schutte, bronze, from Lake Compounce Park, lower punched lettering "BRISTOL."

Indian Plaque attr. to Bern Schutte, bronze, from Lake Compounce Park, lower punched lettering "CONN."

Indian Plaque attr. to Bern Schutte, bronze, from Lake Compounce Park, back