Revised: 2/3/2015

Correction: Please note the correct size is 4-3/4″ x 8-1/2″, and not 5-3/4″ x 8-1/4″ as stated in the catalog.

BERNARD LANGLAIS (American, 1923-1977) WISHY WASHY II.

Stained wood shadowbox sculpture Unsigned Bears Allan Stone Gallery label on verso Bernard Langlais was born in Old Town, Maine. While many of his audience may think first of his folk-like wooden figures of animals, Langlais’s early work was very abstract and urbane. As a member of Leo Castelli’s stable of avant garde artists, he exhibited in New York with artist/colleagues including Jasper Johns, Robert Rauschenberg and Louise Nevelson; Castelli in fact gave him a one person show in 1961. Langlais’s training included study at the Corcoran School of Art in Washington, the Skowhegan School of Painting and Sculpture and the Brooklyn Museum School, where he studied with German Expressionist painter Max Beckmann. He also studied in Paris at the Academie de la Grand Chaumiere in the early 1950’s and received a Fulbright Fellowship to study the work of Edvard Munch in Norway. SIZE: Overall 4-3/4″ x 8-1/2″ PROVENANCE: Purchased in 1961 by a New York collector from the artist’s rep gallery, Allan Stone, NYC. CONDITION: Good 9-96234 (1,000-1,500) – Lot 1008

Revised: 1/30/2015

Additional information for provenance: This painting has descended through the artist’s family.

WILLIAM ROWLAND DAVIS (American, 1879-1944) FEMALE NUDE HOLDING A BLUE BOWL.

Oil on canvas Housed in a yellow painted slat wood frame Unsigned, bears label on verso “School of the Museum of Fine Arts, Boston, Massachusetts” SIZE: 47-1/2″ x 15-1/4″. Overall: 48″ x 15-3/4″ CONDITION: Canvas reinforced, craquelure overall, otherwise good, UV examination has horizontal line of restoration entire width, several small areas of restoration 9-96296 (3,000-5,000) – Lot 1016

Revised: 2/3/2015

Please note: The painting is dated “1917”, not “97” as stated in the catalog.

Additional information for provenance: Acquired from Bryan Memorial Gallery, Jeffersonville, VT.

EMILE A GRUPPE (American, 1896-1978) SPRING LANDSCAPE.

Oil on canvas Housed in a contemporary gold frame Signed and dated lower right “Emile A Gruppe ’17” SIZE: 24″ x 30″.Overall 30″ x 36″ PROVENANCE: From a private Boston area collector. CONDITION: Overall good, lined, re-stretched, in-painting 9-96735 (5,000-7,000) – Lot 1025

Revised: 1/21/2015

Additional information for provenance: Acquired from Marine Arts Gallery, Essex, MA.

ALDRO THOMPSON HIBBARD (American, 1886-1972) CAPE COD LANDSCAPE WITH WINDMILL.

Oil on canvas Housed in a contemporary gilt wood frame Signed lower left “A.T. Hibbard” SIZE: 16″ x 20″. Overall 20″ x 24″ PROVENANCE: From a private Boston area collector. CONDITION: Lined on new stretcher, inpainting mostly to sky with some scattered touch up 9-96738 (3,000-5,000) – Lot 1028

Revised: 1/21/2015

Typographical error: The catalog states “Bears Clark Gallieries label on verso”. It should read “Bears Clarke Galleries label on verso”.

THOMAS M. NICHOLAS (American, 1963-) “VALLEY FARM, VERMONT”.

Oil on canvas Housed in a contemporary gilt wood frame Signed lower left “T. M. Nicholas” Bears Clark Galleries label on verso SIZE: 30″ x 40″. Overall: 48″ x 38″ PROVENANCE: From a private Boston area collector. CONDITION: Very good to excellent 9-96744 (6,000-8,000) – Lot 1032

Revised: 1/21/2015

Additional information for provenance: Acquired from An Artful Touch Gallery, Rockport, MA.

JOHN C. TERELAK (American, 1942- ) “MORNING LIGHT”.

Oil on canvas Housed in a contemporary gilt frame Signed lower left “J.C. Terelak” SIZE: 30″ x 40″. Overall 39-1/4″ x 49-1/2″ PROVENANCE: From a private Boston area collector. CONDITION: Very good 9-96752 (4,000-6,000) – Lot 1035

Revised: 1/21/2015

Additional information for provenance: Acquired from An Artful Touch Gallery, Rockport, MA.

JOHN C. TERELAK (American, 1942- ) “MAPLE SUGARING”.

Oil on canvas Housed in a contemporary gilt frame Signed lower right “J.C. Terelak” SIZE: 30″ x 40″. Overall 38-1/2″ x 49″ PROVENANCE: From a private Boston area collector. CONDITION: Very good 9-96751 (4,000-6,000) – Lot 1036

Revised: 1/21/2015

Typographical error: The catalog states the title is “Gan’s Cove, ME”. It is actually “Morgan’s Cove, ME”.

PAUL STRISIK (American, 1918-1998) “GAN’S COVE, ME”.

Oil on canvas Housed in a contemporary gilt wood frame with linen liner and frame plaque Signed lower left “P. Strisik, N.A.” Exhibited: Rockport Art Association, “Paul Strisik, N.A., The Artist and his Collection”, October 4- November 16, 2014 SIZE: 16″ x 24″. Overall 24″ x 32″ PROVENANCE: From a private Boston area collector. Acquired from the Paul Strisik Gallery Rockport MA. CONDITION: Very good 9-96748 (1,500-3,000) – Lot 1040

Revised: 1/21/2015

Additional information for provenance: Acquired from Vickery Gallery, Rockport, MA.

RON STRAKA (American, 1935- ) “VERMONT FARM SCENE”.

Oil on masonite Signed lower right “Straka” Signed and titled on verso, #d879, bears Ron Straka label on verso SIZE: 10″ x 14″. Overall 13-1/2″ x 17-1/2″ PROVENANCE: From a private Boston area collector. CONDITION: Very good to excellent 9-96747 (500-700) – Lot 1043

Revised: 1/27/2015

We have been contacted by an art aficionado who feels this painting is after Sir Edwin Henry Landseer’s painting “King Charles Spaniels” (The Cavalier Pets), 1845.

C ELLIS? (European, 19th Century) TWO SPANIELS ON A TABLE.

Oil on canvas Housed in a good gilt gesso decorated frame Signed lower right “C Ellis” SIZE: 10″ x 12″ Overall: 18-1/2″ x 20-1/2″ PROVENANCE: From a private New Jersey Collection CONDITION: Light scuff on bottom margin otherwise very good 9-90618 (500-800) – Lot 1118

Revised: 1/21/2015

Additional information: The size is 8-1/4″ x 14-1/2″ and overall 15-1/2″ x 21-1/2″.

JAMES MCDOUGAL HART (American, 1828-1901) PASTORAL LANDSCAPE WITH COWS.

Oil on canvasboard Housed in a period carved wood gilt frame bearing frame plaque “James Hart N.A.” CONDITION: Very good, board has restored right corner, minor shrinkage cracking in sky 9-94860 (4,000-6,000) – Lot 1131

Revised: 2/3/2015

Please note additional reference material: Richard Avedon – http://www.capitalnewyork.com/tags/richard-avedon.

RICHARD AVEDON (American, 1923-2004) GROUP OF FOUR COLOR GELATIN PHOTOGRAPHS OF THE BEATLES.

Group of four color gelatin photographs of 1960’s Beatles musical band members George Harrison, Paul McCartney, Ringo Starr (Richard Starkey) and John Lennon, in psychedelic genre. Photographed at Thompson House, 200 Gray’s Inn Road, London on August 11, 1967. Commissioned by Beatles management company NEMS Enterprises, Ltd. Each with artist’s ink studio stamp on verso with Avedon’s grease pencil date “75” hand annotation (1975). The later 1990 produced color Beatles set that Avedon issued are not actual photographs, but are color dye-transfer process prints. The catalog (taken off-line in 2004) for the 435 plus image collection that Avedon gifted in 1990’s to the Univ. of Tucson stated Beatles color set “not yet received,” which to date, 10 yrs. later, appears to not have been delivered. Unframed, in stiff protective sleeves. SIZE: Image: Each 8-1/4″ x 10-3/8″. CONDITION: Generally very good. 9-96311 (2,500-4,000) – Lot 1192

Revised: 2/3/2015

Please note additional reference material: Richard Avedon – http://www.capitalnewyork.com/tags/richard-avedon.

RICHARD AVEDON (American, 1923-2004) TWO GELATIN SILVER PRINT PROOFS: LENNON & MCCARTNEY.

Group of two bl. & wh. gelatin silver proof prints of 1960’s Beatles musical band members John Lennon and Paul McCartney – the latter in space suit. Each with artist’s photolith studio stamp on verso marked as follows: “John Lennon, London – Copyright 1970” and “Paul McCartney – Copyright 1969″. It is known that Avedon did not sell photographs commercially during the 1960’s, but occasionally gifted photographs. Photographs on offer considered ‘pre-art market.’ Unframed, in stiff protective sleeves. SIZE: Image: Each 5-3/8″ x 7-3/8”. CONDITION: John Lennon “1970” photo generally very good; Paul McCartney “1969” photo top left & lower right corners with mild creases, else all generally very good, with scattered browning to margins & verso from age. 9-96314 (3,000-4,000) – Lot 1193

Revised: 2/3/2015

Please note additional reference material: Richard Avedon – http://www.capitalnewyork.com/tags/richard-avedon.

RICHARD AVEDON (American, 1923-2004) FOUR GELATIN SILVER PRINTS OF THE BEATLES.

Group of four color and black & white gelatin silver prints of 1960’s Beatles musical band members Paul McCartney, Ringo Starr (Richard Starkey) and John Lennon. Photographed at Thompson House, 200 Gray’s Inn Road, London on August 11, 1967. Commissioned by Beatles management company NEMS Enterprises, Ltd. Each with artist’s ink studio stamp on verso. The later 1990 produced color Beatles set that Avedon issued are not actual photographs, but are color dye-transfer process prints. The catalog (taken off-line in 2004) for the 435 plus image collection that Avedon gifted in 1990’s to the Univ. of Tucson stated Beatles color set “not yet received,” which to date, 10 yrs. later, appears to not have been delivered. Unframed, in stiff protective sleeves. SIZE: Image: Ringo Starr (color psychedelic) 6-1/4″ x 8-1/8″ with ink studio stamp and Avedon assistant pencil date “1974”; John Lennon (color psychedelic) 5-3/8″ x 7-3/8″ with ink studio and European magazine stamps – latter with pencil / dated “Issue # 061 – John Lennon 1975″; John Lennon 8-1/4″ x 10-3/8” black & white – pencil annotated by Avedon assistant: “John P / ’74.”; Paul McCartney 8-1/4″ x 10-3/8″‘ black & white 8-1/4″ x 10-3/8″ – the latter dated 19″75″ with Avedon’s grease pencil hand annotation. SIZE: As noted above. CONDITION: Each generally very good, save for Lennon color image with mild crease in lower left corner. 9-96313 (2,000-3,000) – Lot 1194

Revised: 2/3/2015

Please note additional reference material: Richard Avedon – http://www.capitalnewyork.com/tags/richard-avedon.

RICHARD AVEDON (American, 1923-2004) BOB DYLAN GELATIN SILVER PRINT PROOFS.

Group of three black & white gelatin silver prints of 1960’s musician Bob Dylan. Each with artist’s photolith studio stamp on verso marked as follows: “Bob Dylan, New York City – Nov. 4, 1963 – Reprint: 1969”, “Bob Dylan – Copyright 1965” and “Bob Dylan 1967 [sic] – Reprinted: 1973″ – the latter issued in 1970’s for European distribution only. It is known that Avedon did not sell photographs commercially during the 1960’s, but occasionally gifted photographs. Photographs on offer considered ‘pre-art market.’ Unframed, in stiff protective sleeves. SIZE: Image: Each 5-3/8″ x 7-3/8”. CONDITION: “1963 / 1969” photo top right corner with mild crease; “1965” photo top right corner with mild crease; “1967 / 1973” photo left & right corners with mild creases, else all generally very good, with scattered browning to margins & verso from age. 9-96312 (5,000-8,000) – Lot 1195

Revised: 2/3/2015

Please note additional reference material: Richard Avedon – http://www.capitalnewyork.com/tags/richard-avedon.

RICHARD AVEDON (American, 1923-2004) TWO GELATIN SILVER PRINTS: DYLAN & LENNON.

Group of two black & white gelatin silver prints of 1960’s musicians Bob Dylan and John Lennon. Each with artist’s printed studio stamp/ label pasted on to verso each with Avedon’s hand annotation in grease pencil as follows: “DYL – 7494 – 75” (Bob Dylan – Nov. 4, 1963 – reprint 1975) and “LEN – 3131 – 74″ (John Lennon – April 11, 1967 – reprint 1974) The Marlborough Gallery, NYC exhibition dated Sept. 10 – Oct. 4, 1975 marked Avedon’s initial entry into the commercial art market. The Fraenkel Gallery, S. F. became sales agent for Richard Avedon in later years. Unframed, in stiff protective sleeves. SIZE: Image: Each 11-1/4″ x 14-3/8”. CONDITION: Each generally very good. 9-96315 (2,500-3,500) – Lot 1196

Revised: 1/21/2015

Please note: The online title states “(American, 1916-2013)”. This is incorrect, it should read “(American, b. 1916)”. The artist is still alive and lives in Kennebunkport, Maine. The printed catalog is correct.

FRANK W. HANDLEN (American, 1916-2013) GRANITE POINT MARSH, MAINE.

Pastel Housed in contemporary gilt wood frame with double matte under glass Signed lower right “Handlen” SIZE: 15-1/4″ x 19″. Overall: 24″ x 26-1/2″ CONDITION: Overall very good, not examined out of frame 9-96771 (800-1,200) – Lot 1203

Revised: 1/21/2015

The printed catalog states “Italian 18th Century”. This is incorrect, it should read “Italian, Possibly 16th Century”. The online catalog is correct.

UNSIGNED (Italian, Possibly 16th Century) VENUS CLIPPING CUPID’S WINGS.

Oil on panel Unsigned Housed in a 20th century carved gilt wood frame SIZE: 25″ x 45″. Overall: 32-1/4″ x 51-1/2″ CONDITION: Paint surface has significant restoration, panel has cracks, white paint spatter throughout sky. Verso panel missing two braces and cross brace, large areas of glue residue 9-96171 (3,000-4,000) – Lot 1238

Revised: 1/27/2015

Important note: We have learned that the artist is Johann Georg Gmelin (Italian, 1810-1854).

SIGNED (European School, 19th century) FIGURES WATCHING A MEDITERRANEAN SUNRISE.

Oil on Canvas Unframed Signed lower left with what appears to be “G.C. Melin” SIZE: 33″ x 47″ CONDITION: Surface grime, craquelure throughout, restored 9-94787 (6,000-12,000) – Lot 1264

Revised: 1/21/2015

Please note: The printed catalog states “Italian, 19th Century”. This is incorrect; it should read “Italian, Probably 16th Century”. The online catalog is correct.

UNSIGNED (Italian, Probably 16th Century) MADONNA.

Oil on canvas Housed in a period gilt frame Inscribed on verso indistinctly “R.V. Leo…” SIZE: 16-1/4″ x 11-3/4″. Overall: 22-1/4″ x 18″ CONDITION: Craquelure overall with heavy, gloss varnish over entire surface. Abrasions upper left edge, stretcher marks and several areas of touch up 9-96180 (700-900) – Lot 1275

Revised: 1/21/2015

Please note: The catalog states this is a schooner, which is incorrect. It is actually a Brigantine/Half Brig/Hermaphrodite Brig.

UNSIGNED (American, 19th Century) PORTRAIT OF A TWO-MASTED SCHOONER.

Oil on canvas depicting a white hulled, two-masted schooner cutting through tumultuous waters. Housed in a carved wood frame with gilt liner bearing a frame plaque inscribed “W P Stubbs”. SIZE: 21-3/4″ x 36″. Overall: 26-1/2″ x 41-1/4″. CONDITION: Overall good with surface abrasions, verso canvas not lined, older restoration in sails concealed with varnish. 9-25132 (2,000-3,000) – Lot 1315

Revised: 1/21/2015

Please note: The weathervane is not of a Clipper Ship, but is actually a Brigantine.

SHEET COPPER CLIPPER SHIP WEATHERVANE.

1st half 20th century, American. Well detailed silhouette image of a clipper ship on the waves. Cut out and decorated with pierced work mounted to rod with riveted forged iron mounts. Having good dark weathered patina. SIZE: 28″ l. over all. 11″ t. CONDITION: Very good. 9-96147 (1,200-1,800) – Lot 1320

Revised: 1/21/2015

Please note: There is a small amount of old restoration on the lip or edge of the tray, only noticeable upon careful examination. The frontice of the tray and painting is original and very good.

OVAL PAPIER-MACHE TRAY WITH HAND PAINTED NAUTICAL BATTLE SCENE.

19th century. Featuring a hand painted scene of a battle between a French and British war ship. Having painted gilt edge decoration. SIZE: 25″ x 31″. CONDITION: Very good. 9-96269 (300-400) – Lot 1323

Revised: 1/21/2015

Additional information: The USS Hartford was a steam frigate.

AFTER CLEMENT DREW (American, 1806-1889) PORTRAIT OF THE U.S.S. HARTFORD.

Oil on lithograph mounted to board depicting the U.S.S. Hartford sailing in New York Harbor. The three-masted vessel flies an American flag as it sails through choppy brown harbor past several sailboats in the background with a coastline in the distance. Painting housed in a Victorian walnut frame with gilt liner. Signed lower right in print “C Drew”. SIZE: 11-1/4″ x 16″. Overall: 17″ x 22″. CONDITION: Restored, puncture at center, surface dirt, fair. 9-28002 (2,000-3,000) – Lot 1324

Revised: 1/21/2015

Please note: The title states “MOUNTED HALF MODEL OF A DORY, LATE 19th/EARLY 20th CENTURY”, which is incorrect. It is actually a “MOUNTED HALF MODEL OF A SAILING VESSEL, EARLY 19th CENTURY”.

MOUNTED HALF MODEL OF A DORY.

Late 19th early 20th century. American. Featuring a fine quality 10 lift, 1/2 model with alternating colored lifts. Crafted as a working or decorative model, having authentically placed nail lines and mahogany banded deck rim. SIZE: Boat 15″ l. Backboard 6″ x 21″. CONDITION: Very good, minor splits to deck molding, very good old patina, displayed on original backboard. 9-94782 (500-700) – Lot 1328

Revised: 1/27/2015

Please note: The mast is not missing, only part of the mast or pennant.

THREE DIMENSIONAL HOLLOW COPPER WEATHERVANE OF A SQUARE RIG SAILING VESSEL.

Late 19th early 20th century. America. Featuring a galleon with square sails and tall deck lantern, having good weathered surface with traces of original gold paint. SIZE: 33″ l. 36″ t. CONDITION: Spar detached, flag or mast missing, original surface, needs minimal soldering repairs to rigging, otherwise overall very good. 7-70776 (4,000-6,000) – Lot 1330

Revised: 1/21/2015

Typographical error: The catalog states “The Sovereign of the Seas was built in East Boston, MA in 1856 by Donald Makay…” It should read “Donald McKay”.

STOARS THOMSON (American, 20th Century) “SOVEREIGN OF THE SEAS”.

Oil on canvas scene depicts a three-mast ship sailing left to right toward viewer in blue white-tipped wavy ocean in full sail. All under a blue & white cloud sky. Housed in a fine carved & gilt wood frame having title and artist plaque. Signed lower right “Stoars Thomson 28″. NOTE: The Sovereign of the Seas was built in East Boston, MA in 1856 by Donald Makay for use in the China Tea Trade. Old typed label on verso of canvas. SIZE: 40″ x 30”. Overall: 47″ x 37″ PROVENANCE: Equinox Antiques, Manchester Village, VT; From a fine private Long Island, NY collection. CONDITION: Craquelure with stretcher line evident, some minor touch up, other very good. 9-93352 (1,000-1,500) – Lot 1333

Revised: 1/30/2015

Please note: We do not guarantee the age of this item.

RARE MAHOGANY JEWEL CHEST FITTED WITH SAILOR’S VALENTINES.

Early 19th century. England or America. The top with crotch veneer mahogany background with mahogany and satinwood banding, and foliate inlay cartouche. The case with satinwood corner trim and a bracket base fitted with a drawer having brass pulls. Interior of top fitted with a pull out tray, having an elaborate and colorful seashell arrangement centering on a heart “Sailor’s Valentine”. When removed reveals a compartment for storing jewelry. And the drawer when pulled out reveals another triple panel “Sailor’s Valentine.” SIZE: 13″ x 8-1/2″ x 8-1/2″ t. CONDITION: Very good, case refinished, shell art intact. 9-96546 (2,000-3,000) – Lot 1342

Revised: 1/21/2015

Please note: The two “Old Paris” vases are cataloged as depicting Lafayette. The un-uniformed example actually has his name beneath the image. One collector has indicated that he felt the uniformed version depicted someone else. I must admit though, to us in carefully looking at the vases, it seems they are both one and the same, Lafayette. The uniformed version shows the sitter looking directly at you; the non-uniformed version shows the sitter looking to the left. Please make your own decision before buying.

GROUPING OF MARQUIS DE LAFAYETTE MEMORABILIA FROM HIS 1825 VISIT TO AMERICA ON THE 50TH ANNIVERSARY OF THE REVOLUTION.

This material was for many years on display at the Atlanta Museum on Peachtree street until purchased by George Greene for his museum. This grouping consists of 2 Lafayette commemorative “Old Paris” porcelain vases with vignettes of Lafayette in uniform and as a civilian, a Leeds pearl-ware egg cup, a walking stick with crown stag top with an oval silver medallion reading “General Lafayette”. There are two 21mm gilded buttons with busts that appear to be George Washington with presentation cast on reverses which read “Presented to General Lafayette by L.H. & Scovill button manufacturers Waterbury Con.” These buttons are a 19th century re-strikes of the original solid gold buttons given to Lafayette. There is a mother-of-pearl ball tablet presented by Lafayette with a contemporary tag which states “Presented by M. de LaFayette to the daughter of his friend and compatriot of the revolution of 1775/77 Colonel Samuel Hammond who received and welcomed him to Augusta GA 1825.” There is also an embroidered cotton mesh table cover with later typed tag which reads “This cloth covered the refreshment table at a ball in Augusta, GE. in 1825 given by Col. Samuel Hammond to entertain Gen. Lafayette during his visit to America.” PROVENANCE: From the Greene Museum of Southern History. CONDITION: Paris-ware vases have heavy gold wear, chips to rims on each. Vase with civilian portrait has broken and repaired left handle, broken and missing right handle, additional chip in bottom where attached to base. Egg cup has minor chipping in lip. Ball tablet appears very good as sewn to cloth display, names are still discernible on each leaf. Buttons are fine retaining most of their original gilt. Cane is sound, solid, brass tip is loose and inset silver medallion is heavily tarnished. Table cover is poor with numerous tears and separations, soiling and staining. 9-28020 (2,000-4,000) – Lot 1404

Revised: 1/21/2015

Please note: The condition in the printed catalog states “Volume I has broken hinge and loose front cover”, which is incorrect. It should read “Very good overall as can be seen in photos, Volume I has archival repaired front hinge and spine edge”. The online catalog is correct. The hinge is NOT loose!

MCKENNEY & HALL HISTORY OF THE INDIAN TRIBES OF NORTH AMERICA… COMPLETE 3 VOLUME OCTAVO EDITION.

This set is deluxe bound in full red Moroccan leather, raised ribbed spine with gold embossed decorations and gold edged pages. In 1844 the final volume of Thomas McKenney’s landmark History of the Indian Tribes of North America was published, completing a vast work whose genesis can be traced twenty-three years earlier to the winter of 1821. At that time, as Superintendent of Indian Affairs for the War Department, Thomas McKenney commissioned artist Charles Bird King (1785-1862) to paint the portraits of a delegation of Native American leaders in Washington, DC. The paintings captured the likeness of the leaders and provided a visual record of their tribes, many of which did not survive into the photographic era. The portraits, eventually over a hundred in number, lead to the establishment of the War Department’s Indian Gallery. They were later moved to the Smithsonian Institute. Thomas McKenney (1785-1859) was an early advocate for Native Americans and the survival of their cultures. Between 1816 and 1830 he held numerous government posts pertaining to Native American relations, eventually to be appointed the first head of the United States Bureau of Indian Affairs. Throughout his career McKenney acted on his concern that the world of the Native Americans would vanish without being documented. In 1835 he began work on the History of the Indian Tribes of North America the most extensive chronicle of the continents original inhabitants written to date. The ambitious work was to feature a series of hand colored lithographs in folio, based upon the paintings he had commissioned by Charles Bird King and to a lesser extent, works by P. Rhindesbacher, R. M. Sully and James Otto Lewis. Each portrait would be accompanied with a biography of the subject written by McKenney, many based on personal interviews granted to him by such notables as Sequoyah, Makataineshekiakiah (Black Hawk), Thayendanegea (or Brant), Osceola and Red Jacket. In addition to the biographies, a large essay on the history of Native Americans by James Hall (1793-1768) was included. It would take nine years and a huge financial outlay for the folio to be printed in its entirety. Volume I was completed in 1836 and published by the firm of Edward C. Biddle. Volume II followed in 1842 as well as a reissue of vol. I, published by Frederick W. Greenough, the successor firm of Edward C. Biddle. The firm of D. Rice and A. N. Clark, printed the final volume in 1844, as well as new issues of the first two volumes. The books’ large size and expense lead Rice and Clark to reissue the work changing its format to “royal” octavo in 1848 as this set. This edition also included material added by McKenney and one additional portrait, that of Red Bird (Zitkaduta) of the Winnebago tribe. The portrait illustrates an event that McKenney had direct involvement in, the surrender of Chief Red Bird after an attack on Praire du Chien in 1827. McKenney and Michigan Governor Lewis Cass negotiated the surrender, which prevented the outbreak of a larger war by promising not to place Red Bird and his party in irons. Red Bird is portrayed arriving at the surrender, having chanted his death song earlier. “I have given my life, it is gone…” (blowing some dust between his finger and thumb) “…like this. I would not have it back. It is gone.” Red Bird and his men were sentenced to hang for the attack but intercession by McKenney and Cass lead to their pardon by President Adams. Red Bird however, had died in prison before the pardon was granted. SIZE: 11″ h x 7-1/2″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Very good overall as can be seen in photos, volume 1 has archival repaired front hinge and spine edge. There are penciled drawings by a child on front end papers. Frontis print “Hunting the Buffalo” is chipped though not affecting image or text, frontis plate loose. Volumes all in all are complete and intact with soiling and minor staining and foxing. Colors still vivid on almost all the plates. 9-28018 (6,000-8,000) – Lot 1408

Revised: 1/21/2015

Please note: The title states “Group of 5 1830’s Handcolored McKenney & Hall Lithographs of Indians Including Chief M’Intosh”, which is incorrect. Chief M’Intosh is not included in the grouping.

GROUP OF 5 1830’S HANDCOLORED MCKENNEY & HALL LITHOGRAPHS OF INDIANS INCLUDING CHIEF M’INTOSH.

1) A-Na-Cam-E-Gish-Ca. A Chippeway Chief. Biddle 1837. 2) Pah-She-Pah-How. Biddle 1835. 3) Stum.Ma.Nu. A flat head boy. Greenough 1836. 4) Little Crow, A Sioux Chief. Biddle 1836. 5) Ca-Ta-He-Cas-Sa, Black Hoof, Principal Chief of the Shawannes. Biddle 1837. SIZE: 24″ x 27″. CONDITION: Very good to fine as framed with minor staining and foxing. 9-96057 (1,000-1,500) – Lot 1422

Revised: 1/21/2015

Typographical error: The printed catalog states the estimate is $400-$600, which is incorrect. It should read $4000-$6000. The online catalog is correct.

TWO ESKIMO STONE CARVINGS.

20th c. One stone carving depicts a kneeling Eskimo holding a seal with both hands, the other stone carving depicts a kneeling Eskimo holding a large animal upright SIZE: Figure 1: 8-1/2″ l x 5-1/2″ w x 8-1/4″ h Figure 2: 9″ l x 5″ w x 11-1/4″ h CONDITION: Age related hairlines and wear. 9-96665 (4,000-6,000) – Lot 1427

Revised: 1/21/2015

Please note: We do not guarantee the age of these tea caddies.

THREE CARVED WOOD APPLE FORM TEA CADDIES.

19th century. Very small version in apple-wood, having carved stem and carved bone escutcheon, together with 2 similar larger versions in fruit-wood. All lined with tinned paper. SIZE: Sm, 3-1/4″ t. Lg, approx. 4-1/2″ t. each. CONDITION: Smaller in very good condition, missing lock. Both larger very good condition with locks and key intact. 9-96209 (1,500-1,800) – Lot 1500

Revised: 1/21/2015

Please note: We do not guarantee the age of this tea caddy.

CARVED FRUIT WOOD MELON FORM TEA CADDY.

Carved with ribs and stem, having original locking mechanism and key. Lined with tinned paper. SIZE: 5-1/2″ h. CONDITION: Very good. Lock intact. 9-96309 (1,200-1,500) – Lot 1504

Revised: 1/21/2015

Please note: We do not guarantee the age of this tea caddy.

FRUIT WOOD PEAR TEA CADDY.

19th century. Carved with stem, having original locking mechanism and key. Lined with tinned paper. SIZE: 6-1/2″ h. CONDITION: Very good, Locking mechanism intact. 9-96202 (800-1,000) – Lot 1505

Revised: 1/21/2015

Lot Added

CHIPPENDALE MAHOGANY GRADUATED 4 DRAWER CHEST.

Third quarter 18th century. Pennsylvania. Overhanging molded top, with 4 graduated lip molded drawers, having fluted quarter columns sitting atop an ogee bracket base. SIZE: 39″ x 21″ x 34″ t. CONDITION: Very good, of very good appearance with old refinish, hardware old replacements, fill holes for restoration to top drawer, and restoration to bracket. 9-96524 (2,000-3,000) – Lot 2031a

Revised: 1/21/2015

Additional information: The catalog states the weathervane is stamped “J. HARRIS & SON”, on the proper right side. It is actually double-stamped “J. HARRIS & SON”, on the proper right side.

HOLLOW BODY COPPER HORSE WEATHERVANE, HARRIS & SON CO.

Late 19th century. Boston, Massachusetts. Stamped “J. HARRIS & SON”, on the proper right side of weathervane. This fine example of a cantering horse with good verdigris surface and 3 filled bullet holes with full body mane and tail, now offered with a museum stand. SIZE: 22″ h. 32″ l. CONDITION: Surfaces appear untouched and original, slight seam separation at top of tail, front seam of head and proper left foreleg, otherwise very good. 9-97173 (5,000-7,000) – Lot 2055

Revised: 1/27/2015

Please note: There is no locking mechanism or key with this lot.

Please note: The tinned paper lining is a replacement lining.

MAPLE PEAR TEA CADDY.

19th century. Carved with stem, having original locking mechanism and key. Lined with tinned paper. SIZE: 6-1/4″ t. CONDITION: Very good, with tight drying crack on base, lock mechanism missing. 9-96204 (700-800) – Lot 2084

Revised: 1/27/2015

Please note – The correct description is as follows: . IMPORTANT PORTLAND, MAINE SCHOOLGIRL NEEDLEWORK SAMPLER BY MARTHA K. HARDING, 1819. Finely worked on a linen background, primarily in chain-stitch, cross-stitch and satin-stitch. The central poem reads “Of female arts in usefulness, the needle far exceeds the rest. In ornament there’s no device, affords no adorning half so nice.” The bottom of the sampler includes a motif depicting two buildings (possibly the Rachel Hall Neal School and possibly the Harding House) and a border of roses surrounding the entire work. Seven alpha-numeric rows having at the top “Martha K. Harding Oct. 23, 1819″. Housed in a gilt frame. Probably Martha K. Harding, b Oct. 7, 1809 in Gorham, Maine, daughter of Elkannah & Hannah Harding. PROVENANCE: From a fine Portland, Maine home. SIZE: 19-1/2″ x 16-3/4″. Overall: is 28″ x 24-1/2”. CONDITION: Overall very good. Slightly toned linen, several small holes along edges. 9-94786 AL (6,000-8,000).

SCHOOLGIRL’S NEEDLEWORK SAMPLER.

Massachusetts, circa 1825. This schoolgirls sampler was wrought by Martha Harding (1818 – 1841), a student at New Salem Academy from 1822-1829. Finely worked with cotton thread on a linen background, primarily in chain-stitch, cross-stitch and satin-stitch. The central poem reads “Of female arts in usefulness, the needle far exceeds the rest. In ornament there’s no device, affords no adorning half so nice.” The bottom of the sampler includes a motif depicting two buildings (possibly New Salem Academy) and a border of roses surrounding the entire work. Martha’s father, Alpheus Harding, was pastor of the New Salem Congregational Church and preceptor of his daughters school. He also belonged to the King Hiram Royal Arch Chapter Masonic Lodge, where Martha’s artistic abilities were evidenced by several illustrations she created in the King Hiram Chapter mark book. (Permanent collection of the Van Gorden-Williams Library & Archives at the National Heritage Museum). Housed in a gilt frame. SIZE: 19-1/” x 17″. Overall: is 24-1/2″ x 28″. CONDITION: Overall very good. Slightly toned linen, several small holes along edges. 9-94786 (6,000-8,000) – Lot 2087

Revised: 1/30/2015

Please note: We do not guarantee the age of this tea caddy.

FRUIT WOOD PEAR TEA CADDY.

19th century, carved with stem, having original locking mechanism and key. Lined with tinned paper. SIZE: 6-1/2″ h. CONDITION: Very good, Locking mechanism intact. 9-96203 (800-1,000) – Lot 2090

Revised: 2/3/2015

Please note: The chest has three replaced legs.

FINE FEDERAL TIGER MAPLE AND CHERRY CHEST OF DRAWERS.

Circa 1810, Vermont. The rectangular top with birdseye maple cross panel above the conforming case with a frieze inlaid figural maple panels over 4 graduated long drawers each with birdseye panels within shaped mahogany crossbanded borders and diamond and mahogany shield form escutcheons above a shaped apron with centrel pendant raised on slender tapering French feet with spurred returns. Note: a similar chest of drawers sold at Skinner Inc., lot #26 April 14, 2011. SIZE: 37-1/2″ h. x 44-3/4″ w. x 20″ d. CONDITION: Surface with fine professional re-polishing and with good honey brown color and patina, chest retains original hardware and feet, overall very good. 9-96541 (8,000-12,000) – Lot 2107

Revised: 1/21/2015

Please note: The title states “FLATTENED COPPER”, but should read “FULL-BODIED COPPER”.

FLATTENED COPPER FORMAL HORSE AND RIDER WEATHERVANE.

Late 19th century. Attributed to A.L. Jewell, Waltham, Massachusetts. This fine example with verdigris and gilded surface depicting a rider in sheet copper silhouette, the horse with bead eyes, the sheet copper tail and mount. Offered without stand. SIZE: 27-1/2″ h. Approximately 30″ l. CONDITION: With good old surface, tail with possible old restoration at body, mounting rod on flange with later rivets, generally good. 9-96766 (12,000-18,000) – Lot 2111

Revised: 2/4/2015

Special clarification: The cataloger notes in the description “possibly attributed to” which means that we do not guarantee that he for certain was the artist.

WILLIE H. BROWN (American, 1808-1883) “MOUNT VERNON”.

Charcoal and ink scene depicts an early scene of Mount Vernon nestled on a knoll. Trees and water with sailboats surround with two people walking up the lawn towards the majestic house. Housed in an early 20th Century painted wood frame. Signed lower right “Willie H. Brown” and titled lower center, possibly attributed to 19th century printer William H. Brown (American, 1808-1883). Note: Composition is similar (but not identical) to and English steel engraving by J. Andrews created in 1840 after a drawing by W. Croome. SIZE: Sight: 17″ x 21-1/4″. Overall 21″ x 25-1/4″. CONDITION: 2″ tears lower right in margin, discoloration, spotting and paper is toned, frame has chips and losses, over-paint. 9-96770 (800-1,200) – Lot 2162

Revised: 1/27/2015

Special note: The weathervane is made of 19th and 20th century parts.

FULL BODY COPPER HORSE AND SLEIGH WEATHERVANE.

Late 19th century, American. Well modeled and detailed example with gilt surface. Offered with museum stand. NOTE: a similar example sold at Christie’s, NY January 18, 2007 Lot 335. SIZE: 47″ l x 18-1/2″ h. CONDITION: Structurally very good. Gilding enhanced over original gilt surface. 9-96828 (12,000-18,000) – Lot 2204

Revised: 1/21/2015

Please note: The date is not first third of the 19th century, it should be late 19th century.

MOLDED COPPER AND CAST ZINC HORSE AND SULKY WEATHERVANE.

First third 19th Century New England. Molded copper running horse pulling 2 wheeled sulky with molded copper driver. With cast zinc upper half and feet. Comes with museum stand. SIZE: 17″ h x 30″ l. CONDITION: Uneven verdigris finish. One wheel with spokes that need to be straightened and re-soldered. 9-94442 (2,000-4,000) – Lot 2266

Revised: 1/27/2015

Please note: The consignor believes this to be mid-19th century, not early early 20th century.

RARE FIGURAL CAST IRON CORK PRESS.

Early 20th century. Cast as an alligator with hinged back revealing 3 molds of varying sizes. Feet are drilled for mounting. SIZE: 4″ h x 11″ l. CONDITION: Chips to painted surfaces, otherwise with very good patinated surfaces. 7-75325 (400-600) – Lot 2356

Revised: 1/21/2015

Please note: The title should read “RARE COLLECTION OF VICTORIAN HAIR JEWELRY AND FAMILY CELEBRATION WREATH WITH FAMILY PROVENANCE”, instead of MEMORIAL WREATH. Also, all were made by Cora Brown, and won a 1st place ribbon.

RARE COLLECTION OF VICTORIAN HAIR JEWELRY AND MEMORIAL WREATH WITH FAMILY PROVENANCE.

Mid 19th century. American. Featuring an oval walnut shadow box, with memorial display centered by multicolored woven human hair flowers surrounded with a horseshoe shaped wreath with colorful chenille flowers. Also with a collection of fine woven hair jewelry, to include; a rare charm bracelet with gold filled attachments featuring a finely crafted birdcage with woven hair interior. A pair of cuff bracelets made with woven and braided hair ropes, having gold filled clasps. A woven hair necklace with drops, having gold filled embellishments. A Lady’s neck chain for holding a watch. 2 pair of earrings and a gold and hair pendant drop and 2 gold and hair bracelet clasps with engraving and pierced work “Cora”. Accompanying this lot is an original receipt from 1876, “To Miss Cora Brown”, “To A. Blocklinger, Dr., Manufacturer Of Hair Jewelry and Human Hair Goods, 313 Washington Street”. Also includes sketches and notes with instructions for the construction of hair jewelry. SIZE: Shadowbox 31″ x 27″ x 4″. CONDITION: Shadowbox, missing glass, artwork intact with tears to paper background. Jewelry, good to very good. 9-94536 (500-700) – Lot 2359

Revised: 1/21/2015

Typographical error: The title states “4 WWII MILITARY POSTERS”, which is incorrect. It should read “4 WWI MILITARY POSTERS”.

4 WWII MILITARY POSTERS.

1) “Keep’em Smiling!”, artist signed M. Leone Bracker 1918, featuring and image of 3 military men. 2) “Oh Boy! That’s the Girl!”, published by Sackett & Wilhelms Corporation N.Y., featuring image of “The Salvation Army Lassie”. 3) “Save From Your Child From Autocracy And Poverty”, artist signature Herbert Paus, published by United States Printing and Lithograph, Co., featuring image of child with hand and torch of Lady Liberty. 4) “United Behind the Service Star” artist signed Ernest Hamlin Baker, published by Carey Print Lith. N.Y., featuring color guard from various organizations. All 4 posters shrink wrapped on foam core. SIZE: 1) 42″ x 28″. 2) 40″ x 30″. 3) 40″ x 30″. 4) 40″ x 28″. CONDITION: 1) Very good, with minor wrinkles in upper right. 2) Fair, with damage, losses, wrinkles and stains along right edge. 3) Very good, with some fly damage and small amount of stain. 4) Very good, minor edge wrinkling and small tears. 9-96489 (1,200-1,500) – Lot 2369

Revised: 1/27/2015

Please note: The foo dog is missing its tail.

CARVED WOODEN DIVINITY.

19th century, China. The King of Heaven holding a dragon seated on a Foo Dog. Surface decorated with red, gold and black lacquer. SIZE: 11″ h. CONDITION: With cracks. 9-96149 (500-700) – Lot 2539

Revised: 1/30/2015

Please note: The female figure has a couple of imperfections, including chips to the flower bowl; also some glaze loss.

TWO FUJIAN POTTERY CO. FIGURES.

China, 20th c. The two figures elaborately made with beautiful and detailed glazes by Fujian Pottery Co., bottom bears company mark and additional mark. SIZE: Boy: 17-1/2″ h Girl: 18-1/4″ h CONDITION: Good. 7-75547 (300-500) – Lot 2573

Revised: 1/27/2015

Please note: The bangle has a couple of small cracks or fissures.

JADEITE BANGLE.

China. Jadeite bangle with round exterior and flat interior. SIZE: 2-5/8″ d CONDITION: Good. 7-75251 (200-300) – Lot 2601

Revised: 1/27/2015

Please note: There are various small burst bubbles on the shoulder, which occurred during the making or firing of the vase.

BLUE AND WHITE ROULEAU VASE.

China, 19/20th c. Of tapering cylindrical form, the body painted with open panel of mystical beast over ocean waves, with straight and waisted neck and flaring rim. SIZE: 18″ h. CONDITION: Good. 9-96319 (400-600) – Lot 3038

Revised: 1/27/2015

Please note: There are some imperfections on the fingers.

PORCELAIN DEITY.

18th century, China. San Tsai figure seated on a throne in court costume. Fitted in a carved hard wood stand. SIZE: 11-1/2″ h overall. PROVENANCE: Ralph M. Chait Galleries, NY sticker on base. CONDITION: Vibrant colors, no abrasions. Kiln cracks beneath glaze on rear of figure. 9-96305 (4,000-6,000) – Lot 3044

Revised: 1/30/2015

Correction – Please note: This is actually Japan, Mei Ji Period (1816-1912).

LARGE SILK KESI EMBROIDERY OF HERONS AND DEITIES.

China, possibly Qing Dynasty period. The large silk kesi embroidered with the heron and deities in ocean setting motif, woven partially with golden thread, scrolled onto a decorated bronze horizontal bar. SIZE: 88″ l x 59-1/4″ w CONDITION: Age related wear, loss of lining, and discoloration. 9-96244 (3,000-4,000) – Lot 3090

Revised: 1/21/2015

Additional information: The tapestry was woven with metallic gold-colored thread, with the wool.

HANGING EMBROIDERY.

Japan, Meiji Period (1868-1912). With scene of scholars. SIZE: 77″ x 49″. CONDITION: Fair. 9-96295 (1,000-1,500) – Lot 3095a

Revised: 1/30/2015

Lot Added.

SOAPSTONE SEAL.

Early 20th century, China. Butterscotch colored stone with mythical animal finial, signed to one side “Shixiong.” The bottom carved with characters “jia zhu da jiang nan bei” (home is one both sides of the Yangtze River). SIZE: 1-3/4″ l. CONDITION: Good. 9-91317 (600-800) – Lot 3108a

Revised: 2/5/2015

Please note: The shoulder has a small area of professional restoration.

CLOISONNE GOLDDUST JAR WITH COVER.

Meiji Period (1868-1912), Japan. Oval form with a lobated body. Decoration of phoenixes and dragons on a floral scrolled goldstone brown. SIZE: 5-1/2″ h x 5″ l. PROVENANCE: From a private New York State collection. CONDITION: Generally very good. 9-92667 (500-700) – Lot 3165

Revised: 1/27/2015

Please note – The condition should also read “Base restored; not in need of restoration, and should say vase with restoration, handles with imperfections.

PAIR OF SATSUMA PALACE URNS ON STANDS.

Mid 19th century, Japan. Each large gilt decorated urn with flaring mouth and linen fold edge, the handles in the form of seated boys, each holding a ring with tassel. Decorated with opposing panels depicting allegorical battles between a Samurai and a mythical demon figure within a forest landscape. The vases marked on circular footed stands. SIZE: Urn: 37-1/2″ h, 23″ dia at handles. Stands: 8″ h, 12″ dia. CONDITION: Urns with craquelure and soiling. Areas of wear to enamel at mouth. One stand in need of restoration. Urns generally good. 9-96446 (800-1,200) – Lot 3170

Revised: 1/21/2015

Additional information: Weight of the seal is 56 grams.

CARVED TIANHUANG SOAPSTONE SEAL.

China. The Shoushan Tianhuang soapstone carved seal stamp depicts a lion mounted on top with head turned side ways, the stone of amber-honey color. SIZE: H: 2 in (5 cm). CONDITION: Good. 9-97061 (7,000-9,000) – Lot 3319

Revised: 1/21/2015

Additional information: Weight of the seal is 216 grams.

CARVED TIANHUANG SOAPSTONE SEAL ATTRIBUTED TO ZHOU FEN.

Qing Dynasty period, China. The Shoushan Tianhuang soapstone stamp seal is of long cylindrical form, the sides inscribed with Chinese poetry calligraphy, artist mark Zhou Fen. SIZE: H: 2-5/8 in (6.7 cm) W: 1-1/2 in (3.9 cm). CONDITION: Good. 9-97059 (35,000-40,000) – Lot 3320

Revised: 1/21/2015

Please note: The online title in the catalog states “JADEITE NECKLACE”, which should read “NATURAL JADEITE NECKLACE”. Also the description states “Includes GIA Certificate” and should read “Includes GIA Certificate stating natural color with no indications of impregnantion”. The printed catalog is correct.

JADEITE NECKLACE WITH GIA CERTIFICATE.

The necklace made with sixteen similar sized glassy transparency jadeite shaped in polished cabochon form, embedded in gold, with gold chain. The jadeite is of glassy transparency, with beautiful whole green color. Includes GIA certificate. CONDITION: Good. 9-97122 (4,000-6,000) – Lot 3379

Revised: 1/27/2015

Please note: There is a fissure in the paw and jaw area.

CARVED JADE DOG FIGURE.

Qing Dynasty period, China. The finely carved jade with russet depicts a dog laying on four feet, with slight russet. SIZE: L: 3-1/4 in (8.3cm) H: 1-1/8 in (2.7cm). CONDITION: Good. 9-97119 (600-800) – Lot 3398

Revised: 1/21/2015

Please note: The title should read “NATURAL JADEITE & DIAMOND LONGEVITY PEACH PENDANT”.

JADEITE & DIAMOND LONGEVITY PEACH PENDANT.

The jadeite carved as longevity peach, surmounted by fine marquise diamonds. Accompanied by GIA Laboratory certificate numbered 1166812099, dated December 4, 2014, stating that the jadeite is natural, known in the trade as “A jade”. SIZE: Longevity peach approximately 34.73 x 22.29 x 14.68 mm. CONDITION: Very good. 9-97198 (40,000-45,000) – Lot 3489

Revised: 1/21/2015

Please note: The edge is broken in two areas, but not repaired.

LARGE YELLOW PORCELAIN CHARGER.

19th century, China. Mustard ground with 2 shades of aubergine and shades of green. Interior with a border of dragons and shou characters. Sides with tied lotus scrolls and the 8 precious emblems. Central reserve of a shou character with lotus scrolls and bats; reverse with bats and peaches. 6 character Ch’ien Lung seal mark. SIZE: 15-3/8″ dia x 2-3/4″ h. CONDITION: With repair, vibrant colors. 8-87768 (100-200) – Lot 3551

Revised: 1/27/2015

Please note: A portion of the front leg of the deer is missing, long ago; and there may have been another piece of branch going from the branch in the deer’s mouth to the larger piece of branch.

IMPORTANT JADE CARVING OF SHOU LAO.

19th century, China. Stone of a highly translucent grey white color. Scene of Shou Lao with an attendant and a deer. SIZE: 5-1/2″ l x 4″ w. CONDITION: Natural fissures to the stone. Very good. 9-91182 (9,500-14,500) – Lot 3570