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(1822) 100.0%,

Location: East Aurora, New York
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Item: 134763753730

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Artist:William Harring (Prussian-born, American, 1812-1894)
Signed By:Etcher
Image Orientation:Portrait
Size:Size is 25-13/16” x 20-9/16”
Title:“The Italian Beauty”
Period:Victorian Era
Material:Paper
Original/Licensed Reprint:Licensed Reprint
Framing:Unframed
Region of Origin:United States
Subject:“The Italian Beauty”
Type:Print
Year of Production:1874
Theme:Art
Style:Realism
Production Technique:Oleograph/Chromolithograph
Country/Region of Manufacture:United States
Culture:Italian

WELCOME EBAYERS! MEIBOHM FINE ARTS, INC. is pleased to be serving the community and art enthusiasts for over a century. A reputation for personalized attention and customer service is an important part of this family business. Residential and commercial clients benefit from our knowledge of the art world, our experience in quality custom framing and from our extensive inventory. We hope we can be of service to you. Please check back often for our future listings on eBay or put us in your “Favorite Sellers” list. We have thousands of Antique, Vintage, Mid Century & Contemporary Prints, Original Artwork, and Etchings etc, that are in our archives, and most of which have not seen the Light-of-Day in over 75+ years or more. Thank you for looking, happy bidding and good luck!!! -From Grace Meibohm & the Staff at Meibohm Fine Arts, Inc. OUR QUALITY & RARITY CODES: QUALITY CODE: (Note: Older paintings or original artwork of any kind may be rated somewhat differently based on the codes below, due to the normal aging properties of the different mediums used (ex: normal paint cracquelure with older paintings, toning of paper, foxing on older pieces, etc…). · Excellent+Museum Quality, with no damage or visible imperfections. ·ExcellentAlmost perfect given the age w/minimal imperfections,minimal blemishes. ·VeryGoodAbove average w/minor imperfections given the age, or minor blemishes. ·GoodAverage imperfections given the age, or moderate imperfections or wear. ·FairBelow average with more imperfections given the age, or with more wear. ·BelowGradeWith clear imperfections and/or possibly in need of minor restoration. ·BelowGrade-With clear imperfections and/or possibly in need of serious restoration. RARITY CODE: · Rare++Unique, one of a kind, or an original on the open market. ·Rare+Very uncommon and/or very difficult to find on the open market. ·RareUncommon and/or moderately difficult to find on the open market. ·PopularFrequently encountered, common and easy to find on the open market. All Measurements Are In Inches; Height Precedes Width. Note: All items are sold “AS IS/AS DESCRIBED”, to the best of our knowledge, research and ability. ITEM DESCRIPTION: Here is an Absolutely Stunning & Mega-Ultra-Rare Historically Important in Early Chromolithography in America, Antique 19th Century 1874 Oleograph/Chromolithograph Depicting an Untitled Sideview Portrait of a Beautiful Italian Maiden in Tradition Dress, titled “The Italian Beauty”, after the original Classical 1874 oil on canvas painting by the well-known listed painter, ‘Wolfgang Böhm’ (AKA Böehm or Böhme, Austrian, 1823-1890) which was stunningly chromolithographed by the renowned, oleographer/chromolithographer, chromographer/chromist & colorist, painter & naturalist, ‘William Harring’ (Prussian-born, American, 1812-1894 [AKA Real Name: William Harring Von Ammon]) who is known as the “Father of Lithography” in America. Harring’s printed signature, ‘W. Harring. Chr.’ (short for Chromolithographer) appears lower-middle near the edge (in bottom fold of her body wrap). See Artist Biography Below. Publisher & Chromolitho Info: The Publishing info, date, publisher name & publishing location, ‘Entered according to act of congress in the year 1874 by L. Prang & Co. in the Office of the Librarian of congress at Washington’, appears printed very tiny lower-middle along the bottom edge. An ‘Oleograph’, first developed in the 1830s, was a Chromolithograph printed with thicker oil-based inks to imitate an oil painting on canvas, and as many as 30 different color litho stones could have been used to produce ‘one print’, in color registration over one another, varnished and many had a clear surface application with a canvas (grain) effect for a more-decorative appeal to resemble an oil painting and marketed inexpensively to the middle class and general public who couldn’t afford the original works. William Harring and publisher, Louis Prang (German-American, 1824-1909) were friends and Harring worked for him as a chromolithographer/oleographer from circa 1860-1890s. L. Prang & Co., were considered to be the best chromolithographers in America at that time period and their quality was second-to-none. In 1864, Prang went to Europe to study the cutting-edge German chromolithography, which they refer to as ‘oleography’, and returned the following year to produce many high-quality reproductions of important works. Our Chromolitho of “The Italian Beauty” was included in L. Prang & Co.’s Catalogue for Fall, 1874, listed as No. 2 for that time period and original sold for $20.00 which is the equivalent of $536.30 in today’s dollar for 2023—certainly not cheap back-in-the-day!!!—and was one of Prang’s most-expensive Chromos… It was also included in ‘Prang’s American Chromos’ series and there was also technically a ‘mate’ to it listed by Prang titled, “The Roman Beauty”, after the original painting by Pierre Olivier Joseph Coomans (Belgian, 1816-1889) listed as No. 1 for the Fall, 1874, at the same size and cost. Our Chromolitho was printed on a nice heavier-weight cream-colored wove paper stock which features the old antique clear surface application (to resemble the canvas of an oil painting) and a light varnish added which has yellowed from age giving the piece a nice warmer tone & mellowed appearance which has a light sheen to it as well. There also used to be a thin, maybe 1/8”-1/4”, white outer margin to the piece, but ours was trimmed back to the image only, likely done in preparation to be framed, but was never framed. This is by far the most-beautiful Antique Oleo-Chromolitho I have come across thus far in our archives and the chromolithography is second-to-none with its soft realistic skin-tones, detail, wonderful tones & shading—Harring captured Wolfgang Böhm’s painting perfectly—almost photographic-like. What’s cool, is that there is a very light embossing to various details in the image like her long braided hair (tied up), earing, and traditional linen mobcap bonnet, blouse/dress and wrap-around short Regency style stay/corset—the slight embossing is mostly visible lightly from the back of the piece, but not so much from the front just by looking at it, but you can slightly feel if you run your fingers across the various elements within the image. The piece at one time, likely as-issued by the publisher, was adhered with glue spots on the back of the piece to another backing stock (likely decorative & heavier for presentation of the Chromo) with glue spots in the lower corners & mostly in spots & glue-streaks across the whole top edge, but was removed a long time ago and is being sold loose ‘As Is’ and ‘As Described’. The Boston Public Library has a copy of this chromolithograph in their permanent collection’s Print Department. This will make the perfect addition to any William Harring, Wolfgang Böhm, Prang or Italian art collection, so don’t miss this rare opportunity!!! Size & Condition: The Chromolitho size is 25-13/16” x 20-9/16”. For its antique 19th Century age, the Chromolithograph is in VeryGood Rare+ condition with absolutely no color fade on this gorgeous piece—beautiful rich color & very realistic looking with the soft skin-tones and color, with very soft & subtle tones as well as nice shading throughout. This Chromolitho has been in a drawer amongst other lithos & prints since it was ordered/reordered by the Meibohm family in the early 1900s and hasn’t seen the light-of-day in all this time… It’s as beautiful as the day it was printed and is as good as any collector could hope to find in its original never-framed condition. Simply stunning & will look beautiful all framed-up! No tears! Ultra-minimal (maybe a couple dozen) very slight & very tiny faint foxing specks scattered here & there on the sheet, which are really only barely visible on the back and aren’t even worth mentioning (none noticeable on the front). There are some light surface scuffs & a few small scratches scattered here & there on the sheet —none of which detract from the image. Ultra-minimal & completely negligible outer edge-wear with a handful of ultra-tiny chips scattered here & there a long a couple edge—which are negligible since the edges can easily be cover by the inner rabbet of a frame or matted & framed out. There is also some slight paper residue from the ‘missing’ old backing-stock in a few small spots on verso, where the backing-stock was stuck to the glue spots on the back of the Chromolitho. There is also some light glue residue still noticeable in a few spots on verso along the top edge and bottom corner areas, and when someone had removed it from its old backing stock a very long time ago, six of the small glued spots pulled some of the Chromolitho’s back surface paper layers away with it (creating thinned spots), with 5 small spots along top edge and 1 small spot in the bottom-left corner area on the back, which thankfully didn’t go all the way through the full layers of paper stock, to the front (which would have created holes), though one small spot created a 1/2” surface crease-crack (which I almost overlooked, but when I inspected it, it didn’t appear to go all the way through), but the spots are thin enough so that the paper is somewhat translucent in those small areas, and thankfully are not really noticeable from the front at all (unless held up to the light, or seen from behind) and the image still presents fine and I put a strips of archival tape behind the 6 small spots for strength & protection. Extremely minimal & very slight small crescent-creases scattered here & there on the sheet which aren’t too noticeable either (mostly lightly visible from the back) and aren’t really worth mentioning, and a couple small horizontal creases in the upper sky area near the edge at left & right, which were inadvertently caused when someone pulled the piece (lifting it upward & off) from its old original backing stock, where two small glue spots had been. As mentioned previously, there is overall toning of the old clear surface canvas application & its varnish from age with no real noticeable toning at all of the Chromolitho’s cream paper stock itself (as noticed from the back), but there are a few small areas on her left breast, left shoulder & left upper arm which appear to be maybe extra (unintentional) varnish or other printing emulsion or colored ink perhaps(???) done at the time of printing on the press, which follows the image pattern and they have a slightly darker/orange tone to them from age, but the various small areas certainly don’t detract from the image either. This antique & very rare oleo-chromolithograph has never been framed, which is always more desirable to collectors since it has never been exposed to older non-archival wood/cardboard backing materials, matburn or lightfade. Artist Biography: William Harring Von Ammon (Prussian/German-American, 1811-1894) simply known as William Harring, was a noted oleographer/chromolithographer, chromographer/chromist (color separator), painter and naturalist who is known as the “Father of Lithography” in the United States. Harring was born September 5, 1811 in Kloster Vessra, a municipality in the district of Hildburghausen in Thuringia, Prussia, Germany (Harring was often referred to as either Prussian or German). He studied art in Berlin, Munich, Vienna and Paris where he soon attained remarkable skill in the combination of colors and color separation, greater perhaps than any other printer of his day. He resided in Kloster Vessra for thirty years before setting out to travel throughout Europe. He also served as an officer in the Prussian Army and was known to have had a taste for war. He was also an excellent shot and later became a member of the American Society of Sharpshooters. In 1846, Harring established the largest lithographic firm in the Prussian capital of Berlin and began to reproduce many of his own compositions. He later sold the business for a paltry sum so he could travel to London. From 1850 on, Harring had devoted himself almost exclusively to chromolithography. While in London, he became a professor and circa the late 1850s, he began a series of sketches and paintings of every animal in the famous London Zoological Garden, in perfect form and color by special permission from the authorities at the London Zoological Gardens. Each animal was lithographed separately, hand-colored and made into a collection which was published circa 1860, and quickly garnered wide acclaim for Harring throughout Europe for the series. In 1897, a set of sixty original watercolor paintings of birds and animals from the original Zoological series by Prof. Harring were donated by J.L. Bardwell to the Golden Gate Park Museum, San Francisco, CA. After gaining a wide reputation in Europe for his chromolithography skills, Harring was brought over to the United States in 1864 by the well-known printer Louis Prang, to work at his printing company L. Prang & Co. (1860-1897) in Boston, MA. Though the first American chromolithograph had already been printed by that time—a portrait of “Reverend F. W. P. Greenwood”, created by William Sharp in 1840—according to various accounts, Harring was credited with introducing oleography/chromolithography to the United States on a more mass-produced level while working for Louis Prang & Co. and became known as the “Father of Lithography”. “The reason Prang decided to take on the challenge of producing chromolithographs, despite criticisms, was because he felt quality art should not be limited to the elite.” For many years, L. Prang & Co. was known to have had a monopoly on the more artistic reproductions in chromolithography and Harring was the key to their early fame as one of America’s best printers which brought them great wealth and prominence. Though there was no real secret to the genius of Harring’s color process, Prang even went as far as telling his competitors that it was a secret art process and he, “…guarded Harring’s room with the vigilance of a time-lock.” At the time, chromolithography was a very tedious and time consuming process, sometimes taking months of preparation, color separation and final printing, with as many as 20-30+ different litho stones being used to produce one print before a regular print run could be completed—but what a magnificent result it was! Louis Prang & Co. were considered one of the best printers and publishers of fine art prints from 1860−1897 when they then became Taber Prang Art Co. (1897-1938), who continued the tradition with high-quality printing through the early part of the 20th Century. By all accounts, Harring was the key to establishing Prang’s early reputation and worldwide success with his series of chromolithographs called “Prang’s American Chromos: The Democracy of Art”, after the paintings by well-known American artists and later expanded to include works by European artists. From one of Prang’s ads in a publication from December, 1869, they describe the Chromos: “PRANG’S AMERICAN CHROMOS are reproductions of Paintings by the marvelous process of Chromo-Lithography. The paintings chosen for that purpose are mostly the works of distinguished American Artists, and every one is a gem of its class. Our Chromo prints are absolutely facsimiles of the originals in color, drawing, and spirit, and their price is so low that every home may enjoy the luxury of possessing a copy of works of art which hitherto adorned only the parlor s of the rich.” Prang did more to create the market for chromolithographs in the United States than any other publisher and his work greatly influenced other publishers around the country. Harring’s chromolithographs were of the highest quality known and are sought by collectors today. Harring even made chromolithographs after his own paintings while working for Prang and many of Prang’s chromolithographic reproductions bear Harring’s printed signature in a few different variations to include; W. Harring Chr., W. Harring von Annon, W. Harring v. An., W. Harring v. A., and W. Harring de An. By 1874, Harring retired from L. Prang & Co. with quite a fortune himself and became a naturalized citizen on September 25th, of that same year. Soon after retiring from Prang, Harring decided to move to London around October of 1874, to invest his fortune in a new business enterprise as a ‘Fancy Box Manufacturer’. He became associated with three men in that business as a co-partner in the firm with Charles William Julius Claudius, Frederick George Chant, Horatio William Shepherd (business collectively known as Claudius, Chant & Shepherd), who later cheated him out of every cent he had invested into the company. The firm eventually went bankrupt and was forced to liquidate in 1876. Harring then returned to the United States around 1877 and sold some real estate that he had previously acquired in Boston, and moved out to San Francisco, CA, residing with his wife for most of that time at their home located at 1604 Stockton Street near Washington Square Park. From that time, he worked as an oleographer/chromographer at the Bosqui Printing Company, Inc. until his death in 1894. Harring quickly became widely known for the series of beautiful high-quality oleographs of California grapes while working for Bosqui. The early series of 10 oleographs, Grapes and Grape Vines of California, were published in 1877 under the auspices of the California State Vinicultural Association from the original watercolor drawings by Miss Hannah Millard, San Francisco. The color plates included: The Mission Grape Vine, the Johannisberg Riesling, the Rose Chasselas, the White Muscat of Alexandria, the Black Hamburgh, the Flame Tokay, the Zinfandel, the Sultana, the Catawba, and the Emperor. The December 9, 1877 San Francisco Daily Alta California newspaper heralded the forthcoming publication of Grapes and Grape Vines of California as “A Rare Work of Art.”, …and the production of the “ampelographie” (Greek for vine)—the study of the determination and description of varieties and their scientific classification—lived up to its advance billing. It was one of the most ambitious publication projects undertaken in 19th century California and was inspired by European works of a similar nature. One of the plates, The Johannisberg Riesling alone, used 28 litho stones to create just one print and it was later shown at the Paris Exposition in 1878 along with the others to great acclaim. Bosqui hoped to demonstrate the beauty, variety and superiority of the fruit of California’s burgeoning vineyards. The series of oleographs were also exhibited in 1884 at the “Loan Book Exhibition”, held at the University of California, Berkeley, CA. Speculation has been made that as little as 200 sets were ever printed and that most of the them, along with the original illustrations, were destroyed in three separate fires in Bosqui’s studios, and that roughly only eleven copies remain. In recent times, experts surmised that if even one set of these rare prints were to come up at auction, it may fetch anywhere from $50,000-100,000 or more—and as of May, 2022, one set went through Christie’s auction house with an estimate of $80,000-100,000 and ended up selling for $478,800!!!—and the set is considered even rarer than some of the original Audubon sets of Birds of America which some sets have brought hundreds of thousands at auction. Bosqui’s Grapes and Grape Vines of California is one of the most important folios ever published and represents several firsts in the history of printing in California; It was the first California imprint illustrated by a woman, the first imprint illustrated with chromolithographic plates and the first depiction of the California grapes in color. A true masterpiece in the history of printing in the late 19th Century and after its completion, the litho stones were destroyed… As a person, Harring was considered a genial man and he was fond of mankind and art. His friends often spoke of him with admiration and great affection. For about eight years before his death, Harring turned to painting portraits in watercolors which were also considered exceptional. In addition, he was known to have been an active naturalist and amongst his other estate effects, he left behind a rare collection of butterfly specimens and a complete collection of his Zoological hand-colored lithographs, to his widow at the time of his death on January 19, 1894. Select exhibitions for Harring included: The Paris Exposition (1878); The San Francisco Art Association (1880-83), The Mechanics’ Institute, San Francisco (1880 & 1890), the California State Fair (1881) and at the “Loan Book Exhibition”, University of California, Berkeley, CA (1884). Chronology: 1811- September 5, born, in Kloster Vessra, a municipality in the district of Hildburghausen in Thuringia, Prussia, Germany (Harring was often referred to as either Prussian or German). Circa Late 1820s-Early 1830s- He studied art in Berlin, Munich and Paris where he soon attained remarkable skill in the combination of colors. Circa 1830s- He served as an officer in the Prussian Army and was known to have had a taste for war, and was an excellent shot. Circa 1841- He left Kloster Vessra to travel throughout Europe. Circa 1846- He established the largest lithographing firm in the Prussian capital of Berlin, where he lithographed and reproduced many of his own compositions and later sold the business for a paltry sum so he could travel to London. From 1850 on- He devoted himself almost exclusively to chromolithography. 1853- July, William married Margaret (AKA Margareta née Stumpf, b. Nassua, Bavaria c.1830- ), Pancras, London, and they had three children to include Clara (c.1839-), Herman (c.1844- ) and Jenny (c.1847- ). Circa Late 1850s- While in London, he became a professor, and with special permission from the authorities at the London Zoological Gardens, he began sketches and paintings of every animal in the zoo in perfect form and color. Each animal was later lithographed separately, hand-colored and made into a collection, which was published circa 1860 and quickly garnered Harring wide acclaim throughout Europe. Circa 1860- The series collection of hand-colored lithographs of animals in the London Zoological Gardens by Prof. William Harring was published by W. Wells, London, England. 1861- William was listed as an artist and the family was residing in Clerkenwell St James, Middlesex, England. From 1864-1974- Harring was brought over to the United States by the famous lithographer, Louis Prang and worked for his at L. Prang & Co., Boston, MA, and is credited with introducing oleography/chromolithography to this country and became known as the “Father of Lithography”. 1874- September 25, Harring became a naturalized citizen of the United States. From Circa October 1874-Circa 1876- After retiring from L. Prang & Co., Harring decided to move to London to invest in a new business, as a ‘Fancy Box Manufacturer’. He became associated with three men in that manufacturing enterprise as a co-partner in the firm with Charles William Julius Claudius, Frederick George Chant, Horatio William Shepherd (business collectively known as Claudius, Chant & Shepherd), who later cheated him out of every cent he had invested into the company. The firm eventually went bankrupt and was forced to liquidate in 1876. 1875- December 13, While in London, Harring was initiated as a freemason member of The Lodge of Confidence (Lodge 228/193), London, England. Circa 1877- Harring returned to the United States and sold some real estate that he had acquired previously in Boston, and then moved to San Francisco, CA. From Circa 1877-1894- Harring settled in San Francisco, CA, and resided with his wife at 1604 Stockton Street, near Washington Square Park. He worked as an oleographer/chromographer at the Bosqui Printing Company, Inc. until his death in 1894. Harring garnered fame from a series of 10 beautiful high-quality oleographs of California grapes while working for the Bosqui Printing Company titled, “Grapes and Grape Vines of California” (1877), published under the auspices of the California State Vinicultural Association from the original watercolor drawings by Miss Hannah Millard, San Francisco. The color plates included: The Mission Grape Vine, the Johannisberg Riesling, the Rose Chasselas, the White Muscat of Alexandria, the Black Hamburgh, the Flame Tokay, the Zinfandel, the Sultana, the Catawba, and the Emperor. The oleograph series was exhibited in 1878 at the Paris Exposition, and also in 1884 at the “Loan Book Exhibition”, held at the University of California, Berkeley, CA. 1878- Exhibited, Paris Exposition, chromolithographs from the “Grapes and Grape Vines of California” (1877, Edward Bosqui & Co.), Paris, France. 1880- Exhibited, group show, The Mechanics’ Institute, San Francisco, CA. 1880-1883- Exhibited, group shows, The San Francisco Art Association. 1881- Exhibited, group show, California State Fair. 1884- May 26-31, exhibited, group show, “Loan Book Exhibition”, 10 oleographs shown by William Harring from series “Grapes and Grape Vines of California”, after the original watercolor drawings by Miss Hannah Millard (1877), submitted by Edward Bosqui & Co., held at the University of California, Berkeley, CA. From Circa 1886-1894- Harring turned to painting watercolor portraits. 1890- Exhibited, group show, The Mechanics’ Institute, San Francisco, CA. 1894- January 19, died, at the age of 82, San Francisco, CA. Memberships/Associations: The California Palette Club, San Francisco, CA; Initiated as a freemason member of The Lodge of Confidence (Lodge 228/193), London, England (Dec. 13, 1875); Member of the American Society of Sharpshooters. Collections: Sixty original watercolor paintings of birds and animals from the London Zoological series of hand-colored lithographs by Professor William Harring (c.1860) by special permission from the authorities of the London Zoological Gardens, were donated by J.L. Bardwell to the Golden Gate Park Museum, San Francisco, CA, (March, 1897); Library of Congress, Washington, DC; Boston Athenaeum, Boston, MA; Museum of Fine Arts, Boston, MA; Boston Public Library, Boston, MA; New Hampshire Historical Society, Concord, NH; Lingnan University, Fong Sum Wood Library, Hong Kong, China. (Compiled & written by Mark Strong of Meibohm Fine Arts, Inc., East Aurora, NY, meibohmfinearts) PAYING FOR YOUR ITEM: DOMESTIC PAYMENTS: are made via PayPal (Preferred) and WE REQUIRE FULL PAYMENT WITHIN 4 DAYS OF AUCTION CLOSE, otherwise an ‘Unpaid Item Dispute’ will be opened & filed automatically by eBay. After that time period, we reserve the right to sell the artwork to another buyer or back-bidder and you will also be blocked from any of our future auctions. Note: UPS covers up to the 1st $100.00. Please see ‘Our Shipping Policy’ below *As a result of the newer sales tax laws, we must collect sales tax on all items (including S&H) that ship to: New York, Massachusetts, Connecticut and all others on the eBay list. INTERNATIONAL PAYMENTS (IMPORTANT!!!): Payment is via PayPal ONLY, in $USD (United States Dollars) and no other form of payment will be accepted (NO W. Union, NO International M.O.’s (NO $ Orders), NO Cashiers Checks, NO Outside PayPal Bank Transfers). The ‘Buyer’ is completely responsible for any ‘Currency Exchange’ Fees. WE REQUIRE FULL PAYMENT WITHIN 4 DAYS OF AUCTION CLOSE, otherwise an ‘Unpaid Item Dispute’ will be opened & filed automatically by eBay. After that time period, we reserve the right to sell the artwork to another buyer or back-bidder and you will also be blocked from any of our future auctions. OUR SHIPPING POLICY: WE SHIP TO: The U.S. & WORLDWIDE (Excludes: China, Korea, South, Russian Federation, Haiti, Hong Kong, Taiwan, Ethiopia, Ghana, Nigeria, Somalia). IMPORTANT NOTES: We ship all of our Antique & Vintage Items Safely & Securely Hardpacked & Secured in between Oversized Cardboard, AND/OR shipped in Heavy-Duty Tubes with Archival Paper or Glassine with Bubble-Wrap added for Protection. Our customers have greatly appreciated their well-packed & well-protected artwork as our feedback clearly shows. -We have unfortunately been on the receiving end of poorly-packed artwork and we wouldn’t wish that on our worst enemies. ***To save our customers MORE $$$, ALL Shipping Rates (Domestic & Overseas) ‘DO NOT’ include Handling/Packing Fees and are extremely close to the ‘Actual Shipping Costs’ based on eBay’s (estimated) Shipping Calculator that we use exclusivley on all of our auction listings. “eBay’s SHIPPING CALCULATOR”: We exclusively use eBay’s “SHIPPING CALCULATOR”, which is built right into the auction page itself and is accessible at the top of the page via the ‘See all details’ or via the ‘Shipping and Payments’ tab next to the ‘Description’ tab at the top of the page. You simply type in your Zip Code or choose your Country from the Drop-Down list provided & it displays the shipping amount for you. HAWAII & ALASKA, would be shipped by either USPS Priority Mail or UPS 2nd-Day Air. *DOMESTIC BIDDERS PLEASE READ: -For U.S. (lower 48 States): We normally ship via USPS (United States Postal Service) or UPS-Ground as an alternate choice. We recommend UPS since they cover up to the 1st $100.00. We will provide a tracking number and will email it to you when the item(s) have shipped. SHIPPING RATES: In the continental United States are based on the estimated size of the item (with extra spacing for Hardpack and/or Heavy-Duty Tube & Bubble-Wrap for protection) & estimated final weight. HAWAII & ALASKA: Would be shipped via USPS Priority Mail or UPS 2-Day Air based on estimated size with extra spacing for hardpack and/or shipped in a heavy-duty tube, bubble wrap and estimated final weight. **INTERNATIONAL BIDDERS PLEASE READ (IMPORTANT!!!): -For CANADA & WORLDWIDE: We normally ship via USPS International (United States Postal Service), within their size restrictions. Please see USPS for further information regarding your country and its respective ‘Rate Charts’, complete information & ‘Conditions for Mailing’. We would fill out the appropriate Customs Forms and provide the ‘Winning Bidder’ with the ‘Customs Number’ via email as soon as the item has shipped (Items can be tracked via USPS). PLEASE NOTE: Any Customs Clearance or Import Duty Fees and/or Taxes (normally collected upon delivery and/or pickup), are the ‘Winning Bidder’s’ sole responsibility, and are not included in the item price or the shipping charges. *Please check with your country’s Customs Office/House prior to bidding/buying to determine what those additional fees will be*. We normally ship within 2 business days of cleared payment, but PLEASE NOTE: Please allow extra delivery time for your item(s) to clear all Customs Houses (U.S. and Abroad-typical delivery time about 14 business days +/-). We also would need a VALID INTERNATIONAL ADDRESS to ‘Ship To’. ***IMPORTANT NOTE*** Customs charges/fees & duty taxes are based on the final value amount of the item(s) that we are required by U.S. law to declare on Customs Forms before shipping the item. Under U.S. law we are unable to mark a smaller amount or to declare the item a gift, sample, or anything other than merchandise prints/paintings etc, so PLEASE DO NOT ASK. We are a respectable business & must transact our auctions honestly & by the law. We would be liable and would get in trouble if there were any complications. The value marked on the Customs form will be the final auction price for any or all prints/paintings & will not include shipping. Most items will be shipped rolled in a Heavy-Duty Tube to save on shipping costs. Some may be shipped flat/hardpacked at our discretion. NOTES FOR ALL BIDDERS: COMBINED SHIPPING: We offer Combined Shipping, for multiple winning auctions if the items can be put into the same package. Note: Some Combined Rates may be higher due to Combined Weight changes or Oversized (OS1) dimensions, for items such as: Framed items, multiple paintings on canvas, oversized items etc. Please wait until we email you an appropriate invoice reflecting the discount for any multiple item auction wins before you pay via PayPal, or you can email us for an invoice after auction end. We normally ship items within 2 business days of receiving cleared payment. Please Note: Our gallery is closed Sundays & Mondays. We make every effort to pack artwork securely and carefully as per the items’ specifications. Due to the Antique/Vintage nature of MOST of our items, at our discretion we ship items flat or in heavy-duty tubes and they are securely & safely packed with each item wrapped in packing paper or archival glassine, then secured in between oversized cardboard or rolled in a heavy duty tube, then bubble-wrap is added, as per the item’s specifications. Smaller items (like postcards & small prints) will also be securely & safely packed with each item wrapped in packing paper or archival glassine, then secured in between oversized cardboard, then shipped in a bubble-lined envelope. *UPS DOES NOT SHIP TO P.O. BOXES* Meibohm Fine Arts, Inc. is NOT responsible for shipping service transit times, provided by USPS & UPS, which normally exclude weekends and holidays (with the exception of Saturday mail deliveries for USPS), and may vary with package origin and destination, particularly during peak periods such as; Christmas, Easter, Mother’s Day etc. Meibohm Fine Arts, Inc. is NOT responsible for Customs Clearing & Delivery Times. Delivery &/OR Pickup times for your package may vary from country to country, so please be patient. OUR GUARANTEE & RETURN POLICY: *All items are 100% Guaranteed Authentic* and are sold “AS IS/AS DESCRIBED” to the best of our knowledge, research and ability. We are completely honest with our ‘Item Descriptions’ (even to a fault) and our customers have appreciated it, as our feedback clearly shows. As per eBay’s new rules (09/01/2011), we offer a 14-Day Return Privilege ONLY. If you are not satisfied with the item for any reason or feel the item is significantly different than as described honestly above- Simply return the item within 14 days of ‘receipt of the item’ in the same condition as received, for a full refund including the initial shipping fee. -Note: Refunds are applied in the form they were received. PLEASE KINDLY REMEMBER: Your ‘Winning Bid’ is a contract. Remember, that as the ‘Buyer’, you enter into a legally binding contract to purchase the item from the ‘Seller’ Meibohm Fine Arts, Inc. Please read through all of our ‘Selling Policies’ listed above and please be aware of what you are bidding on and feel free to ask any questions, or research the item BEFORE placing a bid. EMAILING US: eBayers, at all costs, please use eBay’s email system only (no outside email addresses) with any questions you may have. eBay’s email system GUARANTEES we get your email and more importantly, that you get ours. A lot of servers in the last few years have started using newer SPAM filters, and there have been a lot of problems with GOOD emails not getting through correctly, and being returned as undeliverable. We have had numerous problems in the past communicating with our eBayers outside of eBay because of it. COLLECTORS & DEALERS: Please DO NOT email us (inside or outside of eBay’s email system) with any offers to stop an auction early. It would not be fair to the rest of the eBay Worldwide community if we did that. THE HIGHEST BIDDER -OR- HIGHEST OFFER WINS IT!!!!! Thank you from the Staff at Meibohm Fine Arts, GOOD LUCK & HAPPY BIDDING!!!

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