February Fine Art, Antiques & Asian Auction
Totals nearly $3.2 Million!

Auction: February 3rd, 4th & 5th, 2016: 10am

Preview: February 2nd, 2016: 9am-5pm and February 3rd, 4th & 5th, 2016: 8am-10am

Please Note: All prices include the hammer price plus the buyer’s premium, which is paid by the buyer as part of the purchase price. The prices noted here after the auction are considered unofficial and do not become official until after the 46th day.

If you have questions please email antiques@jamesdjulia.com.


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Image Lot
Price
Description
1000
Revised: 1/15/2016

Please Note: Great News! This painting is not oil on board but oil on canvas mounted to board.

CHARLES HERBERT WOODBURY (American, 1864-1940) WAVE PEAKS.

Oil on board Housed in a good modern gilt frame with linen liner Signed lower left “Woodbury” SIZE: 8″ x 10″. Overall: 14″ x 16″ CONDITION: Very good 50000-3 (1,500-2,500) – Lot 1000

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1001

CHARLES HERBERT WOODBURY (American, 1864-1940) BATHING OFF OGUNQUIT ROCKS.

Watercolor Housed in a period carved gilt frame Signed middle bottom “Charles H Woodbury” SIZE: Sight: 7″ x 10″. Overall: 13-1/2″ x 17-1/2″ CONDITION: Very good 49933-6 (1,000-1,500) – Lot 1001

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1002

FRANK MONTAGUE MOORE (American, 1877-1967) “BREAKERS IN MOONLIGHT”.

Oil on Masonite Housed in a white painted carved wood frame Signed lower right “F.M. Moore”, signed and titled on verso SIZE: 15″ x 20″. Overall: 19-1/4″ x 24-1/2″ CONDITION: Good, signature fluoresces under U.V. light 49865-1 (800-1,200) – Lot 1002

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1003

THOMAS R. CURTIN (American, 1899-1977) CRASHING SURF.

Oil on canvas Housed in a contemporary giltwood frame Signed lower right “Thos. R. Curtin” SIZE: 16″ x 20″. Overall: 20-1/2″ x 24-1/2″ CONDITION: Very good, with 2 inch area of in-paint lower right corner (signature o.k.) 49972-13 (800-1,200) – Lot 1003

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1004

GEORGE CARPENTER (American, 1928-2006) ROCKY SURF.

Oil on board Housed in a contemporary giltwood frame Signature incised in paint lower left “George Carpenter” SIZE: 12″ x 16″. Overall: 14-3/4″ x 20-3/4″ CONDITION: Excellent 49972-17 (800-1,200) – Lot 1004

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1005

WILLIAM LESTER STEVENS (American, 1888-1969) MAINE PASSING STORM.

Watercolor Housed in a contemporary gray painted wood frame, matted under glass Signed lower left “W. Lester Stevens.N.A.” SIZE: Sight: 20-1/4″ x 26-3/4″. Overall: 29″ x 35-3/4″ CONDITION: Overall very good condition, minor vertical abrasion left edge and minor fading. Not examined out of frame. 49972-4 (1,500-2,500) – Lot 1005

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1006

DONALD ALLEN MOSHER (American, 1945-2014) “STONINGTON, MAINE”.

Oil on canvas Housed in a giltwood frame with presentation plaque Signed lower right “Donald Allen Mosher”, signed and titled on verso stretcher SIZE: 20″ x 24″. Overall: 26-1/2″ x 30-1/2″ CONDITION: Very good 49812-1 (3,000-5,000) – Lot 1006

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1007

GEORGE CARPENTER (American, 1928-2006) “OGUNQUIT, MAINE”.

Oil on board Housed in a contemporary giltwood frame Signed and dated lower left “George Carpenter 1972”, inscribed on reverse “George Carpenter, Ogunquit, Maine, The Island Oil, Late Winter ’71” SIZE: 16″ x 20″. Overall: 17″ x 21″ CONDITION: Excellent 49972-16 (800-1,200) – Lot 1007

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1008

WALTER E. SCHOFIELD (American, 1866-1944) COAST OF MAINE.

Oil on canvas Housed in a contemporary carved giltwood frame Signed lower left “Schofield” Note: According to Dr. Valerie Livingston, this work was painted on Chebeague Island in Maine circa 1919-21. Dr. Livingston writes, “Schofield’s paintings from [the 1920s] have a striking affinity for the site: a languorous, pleasurable look at the colorful California harbors (Harbor Scene), scenes of the dry crisp western mountains (The Canyon, Tujunga), and from Maine, sun-drenched rocky shorelines of Chebeague Island. All are painted with the artist embracing the motif with a spare descriptive brush in broad, hard, determined strokes that confirmed his presence at the scene” (W. Elmer Schofield: Proud Painter of Modest Lands, Bethlehem, Pennsylvania, 1988, p. 42). SIZE: 29-3/4″ x 36″. Overall: 39″ x 45″ PROVENANCE: Private Collection, circa 1989; Previous owner acquired at Sotheby’s, New York, May 25, 1995, lot 69. CONDITION: Very good to excellent condition 49892-4 (17,500-22,500) – Lot 1008

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1009

WALDO PEIRCE (American, 1884-1970) JUNGLE FANTASY.

Oil on canvas Housed in a gray frame Signed, dated and inscribed lower center “pour Mlle Blanc et sus Petits Ecolier/WP. 1934” Note: Miss Ninette Blanc acquired this painting directly from Waldo and gifted this to the brother of our consignor. His recollections of Miss Blanc in his own words are as follows: “I met Ninette Blanc in 1979 when I worked for Village Visiting Neighbors. She lived alone in a 5 flight walk up in Soho. Miss Blanc was in her 80’s when I met her and was a shut in. We become friends pretty quickly as she was interested in art and culture and had led a long interesting life. I got her back out into the world, we sat in the park, went to museums and enjoyed roast beef sandwiches from the nearby Portuguese deli.” “She had been a nurse, then retired and traveled around the world. She wrote plays, children’s books and studied photography. For a time, she ran a nursery school in the Village. Waldo Peirce’s twin sons went to her school. It was progressive, they learned French, played piano, camped outside and studied the stars, all in Greenwich Village in the 1930s. She closed the school after only a few years, as she had trouble collecting the tuition. The painting hung in her apartment for many years. We talked about Waldo Peirce and his younger wife and the children along with many other people in her life, some famous, some not. She gave me the painting, her plays, children’s books and her library of classics before she died in 1981.” Painting is accompanied by two photographs of Waldo & his family along with the photographs of Ninette Blanc. SIZE: 30″ x 40″. Overall: 32″ x 43″ PROVENANCE: Miss Nanette Blanc, gift to brother of current owner CONDITION: Very good, with minor canvas buckle and small hole upper left 49876-1 (8,000-12,000) – Lot 1009

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1010

ABBOTT FULLER GRAVES (American, 1859-1936) ARRANGING THE FLOWERS.

Oil on canvas Housed in a period carved giltwood frame Signed lower right “Abbott Graves”, canvas stenciled “Wadsworth Howland Co., Boston & Chicago” SIZE: 29-1/2″ x 42″. Overall: 49-1/2″ x 37-1/2″ CONDITION: Good condition with canvas detached from stretcher upper left, several flake losses and restoration in upper right and upper left corners. Old discolored varnish, will need minor restoration. 49998-1 (10,000-15,000) – Lot 1010

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1011

ROBERT E. MOORE (American, b. 1927) COASTAL LANDSCAPE.

Watercolor on paper Housed in a silver painted wood frame with double mat Signed lower right “ROBERT E. MOORE AWS” SIZE: Sight size: 21″ x 28″. Overall: 33″ x 41″ CONDITION: Signature is faded lower right, other wise very good condition, not examined out of frame. 49577-2 (2,000-4,000) – Lot 1011

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1012

LAURENCE SISSON (American, b. 1928) TWO WORKS: “ORIENTAL MOON” AND “NORTHERN LIGHTS”.

Watercolor on paper Unframed Signed lower left “L. Sisson” SIZE: 22-1/4″ x 30-1/2″. CONDITION: Very good. 50042-3 (1,000-2,000) – Lot 1012

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1013

LAURENCE SISSON (American, b. 1928) TWO WORKS: “SUNSET BOOTHBAY” AND “MIST AND WITCHES BROOM”.

Watercolor on paper Unframed Signed lower left “L. Sisson” SIZE: 21″ x 27-3/4″ and 21-3/4″ x 30″ CONDITION: Very good 50042-2 (1,000-2,000) – Lot 1013

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1014

LAURENCE SISSON (American, b. 1928) TWO WORKS: “SURF AT SOUTH PORT” AND “REED ISLAND”.

Watercolor on paper Unframed Unsigned SIZE: 22-1/2″ x 30-3/4″ CONDITION: Very good 50042-1 (1,000-2,000) – Lot 1014

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1015

EDWARD BURRILL (American, 1835-1913) SPORTSMEN ON A MAINE RIVER.

Oil on canvas mounted to board Housed in a modern gilt molded wood frame with gilt liner Signed lower left “E. Burrill” SIZE: 12″ x 18″. Overall: 17-1/2″ x 23-1/2″ CONDITION: Very good, restored with in-painting 50065-8 (2,500-3,500) – Lot 1015

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1016

WALTER M BRACKETT (American/United Kingdom, 1823-1919) THREE BROOK TROUT.

Oil on canvas Housed in a carved walnut period frame with gilt liner Signed lower right “W.M. Brackett 1872″ SIZE: 12-1/2″ x 20”. Overall: 18-1/2″ x 26-1/2″ CONDITION: Very good 49925-4 (3,500-5,500) – Lot 1016

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1017

SAMUEL A. KILBOURNE (American, 1836-1881) TWO CHROMOLITHOGRAPHS OF FISH.

From “Game Fishes of the United States”, Boston: Armstrong & Co., 1878-1881. Including: 1) “Blue Fish”, signed and dated in plate lower left “S.A. Kilbourne 1878” 2) “The Grayling”, signed and dated in plate lower left “S.A. Kilbourne 1880″ Both housed in matching carved wood frames with identical mats SIZE: Sight: 13-1/2″ x 20”. Overall: 22-1/2″ x 28-1/2″ CONDITION: Both in very good condition, not examined out of frame. 49990-2 (600-800) – Lot 1017

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1018

ATTRIBUTED TO ARTHUR FITZWILLIAM TAIT (American, 1819-1905) TAKING AIM.

Oil on canvas Housed in an elaborately carved oak leaf giltwood frame Unsigned SIZE: 26″ x 36″. Overall 34-1/4″ x 44-1/4″. CONDITION: Good, restored condition, lined, inpaint, minor chips to frame 49821-1 (2,500-4,000) – Lot 1018

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1019

GERARD R. HARDENBERGH (American, 1855-1915) TWO STILL LIFES OF HANGING GAME BIRDS.

Two oils on canvas laid down on board Housed in vintage frames Each signed and dated lower left “Gerard R. Hardenbergh 1899″ SIZE: Each: 17-3/4″ x 12”. Overall: 19-3/4″ x 13-3/4″ CONDITION: Good, both with yellowed varnish and restored tears 49944-4 (750-1,250) – Lot 1019

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1020

ELLI BODO (American, 20th Century) “INTO THE WIND”.

Acrylic on Masonite House in contemporary wood frame Signed with copyright lower right “ELLI BODO”, signed, numbered and titled on verso “Bodo #230”, stamped “All Reproduction Rights Reserved” SIZE: 20″ x 40″. Overall: 22-1/4″ x 42-1/4″ CONDITION: Very good 49859-4 (800-1,200) – Lot 1020

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1021

GEORGE NORTHUP (American, b. 1940-) SETTERS.

Bronze on wood base set with 3 bronze plaques Signed on side of bronze “Northup 18/28 1989″ SIZE: 23″ h (total) x 25″ w x 11” d CONDITION: Very good 49944-3 (800-1,200) – Lot 1021

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1022

AFTER PIERRE JULES MENE (French, 1810-1879) TWO DOGS HUNTING PHEASANTS.

Bronze Signed on base P.J. Mene SIZE: 8-1/2″ h x 16″ l CONDITION: Very good 49944-5 (500-800) – Lot 1022

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1023

AFTER JULES MOIGNIEZ (French, 1835-1894) PHEASANT.

Bronze Signed on rock “J. Moigniez” SIZE: 21-1/4″ h x 21-1/4″ w x 9″ d. CONDITION: Very good with dark brown patina 49944-1 (750-1,250) – Lot 1023

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1024

MORITZ ROTHBERGER (Austria, 19th/20th Century) THE HUNTER.

Bronze Signed on top of base “Moritz Rothberger 1900″ SIZE: 19-1/2” h CONDITION: Very good 49944-2 (500-800) – Lot 1024

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1025

WILLIAM R. DAVIS (American, b. 1952) “SUNSET RIVER SKETCH”.

Oil on board Housed in a contemporary black painted frame with gilt liner Signed lower left “W. Davis”, signed and titled on the reverse “William R. Davis, Sunset River Sketch” SIZE: 5″ x 7″. Overall: 9-3/4″ x 11-3/4″ CONDITION: Very good to excellent 49843-3 (1,000-1,500) – Lot 1025

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1026

WILLIAM R. DAVIS (American, b. 1952) “TWILIGHT MARSH”.

Oil on Masonite House in a contemporary giltwood frame Signed lower left “W. Davis”, signed, titled and dated on the reverse “William R. Davis, Twilight March 2001″ SIZE: 5″ x 7”. Overall: 11-3/4″ x 13-3/4″ CONDITION: Very good to excellent 49843-4 (1,000-1,500) – Lot 1026

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1027

LESTER A. GILLETTE (American, 1855-1940) GLOUCESTER HARBOR.

Oil on board Housed in a giltwood frame with Guido label Signed lower right “L A Gillette”, inscribed on reverse “No. 655″, titled on Comenos Fine Arts label affixed to verso SIZE: 14″ x 16”. Overall: 19″ x 21″ CONDITION: Very good condition. 49925-2 (4,000-6,000) – Lot 1027

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1028

DONALD ALLEN MOSHER (American, 1945-2014) MOTIF #1 IN WINTER.

Oil on canvas Housed in a carved giltwood frame with linen liner Signed lower left “Donald Allen Mosher” SIZE: 9″ x 12″. Overall: 15-1/2″ x 18-3/4″ CONDITION: Very good 49653-2 (1,000-1,500) – Lot 1028

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1029

WAYNE MORRELL (American, 1923-2013) “NOVEMBER MARSHES”.

Oil on Masonite Housed in modern gilt frame with linen liner Signed lower right “Wayne Morrell”, inscribed on reverse with title and date of 1986 SIZE: 12″ x 16″. Overall: 19″ x 23″ CONDITION: Very good to excellent 50066-2 (800-1,200) – Lot 1029

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1029A

WAYNE MORRELL (American, 1923-2013) “HILLS OF HAVERHILL, IPSWICH, MA”.

Oil on Masonite House in a good gilt wood frame with linen liner Signed lower left “Wayne Morrell”, also titled and dated on verso 1976 SIZE: 18″ x 24″. Overall: 25″ x 31″ CONDITION: Very good to excellent 50066-1 (1,500-2,500) – Lot 1029A

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1029B

GRANT WOOD (American, 1891-1942) “SORRENTO, 1924”.

Oil on board Housed in what appears to be its original stained wood frame Signed & titled lower left “Grant Wood Sorrento 1924” and inscribed lower right “Painted especially for Harriet Cutler” SIZE: 9″ x 11-1/4″. Overall: 13″ x 15″. PROVENANCE: Acquired directly from the artist and descended through the Cutler family. CONDITION: Surface dirt, frame rubbing along sides, two tack holes. Surface may have never been varnished, in need of cleaning and varnishing 50113-2 (8,000-12,000) – Lot 1029B

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1029C

GRANT WOOD (American, 1891-1942) “SORRENTO 1924”.

Oil on artist board Housed in what appears to be its original stained wood frame Signed & titled lower left “Grant Wood “Sorrento 1924″ SIZE: 7-1/2″ x 9-1/2”. Overall: 11-1/8″ x 13″ PROVENANCE: Acquired directly from the artist and descended through the Cutler family. CONDITION: Very good, surface dirt 50113-1 (8,000-12,000) – Lot 1029C

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1030

EMILE ALBERT GRUPPE (American, 1896-1978) “GLOUCESTER MORNING”.

Oil on canvas Housed in a contemporary white painted wood frame Signed lower right “Emile A. Gruppe”, titled on stretcher “Gloucester Morning” SIZE: 30″ x 36″. Overall: 37″ x 43″ PROVENANCE: Acquired directly from the artist CONDITION: Very good to excellent. 49924-1 (10,000-15,000) – Lot 1030

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1031

EMILE ALBERT GRUPPE (American, 1896-1978) ROCKY COVE.

Oil on canvas Housed in a contemporary giltwood frame Signed lower right “Emile A. Gruppe” SIZE: 20″ X 24″. Overall: 28″ x 32″ CONDITION: Good, restored condition, slight canvas buckle. UV examination shows several large areas of retouch in sky and rocks upper right 49843-2 (4,000-6,000) – Lot 1031

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1032

EMILE ALBERT GRUPPE (American, 1896-1978) SHADOWED SNOWBANK STREAM.

Oil on canvas Housed in its original silver gilt molded wood frame Signed lower right “Emile A Gruppe” SIZE: 25″ x 30″. Overall: 28-1/2″ x 33-1/2″ CONDITION: Very good 50057-1 (6,000-8,000) – Lot 1032

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1033
Revised: 1/8/2016

Please note: Condition should read Very good to excellent with craquelure.

ALDRO THOMPSON HIBBARD (American, 1886-1972) “CANADIAN ROCKIES”.

Oil on canvas Housed in a period carved giltwood frame Signed lower left “A.T. Hibbard”, Rockport Art Association label affixed to verso frame Exhibited: Rockport Art Association, “A.T. Hibbard, N.A.”, October 5-November 11, 2012, Illustrated in the book A. T. Hibbard, N. A. (1886 – 1972) American Master, by Rockport Art Association, pg 45, also a preliminary study of the same illustrated on pg 96. SIZE: 36″ x 42″. Overall: 42″ x 48″ CONDITION: Very good to excellent with craquelure. 50005-1 (15,000-25,000) – Lot 1033

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1034

ALDRO THOMPSON HIBBARD (American, 1886-1972) CAPE ANN HARBOR VIEW.

Oil on board Housed in a contemporary giltwood frame Signed lower right “A.T. Hibbard” SIZE: 8″ x 10″. Overall: 12-1/2″ x 14-1/2″ CONDITION: Good condition, signature possibly enhanced 49843-1 (3,000-5,000) – Lot 1034

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1035

CHARLES MOVALLI (American, b. 1945) “FBI WHARF: GLOUCESTER”.

Oil on board Housed in a contemporary giltwood frame Signed lower left “C. Movalli”, signed, dated, and titled on reverse “Charles Movalli 1977″ SIZE: 16″ x 20”. Overall: 24″ x 28″ CONDITION: Very good 49843-9 (1,500-2,000) – Lot 1035

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1036

GEORGE TURLAND GOOSEY (British/American, 1877–1947) “GLOUCESTER, MASS. U.S.A.”.

Oil on board Housed in a contemporary giltwood frame Signed lower right “Geo.Turland.”, titled on reverse “Gloucester, Mass. U.S.A.” SIZE: 12″ x 16″. Overall: 17-1/2″ x 21-3/4″ PROVENANCE: From the Estate of George Turland CONDITION: Very good condition 49902-6 (800-1,200) – Lot 1036

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1037

CHARLES CURTIS ALLEN (American, 1886-1950) TWO DORIES.

Oil on board Housed in a contemporary giltwood frame Signed lower left “Chas. Curtis Allen” SIZE: 9″ x 11″. Overall: 17-1/2″ x 19-1/2″ CONDITION: Very good to excellent 49843-6 (1,000-1,500) – Lot 1037

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1038

C. HJALMAR “CAPPY” AMUNDSEN/JJ ENWRIGHT (American, 1911-2001) BOAT AT DOCK.

Oil on board Housed in a carved wood frame with linen liner Signed lower left “HJALMAR” Note: J.J. Enwright (pseudonym for Hjalmar “Cappy” Amundsen) was born Caspar Hjalmar Emerson III. In his early career, he is believed to have created up to 275 paintings a year over a period of six years under the name of Enwright. SIZE: 14″ x 19-3/4″. Overall: 21-3/4″ x 27″ CONDITION: Paint surface has large shrinkage cracks and yellowed varnish. 50023-14 (800-1,200) – Lot 1038

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1039

KENNETH KNOWLES (American, 1968- )”AFTERNOON LIGHT T. WHARF, BOSTON”.

Oil on Masonite Housed in a contemporary giltwood frame Signed lower left “Knowles”, signed and dated on verso “Ken Knowles ’00” SIZE: 9″ x 12″. Overall: 16-1/2″ x 19-1/2″ CONDITION: Uneven varnish layer, very good 49972-19 (1,000-1,500) – Lot 1039

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1040

FRANK CORSO (American, 1952-) SAILBOATS AT DOCK.

Oil on canvas Housed in a modern gilt frame with white liner Signed lower right “Corso” SIZE: 18″ x 24″. Overall: 25″ x 31″ CONDITION: Very good to excellent 50066-3 (800-1,200) – Lot 1040

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1041

FRANK CORSO (American, b. 1952) SUMMER LANDSCAPE WITH BARN AND ROAD.

Oil on Masonite Housed in gold molded wood frame with linen liner Signed lower right “F. P. Corso” SIZE: 16″ x 20″. Overall: 23″ x 27″ CONDITION: Very good 50066-4 (500-800) – Lot 1041

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1042

FREDERICK LEONARD KING (American, 1879-1947) FISHERMAN TENDING HIS NETS.

Gouache on paper Housed in a contemporary carved giltwood frame Signed lower right “King” SIZE: 24″ x 18″. Overall: 31″ x 25″ CONDITION: Excellent condition, not examined out of frame. 50023-17 (1,500-3,000) – Lot 1042

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1043

PAUL GOODRIDGE (American, 1912-1991) COLLECTION OF THIRTY-FIVE OIL PAINTINGS.

Oils on canvas Unstretched and unframed All estate stamped on verso “Paul Goodridge, Gloucester, Mass” Including: 1) Boats at Dock, dated “July 12, 60″ on verso, 21″ x 27″; 2) 28 Dock Views, ranging from 16″ x 20″ to 20″ x 24″; 3) Small Dock View,. 11-1/2″ x 16″ 4) Seascape, 15″ x 18″ 5) Quarry in Autumn, 20″ x 24” 6) Still Life, signed and dated lower right “Paul Goodridge 34″, 19-1/4″ x 16″ 7) Two Portraits, 20″ x 16″ SIZE: Up to 21″ x 27” PROVENANCE: Acquired from the Estate of the Artist CONDITION: All loose, unstretched. Many in good condition, some with losses, creases and surface abrasions. 49932-7 (1,500-2,500) – Lot 1043

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1044

ALBERT BAAB INSLEY (American, 1842-1937) LADIES BY THE SHORE, WINGERSHEEK BEACH.

Oil on canvas Housed in a giltwood frame Signed and dated lower left “Albert Insley 1902”, inscribed on backing board “Wingersheek Beach from Annisquam” SIZE: 14″ x 20″. Overall: 18″ x 24″ CONDITION: Good condition, lined. 50023-11 (1,000-2,000) – Lot 1044

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1045

FRANK HENRY SHAPLEIGH (American, 1842-1906) “GREEN HILL, COHASSET”.

Oil on board Housed in a Hastings & Davenport gilt wood frame Signed lower left & dated “F.H. Shapleigh 1880″ Titled & signed on verso SIZE: 7-1/4″ x 12-1/2″. Overall: 15-1/4″ x 20-1/4”. CONDITION: Good with restoration upper right and 1/2″ area of in-paint in sky, frame has minor losses 47890-8 (2,000-3,000) – Lot 1045

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1046

ARTHUR CLIFTON GOODWIN (American, 1864-1929) HINGHAM HARBOR VIEW.

Oil on canvasboard Housed in a contemporary period style giltwood frame Signature incised in paint lower left “A.C. Goodwin”, label on verso reads “In Memory of the day at Hingham with Floyd Rogers, W.B. Forster 1911”, inscribed on verso “A.C. Goodwin”, Arvest Galleries, Inc., Boston label affixed to reverse SIZE: 12″ x 15″. Overall: 20″ x 23″ CONDITION: Overall good, with small chip lower left (near signature) 49888-2 (1,200-1,800) – Lot 1046

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1047

ARTHUR VIDAL DIEHL (American, 1870-1929) PROVINCETOWN WHARF.

Oil on board Housed in a contemporary giltwood frame Signed lower right “Arthur V. Diehl” SIZE: 8-3/4″ x 14″. Overall: 16″ x 21-1/2″ CONDITION: Good overall condition 49843-7 (1,500-2,000) – Lot 1047

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1048

WILLIAM LESTER STEVENS (American, 1888-1969) “WINTER’S GLORY”.

Oil on Masonite Housed in a contemporary giltwood frame with presentation plaque Signed lower right “W. Lester Stevens.N.A.”, titled and inscribed on the reverse “Winter’s Glory/W.Lester Stevens N.A. at Cricket Hill, Conway, Mass (home studio)” SIZE: 30″ x 36″. Overall: 41″ x 47″ CONDITION: Very good to excellent 49925-1 (5,000-7,000) – Lot 1048

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1049
Revised: 1/15/2016

Please Note: Great News! This painting is oil on board, not oil on masonite.

WILLIAM LESTER STEVENS (American, 1888-1969) SPRING LANDSCAPE.

Oil on masonite Housed in a period gilt wood frame Signed lower right “W Lester Stevens” SIZE: 12″ x 16″. Overall” 14-1/2″ x 18-1/2″ CONDITION: Very good 50089-2 (1,000-2,000) – Lot 1049

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1050

WILLIAM LESTER STEVENS (American, 1888-1969) “ROAD THROUGH BACKWOODS”.

Watercolor and gouache on paper Housed in a wood frame with gilt liner, and matted under glass Signed in pencil lower right “W. Lester Stevens N.A.”, titled on label affixed to reverse SIZE: Sight: 7-1/2″ x 10-1/2″. Overall: 15″ x 18″ CONDITION: Very good, not examined out of frame 49972-6 (600-900) – Lot 1050

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1051

WILLIAM LESTER STEVENS (American, 1888-1969) “PRIVATE BACKROAD”.

Watercolor and gouache on paper Housed in a wood frame with gilt liner, and matted under glass Signed in pencil lower right “W. Lester Stevens.N.A.”, titled on label affixed to the reverse SIZE: Sight: 7-1/2″ x 10-1/4″. Overall: 15″ x 18″ CONDITION: Very good, not examined out of frame. 49972-5 (600-900) – Lot 1051

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1052

STEPHEN MANIATTY (American, 1910-1984) “STEAM SHADOWS”.

Oil on canvas Housed in a silver painted wood frame with linen liner Signed lower right “S.G. Maniatty”, inscribed on stretcher “Title: Steam Shadows, Artist: S.G. Maniatty, Jon’s Sugar House Conway, MA” SIZE: 25″ x 34″. Overall: 32″ x 41″ CONDITION: Very good. 49653-1 (1,500-2,500) – Lot 1052

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1053

LEO B. BLAKE (American, 1887-1976) “GETTING THE MAIL”.

Oil on board Housed in a contemporary giltwood frame Signed lower right “Leo B. Blake”, inscribed “M-83″ on verso SIZE: 20″ x 24”. Overall: 27-1/2″ x 31-1/2″ CONDITION: Very good 49972-11 (2,000-4,000) – Lot 1053

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1054

LEO B. BLAKE (American, 1887-1976) “LOGGING UP IN THE BERKSHIRES”.

Oil on board Housed in a contemporary giltwood frame Signed lower right “Leo B. Blake”, inscribed “S-56/#393″ and titled on label affixed to verso SIZE: 16″ x 20”. Overall: 23-3/4″ x 28″ CONDITION: Very good 49972-12 (1,500-2,500) – Lot 1054

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1055

LEO B. BLAKE (American, 1887-1976) “TENDING THE HORSES”.

Oil on canvas Housed in a contemporary gold frame Signed lower right “Leo B. Blake”, inscribed “M-75/4739″ on stretcher SIZE: 20″ x 24″. Overall: 27″ x 31”. CONDITION: Excellent. 49972-10 (2,000-3,000) – Lot 1055

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1056

LEO B. BLAKE (American, 1887-1976) “BARN BY WINTER STREAM”.

Oil on board Housed in a contemporary giltwood frame Signed lower right “Leo B. Blake”, titled on label affixed to verso SIZE: 9″ x 12″. Overall: 16-1/2″ x 19-1/2″ CONDITION: Excellent 49972-9 (600-900) – Lot 1056

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1057

BERNARD COREY (American, 1914-2000) “FALL ON THE FARM”.

Oil on Masonite Housed in a contemporary giltwood frame Signed lower right “Bernard Corey”, inscribed “B.VT/undercoat house paint” and titled on a label on the reverse SIZE: 10″ x 14″. Overall: 16″ x 20″ CONDITION: Excellent 49972-3 (1,000-1,500) – Lot 1057

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1058

BERNARD COREY (American, 1914-2000) “SUMMERS REST”.

Oil on Masonite Housed in a contemporary giltwood frame Signed lower left “Bernard Corey” SIZE: 9″ x 14″. Overall: 14-1/2 x 19-1/2″ CONDITION: Excellent 49972-2 (800-1,200) – Lot 1058

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1059

BERNARD COREY (American, 1914-2000) “MELTING SNOW”.

Oil on board Housed in a contemporary giltwood frame Signed lower right “Bernard Corey”, bears artist’s estate certificate of authenticity on verso signed by Carolynne J. Grimley (Estate no. BC549), and a label from Royka’s Fine Art SIZE: 10″ x 14″. Overall: 16″ x 20″ CONDITION: Excellent 49972-1 (800-1,200) – Lot 1059

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1060

JOHN JOSEPH ENNEKING (American, 1841-1916) “WOODLAND POOL”.

Oil on canvas Housed in a period wide gesso decorated flower & leaf motif gilt frame with gilt liner having an artist plaque attached Signed lower right “Enneking” Title and stenciled “Estate John J Enneking, Florence E. Long, Grace E. Ward, J Elliott Enneking Administrators” on verso SIZE: 20″ x 24″. Overall: 32″ x 36″ CONDITION: Very good with some very minor touchup 49925-3 (15,000-20,000) – Lot 1060

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1061

JOHN JOSEPH ENNEKING (American, 1841-1916) “WARM WINTER DAY”.

Oil on board Housed in a contemporary giltwood frame with presentation plaque Signed lower right “Enneking” SIZE: 10″ x 14″. Overall: 18″ x 22″ CONDITION: Very good to excellent 50043-2 (5,000-7,000) – Lot 1061

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1062

CARL WILLIAM PETERS (American, 1897-1980) STREAM RAMBLING THROUGH WINTER LANDSCAPE.

Oil on canvas Housed in a contemporary giltwood frame Estate stamp on verso canvas signed by Elaine Woodbury SIZE: 25″ x 30″. Overall: 29″ x 34″ PROVENANCE: Acquired from the family of the artist CONDITION: Very good condition. 49883-1 (3,000-5,000) – Lot 1062

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1063

CARL WILLIAM PETERS (American, 1897-1980) HUNTERS IN AN AUTUMN LANDSCAPE.

Oil on canvas Housed in a contemporary giltwood frame Signed lower right “Carl W. Peters” inscribed on the reverse “Carl W. Peters No. 369-A” SIZE: 25″ x 30″. Overall: 29″ x 34″ PROVENANCE: Acquired directly from the artists family CONDITION: Very good 49883-2 (3,000-5,000) – Lot 1063

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1064

CARL PETERS (American, 1897 – 1980) WINTER LANDSCAPE WITH STREAM.

Oil on canvas Housed in a natural carved wood frame with linen liner Unsigned SIZE: 20″ x 24″. Overall 27″ x 31″ PROVENANCE: Acquired and descended through the family of the artist. CONDITION: Very Good 49518-2 (2,000-3,000) – Lot 1064

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1065

ALDRO THOMPSON HIBBARD (American, 1886-1972) WINTER VERMONT LANDSCAPE.

Oil on board Housed under glass in giltwood frame with wood liner Signed lower left “A.T. Hibbard” SIZE: 8″ x 10″. Overall: 13-1/4″ x 16″ PROVENANCE: Acquired directly from the artist CONDITION: Very good 49864-1 (3,000-5,000) – Lot 1065

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1066

THOMAS R. CURTIN (American, 1899-1977) VERMONT AUTUMN LANDSCAPE.

Oil on canvas mounted on Masonite Housed in an artist carved and painted frame Signed lower left “Thom. R. Curtin” SIZE: 24″ x 32″. Overall: 30″ x 38″ PROVENANCE: Acquired from the artist in 1971 CONDITION: Very good, paint surface stable, minor varnish discoloration in sky. 49993-1 (4,000-6,000) – Lot 1066

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1067

THOMAS R. CURTIN (American, 1899-1977) VERMONT FARM IN WINTER.

Watercolor on paper Housed in a giltwood frame, matted under glass Signed lower right “Thos. R. Curtin” SIZE: Sight: 17-1/4″ x 23″. Overall: 25″ x 30-1/4″ CONDITION: Very good, not examined out of frame. 49972-15 (1,000-1,500) – Lot 1067

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1068

THOMAS R. CURTIN (American, 1899-1977) “WAHCONAH FALLS”.

Oil on board Housed in a contemporary giltwood frame Signed lower right “Thos. R. Curtin” SIZE: 16″ x 20″. Overall: 23-1/2″ x 27-1/2″ CONDITION: Very good. 49972-14 (4,000-6,000) – Lot 1068

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1069

KENNETH KNOWLES (American, b. 1968) “ACROSS THE RIVER IN JAMAICA, VT”.

Oil on canvas Housed in a contemporary giltwood frame Signed lower right “Ken Knowles ’99”, signed, dated and titled on reverse “Across the River in Jamaica, VT, Ken Knowles 1999″ SIZE: 24″ x 30”. Overall: 31″ x 37″ CONDITION: Excellent 49972-20 (2,000-3,000) – Lot 1069

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1070

KENNETH KNOWLES (American, 1968-) “JEFFERSONVILLE, VT”.

Oil on board Housed in a molded wood partial gilt frame Signed lower left “Ken Knowles” Titled, signed & dated “2010” on verso SIZE: 24″ x 30″. Overall: 28-1/2″ x 34-1/4″ CONDITION: Very good to excellent 50066-5 (1,500-2,500) – Lot 1070

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1071

JAMES KING BONNAR (American, 1883-1961) DRIVING THE HORSES UP THE MOUNTAIN ROAD IN WINTER.

Oil on board Housed in a contemporary giltwood frame Signed lower right “James King Bonnar” SIZE: 15-3/4″ x 19-1/2″. Overall: 23-1/2″ x 27-1/2″ CONDITION: Excellent 49972-7 (2,000-3,000) – Lot 1071

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1072

JAMES KING BONNAR (American, 1883-1961) POWNAL VERMONT LANDSCAPE.

Oil on board Housed in a good gilt replacement wood frame Signed faintly lower right “Jas K. Bonnar”, Rockport Art Association label affixed to verso, inscribed “James K. Bonnar, Rockport, Mass.” and titled on label on reverse. SIZE: 16″ x 20″ CONDITION: Very good. 49972-8 (2,000-3,000) – Lot 1072

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1073

WILLIAM EDWARD NORTON (American, 1843-1916) NEW HAMPSHIRE LANDSCAPE.

Oil on canvas laid down on mahogany panel Housed in a giltwood frame Signed and inscribed lower left “W. E. Norton. Atelier.”, titled on a Vose Galleries, Boston label taped to verso (inventory #27645) SIZE: 11-3/4″ x 15-1/2″. Overall 17-1/2″ x 21-1/2″ CONDITION: Overall good, with minor restoration 49888-1 (1,200-1,800) – Lot 1073

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1074

SAMUEL GERRY (American, 1813-1891) FARMHOUSE WITH TREES AND LIVESTOCK.

Oil on canvas Housed in antique style gesso decorated gilt frame Signed lower right “S.L. Gerry” SIZE: 8-1/2″ x 7-1/2″. Overall: 12-1/4″ x 11-1/2″ CONDITION: Light craquelure, minor touch-up, very good 50065-10 (1,800-2,200) – Lot 1074

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1075

JOHN WHORF (American, 1903-1959) WINTER LANDSCAPE WITH HOUSES AND BARNS.

Watercolor on paper Housed in black and gold wood frame with double mat Signed lower right “John Whorf” SIZE: 15″ x 21″. Overall: 23″ x 28-1/2″ CONDITION: Good. 50065-6 (2,500-3,500) – Lot 1075

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1076

CARROLL BROWN (American, 1868-1923) AUTUMN LANDSCAPE.

Oil on canvas Housed in a white frame Signed lower right “Carroll Brown” Exhibited: John Levy Galleries, New York. “Memorial Exhibition of Paintings by Carroll Brown”, February 25-March 8, 1924 Note: This lot is accompanied by a copy of the exhibition pamphlet noted above SIZE: 30″ x 40″. Overall: 36″ x 46″ PROVENANCE: Kathryn M. Brown (sister-in-law of the artist); By descent through the family CONDITION: Discolored varnish, surface dirt, several punctures 49720-1 (2,000-3,000) – Lot 1076

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1077

CARROLL BROWN (American, 1862-1923)”MY TREES”.

Oil on board Housed in a giltwood frame Signed lower left “Carroll Brown” Inscribed with title on owner’s label affixed to verso Exhibited: John Levy Galleries, New York. “Memorial Exhibition of Paintings by Carroll Brown”, February 25-March 8, 1924, item 9. Note: This lot is accompanied by a copy of the exhibition pamphlet noted above. SIZE: 15″ x 21-1/2″. Overall: 17-1/2″ x 21-1/4″ PROVENANCE: Kathryn M. Brown (sister-in-law of the artist); By descent through the family CONDITION: Good with minor vertical craquelure 49720-2 (2,000-3,000) – Lot 1077

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1078

CARROLL BROWN (American, 1862-1923) “POND LILIES”.

Watercolor on paper Housed in a giltwood frame with double mat Signed and dated lower right “Carroll Brown ’97” Exhibited: John Levy Galleries, New York. “Memorial Exhibition of Paintings by Carroll Brown”, February 25-March 8, 1924. Note: This lot accompanied by a photocopy of the pamphlet from the above mentioned exhibition. SIZE: Sight size: 11″ x 18-1/2″. Overall: 16-1/4″ x 24″ PROVENANCE: Kathryn Brown (sister-in-law of the artist); By descent through the family CONDITION: Good with mat burn along edges, not examined out of frame 49720-3 (1,000-2,000) – Lot 1078

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1079

CARROLL BROWN (American, 1862-1923) SPRING LANDSCAPE WITH BLOSSOMING TREES.

Oil on canvas Housed in a giltwood frame Signed lower left “Carroll Brown” Exhibited: John Levy Galleries, New York. “Memorial Exhibition of Paintings by Carroll Brown”, February 25-March 8, 1924. Note: This lot is accompanied by a photocopy of the pamphlet from the above mentioned exhibition. SIZE: 18″ x 25″. Overall: 22″ x 29″ PROVENANCE: Kathryn M. Brown (sister-in-law of the artist); By descent through the family CONDITION: Good, minor stretcher marks 49720-4 (1,000-2,000) – Lot 1079

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1080
Revised: 1/28/2016

Please Note: Obviously from the illustration there are 6 paintings described and photographed. There are 6 being offered not 5 as stated in the title.

CARROLL BROWN (American,1862-1923) SIX PAINTINGS.

Including 1) “Wind Storm”, oil on canvas, signed lower left “Carroll Brown”, inscribed with title on stretcher and signed on verso canvas. 2) “Budding Trees, Cragsmore”, oil on board, signed and dated lower right “Carroll Brown ’08”, titled on verso. 3) Landscape, watercolor and gouache on board, signed lower right “Carroll Brown”. 4) Seascape, watercolor on board, signed and dated lower right “Carroll Brown ’08”. 5) Sheep by a Fence, watercolor, signed lower right “Carroll Brown”. 6) Chickens, watercolor on board, signed and dated lower right “Carroll Brown ’06” 1) Exhibited: John Levy Galleries, New York. “Memorial Exhibition of Paintings by Carroll Brown”, February 25-March 8, 1924, no. 13. This lot is accompanied by a photocopy of the pamphlet from the exhibition. SIZE: 1) 22″ x 30″. 2) 10-7/8″ x 14-7/8″ 3)21-1/2″ x 30″ 4)21-1/2″ x 30″ 5)19-1/2″ x 13-1/2″ 6) 6-1/2″ x 9-1/2″ PROVENANCE: Kathryn M. Brown (sister-in-law of the artist); By descent through the family CONDITION: 1) Surface grime, small losses in foreground, edges chipped. 2) Chips to edges. 3) Board is chipped on all edges, large section detached. 4) Board is chipped on all edges, large section detached. 5) Waterstaining along bottom edge. 6) Faded, waterstains 49720-5 (1,500-2,500) – Lot 1080

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1081

MARTIN JOHNSON HEADE (American, 1819-1904) ROMAN NEWSBOYS II, 1849.

Oil on canvas Housed in a molded wood gilt antique frame with title & artist plaque Unsigned Note: The second version of a similar work of the same title painted in Rome in 1848 now hangs in the Toledo Museum of Art, this painting appears as #17 on page 202 in ‘The Life and Work of Martin Johnson Heade, A Critical Analysis and Catalogue Raisonne’ by Theodore E. Stebbins, Jr., Yale University Press, New Haven and London, 2000, along with a comparison of the two versions. Painting depicts two young tattered boys hawking broadsheets marked ‘Roma’, one on the left wearing a paper hat marked Pius IX, one on the right perched atop a post, both looking to the left, looming shadows include a silhouette of a cross, and a silhouette of a Cardinal’s hat on the lower left. REFERENCE: Included in the exhibition “The Lure of Italy American Artists and The Italian Experience, 1760-1914″ Museum of Fine Arts, Boston, Sept. 16 – Dec. 13, 1992; The Cleveland Museum of Art Feb 3 – April 11, 1993; Museum of Fine Arts, Houston May 23 – Aug 8, 1993. The restoration was under the supervision of the Boston Museum of Fine Arts. A rare example of a genre scene by this American Master, the two versions of this appear to be the only genre scenes that have survived. The first version was much more political, painted during the Unification struggle and the ouster of the Pope from Rome which occurred while Heade was in Italy; this version was done after the suppression of the revolt and the Pope’s return, thus the presence of the cross, his name, the Cardinal’s cap, and the removal of political graffiti and broadsides from the wall, the change from a Liberty cap to a sailor’s cap on the boy on the right, the papers being offered changed from revolutionary tracts to ‘Roma’. SIZE: 29-1/4″ x 24-1/2”. Overall: 35-1/2″ x 31″ PROVENANCE: Thomaston Place Auctions Aug. 2008; A private Maine/Texas collection. CONDITION: Very good, lined on new stretcher, some restoration with inpainting 50012-13 (200,000-400,000) – Lot 1081

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1082

ATTRIBUTED TO HENRY ERNEST SCHNAKENBERG (American, 1892-1970) STROLLING THE SIDEWALK BETWEEN CENTRAL PARK & 5TH AVE.

Unstretched oil on canvas Unsigned Housed in a partial gilt gesso decorated frame with mat behind glass (canvas appears to be sandwiched between glass & foamboard) SIZE: Sight: 18-1/2″ x 14-1/2″. Overall: 26″ x 22″ CONDITION: Very good, not examined out of frame, bottom right with 2-1/2″ visible tear 50068-17 (2,500-3,500) – Lot 1082

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1083

JOHANN BERTHELSEN (American, 1883-1972) HORSE DRAWN SLEIGH IN A WINTRY LANDSCAPE.

Oil on canvas Housed in a partial gilt gesso decorated framew ith linen and gilt liner Signed lower right “Johann Berthelsen” SIZE: 16″ x 20″. Overall 24″ x 28″ CONDITION: Very good, 50000-4 (2,000-4,000) – Lot 1083

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1084

EUGENE MORLEY (American, 1909-1953) “HIGH WORKS”.

Oil on canvas Housed in a contemporary giltwood frame Signed and dated lower left “E. Morley 1935”, signed, dated and titled on the reverse “Eugene Morley 1935/High Works” SIZE: 30-1/2″ x 35″. Overall: 35″ x 40″ PROVENANCE: Freemans, December 5, 2004, Lot 120 (sold as “Mining Town”) CONDITION: Overall good, lined and restored condition 49782-1 (4,000-6,000) – Lot 1084

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1085

GEORGE GARDNER SYMONS (American, 1863-1930) THE STONE MILL IN WINTER.

Oil on board Housed in a giltwood frame Signed lower left “Gardner Symons”, inscribed on verso “Irene Trevekkow(?), Bronxville NY #23″ SIZE: 21-3/4″ x 17-1/2”. Overall 29-1/4″ x 25-1/2″ CONDITION: Very good, with scattered retouch 49340-1 (6,000-9,000) – Lot 1085

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1086

WALTER EMERSON BAUM (American, 1884-1956) “CITY HOTEL”.

Oil on Masonite Housed in a modern giltwood frame Signed lower right “W.E. Baum ’49” also having on verso two exhibition labels, one from “The Ohio Valley Oil And Water Color Show, 1951”, the other “American Water Color Society, 1950″, written on verso is a list of four locations that it was exhibited including Pennsylvania Academy of Fine Arts. SIZE: 24″ h x 30″ w. Overall 31-1/2″ h x 37-1/2” w. PROVENANCE: Property from the collection of Robert Dickerman, New York, NY. CONDITION: Very good. 49874-1 (5,000-7,000) – Lot 1086

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1087

WALTER EMERSON BAUM (American, 1884-1956) “POINT PLEASANT”.

Oil on canvas Housed in carved and painted wood frame Signed lower right “Baum”, inscribed on the reverse “Blanche Wisler Hunsberger/Walt Emerson Baum, Dec. 4, 1941” and date “1940” SIZE: 25″ x 30″. Overall: 29-3/4″ x 34-3/4″ PROVENANCE: Blanche Wisler Hunsberger, Pennsylavania; by descent to current owners CONDITION: Very good with minor surface dirt. 49886-1 (4,000-6,000) – Lot 1087

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1088

WALTER EMERSON BAUM (American, 1884-1956) “BRANCH CREEK, BERGY, PA”.

Oil on light cardboard Housed in a modern carved gilt wood frame Signed lower right “Baum” SIZE: 7-1/2″ x 6″. Overall: 14-1/2″ x 12-1/2″ CONDITION: Very good 50089-4 (800-1,200) – Lot 1088

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1089

WALTER EMERSON BAUM (American, 1884-1956) RIVER LANDSCAPE IN WINTER.

Oil on board Housed in a giltwood frame Signed lower right “W.E. Baum” SIZE: 4″ x 6″. Overall 5-1/8″ x 7″. PROVENANCE: Blanche Wisler Hunsberger, Pennsylvania; by descent to current owner CONDITION: Very good, with minor varnish discoloration 49886-3 (2,000-4,000) – Lot 1089

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1090

WALTER EMERSON BAUM (American, 1884-1956) THE YELLOW BRIDGE.

Oil on board Housed in a giltwood frame Signed lower left “W.E. Baum” SIZE: 4″ x 6″. Overall: 5-1/8″ x 7″ PROVENANCE: Blanche Wisler Hunsberger, Pennsylvania; by descent to current owner CONDITION: Very good, with surface dirt lower right 49886-2 (2,000-4,000) – Lot 1090

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1091

GEORGE CARPENTER (American, 1928-2006) “PERSIMMON BARNS ON SNOWY RIVER”.

Oil on board Housed in a contemporary giltwood frame Signature incised in paint lower left “George Carpenter” SIZE: 14-3/4″ x 18-1/2″. Overall: 22″ x 26″ CONDITION: Excellent 49972-18 (1,000-2,000) – Lot 1091

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1092

WILLIAM M HART (American, 1823-1894) ROCKY HILLSIDE WITH HILL BEYOND.

Oil on canvas Housed in a period gilt gesso decorated frame with gilt liner Signed lower right “Wm Hart” SIZE: 11-1/2″ x 19″. Overall: 17″ x 24-1/2″. CONDITION: Very good with minor touch up 50068-8 (4,000-5,000) – Lot 1092

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1093

WILLIAM M. HART (American, 1823-1894) LANDSCAPE WITH COWS.

Oil on board Housed in an ornate giltwood frame Signed lower right “Wm Hart” SIZE: 8-1/2″ x 13″. Overall: 15-1/2″ x 20″ CONDITION: Very good, craquelure arrested with varnish, touch up in shrinkage cracks lower right and in sky 49919-4 (1,500-2,500) – Lot 1093

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1094

JAMES BREVOORT (American, 1832-1918) COASTAL SCENE WITH SAILBOATS.

Oil on canvas Housed in its original gesso decorated gilt frame with minor losses Unsigned front, identified on stretcher and dated indistinctly Note: Work is very reminiscent of A.T. Bricher subject matter SIZE: 18-1/2″ x 39-1/2″. 27″ x 48″ (overall) CONDITION: 3 patches on verso, in-painting, bottom edge with roughness and some flaking on bottom 3″ 50064-6 (3,000-5,000) – Lot 1094

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1095

WILLIAM CHARLES FRERICHS (American, 1829-1905) SOUTHERN LANDSCAPE WITH HILLS AND LAKE.

Oil on canvas Housed in a period carved giltwood frame Signed middle right “W Frerichs” SIZE: 22″ X 36″. Overall: 31-1/2″ x 45-1/2″ CONDITION: Overall good condition, with minor varnish discoloration and minimal retouch 49638-1 (6,000-8,000) – Lot 1095

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1096

EDMUND DARCH LEWIS (American, 1835-1910) PANORAMIC LANDSCAPE WITH FARMS, RIVER, COWS & MOUNTAINS.

Oil on canvas Housed in a gilt bead decorated frame Signed lower right “Edmund D Lewis 1872″ SIZE: 28″ x 50”. Overall: 34″ x 56-1/2″ CONDITION: Lined, restored with inpainting, good 50065-9 (6,000-8,000) – Lot 1096

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1097

D.A. FISHER (American, 1867-1940) CONWAY MEADOWS, 1886, WHITE MOUNTAIN SCHOOL.

Oil on canvas laid down on Masonite Housed in a period giltwood frame Signed with initials and dated indistinctly lower left “D.A.F ’86” SIZE: 22″ x 36″. Overall: 33″ x 47″ CONDITION: Good, restored condition. Canvas has been laid down on Masonite, small loss lower center, giltwood frame has been restored and has minor losses 49932-4 (2,000-4,000) – Lot 1097

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1098

WILLIAM BRUCE (American, 1861-1911) LANDSCAPE WITH LAKE AND SHEEP.

Oil on canvas Housed in its original gilt wood frame with gilt liner Signed lower left “W. Bruce 1904″ SIZE: 18″ x 30. Overall 23″ x 35” CONDITION: Very good, some scattered re-touch 50035-1 (2,000-4,000) – Lot 1098

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1099

ROBERT VAN BOSKERCK (American, 1855-1932) PANORAMIC SUMMER LANDSCAPE.

Oil on canvas Housed in a modern gilt wood frame Signed lower left “R W Van Boskerck” SIZE: 20″ x 30″. Overall: 23-1/2″ x 33-1/2″ CONDITION: 1 patch to verso, restored with in-painting, otherwise very good 50065-2 (3,000-5,000) – Lot 1099

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1100

WILLIAM HENRY HOWE (American, 1844-1929) COWS IN PASTURE.

Oil on canvas Unframed Signed lower right “Howe” SIZE: 13-1/4″ x 19-1/4″ CONDITION: Overall good restored condition. Canvas has been lined and re-stretched,minor touch up in grassy areas 49903-1 (1,500-2,500) – Lot 1100

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1101

WILLIAM HENRY HOWE (American, 1844 – 1929) COWS GRAZING UNDER LOW SUN.

Oil on canvas Housed in its original gilt gesso decorated frame (with losses & loss to bottom liner) Signed lower right “William H. Howe 87″ SIZE: 24″ x 32-1/2″ Overall: 27-3/4″ x 48-1/2” CONDITION: Surface dirt, discolored varnish, paint losses at bottom frame edge 46509-4 (1,000-2,000) – Lot 1101

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1102

HAL ROBINSON (American, 1875-1933) AFTERNOON LANDSCAPE WITH BARNS & COWS.

Oil on canvas Housed in its wonderful original gilt frame with gilt liners Signed lower left “Hal Robinson” SIZE: 15″ x 28-1/4″. Overall: 25-1/2″ x 38-1/2″ CONDITION: Very good with some touch up 50068-5 (3,000-5,000) – Lot 1102

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1103

JOSEPH MORVILLER (American/French, 1800-1870) HARVESTING FROM THE RIVER.

Oil on canvas Housed in a magnificent gesso decorated gilt frame with gilt liner (re-gilt) Signed lower right “J Morviller” A nice Hudson River School style composition showing a man with hand scythe filling a boat and a man & woman with a fishing net on a path Joseph Morviller, born in Paris, was a landscape painter & lithographer. He studied fresco painting in England and France. he came to Boston, Massachusetts in 1852, painting his characteristic picturesque winter landscapes with genre elements. His images were published as chromo-lithographs by the Boston art-print publisher, Louis Prang. SIZE: 26″ x 36″. Overall: 36-1/4 “x 46-1/4” CONDITION: Wax lined, restored with inpainting, very good 50065-1 (6,000-8,000) – Lot 1103

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1104

HARRY ROSELAND (American, 1866-1950) “DANCE OF THE AUTUMN LEAVES”.

Oil on board Housed in a giltwood frame Signed lower right “Harry Roseland”, titled on a Salmagundi Club label affixed to verso SIZE: 12″ x 16″. Overall: 14-1/2″ x 18-3/4″ CONDITION: Very good 49832-1 (8,000-12,000) – Lot 1104

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1105

HARRY ROSELAND (American, 1866-1950) “THE MAGIC WATER”.

Oil on canvas Housed in original carved giltwood frame with presentation plaque Signed lower left “Harry.Roseland” SIZE: 20″ x 30″. Overall: 29-1/2″ x 39-1/2″ PROVENANCE: Prominent Newport, Rhode Island Collection CONDITION: Very good with discolored varnish, two small pinholes, and small loss to lower right 49872-2 (5,000-7,000) – Lot 1105

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1106
Revised: 1/14/2016

Please Note: JOHN SINGER SARGENT COMPLETE PAINTINGS; ORMOND/KILMURRAY VOLUME IV:, Page 412
#788 Donkeys In A Moroccan landscape (recto) and Three Boats (verso)

Violet Sargent (Mrs. Frances Ormond), 1925; Her son F. Guillaume Ormond, 1955; His heirs, 1971; Coe Kerr Gallery, New York, 1989; Mr. and Mrs. Harry Spiro; Private collection

Exhibitions: New York, Coe Kerr Gallery, American Impressionism, 1989 19 May-23 June 1989, No.37, Ill. Cat. N.P. (color) as “Donkeys In The Desert With Squatting Figure”

Literature: Mount 1955 p444 (K8034) dated 1880; 1957 Ed., p354 (K8034); 1969 Ed., p461 (K8034); As “Three Donkeys In A Desert With Squatting Figure”

JOHN SINGER SARGENT (American, 1856-1926) “DONKEYS IN A DESERT, MOROCCO 1880”.

Oil on wood panel Housed in a fine carved & gilt wood frame Unsigned Verso depicting a study of three Venetian gondolas Reference: Sargent Catalog Raisonne, ‘Figures and Landscapes, 1874-1882’, page 298 SIZE: 10″ x 13-1/4″. Overall: 18″ x 22″ PROVENANCE: Thomaston Auction Galleries, Aug. 2009; A private Maine/Texas collection CONDITION: Very good 50012-12 (150,000-250,000) – Lot 1106

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1107

CHARLES P GRUPPE (American, 1860-1940) “PASTURE IN DUMA, HOLLAND”.

Oil on canvas Housed in a gilt wood frame Signed lower left “Chs. P. Gruppe” SIZE: 14″ x 20″. Overall: 21-1/2″ x 27-1/2″ CONDITION: Good restored condition, lined, several small areas of retouch in sky, 2 inch restoration upper right in trees, minor scattered retouch on edges. 1055-1 (4,000-6,000) – Lot 1107

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1108

GEORGE LORING BROWN (American, 1814-1889) “VIEW NEAR ROME”.

Oil on canvas Housed in a thin gilt frame Signed center bottom “G L Brown, Rome” Inscribed on verso with title, artist, & date “1855” SIZE: 33″ x 54″. Overall: 33-3/4″ x 54-3/4″ CONDITION: Craquelure with some touch up, good 50065-4 (10,000-15,000) – Lot 1108

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1109

HERMANN HERZOG (American/German, 1832-1932) HARVESTING THE WHEAT WITH MOUNTAIN BACKDROP.

Oil on canvas Housed in period gold gesso decorated frame Signed lower right “H Herzog” SIZE: 15″ x 21-1/4″. Overall: 23-1/2″ x 30-1/2″ CONDITION: Lined with in-painting, very good 50065-5 (5,000-8,000) – Lot 1109

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1110

WILLIAM LAMB PICKNELL (American, 1853-1897) WOMAN TENDING HER GARDEN, BRITTANY.

Oil on canvas Housed in a period carved giltwood frame Signed lower right “Wm. L. Picknell” SIZE: 17″ x 24″. Overall: 24-14″ x 32″ CONDITION: Very good 50004-2 (5,000-8,000) – Lot 1110

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1111

ELMER BOYD SMITH (American, 1860-1943) “Springtime in Brittany, France”.

Oil on canvas laid down on Masonite Housed in a carved giltwood frame with linen liner Signed, dated and inscribed lower left “-E. Boyd Smith- Auvers sur Oise-1894-“, stamped on reverse “E. Boyd Smith Estate”, inscribed on reverse with title and date “1894” and bearing label inscribed “Auvers sur Oise-1894″ SIZE: 19″ x 15”. Overall: 23″ x 19-1/2″ CONDITION: Very good 50008-1 (2,500-3,500) – Lot 1111

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1112

SAMUEL COLMAN (American, 1832-1920) “SPAIN”, 1861.

Oil on canvas Housed in a carved giltwood frame Note affixed to reverse states “Noted by artist on reverse side ‘Spain’ Paintd by Samuel Colman 1861”, a Certificate of Provenance from the Shattuck Collection affixed to reverse is signed and dated “Katherine S. Emigh, 8-1-79″ SIZE: 11-1/4″ x 15-1/4”. 18″ x 22″ PROVENANCE: Estate of Marian Colman Shattuck, sister of the artist; by descent to her granddaughter, Katherine S. Emigh CONDITION: Very good, wax lined, with minor surface scratch upper left and small indent with minor loss lower right in tree (above wall) 49919-3 (2,000-4,000) – Lot 1112

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1113

JULES PAGES (American, 1867-1946) THE OLD THATCHED ROOF, BRITTANY.

Oil on canvas Housed in a modern gesso decorated gilt frame with gilt & linen liner Signed lower right SIZE: 18″ x 24″. Overall: 25″ x 31″ CONDITION: Very good 50089-1 (2,000-4,000) – Lot 1113

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1114

HENRY NAPPENBACH (American, 1862-1931) EUROPEAN STREET SCENE.

Oil on canvas laid down on panel Housed in a period ornately carved gilt wood frame Signed and dated lower right “Henry Nappen 1895″ SIZE: 22″ x 26-1/2”. Overall: 34″ x 38″ CONDITION: Surface grime, scattered retouch, otherwise very good 49117-4 (1,200-1,800) – Lot 1114

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1115
Revised: 1/8/2016

IMPORTANT NOTE: The inscription on the verso corresponds to the entry on page 421 of the Hans Hofmann Catalog Raisonne of Paintings Volume II indicating that its title is Botanic Garden and that it’s HH Catalog No. is 391-1948

HANS HOFMANN (American, 1880-1966) ABSTRACT IN COLORS.

Oil on artist cardboard mounted to wood stretcher Housed in a gilt wood frame Signed lower right “Hans Hofmann 42” On verso is an old label bearing “Catalog No. 391-1948/Botanic Garden Oil/on Cardboard 22″ x 30″”. The same is written in pencil along the top of the stretcher and back of board. The back has been painted white and inscribed “To Dave Passell/Our Love/Hans & Renate” SIZE: 22″ x 30″. Overall: 23-1/4″ x 31-1/4″ PROVENANCE: Gifted from the artist & his wife to our consignor CONDITION: Very good with surface dirt. The painting surface has thick impasto (1/4″ to 1/2″ high in spots) and a few small areas appear to have missing impasto (some were probably in the making) 50036-1 (100,000-150,000) – Lot 1115

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1116
Revised: 1/14/2016

Please Note: Great News! Unsigned front but on verso: William Sommer Studio Stamp, Artist’s title in pencil “Pink Spring” and Artist’s initials in pencil “W.S. 271”.

WILLIAM SOMMER (American, 1867-1949) THE RED BRIDGE AND LANDSCAPE.

Watercolor and ink on paper Housed in green and white painted wood frame with white mat, verso of frame retaining a Cleveland Museum of Art “William Sommer Memorial Exhibition 1950″ label Unsigned SIZE: 11-3/4″ x 16″. Overall: 20-1/4″ x 24-3/4”. CONDITION: Light toning, otherwise very good. 50064-2 (4,000-6,000) – Lot 1116

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1117

WILLIAM SOMMER (American, 1867-1949) HOUSE WITH TREES.

Watercolor and ink on paper Housed in white washed wood frame with linen mat having gold edge, behind glass Signed lower left “WM Sommer” SIZE: 10-1/4″ x 14-1/4″ (sight). 19″ x 22-1/2″ (overall) CONDITION: Some light toning, otherwise very good, not examined out of frame 50064-3 (2,000-3,000) – Lot 1117

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1117A

SPECIAL ST. JUDE CHILDREN’S HOSPITAL LOT.

This lot consists of twelve past Julia auction catalogs, together with their prices realized list. These catalogs serve as a valuable reference source. We regularly sell our past auction catalogs to collectors and dealers alike for that purpose. Please also note: The entire proceeds of this lot (to include the buyer’s premium), shall be donated to the St. Jude Children’s Hospital. St. Jude’s is one of the finest hospitals in North America today for the research and care of children afflicted with cancer. We hope that you will consider competing on this lot, we consider it to be an extremely worthwhile cause and we have dedicated ourselves to include similar lots in every single one of our auctions, the proceeds of which will be donated to St. Jude’s. Thank you for your participation. CONDITION: Very good to excellent. 45568-1 (300-500) – Lot 1117A

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1118

MAURICE FREEDMAN (American, 1904-1985) “SUNSET BAY”.

Oil on canvasboard Housed in a molded wood frame Signed lower right “Maurice Freedman, 57” Titled, signed & dated on verso of board. Also retaining two labels “Kodner Galleries St. Louis, MO” and “Greenhut Galleries, Portland, ME” SIZE: 16″ x 20″. Overall: 21-1/2″ x 25-1/2″ CONDITION: Very good 50000-6 (6,000-9,000) – Lot 1118

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1119

MARGUERITE ZORACH (American, ) “WATERFALL”.

Oil on canvas Housed in a painted red wood frame Signed lower left “Marguerite Zorach” Attached to foam back on verso are original labels include Kraushaar Galleries, New York SIZE: 18″ x 15″. Overall: 24-1/2″ x 21-1/4″ CONDITION: Very good 50000-2 (8,000-12,000) – Lot 1119

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1120

MARGUERITE ZORACH (American, 1887-1968) STANDING NUDE FIGURE.

Charcoal and sanguine on paper Housed in a contemporary giltwood frame, matted under glass Signed lower right “M. Zorach” SIZE: Sight: 16-1/2″ x 10-1/2″. Overall: 24-1/4″ x 19-1/4″ CONDITION: Very good overall condition, with crease lower left corner, not examined out of frame. 50023-16 (1,000-2,000) – Lot 1120

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1121

ATTRIBUTED TO OLGA COSTA (Mexican/American, 1913-1993) MOUNTAINOUS LANDSCAPE WITH DESERT AND TREES.

Oil on board Housed in a wood frame with linen liner Signed lower left “Costa” SIZE: 15-3/4″ x 19-3/4″. Overall: 21-1/4″ x 26″ CONDITION: Very good condition. 50023-2 (1,000-2,000) – Lot 1121

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1122

GEORGE CONSTANTINE (Greek/American, 20th Century) GLOUCESTER SCENES #27.

Four pastels on paper Two housed in contemporary giltwood frames 1 & 2) Two framed works unsigned, with Boris Mirski Gallery labels on the reverse 3 & 4) Two unframed works, one signed lower left “Constantine” and one signed lower right “Constantine” SIZE: 1 & 2) 20-1/2″ X 15″. 3 & 4)17-1/2″ x 24″. Overall size of largest frame: 24″ x 29″. CONDITION: 1 & 2) The two framed works are in very good condition, not examined out of frames. 3 & 4) The two unframed works have tears in each. 49990-3 (600-800) – Lot 1122

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1123
Revised: 1/8/2016

IMPORTANT NOTE: This example was deaccessioned from the Crocker Art Museum in Sacramento

ROBERT KULICKE (American, 1924-2007) PEAR AND APPLE ON A GREY SURFACE.

Essence of oil on prepared sandpaper Housed in a natural wood frame with white mat Signed center bottom “Kulicke” SIZE: 4-1/4″ x 5-1/4″. Overall 11-3/4″ x 12-3/4″ CONDITION: Bottom right corner has diagonal cracks and one crack in upper left corner, otherwise very good 50000-5 (2,000-4,000) – Lot 1123

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1124

WALT KUHN (American, 1877-1949) “BLUE ACROBAT”.

Gouache and ink on paper Housed in a giltwood frame and matted under glass Signed and dated lower left “Walt Kuhn 1929” Literature: “Selections from the Collection of Hirschl & Adler Galleries, Vol VIII”, New York, 1988-67, #30 (catalogue included with this lot) SIZE: Sight: 12″ x 8-1/2″. Overall: 20-3/4″ x 17-1/2″ CONDITION: Very good, not examined out of frame 50000-1 (5,000-10,000) – Lot 1124

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1125

BERNARD CHAET (AMERICAN, 1924 – 2012) “IN MEMORIUM”.

Oil on canvas Housed in simple black wood frame Signed lower right “Chaet”, also signed on verso and dated Oct 1945, also retaining a title and artist label SIZE: 45″ x 40″. OVERALL: 46-1/2″ x 41-1/2″ CONDITION: 3″ tear in center, surface dirt, otherwise good. 49990-6 (3,000-5,000) – Lot 1125

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1126

FARIS MCREYNOLDS (American, 1977) ABSTRACT WITH FIGURES.

Oil on canvas Housed in a simple silver gilt shadowbox type frame Signed on verso “Faris” SIZE: 52″ x 48″. Overall: 54″ x 50″ CONDITION: Very good 50068-11 (4,000-6,000) – Lot 1126

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1127

UNSIGNED (20th/21st Century) STAR LANDSCAPE.

Watercolor/ gouache on paper Unsigned Housed in a modern white frame with white mat behind glass (stamped on verso “PSG Framing, Boston”) SIZE: Sight 34-1/2″ x 34-1/2″. Overall 43-3/4″ x 44″ CONDITION: Very good to excellent 49818-27 (3,000-4,000) – Lot 1127

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1128

HAROLD EUGENE EDGERTON (American, 1903-1990) “BULLET THROUGH BANANA, 1964” AND “CRANBERRY JUICE INTO MILK, 1960”.

Dye transfer photographs Housed in modern black metal frames with white mats Original paperwork on verso indicates the photographer signed which may be on the back of photograph or under mat SIZE: 1) Sight 14″ x 16″. Overall 20-1/4″ x 24-1/4″. 2) Sight 15-1/2″ x 13-1/2″. Overall 24″ x 20″ CONDITION: Very good 49955-1 (1,500-2,000) – Lot 1128

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1129

LOUIS L BETTS (American, 1873-1961) NUDE IN LANDSCAPE.

Oil on canvas Housed in a fine old wide gesso decorated gilt frame with gilt liners Signed upper right “Louis Betts” SIZE: 40″ x 30″. Overall: 51-1/2″ x 41″ CONDITION: Very good, lined with rigid support, restored with inpainting 50068-2 (6,000-8,000) – Lot 1129

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1130

BERNARD KARFIOL (American, 1886-1952) “NUDE ON RED COUCH”.

Oil on canvas Housed in its original wide carved gray painted wood frame with white wood liner Attached to the stretcher is a Downtown Gallery NY exhibition label with title and artist Signed lower left “B Karfiol NA” NOTE: A very similar painting is titled “Hilda 1929” and is in the collection of the Whitney Museum of American Art and is illustrated in their American Artist Series “Bernard Karfiol” by Jean Slusser, 1931. SIZE: 30″ x 40″. Overall 40″ x 50″ CONDITION: Very good, with one small patch to verso with some inpainting 1012-1 (2,500-3,500) – Lot 1130

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1131

JOHN WHORF (American, 1903-1959) RECLINING NUDE.

Watercolor Housed in a contemporary giltwood frame Signed lower right “John Whorf” SIZE: 14-1/2″ x 21″. Overall: 23-1/4″ x 29-1/4″ CONDITION: Very good condition, not examined out of frame 50023-1 (2,000-4,000) – Lot 1131

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1132

JOHN GRABACH (American, 1886-1981) “ARTIST AND MODEL”.

Oil on canvas Housed in a carved regilt frame Signed lower right “John Grabach ANA” SIZE: 16″ x 20″ CONDITION: Some inpainting with uneven varnish layer, good 49727-1 (1,500-2,500) – Lot 1132

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1133

HERMANN MURPHY (American, 1867-1945) A VASE OF ROSES.

Oil on canvas Housed in a fine gesso decorated gilt frame with linen liner Signed lower left “H Dudley Murphy” SIZE: 18″ x 14″. Overall: 25″ x 21″ CONDITION: Very good 50065-3 (6,000-8,000) – Lot 1133

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1134

EDWARD CHALMERS LEAVITT (American, 1842-1904) STILL LIFE WITH ORANGES AND GRAPES.

Oil on canvas Housed in a period carved giltwood frame Signed and dated lower left “EJ Leavitt 1876”, inscribed and dated on verso canvas “E.J. Leavitt. Pnr/1876″ SIZE: 24″ x 18”. Overall: 30-1/2″ x 24″ CONDITION: Very good, with minor 1″ area of in-paint upper center in background, minor craquelure 50047-3 (2,000-4,000) – Lot 1134

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1135

JAMES G. TYLER (American, 1855-1931) SEASCAPE.

Oil on canvas Housed in a carved giltwood frame Signed lower left “James G. Tyler” SIZE: 18″ x 24″. Overall: 26″ x 31-1/2″ CONDITION: Signature possibly enhanced, craquelure, surface dirt 49739-9 (2,000-3,000) – Lot 1135

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1136

JAMES HAMILTON (American, 1819-1878) COASTAL SHIPPING UNDER A SUNSET SKY.

Oil on canvas Housed in an antique carved wood frame with finish losses Signed lower right “J Hamilton” Attached to back stretcher is a Brooklyn Museum loan tag SIZE: 20″ x 30″. Overall: 25″ x 35″ CONDITION: Wax & canvas lining, overall craquelure with some inpainting 50068-4 (3,000-5,000) – Lot 1136

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1137

EDWIN FLETCHER (English, 1857-1945) SHIPS IN HARBOR AT SUNRISE.

Oil on canvas Housed in a period giltwood frame Signed lower left “E. Fletcher” SIZE: 16″ x 24″. Overall: 24-1/2″ x 32″ PROVENANCE: Estate of Siro R. Toffolon of Old Lyme, CT. CONDITION: Good, with craquelure, discolored varnish, stretcher marks and restoration in sky 49476-58 (3,000-5,000) – Lot 1137

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1138

JAMES AUGUSTUS SUYDAM (American, 1819-1865) COASTAL VIEW AT SUNSET.

Oil on panel. Housed in a period black frame Signed and dated lower right “J.A. Suydam 1855″ SIZE: 6″ x 16”. Overall: 8-1/4″ x 18″ CONDITION: Very good, with minor discolored varnish 50047-2 (5,000-8,000) – Lot 1138

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1139

JOHN PRENTISS BENSON (American, 1865-1947) GALLEON AT SEA.

Oil on canvas Housed in a period gilt carved wood frame Signed and dated lower left “John P. Benson 1923”, stenciled on verso “John P. Benson 1923/New York” SIZE: 30″ x 36″. Overall: 33-1/2″ x 39-1/2″ CONDITION: Very good 50043-1 (2,500-3,500) – Lot 1139

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1140

RAYMOND P FRASER (American, 20th Century) CLIPPER SHIP.

Oil on canvas Housed in a carved & white painted wood frame Signed & dated lower right “Robert P. Fraser 77″ SIZE: 24″ x 36”. Overall: 30-1/2″ x 42″ CONDITION: Restoration around the sales, surface grime, good 49744-1 (1,200-1,800) – Lot 1140

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1141

HOWARD A. TERPNING (American, 1927-) “SPRING CAME EARLY”.

Oil on canvas Housed in a barn board style frame with plaque Signed and dated lower left “Terpning 75”, title inscribed on verso with dedication “To Norm Flayderman With Best Regards Howard Terpning.” Howard A. Terpning is one of the best known and respected members of the Cowboy Artists of America, and is in fact known as “The Storyteller of the Native American”. Terpning was educated at the Chicago Academy of Fine Arts and the American Academy of Art. Early in his career, as a commercial artist , he produced cover art for publications including “Time”, “Newsweek” and “Field and Stream”. Other clients included TWA and the movie industry, where his posters advertised “The Guns of Navarone” and “Dr. Zhivago” among others. A commission from Winchester Firearms however marked a turning point for the artist. Reigniting an interest in the Old West, in the 1970’s Terpning he left behind his commercial work and moved to Arizona where he began his career as a Western painter. Within three years he was elected to the National Academy of Western Art and the Cowboy Artists of America, (the two major showcases of contemporary western art) since then he has earned many prestigious awards from that organization as well as many others. His book, “The Art of Howard Terpning” won the Wrangler “Outstanding Art Book” award from the National Cowboy Hall of Fame. SIZE: 22″ x 28″. Overall: 30″ x 36″ CONDITION: Very good 49992-1 (125,000-175,000) – Lot 1141

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1142

HOWARD A. TERPNING (American, 1927-) “SEARCHING THE MOUNTAINS”.

Oil in canvas Housed in a barn board style frame with plaque Signed and dated lower right “Terpning 75”, bears inscription on verso with title, artist signature and “Best Regards to my friend Norm Flayderman” SIZE: 25″ x 35″. Overall: 34-1/2″ x 44-1/2″ CONDITION: Very good 49992-2 (100,000-130,000) – Lot 1142

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1143

ALEXANDER FRANCIS LOEMANS (Dutch/American, act. 1816-1898) MOONLIT ENCAMPMENT WITH FIGURE and MORNING LIGHT AT THE WATERFALL.

Two oils on board Housed in matching black wood frames with incised decoration Signed lower right “A.F. Loemans” SIZE: 24″ x 9-1/2″ (each). Overall: 25-3/4″ x 11-1/4″ CONDITION: Both good with minor surface dirt, abrasions and minor losses 50047-1 (2,000-4,000) – Lot 1143

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1144

FRANK MONTAGUE MOORE (American, 1877-1967) “SPARKLING COVE”.

Oil on Masonite Housed in a carved and painted wood frame Signed lower right “F.M. Moore”, inscribed on verso “Sparkling Cove, 444K, F.M. Moore” SIZE: 24-1/2″ X 30″. Overall: 30-1/2″ x 35-1/2″ CONDITION: Very good, with minor varnish discoloration in sky and abrasion along top edge 49865-2 (2,000-4,000) – Lot 1144

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1145

MAURICE BRAUN (American, 1877-1941) LANDSCAPE WITH FARM.

Oil on canvas Housed in modern carved and gilt frame with wide gilt liner, with some finish losses Signed lower right “M. Braun” SIZE: 13″ x 16″. Overall: 20″ x 23″ CONDITION: Lined, craquelure and some touch-up 50065-7 (8,000-10,000) – Lot 1145

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1146

WH FORD (Mid-Late 20th century) INDIAN ENCAMPMENT BELOW THE ROCKIES.

Oil on canvas Housed in a modern gilt molded wood frame Signed lower left “W Ford” SIZE: 18″ x 40″. 21-3/4″ x 44″ (overall). CONDITION: Thin paint throughout with speckled canvas showing. 49922-62 (800-1,200) – Lot 1146

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1147

AFTER MARTIN JOHNSON HEADE (American, 1819-1904) HUMMINGBIRDS, POSSIBLY BY KEN PERENYI.

Oil on board Unframed Bears inscription lower left “M.J. Heade”, label fragment on verso “F.W. D…” for art supplier F.W. Devoe & Co. SIZE: 12-14″ x 17-3/4″ CONDITION: Good, with vertical cracking, chips to corners and abrasions. Minor touch up in upper left corner. 49702-1 (1,500-2,500) – Lot 1147

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1148

ATTRIBUTED TO GERARD THOMAS (Flemish, 1663-1720) THE SCULPTOR’S STUDIO.

Oil on canvas Unframed Unsigned, bears inscription on verso “Jan Brueghel” SIZE: 18″ x 24″ CONDITION: Canvas has been lined and restretched on new stretcher, craquelure throughout. Minor in-paint and touch up in several areas. 49968-2 (8,000-12,000) – Lot 1148

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1149

FLEMISH SCHOOL (16/17th Century) REVELERS AT THE VILLAGE FESTIVAL.

Oil on canvas Housed in a contemporary giltwood frame Unsigned SIZE: 15″ x 24-1/4″. Overall: 20″ x 30″ CONDITION: Overall good restored condition. Paint surface has craqeulure arrested by lining. Scattered in-paint throughout with a large patch of lower right corner replaced 49991-1 (7,000-9,000) – Lot 1149

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1150

ITALIAN SCHOOL (17th Century) ST. PAUL IN CONTEMPLATION.

Oil on canvas Housed in a contemporary giltwood frame Unsigned SIZE: 56″ x 43″. Overall: 51″ x 64″ CONDITION: As expected for its age. The Canvas is lined, there is spotty discolored varnish, craquelure, and canvas buckle with restoration throughout. 49991-6 (4,000-6,000) – Lot 1150

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1151

AFTER GIOVANNI BATTISTA SALVI, IL SASSOFERRATO (Italian, 1609-1685) “VERGINE ADDOLORATA/VIRGIN IN SORROW”.

Oil on canvas Housed in a 19th century giltwood frame with presentation plaque inscribed “Sassaferrato” Unsigned Note: Also known as “Our Lady of Sorrows”, the original painting by Sassaferrato is in the collection of the Uffizi Gallery, Florence. It has been copied often by various artists since it’s creation in the 17th century. SIZE: 20-3/4″ x 17″. Overall: 27″ x 23-1/2″ CONDITION: Good, restored condition. Canvas has been lined to arrest craquelure, horizontal line of cracking bottom third. In-paint in face and hands, varnish inconsistencies and surface dirt. 49991-5 (2,500-5,500) – Lot 1151

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1152

ITALIAN SCHOOL (18th/19th century) THE RESURRECTION OF CHRIST.

Oil on canvas Unframed. Unsigned, inscribed on stretcher illegibly Note: An engraving by French artist Pierre Drevet (1697-1739), in the Fogg Art Museum collection, has a similar composition to this one, noting the engraving was created after a painting by J. Andray. The ghostly figure sitting on the wall to the left of the canvas is replaced by an angel in the engraving. An image of the original painting by J. Andray or any other reference to it was not found. The skill of execution of the engraving far surpasses this painting, therefore, an assumption could be made that this work is likely also after the painting by J. Andray or possibly after the Drevet engraving. SIZE: 23″ x 13-1/4″ PROVENANCE: From the Marilyn Young Collection CONDITION: Good, craquelure, lined with 18th century hemp 49722-2 (2,000-3,000) – Lot 1152

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1153

CIRCLE OF LEONARDO COCCORANTE (Italian, 1680-1750) FIGURES IN A COASTAL LANDSCAPE WITH ARCH.

Oil on canvas/hemp Housed in a contemporary frame with linen liner Unsigned, bears “Wilhlem Knoch, Dortmund” label affixed to verso canvas with typed inscription “Abbatini, Guido Ubaldo, 1600-1656″ SIZE: 7″ x 14-1/2”. Overall:13″ x 20-1/2″ CONDITION: Overall good, with craquelure and reinforced canvas. Minor touch up. 49991-2 (3,000-5,000) – Lot 1153

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1154

NUVOLONE (Italian School, 17th/18th Century) THREE PUTTI BY A STREAM.

Oil on canvas Housed in a deeply recessed carved mahogany frame with gilt liner Signed lower left “Nuvolone” Note: Two 17th century Italian painters with the surname of Nuvolone include Giuseppe (1619-1703) and Carlos (1608-1665). Although these artists are known to have included putti in their works, there are no signatures to compare to. Further, each artist painted with heavy chiaroscuro and much darker foreboding atmospheric conditions. This whimsical painting was likely painted in the late Baroque period by a follower of Giuseppe. SIZE: 9-3/4″ x 7-1/2″. Overall: 17″ x 15″ CONDITION: Canvas has old lining with several patches on verso (light still comes through in places), paint surface has craquelure. Areas of in-paint and touch up throughout. 50023-12 (500-1,000) – Lot 1154

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1155

JOHANN BAPTIST LAMPI THE YOUNGER (Italian/Austrian, 1775-1837) PORTRAIT OF A GENTLEMAN.

Oil on canvas Housed in a replacement gilt frame with oval window Signed lower left “Lampi filius/pinxit 1809″ SIZE: 30″ x 24-1/2”. Overall: 34-1/2″ x 28-1/2″ PROVENANCE: George Bachelor, Miami, circa 1993; Thence by descent; A Florida Collection. Offered at Sotheby’s, 2015 CONDITION: Old lining, craquelure, with some inpainting 50045-1 (20,000-30,000) – Lot 1155

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1156

NEOPOLITAN SCHOOL (17th Century) ST. PETER IN PRAYER.

Oil on canvas Housed in a contemporary giltwood frame Unsigned Note: This is likely a fragment from a larger painting SIZE: 25″ x 21″. Overall: 30-1/4″ x 26-1/2″ CONDITION: Overall good condition for it’s age. Canvas is hemp and not lined, minor rippling of surface, paint surface is stable with no loss, however, minor cracquelure 49991-4 (800-1,200) – Lot 1156

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1157

MANNER OF CLAUDE LE LORRAIN (French, 1600-1682) FIGURES IN A MEDITERRANEAN PORT.

Oil on canvas Unframed Unsigned SIZE: 27″ x 43″ CONDITION: Good, restored condition. Very good quality with an extremely faint halo of a signature barely visible lower right in dark pigment along bottom “Lo…n.” Possible the signature was lost during previous restoration. Old 17/18th century canvas laid down on waxed canvas and re-stretched. Amount of restoration inconclusive, as both old and new restoration visible under blacklight. Discolored yellow varnish indicates not recently restored. 49968-1 (2,000-4,000) – Lot 1157

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1158
Revised: 1/14/2016

Please Note: Important Information. We have further information on the painting and subject. Circa 1796-1803. The boy, identified on the frame plaque as Master Honeywood, could be William Philip Honywood (1790-1831), son of soldier and Whig politician, William Honywood (1759-1818), who, like his son after him, served in parliament. They boy depicted wears a skeleton suit, high waisted trousers that button to a shirt, that was fashionable during the Regency period of 1790-1820. Boys wore these suits from the time of 6 years of age until 12, which corresponds to the age William Philip Honywood would have been when painted. Beechey was known to have painted members of the extended Honywood family, including “Captain Honywood” and “Filmer Honywood”. Other English artists known to have painted members of the Honywood family include Sir Joshua Reynolds and John Northcote.

SIR WILLIAM BEECHEY (British, 1753-1839) “PORTRAIT OF MASTER HONEYWOOD”.

Oil on canvas Housed in a period carved giltwood frame with presentation plaque Unsigned Note: Sir William Beechey was an English artist best known for portraits of the royal family and many famous and fashionable people of his time. He began his studies at the Royal Academy in 1772. On account of his success as a portraitist and the royal commissions he received, Beechey was granted the honour of knighthood and elected a full member of the Royal Academy in 1793. In the early part of his painting life Beechey specialised in small-scale full-length portraits, such as this young boy holding a bow and arrow in a landscape. A portrait of Master Honeywood’s father, Captain Honeywood, also painted by Beechey, was sold in 1900 at the Fishcof-Blakeslee Collection auction held in New York. SIZE: 24″ x 20″. Overall: 30″ x 25″ PROVENANCE: A Massachusetts Collection CONDITION: Minor craquelure, lined, areas of restoration 49872-3 (3,000-5,000) – Lot 1158

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1159

MANNER OF ROSA DE TIVOLI (German, 1655-1706) ITALIAN LANDSCAPE WITH A SHEPHERD PLAYING FLUTE NEAR A WATERFALL.

Oil on canvas Housed in a contemporary giltwood frame Unsigned Note: Rosa di Tivoli (The Rose of Tivoli) was the nickname given to the German Baroque painter Philipp Peter Roos after he became active painting in and around Tivoli and Rome about 1677 SIZE: 23″ x 32-1/2″. Overall: 28″ x 37-1/2″ CONDITION: Good, restored condition. Canvas has been lined, paint surface is dry and brittle, old restoration (in-paint) in several areas. 49991-7 (2,000-3,000) – Lot 1159

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1159A

BOLOGNESE SCHOOL (17th Century) MERCURY, ARGUS AND IO.

Oil on canvas/hemp Housed in a contemporary giltwood frame Unsigned Note: The story of Mercury and Argus is found in Ovid’s Metamorphoses and is part of the longer tale of Jupiter and Io, the beautiful young woman whom Jupiter seduced and then transformed into a white heifer in order to hide her from his jealous wife, Juno. When Juno discovered the deception, he sent Argus, her hundred-eyed watchman, to guard Io and prevent her from returning to her family. Jupiter then dispatched Mercury to kill Argus in order to free Io. SIZE: 54″ x 46″. Overall: 55″ x 63″ CONDITION: As expected for age. Canvas has been lined, losses along bottom, discolored varnish, craquelure and restoration throughout. 49991-3 (5,000-7,000) – Lot 1159A

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1160

PAUL CEZANNE (French, 1839-1906) “THE LARGE BATHERS”.

Lithograph in colors Housed in a giltwood frame Signed lower right in plate “P. Cezanne” Note: Published by Ambrose Vollard, Paris, c. 1896-98 (Venturi 1157), in an edition of 100. A wonderful history on this print can be found at www.tate.org.uk SIZE: Plate size: 16-1/4″ x 20-1/8″. Sheet size: 19″ x 24-1/2″. Overall: 26″ x 28-3/4″ PROVENANCE: Prominent Newport, Rhode Island Collection CONDITION: Very good, printed on MBM paper with watermark, minor fading, mat burn, small tear upper left edge of sheet 49872-4 (8,000-12,000) – Lot 1160

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1161

ATTRIBUTED TO EDVARD MUNCH (Norwegian, 1863-1944) “SOSTRENE”.

Bronze mounted to slate with plywood support Presented in a teak wood pedestal Signed and titled along the slate edge “Sostrene” and “E Munch” NOTE: The subject of this bronze work is thought to be a depiction of the Meissner sisters. The sisters were sitters for several of Munch’s prints and paintings, including; a color print titled “Sostrene Meissner 1907 – 1908” also an oil on canvas in the Bergen Art Museum circa 1907, an oil on canvas in the Munch Museum, Oslo, Norway, an oil on canvas of Olga Meissner, circa 1907 in the Hiroshima Museum of Art in Japan, and an oil on canvas and crayon titled “Weeping woman (Olga Meissner)” in the Munch Museum, Oslo, Norway. Each of these depict the sisters circa 1907 where it appears the depiction of the sisters in this bronze are of an older aged sisters. Very little is known about Edvard Munch’s sculpture, especially his bronze work. There has been very little research and academic study as little is known. Upon Munch’s death the contents of his studio and the collection of his works were given to the city of Oslo, Norway, where a Museum was founded to house the collection. Included were 100 paintings, 1500 watercolors and drawings, 18,000 prints and 6 sculptures, along with 92 sketch books and letters. History of the discovery: This sculpture was purchased at a small estate auction in New York. It purportedly had come from a New York estate. The bronze on its slate base was permanently affixed to the wood pedestal that currently holds it. The new owner decided to separate it from its base to build a more appropriate presentation, upon removing the bronze from its base where it had been epoxied strongly to the pedestal for what is thought to be at least 50 years. Upon separating the pieces the slate was found to have the signature and title etched on the side where it had been hidden from view ever since it had been glued into the pedestal. The new owner realized the potential significance of the title and signature, it is being offered with this history and attribution. SIZE: Bronze only 12-1/2″ h. Slate 3/4″ h x 24″ w x 11-1/2″ d. Pedestal 33-3/4″ h x 25-3/4″ w x 13-1/2″ d. Overall height 47″. CONDITION: Slate has been repaired having a plywood supporting reinforcement to bottom. Pedestal has cracks and some separation. Bronzes are pitted with casting flaws in the making with some rubs, having an all over spot verdigris patina. Bronzes have not been examined off slate. 49923-1 (30,000-60,000) – Lot 1161

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1162

VASILY VASILEVICH VERESHCHAGIN (Russian, 1842-1904) TOMB ENTRANCE.

Oil on canvas Unframed Unsigned, stamped on the reverse “VERESTCHAGIN COLLECTION/ASA/November 17th 1891” Note: Vereshchagin, son of a landowner father of noble birth, was a Russian artist best known for battle scenes. He began his art studies at the St. Petersburg Academy and later studied in Paris under Jean-Léon Gérôme. A journey in Syria and Palestine in 1884 inspired a series of Bible Land paintings that were subsequently sold by the American Art Galleries in New York in 1891. A painting listed as No. 32 “One of the Old Jewish Tombs near Jerusalem” is not illustrated, however, the description corresponds with this painting. (American Art Galleries, Vassili Verestchagin Collection Auction Catalogue, pg. 31). SIZE: 10-1/2″ x 13-1/2″ PROVENANCE: American Art Galleries, New York, Vassili Verestchagin Collection sale, November 17-18, 1891 CONDITION: Very good with discolored varnish 49868-1 (8,000-12,000) – Lot 1162

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1163

ATTRIBUTED TO SERGEI SOUDEIKINE (Russian/American, 1883-1946) SOLDIERS APPROACHING A MONK WATCHING OVER A FIGURE RECLINING UNDER A TREE.

Oil on board Housed under glass in a giltwood frame Signed lower left “Soudeikine” SIZE: 12″ x 9-1/8″. Overall: 18-1/2″ x 15-1/2″ CONDITION: Very good 50011-1 (2,000-4,000) – Lot 1163

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1164

ATTRIBUTED TO EVERT PIETERS (Netherlands, 1856-1932) FAMILY AT THE GATE.

Oil on canvas Housed in a wide gilt wood frame with gilt liner Unsigned SIZE: 36″ x 32″. Overall: 50″ x 46″ CONDITION: Three stabilizing patches on verso, 1-1/2″ tear in center, in need of some restoration 50064-5 (2,000-3,000) – Lot 1164

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1165

THOMAS EDWIN MOSTYN (American/United Kingdom, 1864-1930) “A MEDITERRANEAN GARDEN”.

Oil on canvas Housed in an antique carved wood frame with oval window Signed lower right “Schillay & Rehs Inc. New York” label on verso SIZE: Canvas: 28″ x 36″. Oval: 26″ x 32″ (sight); Overall: 35-1/2″ x 41-1/2″ CONDITION: Three chips in sky, craquelure, some inpainting 50088-1 (3,000-5,000) – Lot 1165

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1166

WILLIAM WATSON (Scottish, 1831-1921) HIGHLAND CATTLE AT RIVERS EDGE.

Oil on canvas Housed in a painted carved wood frame Signed and dated lower right “W. Watson 1909″ SIZE: 24″ x 36″. Overall: 30-1/2 ” x 43″ PROVENANCE: A Massachusetts Collection CONDITION: Very good with discolored varnish, surface grime and lined 49872-1 (3,000-5,000) – Lot 1166

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1167
Revised: 1/14/2016

Please Note: There is a small old tear at the very edge of the liner which was missed in cataloging.

PEDER MORK MONSTED (European, 1859-1941) THREE DEER IN WOODED & STREAM LANDSCAPE.

Oil on canvas Housed in an antique gesso decorated copper gilt frame Signed lower right “P Monstead 1900″ SIZE: 11-3/4″ x 17-3/4”. Overall: 23-1/4″ x 30″ CONDITION: Very good 50068-1 (10,000-15,000) – Lot 1167

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1168

VICTOR (WIKTOR) KORECKI (Russian, 1890-1980) SUMMER LANDSCAPE WITH MARSH, HAY & FLOWERS.

Oil on canvas Housed in its original gesso decorated gilt frame Signed lower right “Wiktor Korecki” Signed on verso of canvas “W Korecki” SIZE: 20″ x 24″. Overall: 27-1/2″ x 31-1/4″ CONDITION: Very good 50068-15 (1,500-2,500) – Lot 1168

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1169

FRIEDRICH KOKO-MICOLETSKY (Czech, 1887-1981) ALPINE SUNSET GLOW IN WINTER.

Oil on canvas Housed in a contemporary ebonized wood frame Signed lower right “F.A. Koko-Micoletsky” Note: A biographical note about the artist accompanies this lot. SIZE: 24″ x 26″. Overall: 29″ x 20-1/2″ PROVENANCE: The Stacy-Marks Art Gallery, Sussex, 1940 CONDITION: Very good, with minor loss upper right in mountainside 50004-3 (1,000-1,500) – Lot 1169

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1170

ANDREAS SCHELFHOUT (Netherlands, 1787-1870) ICE FISHING.

Oil on panel Housed in a period giltwood frame Signature and date carved into panel on reverse “A.SCHELFHOUT 1825” Inscription carved into panel: “Offer Aan Het Vaderland” SIZE: 11″ X 14-3/4″. Overall: 19″ x 23″ CONDITION: Very good, paint stable, restoration in sky 50023-3 (3,000-5,000) – Lot 1170

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1171

UNSIGNED (Continental School, 19th century) FISHERMAN’S CATCH.

Oil on canvas Housed in a 19th century gilt molded wood frame SIZE: 39-3/4″ x 66″. Overall: 43″ x 72-1/2″ CONDITION: Overall surface grime both sides, old yellow varnish, cracking lower left, several small holes, canvas in original condition (not lined) 49954-2 (1,200-1,800) – Lot 1171

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1172

ALFRED WEBER (Swiss, 1859-1936) “GREETING THE CARDINAL”.

Watercolor on paper Housed in a carved giltwood frame Signed lower right “A. Weber” SIZE: Sight size: 15″ x 20″. Overall: 23-3/4″ x 18-1/2″ PROVENANCE: Prominent Newport, Rhode Island Collection CONDITION: Very good, not examined out of frame 49872-5 (600-900) – Lot 1172

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1173

LUDWIG BLUME-SEIBERT (German/American, 1853-1929) THE VISITATION.

Oil on canvas Housed in a modern gilt wood frame Signed and dated indistinctly lower right “L. BLUME 18..” SIZE: 34″ x 43″. Overall: 44″ x 53″ CONDITION: Craquelure has been arrested by lining and new varnish, old and new restoration predominately along edges, with scattered retouch throughout 49087-5 (1,500-2,000) – Lot 1173

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1174

ADOLF MANFRED TRAUTSCHOLD (German, b. 1854) L’EMBARRAS DU CHOIX”.

Mixed Media on canvas Housed in a period giltwood frame Signed and dated lower left “Manfred Trautschold.1880”, bears label affixed to verso canvas inscribed “L’Embarras du choix, Manfred Trautschold, 18 S. Mark’s Crescent, Regard Park, London” SIZE: 12″ x 20″. Overall: 20-1/2″ x 28-1/4″ CONDITION: Good, with minor area of in-paint upper left corner. Craquelure in concentric circle, yellowed varnish. Frame has minor losses to molding. 49905-4 (2,000-3,000) – Lot 1174

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1175

MANNER OF ADOLPH SCHREYER (German, 1828-1899) ARABIAN HORSEMAN.

Oil on canvas Housed in a molded giltwood frame with presentation plaque Unsigned SIZE: 20″ x 16″. Overall: 23″ x 19″ CONDITION: Good, with several small areas of retouch and corresponding patches on verso (canvas not lined), minor craquelure 49888-11 (500-1,000) – Lot 1175

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1176

BARON ERNST VON MAYDELL (German, b. 1886) “AUTUMN!”.

Watercolor Housed in a modern silver painted wood frame Signed lower right “E.Maydell” SIZE: Sight size: 16″ x 13-1/2″. Overall: 24-3/4″ x 22″ CONDITION: Good, with mat burn along edges, toning of paper, not examined out of frame 49699-1 (800-1,200) – Lot 1176

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1177

DENYS GEORGE WELLS (English, 1881-1973) THREE STILL LIFES.

Including: 1) VENUS AND ATTENDANTS Oil on canvas housed in carved and paint decorated frame, under glass Signed lower right “Denys G. Wells” and titled on verso on a Royal Society of British Artists label affixed to frame. 2) STILL LIFE WITH STATUES Oil on canvas Housed in a modern giltwood frame Signed and dated lower right “Denys G. Wells. 31”, inscribed on label affixed to stretcher “…Deny G. Wells, 45 A. Kingston Rd, New Malden, Sussex” 3) MADAME DU BARRY Oil on Masonite Housed in a carved and paint decorated wood frame Signed and dated lower right “Denys G. Wells.69”, title redacted on verso and inscribed “Denys Wells VPRBA” SIZE: 1) 16″ x 20″. 2) 20″ x 24″ 3) 21-1/4″ x 25-3/4″. Overall size to: 26″ x 30″ CONDITION: 1) Good 2) Good, with minor surface grime and staining to verso canvas 3) Good 50004-4 (800-1,200) – Lot 1177

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1178

WILLIAM OLIVER THE YOUNGER (British, 1823-1901) BUST PORTRAIT OF A WOMAN WITH A ROSE.

Oil on canvas Housed in what appears to be its original gesso decorated gilt frame Signed lower left “W Oliver 1880″ Cooling Galleries LTD, London label on verso SIZE: 12″ x 9”. Overall: 17-1/2″ x 14-1/2″ CONDITION: Light craquelure in hair with minor inpainting, otherwise very good 50068-12 (2,000-3,000) – Lot 1178

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1179

HENRY J YEEND KING (United Kingdom, 1855-1924) “GYPSY CART ON A COUNTRY LANE”.

Oil on wood panel with cross-hatched wood cradle backing Housed in a fine gilt gesso decorated frame Signed lower right “Yeend King” “Schillay & Rehs, Inc New York” label on verso SIZE: 12″ x 16-1/2″. Overall: 17″ x 21-1/2″ CONDITION: Some touch up in sky, otherwise very good 50088-2 (1,500-2,500) – Lot 1179

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1180

GEZA VASTAGH (Hungarian, 1866-1919) LION AND LIONESS.

Oil on canvas Housed in its original gilt wood frame with major losses Unsigned SIZE: 10″ x 17″. Overall: 17-1/2″ x 24-1/2″ CONDITION: Surface dirt, some scrapes and flake losses, otherwise good 50064-4 (2,500-3,500) – Lot 1180

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1181

LOUIS VALTAT (French, 1869-1952) “DELASSEMENT”, 1929.

Oil on canvas Housed in a period carved gitlwood frame with linen liner Signed lower right “Louis Valtat”, inscribed on verso stretcher “F326, E113-9, X30” Literature: Valtat, Jean. “Louis Valtat, Catalgoue de L’oeuvre Peint, 1869-1952″, Tome I, Edicions Ides et Calendes Neuchatel, illustrated plate #2057 Note: Photocopies of page from catalogue raisonne included with this lot. SIZE: 13-3/4″ x 10-3/4”. Overall: 20-3/4″ x 18″ CONDITION: Very good overall condition. Paint stable, lined. 49919-2 (5,000-10,000) – Lot 1181

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1182

ATTRIBUTED TO THEODORE CHASSERIAU (French, 1819-1856) “TRIUMPH OF YOUTH”.

Oil on paper Housed in a molded giltwood frame Inscribed on the reverse “La vielle femme de la campagne/La triomphe de la jeunesse” NOTE: Mr. Jean-Baptiste Nouvon of Les Amis de Theodore Chasseriau in France has approved the attribution of this painting based on photographs. SIZE: 14″ x 11″. Overall: 20″ x 16″ CONDITION: Very good 49747-1 (2,000-4,000) – Lot 1182

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1183

VICTOR LAINE (French, 1830 – 1911) “TWO BOYS PLAYING CARDS”.

Oil on canvas Housed in an excellent carved wood frame with scrolled leaf decoration signed lower left “Victor Laine” SIZE: 32″ x 39″. Overall 39-1/2″ x 47″ CONDITION: Lined, restored with some inpainting 50091-1 (2,000-4,000) – Lot 1183

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1184

GEORGE DU MAURIER (French, 1834-1896) FOUR ORIGINAL ILLUSTRATIONS.

Ink on paper Unframed Each signed and dated with annotations. Including 1) “Mr. Punch in Paris”, c. 1889. 2) “Feline Amenities”, c. 1889. 3) “The Child of the Period”, c. 1887. 4) “Taking the Law in Ones Own Hands,” not dated SIZE: 1) 10″ x 12″ 2) 8″ x 10″ 3) 8-1/2″ x 6″ 4) 8-1/2″ x 7-3/4″ CONDITION: 1) Water stains along edges 2) Good 3) Good 4) Front mat is attached (with losses to mat), drawing good 49743-1 (1,200-1,500) – Lot 1184

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1185

ALFRED E. L. STEVENS (French, 1823-1906) A LA PLAGE.

Oil on canvas Housed in a carved giltwood frame with presentation plaque Signed lower right “A Stevens” SIZE: 13-1/4″ x 18″. Overall 17-3/4″ x 23″ CONDITION: Overall good condition, in-paint in sky and touch up in several spots 49919-1 (3,000-5,000) – Lot 1185

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1186

EMILE BLONDEL (French, 1893 – 1970) “LA MOISSON”.

Oil on canvas Housed in a contemporary frame signed lower right “E Blondel”, titled in pencil on the stretcher SIZE: 18″ x 21-1/2″. Overall: 25-1/2″ x 29″ CONDITION: Very good 49911-1 (3,000-5,000) – Lot 1186

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1187

FRANCOIS RIVOIRE (French, 1842-1919) “FLOWERS”.

Watercolor on paper Unframed Signed lower right “Rivoire”, also having a David Bendann’s Baltimore label and title label attached to verso from previous framing SIZE: 20″ x 26-3/4″ CONDITION: Left top corner has section that was detached and glued, not restored on front, otherwise very good 16397-154 (800-1,200) – Lot 1187

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1188

FRED MONEY (French, 1882-1956) PARK VIEW WITH FIGURES.

Oil on canvas Housed in a modern carved giltwood frame Signed lower left “Fred Money” SIZE: 22″ x 18″. Overall: 29-1/2″ x 25-1/2″ CONDITION: Lined, craquelure along bottom edge 49911-2 (3,000-5,000) – Lot 1188

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1189
Revised: 2/2/2016

Please Note: The title of this painting has changed to PAINTED IN THE MANNER OF PAUL EMILE PISSARO (French 1884-1972) TWO CHILDREN HARVESTING THE TREE WITH HAYSTACKS BESIDE. The estimate should be $800-$1,200.

PAUL EMILE PISSARO (French, 1884-1972) TWO CHILDREN HARVESTING THE TREE WITH HAYSTACKS BESIDE.

Oil on wood panel Housed in a partial gilt wood frame which appears to be original Signed lower left “Paul Emile Pissaro” Also a pencil title and date “1941” on verso SIZE: 13-1/2″ x 19-1/4″. Overall: 18″ x 24″ CONDITION: Very good 50068-6 (3,000-5,000) – Lot 1189

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1190

PIERRE JEANNIOT (French, 1848-1934) LADIES ARRANGING FLOWERS AROUND THE TABLE.

Oil on canvas Housed in a fine French style pierced fancy frame with linen and gold liner Signed lower left “Jeannoit 1901″ SIZE: 21-1/2″ h x 32″ w. Overall 31″ h x 42” w. CONDITION: Very good. 49727-2 (3,000-5,000) – Lot 1190

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1191

PAUL EMMANUEL PERAIRE (French, 1829-1893) WINTER STROLL ALONG THE SHORE UNDER MOONLIGHT.

Oil on canvas Housed in a replacement partial gilt wood frame Signed lower left “P. Peraire” SIZE: 15″ x 24″. Overall: 19-1/2″ x 28-1/2″ CONDITION: Very good with some inpainting and small restoration in sky 50068-7 (2,000-3,000) – Lot 1191

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1192

LUIS GRANER Y ARRUFI (Spanish/American, 1863-1929) OCEAN VIEW AT SUNSET WITH EUCALYPTUS TREE.

Oil on canvas Housed in a carved giltwood frame Signed and dated lower left “L. Graner 1924.” SIZE: 20″ x 30″. Overall: 24″ x 34″ CONDITION: Good, unrestored condition, with vertical craquelure 50048-1 (2,000-4,000) – Lot 1192

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1193

LUIS GRANER Y ARRUFI (Spanish/American, 1863-1929) MEADOW AT SUNSET.

Oil on canvas Housed in a carved giltwood frame Signed and dated lower left “L. Graner 1923.” SIZE: 28″ x 50″. Overall: 33-1/2″ x 55-3/4″ CONDITION: Good, unrestored condition with discolored varnish and minor surface abrasions along edges 50048-2 (1,000-2,000) – Lot 1193

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1194

ATTRIBUTED TO EDUARDO LEON GARRIDO (Spain/France, 1856 – 1949) PAIR OF GYPSY PORTRAITS.

Oil on canvas Housed in similar painted wood frames with gold bead decoration, one having a Alfredo Alborch, Sevilla to reverse No visible signature SIZE: 23″ x 16-1/2″ and 21-1/2″ x 16-3/4″ (actual). 32″ x 26″ and 30″ x 25″ (overall). CONDITION: Both un-restored with surface dirt and craquelure, 1 lined, both having some in-painting. 50064-1 (2,000-3,000) – Lot 1194

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1195

PAWEL STELLER (Polish, 1895-1974) EIGHT WORKS ON PAPER.

Including: 1) “Wisla” Watercolor Unframed Signed, dated and inscribed lower right “P.Steller / Wisla – 1961”, stamped illegibly with pencil notation on reverse. 2) One framed and four unframed woodcuts including: “Fishing port in Sopot” (1956), framed; “From Jablonowskie Mountain” (1938); “Gaździnka z Cieszyńskiego” (1936); “Senior shepherd (Baca) from Beskid Slaski” (1936); Gristmill (1958); Each signed and dated lower right and titled lower left; stamped “Preozydium Wojewodskiej Rady Harcdowel /Ladytkow/ Katowicacb” on verso; 3) Two unframed woodcuts in color: “Beskidy koło Żywca” (1951); and Houses by the Vistula River (1954); signed and dated lower right, titled lower left SIZE: 1) 11″ x 13-1/2″. 2) sizes to 13-1/2″ x 9-1/2″. 3) 8-3/4″ x 11″ PROVENANCE: Acquired directly from the artist CONDITION: 1) Good, taped to front mat, slightly faded 2) Minor discoloration on “Fishing port in Sopot” which is the only one that is framed 3) Good 49914-1 (1,200-1,500) – Lot 1195

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1196

ALOIS ARNEGGER (Austrian, 1879 – 1963) MEDITERRANEAN COASTAL VIEW.

Oil on canvas Housed in original carved gilt wood frame Signed lower right “A. Arnegger” SIZE: 22-3/4″ x 31″. Overall: 28-1/2″ x 36-1/2″ CONDITION: Very good 50037-1 (1,500-2,500) – Lot 1196

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1197

FERDINANDO SILVANI (Italian, 1823-1899) WOMEN AT THE PRODUCE MARKET.

Oil on board Housed in a fine partial gilt & flower incised decorated frame Signed lower right “F Silvani” SIZE: 11″ x 18″. Overall: 17″ x 24″ CONDITION: Some inpainting, very good 50068-14 (800-1,200) – Lot 1197

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1198

AUGUSTO CORELLI (Italian, 1853-1910) VIEW OF SORRENTO, ITALY.

Gouache on paper Housed in a black frame with gilt highlight under glass Signed lower right “Corelli” and inscribed lower left “Sorrento” SIZE: 10-3/4″ x 16″. Overall: 15-1/2″ x 21″ CONDITION: Very good condition, with minor discoloration along right edge and small area in water left edge 50021-3 (700-900) – Lot 1198

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1199

ATTRIBUTED TO CARL OLOF LARSSON (Swedish, 1853-1919) QUEEN OF HEARTS – ILLUSTRATION.

Watercolor Unframed Unsigned but possibly an artist monogram lower left SIZE: 19-1/4″ x 14-1/4″ CONDITION: Good, some light dirt and stains 50064-7 (2,000-3,000) – Lot 1199

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1200

JOHN JAMES AUDUBON (American, 1785-1851) “GEOMYS DOUGLASSII/COLUMBIA POUCHED RAT”.

Hand colored lithograph Housed in a wood frame with green mat under glass Plate No. 21/CV, from “The Viviparous Quadrupeds of North America”, New York: J.J. Audubon and the Revd. John Bachman, 1847. Inscribed lower left “Drawn from Nature by J.W. Audubon” and lower right “Lith, Printed & Col. by J.T. Bowen, Philad. 1846″ SIZE: Sight: 19-1/2″ x 25-3/4”. Overall: 27-3/4″ x 33-1/2″ CONDITION: The print is in good condition with no signs of foxmarks or tears. Small area of discoloration lower right in margin. The paper is sealed between a layer of cardboard and the front mat, making it impossible to examine out of frame, therefore, the watermark is not visible. 49892-2 (1,000-1,500) – Lot 1200

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1201
Revised: 1/11/2016

Please Note: There is a hole in the horse painting discovered during set up.

SCOTT LEIGHTON (American, 1849-1898) SIX OIL PAINTINGS.

Six oils on canvas Housed in vintage giltwood frames All signed “Scott Leighton” Including: 1) Portrait of a Horse, signed lower right; 2) Barbizon style Landscape, signed lower left; 3) Two Horses in Pasture, signed lower right; 4) Landscape with Meadow, unsigned; 5) Chestnut Horse in Wooded Landscape, signed lower right; 6) White Mare and Foal, signed lower left; SIZE: 1) 8-1/4″ x 10″. 2) 7″ x 9″. 3) 10″ x 12″. 4) 9-1/4″ x 14″. 5) 7″ x 9-1/2″. 6) 7″ x 11″. CONDITION: 1) Yellowed varnish, thin paint, pinhole right edge. 2) Minor canvas buckle lower left, small losses. 3) Surface dirt, yellowed varnish, thin paint; 4) Surface dirt and scratches 5) Yellowed varnish and frame abrasion, thin paint 6) Canvas laid down on Masonite, with minor buckle, varnish discoloration and thin paint 49932-5 (1,000-2,000) – Lot 1201

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1202

AFTER GUILLAUME COUSTOU (French, 1677-1746) A PAIR OF FRENCH BRONZE MARLY HORSES.

Bronze 19th/20th century Unsigned SIZE: 19-1/2″ h x 16″ w x 7″ d PROVENANCE: A private Maine/Texas collection. CONDITION: Dark patina with losses to finish through rubs and scratches, 1 rein missing attachment screw, good 50012-4 (2,000-4,000) – Lot 1202

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1203

AUSTRIAN (19TH/20TH CENTURY) THIRTEEN SMALL ANIMAL BRONZES.

Polychrome bronze Lot includes; 4″ parrot signed “Geschützt”, two dogs, rabbit, 7 cats, rabbit and another parrot PROVENANCE: A private Maine/Texas collection. CONDITION: Generally very good, some minor color loss 50012-19 (1,000-2,000) – Lot 1203

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1204

TWO BENIN STYLE CIRE PURDUE BRONZE SCULPTURES.

1) 20th century, Africa. Large figure of a warrior with bow and blade, wearing a tooth necklace and appropriate attire standing atop carved plinth. 2) Circa 20th century. Hollow cast bronze head of a Benin Oni (king), figure has royal headdress and scarified face with perforations around mouth for the insertion of human hair to simulate tribal facial hair. SIZE: 1) 20″ h. 2) 19″ h. PROVENANCE: From a Maine collector. CONDITION: 1) Very good. 2) Very good. 49822-6, 49822-7, (100-200) – Lot 1204

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1205

AFTER DEMETRE CHIPARUS (Romanian, 1886-1947) THE DANCER.

Bronze Signed on base “D H Chiparus” Mounted to a slate base SIZE: 17″ h CONDITION: Very good 50023-7 (2,000-3,000) – Lot 1205

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1206

ANTOINE BOFILL (Spanish, 1875-After 1925) BOY WITH BIRD ON ARM.

Bronze Signed on base “Bofill” SIZE: 15-1/2″ h CONDITION: Nice brown bronze finish, the metal rod in his hand is bent, otherwise very good 49824-1 (400-800) – Lot 1206

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1207

MAX FINKELSTEIN (American, 1915-) TWO WORKS: COMPLEX #3 AND UNTITLED SQUARES.

Both aluminum sculptures Unsigned SIZE: 20-1/2″ x 9″ and 3″ x 3″ PROVENANCE: Acquired from the artist in California by the consignor’s family CONDITION: Very good 49751-1 (100-300) – Lot 1207

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1207A

WINOLD REISS (American, 1886-1953) “THE MONTHS” (TWELVE WORKS).

Woodcuts on paper Unframed in lucite box Included is the frontice piece “The Months 12 Woodcuts by Winold Reiss Albert and Charles Boni New York, 1923″ SIZE: 13-1/4″ x 10” PROVENANCE: From the son of the artist, Tjark Reiss to Anna Roosevelt Halstead CONDITION: Very good 49988-1 (3,000-5,000) – Lot 1207A

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1208
Revised: 1/11/2016

Please Note: Estimate should be $2,000 to $4,000.

THOMAS SULLY (American, 1783-1872) “PORTRAIT OF HELEN SULLIVAN”.

Oil on canvas laid down on panel Housed in a period giltwood frame Monogrammed and dated lower right “TS 1837″ bears typed label on verso identifying the sitter and date SIZE: 11-3/4″ x 9-3/4″. Overall 16-1/2″ x 15″ CONDITION: Discolored varnish, tack holes visible along bottom edge, canvas laid down on wood panel, old restoration covered by masking varnish 49823-1 (2,000-4,000) – Lot 1208

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1209

WILLIAM MORRIS HUNT (American, 1824-1879) MINIATURE PORTRAIT OF GENTLEMAN WITH TOP HAT.

Watercolor on paper Housed in modern gilt frame Signed in pencil lower left “William M. Hunt 1851 N.H.” SIZE: 10-3/4″ x 7″. Overall: 15-1/2″ x 11-1/2″ CONDITION: Age toning, generally good 49933-7 (600-900) – Lot 1209

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1210

AMERICAN SCHOOL (19th century) WOMAN AT THE WINDOW.

Oil on canvas laid down on cardboard Housed in a carved and gilt decorated wood frame Signed and dated indistinctly lower left, bears label fragment inscribed “Feist” on verso of stretcher SIZE: 28″ x 22-1/2″. Overall: 35-1/2″ x 30″ CONDITION: Good with shrinkage cracks and craquelure 49843-5 (1,000-2,000) – Lot 1210

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1211

GEORGE LOFTUS NOYES (American, 1864-1954) SPRING WILLOW.

Oil on board Housed in a gilt modern wood frame with a Hackman Frame label Signed lower right “G L Noyes” SIZE: 8″ x 10″. Overall: 13″ x 15″ CONDITION: Very good 50035-3 (2,000-4,000) – Lot 1211

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1212

FRANCESCO SPICUZZA (American, 1883-1962) LANDSCAPE WITH POND AND CYPRESS TREES.

Oil on board Housed in a carved giltwood frame Signed lower left “Spicuzza” SIZE: 24″ x 30″. Overall: 27″ x 33″ CONDITION: Very good 49814-2 (1,000-1,500) – Lot 1212

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1213

CAMILLO ADRIANI (American, early 20th century) “IN THE OZARKS”.

Oil on canvas Housed in a carved giltwood frame Signed lower left “C. Adriani”, titled in pencil on stretcher “In the Ozarks” SIZE: 30″ x 24″. Overall: 34″ x 28″ CONDITION: Very good condition, with small patch on verso. 50023-4 (800-1,200) – Lot 1213

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1214

ROBERT M DECKER (American, 1847-1921) AUTUMN IN THE ADIRONDACKS.

Oil on canvas Housed in a modern gilt molded wood frame Signed lower left “R M Decker” SIZE: 10″ x 7″. Overall: 14-3/4″ x 11-1/2″ CONDITION: Some surface dirt, otherwise very good 49933-5 (600-800) – Lot 1214

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1215

ERIC TOBIN (American, b. 1958) “THE LAST DAYS OF FALL”.

Oil on canvas Housed in a silver painted wood frame Signed lower left “Eric Tobin”, inscribed “Bakersfield, Vermont” on the stretcher SIZE: 16″ x 20″. Overall: 20 1/2″ x 24 1/2″ CONDITION: Excellent 49972-21 (800-1,200) – Lot 1215

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1216

ROBERT ATWOOD (American, 1892-1970) ALONG A NEW HOPE, PENNSYLVANIA STREET.

Oil on canvas Housed in its original carved molded wood frame Signed lower left “Robert Atwood 45” On verso with a stamp “M N M Art Gallery Open Door Exhibition April 1951″ SIZE: 25″ x 30”. Overall: 29-1/2″ x 34-1/2″ CONDITION: Very good 50089-3 (800-1,200) – Lot 1216

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1217

AMERICAN SCHOOL (19th Century) TONALIST LANDSCAPE.

Oil on board Housed in a contemporary giltwood frame Initialled lower left “JH”, “JLF” or “JHF” SIZE: 11″ x 13″. 17-3/4″ 20″ CONDITION: Overall very good condition, with minor touch up along edges. The verso board has water stains 50023-9 (1,000-1,500) – Lot 1217

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1218

GEORGE WASSON (American, 1855-1926) WOODED LANDSCAPE IN LATE AUTUMN.

Oil on canvas Housed in an arts and crafts period carved giltwood frame with presentation plaque Signed and dated lower left “Georg S. Wasson. 1879”, bears owners label affixed to stretcher inscribed “Mrs. A.W. Lamprell, Kittery Point, Maine” and label fragment affixed to frame inscribed “George Wa..on, Loaned by..Char..Hallowell” Note: A dictionary & stand owned by the artist will be included in Session 2 of our current auction SIZE: 16-1/4″ x 14-1/4″. 22-1/2″ x 20-1/2″ PROVENANCE: Available upon request. CONDITION: Very good condition, paint stable, only minor touch up. Frame has been cut and reassembled to fit painting, minor gilt loss and seam separation. 49890-6 (1,200-1,800) – Lot 1218

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1219

GEORGE AMES ALDRICH (American, 1872-1941) SPRING LANDSCAPE.

Oil on panel Housed in a gold painted wood frame Signed lower right “G. Ames Aldrich” SIZE: 20″ x 24″. Overall: 22″ x 26″ CONDITION: Good with surface scratches, frame has losses and overpaint 49814-3 (1,500-2,000) – Lot 1219

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1220

WILLIAM MEADE PRINCE (American, 1893-1951) ILLUSTRATION OF AN ELDERLY COUPLE BEING LED AWAY FROM A WINGED SPORTSCAR.

Oil on canvas Housed in a contemporary giltwood frame Signed and dated lower left “Wm.Meade/Prince/1926″ SIZE: 18″ x 38-1/4”. Overall: 21-3/4″ x 41-1/2″ PROVENANCE: James D. Julia, Jan. 26, 2005, Lot 103 CONDITION: Good restored condition. The canvas is lined with restoration throughout. 49892-3 (2,000-3,000) – Lot 1220

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1221

CHARLES E. CHAMBERS (American, 1883-1941) HOLIDAY GIFTS.

Oil on canvas Unframed Signed lower right “C.E. Chambers”, canvas stamped on verso “Victor Claessens Waereghem Belgiout” SIZE: 32″ x 25″ PROVENANCE: Acquired from the artist’s estate CONDITION: Good, restored condition. Not lined, large vertical scratch restored, minor scattered touch up. 50023-18 (3,000-5,000) – Lot 1221

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1222

ALLAN LEHTIS (American, 1932-2006) THREE LANDSCAPES.

Three acrylics on canvas Housed in black and gold frames Each signed lower right “ALLAN LEHTIS” Including 1) Cranes Flying Over Water 2) Arctic Landscape 3) Maine Coast Note: Maine artist, Allan Lehtis was born in 1932 in Estonia and immigrated to the U.S. shortly before the end of World War II. He studied art at the American Academy of Art in Chicago and in 1956-57, while in the Navy served as an artist and photographer to the Commander of the Atlantic Fleet. In 1972, Lehtis moved to Maine and opened Windswept Art Studio in Albion. In a 1976 interview for an exhibit at the Thomas College Art Gallery, Lehtis states “Part of an artist’s job is to get people to look at their world with a fresh eye and new point of view.”(1) In 1981, Lehtis received a commission from the Maine Commission on the Arts & Humanities to create a mural for the Poland Community School in Poland, Maine. The panoramic scene spans the four seasons from dawn to dark recording the history of the Town of Poland. Works by Lehtis have been exhibited in galleries and museums throughout Maine, New York and Chicago. (1) Lewiston Evening Journal, September 7, 1976. SIZE: Each 40″ x 34”. Overall: 36″ x 41-1/2″ CONDITION: Very good 49577-1 (2,000-4,000) – Lot 1222

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1223

JEFFREY SABOL (American, 20th Century) FOUR OILS ON BOARD.

Including: 1) WIDOWS WALK, unframed, signed and dated lower left “Sabol 92”; 2) TREES IN FOG, housed in a painted rustic wood frame, unsigned; 3) LIGHTHOUSE, unframed, signed and dated lower right “Sabol 96”, inscribed in pencil on reverse “Falkner Light, Guilford” 4) RED DOOR, housed in gold frame with linen liner, signed and dated lower right “Sabol 96”, dedicated on reverse “To Wenfine on her Birthday with Love, from Jeff”. SIZE: 1) 24″ x 34″. 2) 32″ x 20″. 3) 28″ x 8″. 4) 10″ x 8″ CONDITION: 1) Minor varnish discoloration, otherwise good. 2) abrasions and surface dirt, several areas of retouch; 3) Minor varnish discoloration and abrasions to edges. 4) Very good. 49909-1 (1,500-2,000) – Lot 1223

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1224

JOHN DOWD (American, b. 1960) “FIRST SNOW BEACH POINT”.

Oil on linen Housed in white slat wood frame Signed lower right “J. Dowd”, titled on William Scott Gallery, Provincetown label SIZE: 16″ x 20″. Overall: 17″ x 21″ CONDITION: Very good. 49843-8 (2,000-3,000) – Lot 1224

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1225

ELMER NOVOTNY (American, 1909-1997) “OURAY, COLORADO”.

Tempera on Masonite Housed in a carved and painted wood frame Sigend lower left “E.L. Novotny”, titled on exhibition label from Cleveland Museum of Art on verso frame Exhibited: Cleveland Museum of Art, “44th May Show”, May 16-June 24, 1962, #418 SIZE: 18″ x 30″. Overall: 25-1/2″ x 37-1/2″ CONDITION: Very good 50026-2 (1,000-2,000) – Lot 1225

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1226

HAROLD VAN BUREN MAGONIGLE (American, 1867-1935) “PORTRAIT OF AN OLD FRIEND”, 1933.

Oil on canvas board Housed in a contemporary giltwood frame Signed lower right “H.V.B. Magonigle A.N.A.”, signed, titled and dated on verso “Portrait of an Old Friend, H. Van Buren Magonigle -1933″ Note: Harold Van Buren Magonigle was an American architect, artist, and author best known for his memorials. Born in New Jersey, Magonigle worked for Calvert Vaux, Rotch & Tilden, Schickel and Ditmars and McKim Mead & White before opening his own practice in 1903. He was the designer of the McKinley Memorial Mausoleum in Canton, Ohio and the Liberty Memorial in Kansas City, Missouri. Magonigle and sculptor Attilio Piccirilli collaborated as architect and artist on two familiar monuments in New York City: the Monument to the USS Maine in Columbus Circle, and on the Fireman’s Memorial on Riverside Drive and West 100th Street. Magonigle’s papers are held by the New York Public Library and by the Drawings and Archives Department in the Avery Architectural and Fine Arts Library at Columbia University. (Source: http://archives.nypl.org/mss/1838) SIZE: 24″ x 20”. Overall: 32-1/4″ x 38″ CONDITION: Very good condition. 49905-5 (1,500-2,000) – Lot 1226

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1227

JEFFREY SABOL (American, 20th century) FOUR PAINTINGS.

Including: 1) DORIES AT DOCK, oil on board, housed in a painted rustic wood frame, signed and dated lower right “Sabol ’93”; 2) LOBSTER BOAT AT DOCK, oil on board, unframed, signed and dated lower right “Sabol ASMA 00”, dedicated in pencil on reverse “To my good friend Scott, Happy Christmas and a great New Year, 2000, Jeff”; 3) TWO DORIES, oil on canvas, unframed, signed and dated lower left “Sabol ’96”; 4) SWEET PEA, oil on board, unframed, signed and dated lower left “Sabol 95″; SIZE: 1) 30-3/4″ x 24″. 2) 28″ x 8″. 3) 24″ x 36″. 4) 22″ x 28”. Overall size to: 35″ x 29″ CONDITION: 1) Losses and abrasions to red dinghy; 2) minor varnish discoloration, otherwise good. 3) discolored varnish, otherwise good; 4) good condition 49909-2 (1,500-2,000) – Lot 1227

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1228

RUFINO TAMAYO (Mexican, 1899-1991) PRE-COLUMBIAN FIGURE.

Watercolor and pencil Housed in a contemporary black frame with linen mat under glass Signed and inscribed lower right “Tamayo 0-72″ SIZE: Sight: 12″ x 9”. Overall: 23-1/2″ x 20-1/2″ CONDITION: Appears to be in overall very good condition, not examined out of frame 50023-15 (1,000-3,000) – Lot 1228

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1229

CHARLES CARYL COLEMAN (American, 1840-1928) FIGURES IN A MOONLIT GARDEN.

Oil on board Housed in contemporary giltwood frame Signed lower left with triple C monogram SIZE: 16″ x 20″. Overall: 23″ x 27″ CONDITION: Good, with surface dirt and scattered flake losses along bottom 50004-1 (4,000-6,000) – Lot 1229

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1230

BERNHARDT WALL (American, 1872-1956) THE GREAT FLOOD OF 1937.

Oil on canvas Housed in a vintage wood frame Signed and dated lower right “Bernhardt Wall 37″ SIZE: 26″ x 30”. Overall 32″ x 36″ CONDITION: Surface dirt, craquelure, paint flaking lower left 49822-5 (300-500) – Lot 1230

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1231

AMERICAN SCHOOL (19th Century) STILL LIFE WITH PIPE AND TOBACCO.

Oil on canvas laid down on board Housed in a period molded giltwood frame(having chips to gilding) Unsigned having possible monogram “H” on pouch SIZE: 7″ x 9″. Overall: 11″ x 13″ CONDITION: Good, with two minor losses in background. Several areas of touch up 50023-10 (1,000-1,500) – Lot 1231

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1232

AMERICAN SCHOOL (19th Century) STILL LIFE WITH CHEST, PIPE AND MAINE BOOK.

Oil on board Housed in an early 20th century giltwood frame Unsigned but possibly Nicholas Alden Brooks Inscribed in pencil on reverse “Johnson 4502″ SIZE: 14″ x 12”. Overall 19-3/4″ x 17-3/4″ CONDITION: Overall good condition, board slightly warped, scattered in-paint 50023-5 (1,000-2,000) – Lot 1232

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1233

SIGNED (American, 20th Century) TWO STILL LIFE WORKS.

1) Alice Hilliard (American, 20th Century) Oil on canvasboard Housed in a period gilt frame with losses Signed lower left 2) Indistinctly signed “Chabaully”? (Probably French) Oil on canvas Unframed Signed lower left indistinctly SIZE: 1) 19-3/4″ x 16″. Overall: 22-1/2″ x 18-1/2″ 2) 16″ x 10-1/2″ CONDITION: Good 49743-2 (800-1,200) – Lot 1233

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1234

HENRY DE WAROQUIER (French/American, 1881-1970) “ROSES”, 1938.

Oil on canvas Housed in a giltwood frame Signed lower left “Henry de Waroquier”, inscribed lower right in red “No.M.141.”, verso canvas inscribed “No-M.141/HbeW”, titled on a Rex Evans Gallery, Los Angeles label (loose) SIZE: 16-1/4″ x 13″. Overall: 22″ x 18-3/4″ CONDITION: Overall good restored condition, paint surface stable, canvas lined with wax, minor buckle, scattered in-paint throughout. 49892-1 (600-900) – Lot 1234

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1235

ATTRIBUTED TO JANE PETERSON (American, 1876-1965) POT OF FLOWERS.

Oil on board Housed in modern gilt wood frame with linen liner Bears signature lower right “Jane Peterson” SIZE: 18″ x 14″. Overall: 23-1/4″ x 19-1/2″ CONDITION: Very good, signature may have been added at a later time 49753-1 (800-1,200) – Lot 1235

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1236

ROBERT DOUGLAS HUNTER (American, 1928-2014) “STILL LIFE WITH WICKER COVERED DEMI-JOHN”.

Oil on canvas Housed in a contemporary giltwood frame with green painted liner Signed and dated lower left “Robert Douglas Hunter ’97” SIZE: 22″ x 33″. Overall: 29-1/2″ x 41″ CONDITION: Very good to excellent 50043-3 (1,500-2,000) – Lot 1236

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1237

AFTER NICHOLAS POCOCK (British, 1740-1821) FOUR COLORED SHIP ENGRAVINGS.

All engraved by R & D Havell Plate 1 – 4 showing the battle between the frigate Java and frigate Constitution All housed in black mats with gold edge SIZE: Sight: 19″ x 22″. Overall: 25″ x 18″ CONDITION: Very good 49745-13 (1,500-2,000) – Lot 1237

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1238

AFTER WILLIAM LIONEL WYLLIE (British, 1851-1931) “U.S.S. 44-GUN FRIGATE CONSTITUTION (OLD IRONSIDES)”.

Colored engraving Housed in a black mat with gilt edge Published by Robert Dunthorne & Son, 1924 SIZE: Sight: 18″ x 23-1/2″. Overall: 24″ x 29-1/2″ CONDITION: Very good 49745-14 (600-800) – Lot 1238

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1239

AFTER SIR GEORGE CHAMBERS (British, 1803-1840) “THE PORT OF LIVERPOOL”. TAKEN FROM SEACOMBE, CHESHIRE.

Colored engraving Housed in a black mat with gold edge After a painting by Sir George Chambers, engraved by James Carter and published in 1841 SIZE: Sight: 24-3/4″ x 38″. Overall: 30-3/4″ x 44″ CONDITION: Very good 49745-11 (300-400) – Lot 1239

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1240

BRITISH SCHOOL (19th Century) TWO SHIP ENGRAVINGS.

1) “First-Class Packet Ship Yorkshire of New York” Published by James Connel & Sons, after a painting by W. R. McMinn Housed in a black mat with gilt edge 2) “The British Queen on Her First Voyage from London to New York” Published by G. S. Tregear 1838 Housed in a black mat with gold edge SIZE: 1) Sight: 22″ x 27″. Overall: 28″ x 33″ 2) Sight: 19″ x 25-1/2″. Overall: 25-1/4″ x 31-1/2″ CONDITION: Very good 49745-12 (300-400) – Lot 1240

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1241

AMERICAN SCHOOL (19th Century) VICTORIAN PORTRAIT OF THREE CHILDREN POSING IN CLASSICAL ATTIRE.

Oil on canvas Housed in an ornate giltwood frame with oval liner Unsigned SIZE: 18-1/2″ x 22-1/2″. Overall: 29″ x 33″ CONDITION: Overall good, paint surface has horizontal craquelure, not lined. 50023-6 (1,000-2,000) – Lot 1241

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1242

GEORGE TURLAND GOOSEY (British/American, 1877-1947) OLIVE GROVE, MAJORCA, SPAIN.

Oil on board Housed in a contemporary giltwood frame Signed lower right “Geo Turland.” SIZE: 12″ x 15-1/2″. Overall: 17-1/2″ x 21-1/2″ PROVENANCE: From the Estate of George Turland CONDITION: Very good condition 49902-5 (800-1,000) – Lot 1242

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1243

GEORGE TURLAND GOOSEY (British/American, 1877–1947) SPANISH LANDSCAPE.

Oil on canvas Unframed Signed lower right “Geo.Turland.” SIZE: 22-1/4″ x 30″ PROVENANCE: From the Estate of George Turland CONDITION: Overall good condition, with minor canvas buckle. 49902-9 (800-1,200) – Lot 1243

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1244

GEORGE TURLAND GOOSEY (British/American, 1877–1947) “CEYLON”, 1935.

Oil on canvas laid down on Masonite Housed in a contemporary giltwood frame Signed lower left “Geo.Turland.”, inscribed on verso “Ceylon 1935 on back” SIZE: 12″ x 16″. Overall: 17-1/4″ x 21-1/4″ PROVENANCE: From the Estate of George Turland CONDITION: Very good. 49902-1 (800-1,200) – Lot 1244

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1245

GEORGE TORLAND GOOSEY (British/American, 1877-1947) “CEYLON”, 1935.

Oil on Masonite Housed in a contemporary giltwood frame Signed lower left “Geo. Turland.” SIZE: 12″ x 16″. Overall: 17-1/4″ x 21-1/4″ PROVENANCE: From the Estate of George Turland CONDITION: Very good condition. 49902-2 (800-1,200) – Lot 1245

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1246

GEORGE TURLAND GOOSEY (British/American, 1877–1947) “OFF COAST OF CORNWALL ENGLAND”.

Oil on panel Housed in contemporary giltwood frame Signed lower left “Geo Turland.”, titled on reverse “Off Coast of Cornwall England” SIZE: 12″ x 16″. Overall: 17-1/4″ x 21-1/4″ PROVENANCE: From the Estate of George Turland CONDITION: Very good condition 49902-8 (800-1,000) – Lot 1246

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1247

GEORGE TURLAND GOOSEY (British/American, 1877–1947) SPANISH BRIDGE.

Oil on canvas board Housed in a contemporary giltwood frame Signed lower right “Geo Turland.” SIZE: 12″ x 16″. Overall: 17-1/2″ x 21-1/4″ PROVENANCE: From the Estate of George Turland CONDITION: Very good condition. 49902-4 (600-800) – Lot 1247

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1248

GEORGE TURLAND GOOSEY (British/American, 1877–1947) “Brick Kiln”.

Oil on canvas board Housed in a contemporary giltwood frame Signed lower right “Geo. Turland” SIZE: 12″ x 16″. Overall: 17-1/4″ x 21-1/4″ PROVENANCE: From the Estate of George Turland CONDITION: Very good. 49902-3 (800-1,000) – Lot 1248

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1249

GEORGE TURLAND GOOSEY (British/American, 1877–1947) VENETIAN CANAL.

Oil on panel Housed in a giltwood frame Signed lower left “GTurland” SIZE: 12″ x 16″. Overall: 17-1/2″ x 21-1/2″ PROVENANCE: From the Estate of George Turland CONDITION: Very good 49902-7 (800-1,200) – Lot 1249

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1250

SUSAN MILLER CHASE (American, 20th century) THREE GIRLS ON A BEACH.

Oil on 1/8″ cardstock Unframed Signed lower right “Susan Miller Chase” also stamped on reverse SIZE: 10″ h x 7-1/4″ w CONDITION: Very good, yellowed varnish layer. 49825-1 (1,000-1,500) – Lot 1250

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1251

MORA (American School, 20th Century) A MOTHER WITH TWO CHILDREN IN A LANDSCAPE.

Oil on canvas laid down on panel Housed in a contemporary giltwood frame with linen liner Signed lower left “Mora” SIZE: 7″ x 5″. Overall: 12″ x 10″ CONDITION: Very good 50023-8 (600-800) – Lot 1251

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1252

ANDRE (GITTLESON) GISSON (American, 1921-2003) YOUNG GIRL IN PROFILE.

Sepia ink wash on paper Housed in contemporary frame with linen mat under glass Signed lower right “Gittleson” Note: This work was likely an early work created while or shortly after Gisson was studying art at the Pratt Institute. Born Anders Gittleson, the artist adopted the name Andre Gisson to appear French. It is rare to find works signed with his original surname. SIZE: 14-1/2″ x 19-1/2″. Overall: 23″ x 28″ CONDITION: Overall good condition. Minor discoloration visible, not examined out of frame. 50023-13 (400-600) – Lot 1252

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1253

IVAN OLINSKY (American, 1878-1962) “YOUNG GIRL”.

Oil on canvasboard Housed in a modern carved & gilt frame with wide gilt liner Signed upper left “Ivan G Olinsky” Verso of board is a 1951 Salmagundi Club Thumb-box Exhibition label SIZE: 12″ x 9″. Overall: 17-1/2″ x 14-1/2″ CONDITION: Good with minor touch up 50068-13 (2,000-3,000) – Lot 1253

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1254

INITIALED J.H.L. AMERICAN SCHOOL (19th Century) GENTLEMAN’S FARM.

Oil on thin board Housed in gilt molded wood frame Initialed lower right “J.H.L.” SIZE: 13-1/2″ x 18″. 15-1/2″ x 19-3/4″ (overall) CONDITION: Repaired tear in sky, glossy varnish, surface dirt, fair to good 49922-90 (800-1,200) – Lot 1254

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1255

AFTER FRANZ A. BISCHOFF (American, 1864-1929)”CARRYING THE WOMAN ASHORE”.

Highlighted print Housed in a giltwood frame Signed and inscribed lower right “Cop. by Franz A. Bischoff” SIZE: 18″ x 14-1/2″. Overall: 29″ x 25″ CONDITION: Discolorations and spotting, not examined out of frame 49860-1 (100-150) – Lot 1255

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1256

DIEUDONNE CEDOR (Hatian, b. 1925) VOODOO RITUAL, 1947.

Tempera on board Unframed Signed and dated lower right “D.L. Cedor-/10/47” Note: Dieudonne Cedor is considered one of the leading Haitian painters of the 20th century. This work was created in 1947, the year the artist left his career as a cabinetmaker to devote himself to art. He became a member of the “Centre d’ Art”, where he studied under the supervision of Rigaud Benoit, who taught him the elementary principals of pictorial art. In 1949, Cedor became a member of the committee of administration of the “Centre” and was later elected president of the Haitian Artist Association, and became a founding member of the “Foyer des Arts Plastiques”. SIZE: 16-1/4″ x 20″ CONDITION: Good, with minor abrasions, and splatter of white pigment lower left 49850-1 (800-1,200) – Lot 1256

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1257

FIVE FRAMED DOG PRINTS.

Including: 1) Marguerite Kirmse (American, 1885-1954) “The Milky Way”, etching, signed lower right and titled lower left 2) German School (20th Century) “Flick and Flook” etching, signed lower right and titled and blindstamped “Heinrich Trittler” lower left 3, 4 & 5) Three Etchings of Dogs, all signed lower right SIZE: 1) Plate: 6-1/2″ X 8-3/4″. 2) Plate: 9″ x 6-1/8″ 3)Range from: 6″ x 4-1/2″ to 8-1/2 x 6 in. Overall of largest: 17-1/2″ x 13-1/2″ CONDITION: All five in overall good condition, not examined out of frames. 49990-10 (800-1,200) – Lot 1257

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1258

JOAN MIRO (Spanish, 1893-1983) “UNE FEMME”.

Color lithograph with pochoir (Mourlot #1712) Housed in a modern wood frame with linen mat under glass Signed in pencil lower right “Miro” and numbered lower left “119/300”, signed in plate lower right “Miro” SIZE: 17-7/8″ x 14-5/8″. Overall: 29″ x 24″ CONDITION: Very good condition, colors strong. Not examined out of frame. 50026-1 (2,500-4,000) – Lot 1258

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1259

SALVADOR DALI (Spanish, 1904-1989) THREE COLOR WOOD ENGRAVINGS, FROM THE DIVINE COMEDY.

Including 1) “Apparition of Dante’s Great-Great-Grandfather”, numbered “127/150”; 2) “In the Hands of Antaeus”, numbered “18/150”; and 3) “On Geryon’s Back”, numbered “46/150”. Housed in original frames Each signed lower right “Dali”, with The Societie de Verification de la Nouvelle Gravure Internationale of New York, Collector’s Guild certificate affixed to verso Note: Salvador Dali illustrated Dante Alighieri’s Divine Comedy between 1951 and 1960. He created 101 watercolor drawings to interpret the text, which were subsequently printed by wood engraving technique. The society states that these were published in a limited edition of 150, signed by Dali. SIZE: Plate size: 9-1/2″ x 7″. Overall: 18″ x 14″ CONDITION: Very good, minor discoloration along mat edge, not examined out of frames 49822-10 (300-500) – Lot 1259

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1260

CARLOS MERIDA (Guatemalan, 1895-1984) TWO FIGURES.

Lithograph Housed in a contemporary wood frame, matted under glass Signed lower right “Carlos Merida”, numbered lower left “18/30″ SIZE: Plate: 11-1/2″ x 9-1/4”. Overall: 24-1/2″ x 20-1/2″ CONDITION: Very good, with minor discolorations in margins, not examined out of frame 49990-5 (500-700) – Lot 1260

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1261

THREE AMERICAN 20TH CENTURY FRAMED LITHOGRAPHS.

Including: 1) Henry Schwartz (1927-2009), “Mahler Conducts Bruckner”, signed and dated in pencil lower right “Henry Schwartz 1990”, titled lower center and numbered lower left “26/30” 2) Elizabth Saltonstall (1900-1990), “Gannets, Young & Old”, signed in pencil lower right, titled lower left and inscribed “ed-24” 3) John De Martelly (1903-1979), “Two Old Toms”, signed in pencil lower right “John de Martelly” SIZE: 1) Plate: 9-1/2″ x 10-1/2″. 2) Plate: 9″ x 7-1/4″. 3) 11-1/8″ x 8″. Largest overall: 18-1/2″ x 18″ CONDITION: All three framed and matted, in very good condition, not examined out of frames. 49990-11 (700-900) – Lot 1261

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1262

JACK LEVINE (American, 1915-2010) “TO AN UNKNOWN GERMAN PHOTOGRAPHER IN THE WARSAW GHETTO”.

Lithograph Housed in a gilt metal frame, matted under glass Signed in pencil lower right “J. Levine”, titled lower center, numbered lower left “67/120″ SIZE: 18-1/2″ x 25”. Overall: 26-3/4″ x 35″ CONDITION: Overall good condition, minor fading, not examined out of frame. 49990-1 (500-700) – Lot 1262

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2000

FINE REVOLUTIONARY WAR ERA OFFICERS FOWLER.

This is a nice example of a 7′ long commercial officers fusil or fowler, circa 1780. The first model style Brown Bess lock exhibits good markings. Brass trigger guard, buttplate, thumbplate and lock escutcheon are engraved. Stock exhibits raised carving rear of barrel tang in shape of beavertail terminating into stylized clam shell. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Gun appears original and complete, though front ramrod pipe is replaced and stock is broken and repaired forward of rear ramrod thimble. Grain appears to match, though barrel was not removed to be sure. There is inset 1″ wood repair on right side, about 8″ forward of lock and large chip of wood missing above lockplate. First model Brown Bess-style lock exhibits broad arrow proof, forward of crown and GR cypher. Brass mounts are well fit with discernible engraving, including small panoply of arms on top of buttplate. Commercial proofs are found on breech of 66″ 75 caliber barrel. Brass tipped iron ramrod is later replacement. Lock functions. 49597-11 (4,000-6,000) – Lot 2000

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2001

17th CENTURY COLONIAL ERA DOG-LOCK LONG FOWLER.

Quite rare are examples of dog-lock Long Fowlers that were utilized by the first colonists in America. The first colonists in Jamestown and Plymouth utilized match-locks but by 1630, the transition to dog-locks had became in earnest. The common arms supplied by the Massachusetts Bay Company are known to have contained 6-1/2′ long fowling pieces, which this gun measures. This information is published by Harold Peterson on page 44 of his 1956 Arms and Armor in Colonial America. The only markings on this gun are a hand engraved “29/F” on breech which could represent the year 1629. “Judging from the number of dog-locks used in Colonial America that are still extant today, it would appear that type of lock was more widely used than any other from about 1625-1675. Dog-locks and parts of dog-locks have been found in quantity in the excavations of 17th Century sites, and several well preserved and well authenticated specimens exist in public and private collections throughout the country”. Few arms in this configuration have ever been publicly offered in auction, especially retaining this massive 62″ octagonal breech 75 caliber barrel which tapers to round and then terminates in an octagonal flared muzzle. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Forestock is restored from muzzle back 39″ as are ramrod pipes and ramrod. Otherwise, gun is good, sound, iron patina. Stock has large chip forward of lock and long hairline crack about 10″ forward lock on right side. Mechanism appears functional. 49597-13 (2,000-4,000) – Lot 2001

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2002

SAMUEL DROWNE, PISCATAQUA, NEW HAMPSHIRE SIGNED SILVER AMERICAN REVOLUTIONARY WAR EAGLE-POMMEL OFFICERS SWORD OF CAPT SAMUEL STORER.

This exact sword is pictured as plate 44 in Harold Peterson’s American Silver Mounted Swords, 1700-1815, 1955. Peterson in his text describes this sword as follows: By Samuel Drowne, Piscataqua (Portsmouth, N.H.) 1749-1815. Belonged to Samuel Storer of Newport, R.I., 1752-1815. A typical form of the weapon with pierced and decorated counterguard. The obverse branch of the counterguard has been broken off. The slightly curved blade has two narrow fullers and is decorated with etched designs for the first third of its length. The scabbard is russet leather tooled with straight parallel lines as well as short punched lines. There are three silver mounts with scrolled edges and decorative bandings. Suspension is provided for by two carrying rings. The reverse side of the throat is engraved “S. Drowne/Piscataqua”. 33-1/2 inches overall, blade 27-1/4 inches by 1-1/8 inches wide at the hilt”. September 1940 article by Stephen Decatur in American Collector Magazine features this sword and other rare silver by Drowne. Excerpts from this article tell a bit of this Patriot silversmiths history. “Undoubtedly, the name of Samuel Drowne is as well known as that of any of the early silversmiths of Portsmouth, NH, but locally, at least, it is more generally remembered because of the prominent part its owner played in the affairs of his community during the period of the American Revolution and in the years immediately thereafter. Like many other American silversmiths of the time, he was an ardent supporter of the patriot cause and, in fact, he was concerned in an affair which, since it antedates the fights at Lexington and Concord, is considered by many historians as marking the true beginning of the Revolution. Early in December 1774, a rumor became current in Boston that the British intended to send troops to occupy Ft William and Mary at the mouth of Portsmouth Harbor. On the 13th of the month, Paul Revere galloped to Portsmouth with letters to the Committee of Correspondence there reporting this expected move. The following evening a party of several hundred men from Portsmouth and neighboring towns went down the river in boats and, in spite of the fire of the small garrison, landed, stormed, and captured the fort. As it turned out there were not casualties on either side, a happy chance which may explain why this exploit has not achieved greater prominence. The originator and one of the leaders of it was Captain Thomas Pickering, Drowne’s brother-in-law, and the silversmith was a member of his company. The principal object of the patriots in this affair was to secure the powder stored in the fort before the British troops could get it and upwards of 400 barrels of the precious material were taken and secretly removed upriver to places of safety. This part of the program was engineered by Drowne and he arranged it so successfully that the authorities were unable to recover a single barrel. Later, some of this powder was used at the Battle of Bunker Hill where, it would seem, there was, unfortunately, not enough. Samuel, the silversmith, a son of a preacher, was born in Providence, RI in 1749 and died in Portsmouth, NH in 1815. He married Mary, a daughter of Capt. Thomas Pickering, one of the largest landowners of Portsmouth, a prominent citizen and a military officer who was killed in battle with the Indians at Casco to the eastward. The Capt. Thomas Pickering of the Ft. William and Mary exploit was, of course, a brother of the silversmith’s wife. He was captain of privateers and was killed in 1779 during the capture of a British letter of marque, a vessel much more powerful than the 20-gun ship Hampden, which he commanded. A few months after the capture of the fort, Samuel Drowne was placed in charge of the leading Tories in his neighborhood to see that they conducted themselves discreetly. In 1778 he was a member of Col. John Langdon’s Company of Light Horses, an organization especially formed from among the gentlemen of Portsmouth, to assist in the operations in Rhode Island, and was with it during the attempted capture of Newport. In 1954 this sword was loaned by Stephen Decauter to the exhibition at the Corcoran Gallery of Art display of American silver mounted swords. Capt. Samuel Storer was originally a cavalryman and later the commander of a privateer. He, like the sword’s maker, was part of a very prominent Portsmouth family and married the sister of Tobias Lear who was George Washington’s long time confidant and secretary. There is a famous incident when George Washington as President visited Samuel Storer at the Lear home and blessed Samuel’s son “GEORGE WASHINGTON STORER”. George Washington Storer would go on to be an American admiral continuing a long line of Storer family American military officers. James Julia Auctions in February of 2010 sold an archive descended in the Lear-Storer-Decauter family, including other Storer swords, uniforms, etc. This archive included a map of the Yorktown battlefield that sold in excess of $1,000,000. PROVENANCE: Stephen Decatur, Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Very good overall. Scabbard is constructed with leather veneer over wooden core with several leather sections missing as can be seen in photos. The “certifiable antique carved walrus ivory” grip has a longitudinal age crack. Branch of guard, as stated in description,is missing and is well patinated at the breaks. Drag missing finial. 49488-4 (8,000-12,000) – Lot 2002

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2003

REVOLUTIONARY WAR ERA FLINTLOCK PISTOL.

This elegant flintlock pistol measures 15-3/4″ overall with 10″ 75 caliber rifled barrel. This gun has relief carved beavertails behind lock and lock escutcheon and relief carved clam-shell behind tang. Gun is totally unmarked, though brass mounts are engraved. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Very good overall. Wood has hand worn patina. Iron fittings are smooth with patina. Brass mounts are well fit with engraving and patina. Gun appears complete and original flint. Mechanically gun functions well with scratches on frizzen from recent flint striking. 49476-105 (1,500-2,000) – Lot 2003

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2004

FINE AMERICAN REVOLUTIONARY WAR OFFICERS SWORD.

This classic Revolutionary War hanger exhibits slotted guard, “grotesque” stylized lion head unique to American swords of the Revolutionary War. The blade is dated “1745” with stylized running animal as seen on quality blades of mid-18th Century. Similar examples can be found in all the standard references on American swords of the Revolutionary War. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Very good overall. Brass hilt and pommel sound with old cleaning, mustard colored patina, 27-1/4″ blade is grey with good markings with numerous small nicks in cutting edge as can be seen in photo. Smooth wood grip has hand worn patina. 49488-3 (2,000-3,000) – Lot 2004

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2005

REVOLUTIONARY WAR COMMISSION OF CAPTAIN BENJAMIN CONKLIN.

Commission is signed by Connecticut Governor Jonathan Trumbull May 25, 1781 a Captain in the 2nd Company of the 14th Connecticut Regiment. Previously, Conklin was Captain of several privateers. Conklin is mentioned in several accounts of included research taking prizes of 7,000 gallons of rum, another schooner loaded with fish and 75,000 feet of mahogany and 30 tons of log wood. Conklin is associated with at least 3 vessels between 1775 and 1779; “Spy”, “Revenge”, and “John” which had a crew of six men and one gun. Conklin was commissioned commander of the “John” May 8, 1779. On September 26, 1777, Conklin was chased by a British Man of War and schooner of 12 guns trying to cut him off from land on his way to Newport. The English schooner ran on at Watch Hill Reef during the chase. A brisk fire was kept up between the English schooner and Connklin for several hours. The schooner remained on the reef until next morning and set on fire and then her men went aboard the Man of War’s boat and left her, she was soon blown up by her magazine. The guns, some small arms, and anchors were saved, and a man was found dead by the side of her. Captain Conklin escaped unhurt. Conklin’s commission is framed but there is also an original early roll up leather document pouch or wallet and another leather wrapper that originally contained the commission along with an envelope stating “Commission of Capt Benjamin Conklin, Revolutionary War”. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Commission is framed, apparently on an archival board with plastic corners holding document in place. There are cracks, folds and small repairs. There are several reductions, one affecting text in center of document, about 1″ x 1-1/2″ as can be seen in photos. 49476-23 (1,200-1,800) – Lot 2005

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2006

FINE FRENCH AND INDIAN WAR POWDER HORN AND COMMISSIONS OF ABNER CURTIS, ALONG WITH HIS REVOLUTIONARY WAR COMMISSION.

Professional scrimshawed horn measuring 15″ long and 3″ diameter base, “ENSIGN ABNER CURTIS’S / HORN MADE AT CROWN POINT SEPT 26 1759″. Two Colonial British commissions signed by Thomas Fitch, Governor of the Colony of Connecticut (March 22, 1759 – Ensign. March 24, 1760 – Lieutenant). Crown Point played an important role in the French and Indian War with a large British garrison built in 1759 after the French had been pushed back into Canada. Later during the American Revolution, on May 12, 1775 the garrison at Crown Point was taken from the British by ‘THE GREEN MOUNTAIN BOYS” and later used as a staging area by Benedict Arnold for the Navy on Lake Champlain. The fort was abandoned by the Americans in 1777 and the British held this fort until abandoned 1780. The United States, with the defeat of the British, had no need for this fort and it was left to deteriorate. Crown Point is now a historic park rebuilt to the way it looked in 1759. Powder horns made at Crown Point are well known from French and Indian War and later from the Revolutionary War. There is at least one additional Curtis family horn known also carved at Crown Point. An interesting note, this horn and three commissions offered here were displayed in 1906 during the centennial celebration of Meriden, CT. Revolutionary War commission to Lt. Abner Curtis signed by Governor John Trumbull, March 21, 1777 is framed with French & Indian War examples. Also included in this lot are several other framed and loose 18th Century family documents and two family bibles. Along with Mr. Toffolon’s research materials regarding the powder horn and the Curtis family. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Horn very good overall. An old chip and several cracks at spout. Horn has good surface. Decoration easily seen. Stopper is a more contemporary addition. Documents are easily read, though damage to seals evident on two French and Indian War appointments. These two commissions are cracked at folds and dry mounted in frame. The Revolutionary War appointment is missing seal but easily read as mounted in same frame. The two bibles are both shaken with cracked hinges. One missing title page; other appears complete. Dated 1785, Edingburgh. Several inscriptions including “Lucy Curtis, her bible bought in the year 1786”. There are numerous small notes and some laid-in lists showing births and deaths in family including Winfield Curtis’s birth in 1848 who had loaned these commissions and horn to the 1906 Meriden Centennial Celebration. 49488-1 (5,000-8,000) – Lot 2006

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2007

LARGE CARVED POWDER HORN.

Nicely carved and polished priming horn having a wood plug and carved notched mouth to hold carrying strap. Probably York, PA, circa 1800. SIZE: 18″ l. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Very good with great patina. 49476-82 (700-900) – Lot 2007

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2008

FINE RIFLEMAN’S POUCH AND POWDER HORN.

Attributed to the York, PA., area, circa 1800. 7″ x 8″ leather pouch having a flap decorated with stylized tulip, belt having a strap holding a 13″ screw top powder horn. Horn is nicely polished with fine turned screw top and domed button top end. SIZE: As noted above. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Small leather accessory straps have breaks and repair, main strap is intact, pouch has some cracking and leather loss but generally intact for its age. 49488-8 (800-1,200) – Lot 2008

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2009

CHAPEAU-DE-BRAS CIRCA 1830 OF CAPTAIN JOHN WOODMANSEE.

Chapeau de bras is beaver skin with silk edging, decorated with embroidered American eagles. Hat is contained in a contemporary box which contains a red feather plume and shirt facing of same era. Box has a typed label “TRAINING HAT OF CAPT. JOHN WOODMANSEE GRANDFATHER OF CLARK W. WOODMANSEE, SR. CAPT. JOHN WOODMANSEE LIVED FROM 1806 TO 1878”. There is also a deed in box from 1867 for the purchase of some land in Connecticut to the Captain whose residence is stated as Boston along with a couple other documents and some research. PROVENANCE: Estate of Siro R. Toffolon of Old Lyme CT. CONDITION: Hat is fairly sound and overall fair with vermin damage. Three large holes are eaten, largest being about 3″ on one edge as can be seen in photographs. Eagle decorations on edging are well discerned. Silk liner is frayed at edges, though “Hartford” makers mark is quite discernible. Wallpaper box is foxed, soiled and stained, bent and has a sewn repair to one edge. Bottom of box ink inscription “Mr. S. Wickham, Norwich”. 49476-19 (1,200-1,500) – Lot 2009

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2010

REVOLUTIONARY WAR ERA TRICORN HAT.

A difficult object to find for the Revolutionary War collector is an original tricorn hat. The cocked hat was the most popular form of gentleman’s headgear circa 1750-1800. This particular piece of headgear is in fine condition with a hand sewn polished cotton liner, hand sewn leather sweatband, cockade, ribbons and felted edging. The cockade device exhibits a hand embroidered six-pointed star sewn over most likely a brass or pewter button. There is an old pasted ink label inside crown which reads “ASEL STEERE’S PROPERTY”. The research included locates an Asel Steere born 1780 in Gloucester, RI, dying in 1871. Asel had two older brothers William and Richard who would have been 16 and 17 years old at the close of the war. Asel’s father, Stephen, was a Quaker and pacifist and did not serve during the war. Also in records is listed in the 1777 military census the names of 15 different Steere’s including an Asa all aged 16-50 that were able to bear arms. Regardless of who originally owned this hat, if not Asel, the hat still appears to be correct and of the era and we have never see another contemporary tricorn offered for sale and overall condition is excellent for display. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Very good overall. Insect damage to scattered areas. Nap on velvet ribbons and edging worn and only about 50% intact. Lining and sweatband both fairly sound. 49476-125 (6,000-8,000) – Lot 2010

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2011

LARGE DECORATED BAND BOX BY HANNAH DAVIS, JAFFREY, NEW HAMPSHIRE.

Oval box has newspaper interior of the “The Massachusetts Spy 1831”. Cover with Concord, NH, newspaper and retaining its original paper label “Warranted nailed band-boxes, made by Hannah Davis, Jaffrey”. Exterior having blue, green and white wallpaper with a scene of a house, water, figure in boat and a hunter on shore with trees. SIZE: 15-1/2″ h x 19-1/4″ w x 14-1/2″ d. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: 95% of wallpaper present with losses mostly on cover, some water staining, otherwise good. 49476-20 (800-1,200) – Lot 2011

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2012

ARCHIVE OF CONNECTICUT REVOLUTIONARY WAR ERA DOCUMENTS.

This grouping contains four Revolutionary War dated receipts concerning Pay in Continental Army. There is also a canceled 1789 pay receipt to Col. Jonathan Trumbull, three other miscellaneous 18th Century documents. There is a small 6-1/2″ x 4″ ledger containing 40 pages concerning actions in the County Court in Norwich in 1752. Also included in this lot, is an engraved watch paper, about 2″ in diameter “Will’m Cleveland, Watch & Clock Maker, Norwich”. Back of watch paper is dated 1829. A small framed facsimile of Cleveland and file of research accompanies this lot. Also in this lot, is a framed December 16, 1773 addition of the Norwich Packet newspaper. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Documents are overall fair to very good. Ledger has much fraying at edges, all documents are discernible. Watch paper appears very good as framed. 49476-128 (500-700) – Lot 2012

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2013

GROUP OF COLONIAL COINAGE AND CURRENCY.

Currency consists of three Connecticut notes ranging from 1 shilling to 20 shillings, all printed 1780, Massachusetts Bay $2 note from 1780 and a 1776 dated $2 Continental Currency note. Two silver Crowns are Mexico City minted, 1768 dated pillar dollar and a 1780 dated Maria Theresa Thaler. There is a 1734 dated George II shilling; March 1690 James II “GUN MONEY” half-crown and a 1787 dated Connecticut cooper. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Currency is all worn with cracks and repairs. Massachusetts notes is cut-out cancelled. Signatures are faded on all. Coins are described strictly as to what they represent with damage and wear. Prospective bidders should view. 49476-61 (1,000-1,500) – Lot 2013

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2014

AMERICAN LONG RIFLE, HUNTING BAG, HORN AND KNIFE.

This hunting rig was bought from John G. W. Dillin, author of The Kentucky Rifle published by the NRA in 1924. There is a series of letters 1942-1943 with Dillin stating “The bag will be in your possession in a short time, and it’s fine. The best old horn & bag I ever saw on any bag”. Dillin also sold a copy of his illustrated 1924 book which also accompanies this lot. The fringed brown leather bag has a large over the shoulder strap with iron roller buckle. The bag has attached brass powder measure, vent pick and brush along with a primitive skinning knife which is brass mounted from old sword parts, bone grip with rusted 7-1/4″ dagger point blade. Accompanying this lot is an old tag which reads “The late Capt. John G.W. Dillin, author of THE KENTUCKY RIFLE, once owned this outfit and used it in the field for squirrel hunting”. Also included is an 8×10 photograph of Dillin holding a Kentucky rifle. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Bag is fairly sound, though much of fringe is dry and portions missing. Strap holding horn has glued repairs as does over the shoulder belt. Knife exhibits highly rusted and pitted blade. Horn has bulbous top, measures 13″ with a wood, acorn-shaped plug, horn with good age patina. Accompanying book has page marked with a similar rig pictured. Book is sound with good decoration on cover, faded spine with foxing. 49488-2 (2,000-3,000) – Lot 2014

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2015

OUTSTANDING RIFLEMAN’S HUNTING BAG WITH ACCESSORIES.

Last half 18th century. Lot includes: 7″ x 9″ leather bag with strap holding pick and another accessory all held on by chain. 9″ powder horn is also attached by straps and is decorated with circles, bird and pinwheel type design. Accompanying the lot is a 4-1/2″ priming horn, 5-1/2″ bullet mold, and 7-1/2″ handled knife. SIZE: As noted above. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Some repair, generally intact, very good. 49488-7 (1,000-2,000) – Lot 2015

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2016

NINETEENTH CENTURY WATER FOWLERS HUNTING BAG.

Circa 1830 – 1850, leather bag with cotton macrame front and fringe, retaining its original shoulder strap. SIZE: 12″ x 15″. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Leather is soft, 1 button missing and 1 button hole split. Area of charring to edge with hole. 49476-90 (300-500) – Lot 2016

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2017

GROUPING OF FOUR ANTIQUE CANTEENS.

1) 8″ h x 9-1/2″ w oval shaped wooden canteen in original red paint with 2 black strap staves, written on side is following “Used in the construction of the dam across the Connecticut River, built ABT. A.D. 1800, a mile and a half above the Holyoke dam to carry rum to the workmen. Recovered from a grandson of Elisha Morgan, the original proprietor and workman on the dam, A.D. 1885, by Clemens Herschel.” 2) 9″ dia. round wood canteen having wood bail handle in natural color. 3) 6″ dia. round canteen in original green paint with leather strap (restored strap). 4) 4-1/2″ h x 7″ w tin 1/2 round box with strap holes (strap missing). SIZE: As noted above. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Generally very good, some minor paint loss and imperfections. 49476-87 (400-500) – Lot 2017

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2018

THREE ANTIQUE LEATHER CARTRIDGE BOXES WITH STRAPS.

All 3 having cartridge inserts (2 wood, 1 tin), 19th century or earlier. 1 belt incorporating a bayonet holder. SIZE: 9-10″ w x 4-6″ d. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Leather is hard with significant wear and use, as found. 49476-86 (1,500-2,500) – Lot 2018

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2019

OUTSTANDING REFERENCE COLLECTION OF 100+ BOOKS ON FIREARMS AND MILTARIA.

Covering all areas including: Connecticut makers, New England and American firearms. Also including a number of pamphlets and auction catalogs. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: 49476-138 (500-1,000) – Lot 2019

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2020

TWO 18TH CENTURY BRASS BODY TINDER LIGHTERS.

Larger of two measures 7-1/2″ with heavy gauge tinder storage box and attached integrally cast candlestick holder. Wood grip has been broken and repaired at wrist and re-varnished, otherwise complete and functional. The second, more petite of this pair, has engraved tinder box door and an engraved deer on top brass flat, tapering to a small bulbous finial. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Both are functional with cleaned brass with yellow patina. Iron patina on mechanisms with pitting on trigger guard, frizzen and cock on the larger of this pair. Both lighters appear complete and functional. 49476-68 (1,500-2,500) – Lot 2020

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2021

TWO 18TH CENTURY TINDER LIGHTERS.

1) 7″ long, wood grip, attached candle stick holder. Somewhat crudely made, appears complete and functional though tinder compartment door is not easily locked. 2) All metal construction with a brown shellac finish, appears complete and functional. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Both very good overall. Both appear complete and functional. 1) has iron patina with light pitting. 2) fairly smooth overall, with small areas of rust where finish is worn. Frizzen heavily scratched with bare metal exposed from flint action. 49476-67 (1,000-1,500) – Lot 2021

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2022

TWO INDIAN AXES AND PIPE-TOMAHAWK.

This grouping consists of 1) a forged pipe-tomahawk, 18-1/2″ overall, with stamped decoration (head 6-3/4″, 3″ wide). Haft is old, but probably a later addition with brass band at mouthpiece and teardrop-shaped piece at eye along with two long triangular brass insets below head. 2) spiked hatchet on 21-1/2″ haft, head measures 7-1/2″, appears hand forged. 3) Celt with good patina 4-1/2″ long, 3″ across with later attachment to haft with repaired rawhide strapping 18″ overall. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: 1) head has iron patina with rust and pitting. Is loose and slides back on haft. Mouthpiece appears to be a more recent addition. 2) chipping and reductions to one upper corner. Haft exhibits hand worn patina and is well fit. 3) Celt appears to be excavated relic with patina and some chipping on cutting edge as can be seen in photos. Rawhide and wood banding for attachment are broken and re-glued to affix as a tight unit for display. 49476-80 (2,000-3,000) – Lot 2022

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2023

LARGE GROUPING OF EXCAVATED INDIAN TRADE BEADS, WAMPUM AND TRADE AXES.

This grouping from the the Toffolon Collection consists of 11 reconstructed strings of trade beads excavated at various Indian sites. Most are from Bloomfield, Ontario County, New York at various identified sites there, such as Marsh, Steele, Baughton Mill, Valley Mill and others. Each strand averages about 100 beads and are of different types, color and manufacture. The three small trade axes include a spontoon head tomahawk that is mounted on a board that states they are attributed to a French blacksmith at Ft. Frederick and are found only in Upper New York. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Beads are very good overall as excavated. Three small trade axes which measure between 5″ and 7″ are rusted and pitted. 49476-121 (400-800) – Lot 2023

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2024

UNIQUE TACKED PLAINS PIPE-TOMAHAWK WITH APPLIED DECORATION TO HEAD.

This fine “as found” 19th Century Plains pipe-tomahawk measures 22″ overall with an 8″ head. Haft is file branded with tack decoration and head has 5 applied silver decorations. The applied devises include a Latin cross; two crescent moons, one with a face; and a bleeding heart. Harold Peterson in his text American Indian Tomahawks, published by the Museum of the American Indian in 1965 shows only a few examples with applied decoration. This is a beautiful and most unusual example with well discerned branding, geometric tack design and fanciful silver decorations that you will never see another example quite like. CONDITION: Very good overall. Some tack heads raised due to wood shrinkage. Head is also loose as normally seen from shrinkage, but original cloth spacer still intact. Overall surface has good patina. Head and haft match well and appear original from manufacture. Applied decorations show numerous small scratches and bruises as expected. Crescent moon on eye is slightly lifting. 49789-4 (15,000-20,000) – Lot 2024

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2025

REVOLUTIONARY WAR MINUTEMAN “FRANCIS CARR” POWDER HORN.

This exact horn is pictured in Tom Grinslade’s Powder Horns: Documents of History. Grinslade properly describes this historic horn as follows: The caption on the horn reads, “MARCH * 14 * 1775 * FRANCIS CARR*,” a date which indicates that the horn was made prior to the conflict at Lexington and Concord, perhaps when Carr first joined the Minutemen. The Royal British Coat of Arms, a hell-horse, a panel with the bust of a man labeled “CARR,” along with several birds, a snake and a deer decorate the horn. Pvt. Francis Carr marched on the alarm of April 19, 1775, in the Minuteman Company of Capt. Ebenezer Colby in Col. Johnson’s Regiment. During his service of six days, he went from Haverhill to Cambridge, a distance of about 35 miles, as listed in the Massachusetts Soldiers and Sailors of the Revolutionary War. The total number of men who are reported in the records to have marched on the Lexington alarm was about four thousand. Francis Carr, 1751-1821, was the father of U. S. Congressman James Carr and the founder of a Bangor, Maine political family. Carr was born in Newbury, MA moving to Haverhill and represented Haverhill in the Massachusetts House of Representatives. He is buried in Mt. Hope Cemetery in Bangor. A copy of text referenced where this horn is pictured is also included. There is a similar Revolutionary War horn with a much later 19th Century brass spout from powder flask on display with Revolutionary War arms at the Metropolitan Museum of Art in New York City. The word “Washington” appears to be a later addition on “freshened” inscription. SIZE: 13″ l x 2-3/4″ d at base. CONDITION: Very good overall. One iron tack slightly raised. Minor insect damage as can be seen in photos. 49851-1 (6,000-9,000) – Lot 2025

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2026

EXTRAORDINARILY RARE AND HISTORIC REVOLUTIONARY WAR POWDER HORN USED BY MINUTEMAN OLIVER BUTTRICK AT BATTLE OF CONCORD, APRIL 19, 1775.

In untouched, original condition and inscribed “Oliver Buttrick, OCT. 1774”, this important powder horn was carried at the first battle of the American Revolution. Early in April, 1775 word was passed on to the British command that rebel colonists had amassed arms and powder now hidden in Concord, MA. Lt. Col. Francis Smith was commander of about 700 British army regulars in Boston and on the morning of April 19th an expedition would march from Boston to Concord to capture and destroy these arms. Word of this action was discovered by the colonists and immediately spread to local militias. One of those individuals responsible for the alarm was Paul Revere who was immortalized by Henry Wadsworth Longfellow in the poem “The Midnight Ride of Paul Revere”. The British arrived at Lexington first, however the minuteman militia had not had ample time to assemble in force and fell back. The British regulars then moved on to Concord. Concord however, was a different story. Enough time had passed so that a large contingent of minutemen had been alerted and a formidable force held the North Bridge in Concord defying the British regulars. The confrontation eventually erupted into gun fire which became known as “the shot heard round the world”. This historic battle is known as the first true major military engagement of defiance from the colonists with the British Empire. As such some consider it the most important military engagement in the annals of the evolution of the United States. Young Oliver Buttrick was one of seven Buttrick family members to join with other minutemen in this historic conflict. Oliver’s uncle, Major John Buttrick led the advance at the Old North Bridge that day. As referenced in his detailed pension application of 1834, Oliver was in David Brown’s Company and served alongside his brother William, who was killed three weeks later at Bunker Hill. Fellow Minutemen that day included Abiel Buttrick, Daniel Buttrick, Tilly Buttrick, Willard Buttrick and John Buttrick, Jr. (the 14-year old fifer). In 1901, George Tolman read his paper “The Concord Minutemen” to the Concord Antiquarian Society, listing the above named Buttrick family members in his account. Oliver Buttrick would serve under the command of three of the very same men with whom he fought shoulder to shoulder on April 19th; notably, Sgt. Abishai Brown, Capt. James Barrett and Capt. George Minot. As stated in the 1896 publication, Massachusetts Soldiers and Sailors of the Revolutionary War, Oliver Buttrick fought in such celebrated arenas as Point Shirley, Bennington, Ticonderoga, Fishkills, and Soldiers Fortune (near West Point). He also performed guard duty on a prison ship in Boston Harbor. The date on the horn is significant. Unrest among the Patriots started years before this first skirmish. In the summer and fall of 1774, rebellion was at fever pitch. In fact, on October 4, 1774, the recently formed Massachusetts Provincial Congress issued what amounted to its own declaration of independence and on October 24, 1774, that same angry and determined Congress authorized the procurement or armaments. 18th Century American soldiers and militiamen identified their horns with their name and often the date it was made. The use of inked vellum under glass lens was a rare form of decoration and seen on only a few other 18th Century examples. This powder horn is among the few existing objects that can be directly associated with the first Battle for American Independence and to our knowledge this powder horn is the only Colonial horn used at this historic confrontation to ever be offered for sale. In fact, to our knowledge, nothing used by a minuteman at the Concord engagement has been sold at auction in many years. This is indeed a truly extraordinarily rare and historic artifact and presents a once in a lifetime opportunity. Oliver Buttrick’s Historical and Biographical Information: Oliver descended from one of the oldest Concord families, dating back to William Buttrick, who arrived from England in 1635. (In difference sources, the family name is also spelled Buttrike and Butterick). According to Concord Registers, Book II, Oliver was born in Concord, Massachusetts, on March 7, 1757. He was the son of Samuel and Elizabeth Buttrick. His siblings were William (b. July 13, 1754), Marcy Buttrick (b. October 10, 1775), Amos (b. April 27, 1758), and a child who was born and who died on January 22, 1761. His parents, Samuel Buttrick and Elizabeth Blood were married October 2, 1750, by Rev. Daniel Bliss of Concord. Oliver’s father, Samuel, was born in Concord on November 16, 1718, and died there January 14, 1814, at the age of 96. Oliver’s Grandfather, Deacon Jonathan Buttrick, was born on April 4, 1690 and died March 23, 1767. On December 19, 1718, he married Elizabeth Wooley, who was born April 8, 1700 and, after giving birth to 14 children, died January 26, 1772. Deacon Jonathan’s father, Samuel Buttrick, was born January 12, 1654 and died August 8, 1726. On June 21, 1677, in Concord, this Samuel Buttrick married another Elizabeth Blood, born in 1656 and died on March 7, 1733. Samuel Buttrick’s father was Wiliam Buttrick, mentioned above as the first of the family in North America. Most of these ancestors are buried in the Old Hill Burying Ground in Concord. On March 30, 1786, Oliver Buttrick married Sarah Hall from Ashby, Massachusetts, which is 28 miles from Concord. Their marriage was recorded in Ashburnham, Massachusetts. Their children were: Asa b?; Eli b. 1887; Sarah b. Ashburnham, Nov. 2, 1791; Sarah m. May 18, 1825, to Ebenezer Ellenwood of Pelham, N.H.; Jonas b. July 5, 1797 d., Jan 13, 1814 and another Jonas Buttrick d. 1865 Pelham, N.H., Nathan b. Mar. 6, 1799. Ephraim, b?; Betsy b. 1801 (or, 1805,) d. Bedford, Oct. 1, 1889, m. in Pelham, N.H. on Mar 31, 1825, to David Fitch of Billerica. Fitch was b. Feb 20, 1802, d. May 19, 1851; Asanath, b. Pelham, N.H. abt. 1807, m. April 5, 1827, to Jesse Robinson, Jr. of Bedford. After the war, Oliver and Sarah lived much of their lives in Pelham, N.H., where their children were born and raised and where most of them died. At 77 years old, Oliver filed for his Revolutionary War pension. In his pension, he states that when he officially entered into the service of his country he was 5′ 11″, age 21, and that he was living in Concord. Oliver encountered difficulty having his claim for a pension processed through the War Department. But with testimony from numerous parties, the application was finally approved in December of 1834. One individual, Thaddeus Blood, (presumably his cousin as his mother’s maiden name was Blood) the last member of his company living in Concord, wrote and affidavit on behalf of Oliver stating that they had served and fought together during many battles of the Revolutionary War. Interesting Note: The history of Windham, New Hampshire, (Morrison, Leonard Allison, The History of Windham in New Hampshire [Rockingham County] 1719-1883; Boston, Mass.: Cupples, Upham & Co. 1883) page 192 states: “Jams P. Hughes has an old powder horn marked October 1774. It was the property of Oliver Buttrick of Pelham.” We may never know how James P. Hughes came into possession of the powder horn. However, we do know that he was a contemporary and neighbor of several of Oliver’s children in Pelham, N.H. and an important and influential citizen of that town. This powder horn is among the few existing objects that can be directly associated with the first Battle for American Independence and to our knowledge this powder horn is the only Colonial horn used at this historic confrontation to ever be offered for sale. In fact, to our knowledge nothing used by a minuteman at the Concord engagement has been sold at auction in many years. This is indeed a truly extraordinarily rare and historic artifact and presents a once in a lifetime opportunity. This horn was on display at the Concord Museum in an exhibition of items from this most important of American events. The exhibit spanned from April to September 2014. PROVENANCE: Oliver Buttrick, 1774, James P. Hughes, Windham, NH before 1883, Robert Thayer, 1994. Exhibited at the Concord Historical Society Museum, 2014 at the “Shot Heard Round the World” Exhibition. CONDITION: Very good with original surface, minor cracking and chipping near lip. Wood bezel has two chips which are well patinated as can be seen in photos and glass cover lens has a vertical crack. Original bailing wire loops are still present with smooth iron patina. 49789-5 (20,000-50,000) – Lot 2026

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2027

EXTRAORDINARY WASHINGTON FAMILY SILK EMBROIDERY.

Second half 18th century, probably Fredericksburg, Virginia. This silk work wrought by Mildred Gregory Washington (1777-1805), daughter of Charles Washington and niece of General George Washington. Mildred Gregory Washington, second wife of Captain Thomas Hammond of Charles Town, Jefferson County, Virginia was married until her death in 1804/05. Capt. Thomas Hammond then married Nancy Newton Collins in 1807, retaining the silk work within their family. Their son, George Washington Hammond married Sarah Ann Taylor, retaining the silk work in their family. Their daughters were Florinda Jones Hammond (1846-1922) and Mary Mildred Hammond (1836-1933). Mary Mildred Sillivan (nee Hammond) took stewardship of the silk work. Subsequently she gifted the silk work to her niece, Elizabeth Tilford Keferstein (1874-1941), daughter of Florinda Hammond Tilford and John Boyle Tilford, Jr. A family quilt exists, fashioned over a period of 6 years by the three wives of Captain Thomas Hammond including Mildory Gregory Washington and Nancy Newton Collins. The silk and chenille embroidered picture depicting a young woman in a fitted pale blue jacket with dark trim, with a brimmed cap, wearing a blue and gold striped full length skirt and black shoes, holding a hay rake in her right hand. She is facing a young man in blue jacket with white trousers and leggings, black shoes with buckles and seated on a haystack beside a seated dog, holding a pitchfork, all on a grassy foreground. They are positioned beneath a large central willow tree, a bird flying within. The middle ground with spotted pig, fence, and small farmhouse. Rendered overall in muted and subdued tones of golds, silvers, greens and blues. This rare folk art rendition with similarities to the rural themes seen in the “Fishing Lady” embroideries of Boston and also with regional characteristics of rural Virginia, Frederick County in the 18th century. References: The Algernon Sydney Sullivan Collection of family documents from the Stewart Bell Jr. Archives Room, Handley Regional Library, Winchester-Frederick County Historical Society, Winchester, Virginia. For additional background information of the the family see “Uplifting of the South” by Kathleen Curtis Wilson and “Mary Mildred Sullivan (Mrs. Algernon Sydney Sullivan) A Biography” by Anne Middleton Holmes. Accompanied by a typed history titled, “EARLY AMERICAN SILK EMBROIDERY – A Family Relic”, documented and written by George Hammond Sullivan, son of Algernon Sydney Sullivan and Mary Mildred Hammond Sullivan, New York, September 1, 1923. It is our opinion that this is a rare and superior example of 18th Century Folk Art needlework worthy of any serious collector’s attention with extraordinary potential for appreciation. SIZE: Sight 15″ x 12-1/4″. CONDITION: The silk work in very good structural condition. The foundation now a medium brown from age with some deeper discoloration in area around the young woman’s torso. There is also some fraying to the foundation along the borders of the work, outside the borders of the stitching. The colors are somewhat faded, but present a pleasing overall tonality. 49889-1 (18,000-22,000) – Lot 2027

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2029

RARE GEORGE WASHINGTON MEMORIAL TEXTILE “SIC TRANSIT GLORIA MUNDIA!” 1819.

The textile printed in 1819 after an earlier print designed by Charles Buxton and engraved in 1798 by Cornelius Tiebout. Monochromatic printing on cotton. This rare example is one of the most elaborate & beautiful political printed historical American textile of the 19th Century. The title translates from the Latin to “Thus Passes the Glory of the World”. Printed in Glasgow, Scotland in 1819. At the top are two narratives extolling Washington’s virtues. Washington is standing in the center with a backdrop of Bowling Green, NY and alludes to the British evacuation of New York on Nov. 25, 1783. This engraving contains fantastic early American flag symbolism and patriotic symbols. There is needleworked into the textile on the upper left corner “E C”. Housed in a modern gilt frame behind glass. SIZE: Sight: 25-1/2″ x 18-1/4″. Overall: 27-1/2″ x 20-1/4″. PROVENANCE: The Estates of Faye G. Montell & Hayden Goldberg of Brooklyn, NY & Gardiner, ME. CONDITION: Not examined out of frame, some fading, otherwise very good. 49830-6 (2,000-3,000) – Lot 2029

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2030

GEORGE WASHINGTON MEMORIAL JACQUARD WOVEN PATRIOTIC SHAWL TOGETHER WITH EAGLE HOOKED RUG & EAGLE NEEDLEWORK.

1) A fine piece of a seamstress art employing embroidery and needlepoint which appears to have started with a linen Jacquard-loomed 19th century memorial to George Washington with central panel that is centered with patriotic shields, eagles and floral motifs which reads “WASHINGTON ELECTED PRESIDENT OF THE FEDERAL UNION MARCH 1789 E PLURIBUS UNUM”. The front panels which have been split, but when closed read “INDEPENDENCE OF THE UNITED STATES OF AMERICA JULY 4, 1776”. 2) The framed, behind glass, eagle hooked rug shows an eagle with E. Pluribus Unum banner holding a U.S. shield with four stars, one in each corner. All against a rose background with black, white & gold border. 3) The framed needlework shows a relief eagle holding a shield with two flags including a cannon & anchor. Housed in an antique gilt frame with gilt liner and white mat behind glass. SIZE: 2) Rug only: 33″ x 42″. Overall: 38″ x 48″. 3) Sight: 15-1/2″ x 19-1/4″. Overall: 24-3/4″ x 28-3/4″. PROVENANCE: From the personal estate collection of John W. Armiger Jr. CONDITION: 1) Very good to fine overall. Rear panel easily read, though it is white on white. Front panel, from cutting and sewing, letters are missing from text but can still be discerned. Red and green embroidered panel on skirts is very good. Only minor blemishes and reductions. 2) & 3) Some fading, some silk threads loose. 50099-2, 49055-54 (388), (1,200-1,800) – Lot 2030

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2031

JOHN HANCOCK SIGNED DOCUMENT PAYING A “NEGRO” ANTHONY VASSELL’S REVOLUTIONARY WAR PENSION.

This is a most unusual document signed by then Massachusetts Governor John Hancock. Anthony Vassell was a slave owned by one of the wealthiest men in Cambridge, Massachusetts, John Vassell. As the war began, John Vassell and his family left for England, leaving Anthony his most trusted slave to manage his property. Vassell was never to return to America. The State of Massachusetts seized his properties and by an act of the State, February 6, 1781, Anthony was to be paid a pension of 12 pounds per year. Anthony and his family, now free, were among the original free black community of Boston and there is much written on his family including his life at the Vassell Estate as George Washington entered Cambridge in 1775. This is a unique document as we know of no others paying a pension to a newly freed slave. There is a link attached on the web to George Washington’s Headquarters National Park document which has extensive information on slavery in Boston and an entire chapter just on Anthony Vassell and his family starting in 1770’s. CONDITION: Document is framed and was not taken out to check for mounting; it does not appear dry mounted. Good discernible ink including a bold Hancock signature. 49755-1 (3,000-5,000) – Lot 2031

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2032
Revised: 2/2/2016

Please Note: We have been informed by a well-recognized authority Gen. Winfield Scott and it is of his opinion that this is not an image of Gen. Scott. Also Please Note: The Dag is possibly Charles King, son of Rufus King and President of Columbia University, Nov. 1849-1864.

OUTSTANDING LOT PERTAINING TO RUFUS KING, SIGNER OF THE U.S. CONSTITUTION.

Rufus King, Federalist statesman, delegate to the Continental Congress, anti-slavery advocate, a drafter & signer of the Constitution, U.S. Senator, candidate for Vice President & President, and twice Minister to Great Britain. His portrait was painted by Gilbert Stuart. Rufus King was born March 24, 1755, at Scarborough, which was then part of Massachusetts, but is now in the state of Maine. The Rufus King collection descended in the line of Rufus King’s third son, James Gore King. Then passed to Frederica Gore King, the sixth child of James Gore King & Sarah Gracie King. The collection of King family items then passed to Frederica’s brother, Edward King (b 1833), her next youngest sibling, who became president of the U.S. Trust Co, and who married Isabella Ramsey Cochrane. The line of descent of the King family items then passed to Edward King’s daughter, Elizabeth King, who married James E. Davis. Elizabeth King Davis’s son, Edward King Davis (1902-1966) married Virginia Shepherd, and the King family items were passed by direct descent to the present day. Lot consists of 1) Thomas Moore & Co triple fuse bracket clock. London, late 18th century. Musical clock striking on the quarters, chiming on nine bells with engraved backplate. With calendar on dial on face. With pendulum. Handle on top with four finials. Satin wood feather veneer on front, quarter columns with brass on top and bottom. Brass talon feet. Has brass covering the windowed sides with cloth, cloth probably replaced. With key and winder. 2) Colorfully needlework vest, Circa 1780-1820. Vest having a front with lines of flowers and an intricate flower decorated button edge, pocket flap & bottom edge. Two flapped pockets and a tied back area. 3) Magenta colored vest with button front & two flapped pockets. 4) 26-Pieces of English silver. Each piece having a federal eagle heraldic crest. Hallmarked with English hallmarks from 1795 thru 1804 including: William Eley & William Fearn, one ladle Richard Crossley, Dessert knives marked “Boch”. WEIGHT: 45 tr. oz. 5) Rufus King’s close friend was General Winfield Scott (1786-1866). He was General in Chief of the U.S. Army from 1841-1861. Outstanding oil on tin miniature half portrait after an engraving of the same likeness. He is seen in full uniform against a light brown background. Identified on reverse and no artist known. Housed in a period gilt frame. 6) Large daguerreotype of what appears to be Gen. Winfield Scott. There was no identification in the family as to whether this was a family member or not. The man is shown with glasses in a formal suit. Housed in a leather vase. SIZE: 1) Clock: 19″ h x 15″ at widest x 9-1/2″ d. 2) Vest: 32″ l. 3) Vest: 30″ l. 4) Silver: Ranges from 13″ to 5-1/2″. 5) Oil: 5-3/4″ x 4-3/4″. 6) Dag: 6″ x 4-3/4″. CONDITION: 1) Clock appears to be original finish, missing small pieces of wood. Craquelure to veneer, in need of some restoration. Dial face with losses. Pendulum with restoration but is of the period. 2 & 3) Vests: Both are very good, staining at arm holes & slight losses with staining at neck. Buttons are all intact & needlework is colorful & bright. 4) Silver: Very good. 5) Oil: Very good. 6) Very good. 49888-6 (15,000-25,000) – Lot 2032

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2033
Revised: 2/2/2016

Please Note: This is not an engraving but is an antique later lithographic print.

CAPTAIN THOMAS DAVIES (AMERICAN/CANADIAN/UNITED KINGDOM 1737-1812) “A VIEW OF THE ATTACK AGAINST FORT WASHINGTON AND REBEL REDOUTS NEAR NEW YORK ON THE 16 OF NOVEMBER, 1776, BY THE BRITISH AND HESSIAN BRIGADES.”.

This extremely rare period colored engraving shows 14 full boats of armed soldiers on a river approaching the shore for landing. Artillery and men are seen on near hill bombarding and causing several fires along the hillsides. Below title is “Drawn on the Spot by THO. Davies, Capt. R.R. of Artillery”. Rare to have such an important battle scene drawn at the time within view of the attack. Housed in stained wood frame with mat. NOTE: The original drawing by Davies is located in the Phelps Stokes Collection of the New York Public Library. SIZE: Sight: 11-3/4″ x 17-3/4″. Actual: 13-1/4″ x 20-1/4″. Overall: 19-3/4″ x 24-3/4″. CONDITION: Examined out of frame, print has been masking taped down to mat, uneven margin with losses, lower left has a few small tears that have been taped and are visible from front, also visible on right side is a small tear, slight fading but color is good. 50030-1 (1,000-3,000) – Lot 2033

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2034

BRITISH FIGURE-EIGHT NAVAL CUTLASS, CIRCA 1810.

This is a classic example of a British Naval cutlass that was emulated by the Americans during the American Revolution and War of 1812. This type of weapon would be found aboard British or American privateers during the Napoleonic Wars, War of 1812 and the Barbary Coast Wars. American made versions typically have a wooden grip, so this example with iron grip, most probably is of British manufacture, though there is no maker’s mark or cypher meaning it was sold to private market. An old brown ink tag attached reads “CAPTAIN WM. H. GOODING”. CONDITION: Sword is very good overall, “as found” in local Maine estate. 27-1/2″ X 1-3/8″ blade is overall grey with areas of staining and pitting. Sheet iron crossguard retains much of its original black paint with balance rusted and pitted. Grip is sound and solid with much original black paint, with rust and light pitting. Point is bent. 49937-1 (800-1,200) – Lot 2034

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2035

FINE JOSEPH LAMOTTE 18TH CENTURY DOUBLE BARREL FLINT LOCK PISTOL.

This fine relief carved and gold decorated pistol dates circa 1775, measuring 14-1/2″ with 8-1/2″ barrels. Each lock and barrel is marked with full firm name as can be seen in photos. Gun is mounted with engraved and chiseled steel with decorated silver thumbplate. Relief carving in stock found behind barrels and barrel tang and forward and under trigger guard. CONDITION: Good to very good overall. Chipping of wood forward of each lock and rear of right lock. Gun appears original with later addition of 19th Century iron ramrod with brass tip. Front ramrod thimble is unpinned. There is a putty repair on right side of forestock near muzzle, and a crack in forestock on left side otherwise wood hand worn patina with an applied layer of varnish. Gold decoration on barrel is especially worn at muzzle. Mechanically, gun functions well. 49789-3 (2,000-3,000) – Lot 2035

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2036
Revised: 1/29/2016

This lot consists of 3 Naval Jacks, 2 dating from the Civil War with 35 stars, another with 38-stars with history. 1) 35 star is in poor condition, originally with hand sewn, double-applique, 7-1/2″ cotton stars. There are now some machine repairs on at least two stars and a newer rope hoist for continued use. 2) 35 cut-through 9″ stars adorn this Jack with a mix of hand sewn stars, with some having machine sewn outer perimeter, but not all. The large canvas hoist is hand sewn, as are the edges with two large brass grommets. Two large brass grommets are affixed to either end of the 5″ folded over hoist. Written on the hoist several times “D.G. Fort”. 3) 38-star was official flag with the admittance of Colorado in 1876 until 1885. 38-star Jack of the Tugboat “E. E. Frost”. The Frost has an interesting history being sunk about 10 years after this ensign became official. On October 1, 1899, the steamer NEW ORLEANS, coming into the harbor, had a collision with the tug E.E. FROST, outward bound. Capt. Louis P. Cole, was in the pilot house of the FROST, and was steering the boat. As the NEW ORLEANS struck the smaller craft her bow cut into the tugboat and the latter went to the bottom. Capt. Cole found himself in a perilous position as the boat sank beneath the surface. The door of the pilothouse had become jammed in the collision and Cole was imprisoned. Finally the pressure of the water on the outside became so great that Cole was enabled to get the door opened and float to the surface. As an outcome of the collision, Cole has filed a libel in admiralty against the steamer NEW ORLEANS for $10,000 and costs. The steamer was seized by a United States marshal several days ago, but has since been released upon the filing of a surety company bond for $10,000 by the owners of the vessel. 4) 48-star US flag, all machine sewn with with 48 double-applique 2″ stars. CONDITION: 1) Much fraying and reductions in bunting. Several stars repaired and a few stars are torn and pulled loose. Flag measures 68″ on hoist, 84″ on fly. There is a newer added bunting piece to fly for continued use. Hoist is shredded and only partially contains rope hoist in its sleeve. 2) Good overall, though there are reductions especially in stars as can be seen in photos. Flag measures about 70″ on hoist, 84″ on fly. 3) Very good overall. Scattered small insect damage areas, color is very good. Sewing sound. 4) Good overall, shows wear and fading. Soiling and reductions especially on fly. 44″ on hoist, 60″ on fly. 49804-2 (800-1,200)

GROUP OF 3 NAVAL JACKS AND 48 STAR US FLAG.

This lot consists of 3 Naval Jacks dating from the Civil War with 35 stars,another with 38-stars Indian Wars era and the last dating about 1889 with 42-stars with history. 1) 35 star is in poor condition, originally with hand sewn, double-applique, 7-1/2″ cotton stars. There are now some machine repairs on at least two stars and a newer rope hoist for continued use. 2) 38 cut-through 9″ stars adorn this Jack with a mix of hand sewn stars, with some having machine sewn outer perimeter, but not all. The large canvas hoist is hand sewn, as are the edges with two large brass grommets. Two large brass grommets are affixed to either end of the 5″ folded over hoist. Written on the hoist several times “D.G. Fort”. 38-star was official flag with the admittance of Colorado in 1876 until 1885. 3) 42-star Jack of the Tugboat “E. E. Frost”. The Frost has an interesting history being sunk about 10 years after this ensign became official. On October 1, 1899, the steamer NEW ORLEANS, coming into the harbor, had a collision with the tug E.E. FROST, outward bound. Capt. Louis P. Cole, was in the pilot house of the FROST, and was steering the boat. As the NEW ORLEANS struck the smaller craft her bow cut into the tugboat and the latter went to the bottom. Capt. Cole found himself in a perilous position as the boat sank beneath the surface. The door of the pilothouse had become jammed in the collision and Cole was imprisoned. Finally the pressure of the water on the outside became so great that Cole was enabled to get the door opened and float to the surface. As an outcome of the collision, Cole has filed a libel in admiralty against the steamer NEW ORLEANS for $10,000 and costs. The steamer was seized by a United States marshal several days ago, but has since been released upon the filing of a surety company bond for $10,000 by the owners of the vessel. 4) 48-star US flag, all machine sewn with with 48 double-applique 2″ stars. CONDITION: 1) Much fraying and reductions in bunting. Several stars repaired and a few stars are torn and pulled loose. Flag measures 68″ on hoist, 84″ on fly. There is a newer added bunting piece to fly for continued use. Hoist is shredded and only partially contains rope hoist in its sleeve. 2) Good overall, though there are reductions especially in stars as can be seen in photos. Flag measures about 70″ on hoist, 84″ on fly. 3) Very good overall. Scattered small insect damage areas, color is very good. Sewing sound. 4) Good overall, shows wear and fading. Soiling and reductions especially on fly. 44″ on hoist, 60″ on fly. 49804-2 (800-1,200) – Lot 2036

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2037

FINE AMERICAN 31 STAR FLAG COMMEMORATING CALIFORNIA.

This beautiful flag from a local Maine estate exhibits 31 stars in a “Grand Illuminary” pattern. 5-1/2″ stars are hand sewn and cut through by a knowledgeable and efficient seamstress. Much of the flag is machine sewn by an early lock stitch machine though there is a large mix of handwork in areas of reinforcement connecting blue panels, attachment of hoist, eyelets in addition to the stars. 31 stars commemorates the State of California which became a state in 1851 and this flag was official until July 4, 1858 with the admittance of Minnesota as the 32nd state. SIZE: 12′ 6″ x 8′ 10″. CONDITION: Very good with bright colors, some fraying and small reductions scattered, though mostly on fly. 49930-1 (2,000-3,000) – Lot 2037

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2038

20 STAR AMERICAN FLAG COMMEMORATING MISSISSIPPI.

Flag measures 40″ on hoist, 72″ on fly. 20 3-1/2″ hand sewn, double applique cotton stars are attached to single ply blue wool bunting canton in four rows of five. Red and white stripes are also single ply bunting, which are machine sewn. A 3″ folded over linen hoist contains a rope for attachment. Hoist is hand sewn to flag. 20 star American flags commemorate the addition of Mississippi as the 20th state in 1818. 20 star flags were only official for two years with the addition of Illinois as a state in 1819. This flag, however, does not date this early, but is later 19th Century as construction and materials are much more typical of the Civil War era and other odd configurations of stars are known on boat flags as this flag most likely was used, considering it’s rope hoist. Regardless, this is a fine 19th Century 20 star flag that is a great size for display and is a rare configuration. CONDITION: Very good overall. Blue color is bright. Red is somewhat faded. There are scattered areas of staining and small holes and contemporary repairs for continued use There is fraying on the fly end. There are several small holes, the largest being about an inch but they do not affect aesthetics. The canton was originally made from two hand sewn panels which most of the stitching has come loose. There is a more modern attempt to repair, though still separated for about 1/4 of its length. However, this could easily be re-sewn. 49938-1 (2,000-4,000) – Lot 2038

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2039

CONFEDERATE CIVIL WAR 12 STAR 11 STRIPE FLAG.

This very unusual flag has quite a “folk art” feel, probably made 1861 as exclusionary flag citing only the twelve supposed Confederate states at time of manufacture. Flag is totally hand sewn made from red, white and blue cotton. The heavy canvas hoist has four irregular hand-whipped eyelets. The twelve double-applique hand sewn stars range in size from about 5-1/4″ to 6″ each. In what apparently started out as an eleven star canton with a circle of six stars, a central star and four in opposite quadrants, the twelfth star appears added during construction as an afterthought to show sentiment of a border state such as Missouri hoping to join the eleven Confederate states. Note, there are eleven stripes. The flag shows little use, though there is some fraying and reductions at top and bottom edges of fly, and there are eight or nine rust stains from probable nails that attached this flag to pole. This flag is very typical of early war Confederate flags, measuring 46″ on hoist by 90″ on fly. Large ratios of 2-1, fly to hoist, are often seen in early 1861 on Confederate Regimental flags used in the field. CONDITION: Good to very good overall. Good colors, stitching mostly intact with few reductions and only a few tears, one several inches long in bottom red stripe, about 3″ or 4″ in an “L” shape which is easily repaired. Reductions at corners of fly, the largest on bottom is about 3″ x 4″. White stripes show areas of water staining and soiling which do not affect overall aesthetics. This flag recently discovered in a Maine estate could easily have been a souvenir brought home by a Maine Civil War soldier 49804-1 (4,000-6,000) – Lot 2039

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2040

FINE CIVIL WAR PIPE CARVED BY GILMAN CLINDININ, COMPANY 3 2ND WISCONSIN VOLUNTEERS, WOUNDED AT GETTYSBURG.

This large pipe measures almost 6″ across and 3″ high has raised relief lettering “PRESENTED TO J… BY GIL CLINDININ, CO. E 2ND R WV MARCH 1862”. The carving, also in raised relief, shows a musket with attached bayonet, large patriotic shield, large nesting star and a ribbon with “OLD VIRGINIA”. Gilman Clindinnin is listed as enlisting 5/8/61 into Company E, 2nd Wisconsin Volunteer Infantry, mustered out 6/28/68. Was promoted to Corporal and was wounded July 1, 1863 at Gettysburg. CONDITION: Pipe is very dirty and soiled. Pipe hole is clogged with dirt. There are several age cracks and char from burning inside bowl. Pipe appears to have sat in a barn or similar dirty environment. Pipe is in need of a good waxing as it appears to have good color and grain under the grime. 49862-1 (2,000-3,000) – Lot 2040

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2041

GROUP OF FOLK ART CARVINGS BY EDGAR B. VAN VALKENBERG, INCLUDING TWO CARVED IN FALMOUTH, VA IN 1862.

Edgar B. Van Valkenberg enlisted as a Private on April 30, 1861 in Hudson, NY as part of Company H, 14th New York Infantry. The unit was involved in the early battles in Virginia and according to the New York Adjutants reports, were present at Falmouth, VA April 17-18, 1862. The unit would later winter at Falmouth, but after Van Vakenbergs discharge for disability July 30, 1862. The small rings with patriotic shields made of bone and wood, are typical to those found in Civil War soldier affects, however the large lidded box which measures about 5″ tall and 3-1/2″ square is most unusual and elaborately carved with patriotic motifs. “FALMOUTH” as found on one ring, relief carved handles, birds including two different views of homing pigeons with a letter tied around their necks. I know of no Civil War accounts of birds carrying mail, but something was meant by these vignettes. Also accompanying this lot, another fine folk art cup, 3-1/2″ tall with a full relief dog at handle with similar birds carved on Civil War box, though cup is dated 1870. CONDITION: Very good overall with old varnish finishes on two larger pieces. 49929-1 (4,000-6,000) – Lot 2041

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2042

FINE 18TH CENTURY CHERRY COURTING MIRROR.

The shaped top framed mirror has inset eglomise panel of a bowl of fruit. Lollipop top with a rectangular original mirror. Family history on reverse on paper indicates that it possibly could be descended through Capt. Flagg and indicates the Child’s Mansion in Durham, NH or Portsmouth, NH. SIZE: 14-3/4″ x 7-3/4″. CONDITION: Mirror plate with losses to silver, inset panel with crack, otherwise having good patina. Minor issues with gold edged frame. 49861-12 (800-1,200) – Lot 2042

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2043

QUEEN ANNE CHERRY FLAT TOP HIGHBOY.

1740-1780, probably north coast of Connecticut. Cabriole legs with creased knees and pad feet. Apron of lower case deeply scrolled with foliate center device. Lower case consisting of a full width drawer over 3 box drawers. Upper case with 5 graduated drawers below a bold projecting cornice with an attached acceptance molding which corresponds to the acceptance molding of the lower case. Brasses and locks are original. Secondary wood is white pine. Apron scrolling and secondary wood predict a Stonington, CT area origin. Inclusion of double acceptance molding with outset aspect indicate an early date. SIZE: Lower case 39-1/4″ case w 19-1/2″ d. Upper case width 36-1/4″ w 18-1/4″ d. Overall 75″ h. PROVENANCE: Estate of Siro R. Toffolon of Old Lyme, CT. CONDITION: Very old, possibly original finish. Two applied returns to proper left side of cabriole legs not present, otherwise highly intact with some age shrinkage to sides of upper case. Lacking 3 locks in upper case. 49597-2 (15,000-20,000) – Lot 2043

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2044

LARGE FEDERAL GILTWOOD CARVED GIRONDOLE MIRROR.

First quarter 19th Century American. The round convex mirror plate within a reeded ebony slip set within a molded surround, mounted with spherules flanked by double candle arms each suspended beneath a ropetwist torch. Crested with a well carved giltwood displayed eagle, a ball and chain within its beak, perched on rockwork on a classical form gilt plinth. SIZE: 45″ h x 42″ w x 7-1/2″ d. PROVENANCE: A private Maine/Texas collection. CONDITION: Original gilding overall with spot touch-ups, the deep frame with small losses to gilding and plaster in need of minor cosmetic restoration. Proper left wingtip absent. 50012-17 (2,000-4,000) – Lot 2044

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2045

FRAMED MOURNING WATERCOLOR.

Early 19th Century. The framed mourning watercolor on paper showing a weeping man & woman at the side of a memorial urn underneath a weeping willow tree. The oval scene has angels in the upper two corner holding banners, one saying “Christ our reus_?? died”, the other “_? cried the numerous tears”. In the right side of the oval is a New England village with a large homestead with fence and groomed trees. The center having water with several boats & rowers. In the sky are two doves holding a banner “There is rest in heaven”. Housed in a period grain painted frame with gold liner SIZE: 11-3/4″ h x 15″ w. Overall: 14-1/4″ x 17-1/2″. CONDITION: Some minor insect loss, very good. 49861-9 (2,500-3,000) – Lot 2045

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2046

AMERICAN SCHOOL (Early 19th Century) UNSIGNED FOLK ART PORTRAIT OF A YOUNG GIRL WITH RABBIT.

A charming oil on canvas half length portrait of a girl of approximately 10-12 years of age, seated in a landscape, wearing an empire waist long sleeve pink dress with a rabbit and a basket of flowers resting on her lap. Her blond curls frame her face with her blue eyes cast straight at the viewer. Housed in a 19th century carved gilt wood frame. Inscribed in pencil on stretcher “Send stretcher to Bessie J. Howard artist, 116 Commonwealth Ave., Boston” and “B108 Durant” Note: Boston artist, Bessie Howard (1890-1962) was also a painting restorer and likely lined and re-stretched the canvas in the mid 20th century. SIZE: 30″ x 25″. Overall: 36″ x 30″. CONDITION: In overall good, restored condition. The canvas is lined, arresting the horizontal craquelure, touch up in the horizontal cracking throughout (including in-paint in her face). 49951-2 (2,000-4,000) – Lot 2046

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2047

OUTSTANDING AND UNUSUAL ALABASTER ARCHITECTURAL FORM WATCH HUTCH.

19th century. White and black variegated alabaster. Large watch hutch having central area of columned front building having 4 spiral front columns and 2 square back columns, all open with exception of mirrored back section. Above columns are cathedral arches flanking central arch topped by spread wing eagle and decorative elements. Top having set back roof type area having 4 obelisk type spires, central round hole to hold pocket watch and crest with inscribed pinwheel topped by 4″ spread wing eagle holding American flag. All of this set atop base with 2 open compartments above shelf supported by long foot with stylized claw ending. SIZE: 24″ h x 11″ w x 5-1/2″ d. PROVENANCE: The Estates of Faye G. Montell & Hayden Goldberg of Brooklyn, NY & Gardiner, ME. CONDITION: Very good with 1 small leaf missing from front decoration, otherwise minor imperfections. 49830-12 (5,000-7,000) – Lot 2047

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2048

QUEEN ANNE WALNUT COMPASS SEAT SIDE CHAIR.

Circa 1740-1770, Boston or Newport. Statuesque example with vasi-form splat, yoke crest and crooked stiles. Compass seat and block and turned side stretchers with arrow medial and back stretchers. Rounded cabriole legs with pad feet and arcaded lower edge of seat rails. Rear legs with potent rake, chamfered just above seat level and between stretchers and seat rails. Crooked styles are typical laminate construction. SIZE: 40-1/2″ h x 21-1/2″ w x 22″ d. PROVENANCE: Estate of Siro R. Toffolon of Old Lyme, CT. CONDITION: Good with repair to cracks to one front foot. Old museum number #241 inside of rear leg. Retains original slip seat. 49476-29 (1,800-2,500) – Lot 2048

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2049

FINE AND RARE QUEEN ANNE CHERRY DRESSING TABLE.

Connecticut River Vally, mid 18th century. The scalloped top with outset rounded corners above a thumb molded long drawer over three aligned short drawers, the central drawer deeply fan carved above a scalloped apron raised on tapering cabriole legs with scalloped returns on pad and platform feet. REFERENCE: Wallace Nutting Furniture Treasury figure 402 for similar example. SIZE: 31-1/4″ h x 36″ w x 20-1/4″ d. Case width 30-1/2″ PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Original case with original legs, feet and backboard. Table retains period hardware, some re-set, long drawer has been re-built or replaced with mostly newer elements. Top has been re-set with multiple replaced glue blocks otherwise with early minor repairs to left case side facing. Dressing table retains old surface throughout. 49597-10 (15,000-20,000) – Lot 2049

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2049A

RARE SERAPI ORIENTAL CARPET.

Last quarter 19th century, North West Persia. Dense angular floral vinery on an ivory ground within a madder red main border filled with polychrome lotus palmettes and saz leaf trellis work flanked by pale indigo floral guard borders. SIZE: 9′ 5″ x 12′ 3″. CONDITION: Even wear throughout with low pile. Loss of fringe, weaknesses to selvedge. Moderate insect damage primarily at ends and corners. 50110-1 (5,000-7,000) – Lot 2049A

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2050

FINE ANTIQUE SAROUK ORIENTAL RUG, CENTRAL PERSIA.

Second half 19th Century. Central Arabesque medallion flanked by stylized Cyprus and fruit trees framing four peacocks in a midnight blue field within a rose colored main border of lotus blossoms and other flowerheads within scrolling leaf tips and vinery. SIZE: 4’10” x 6’8″. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Good to very good with overall normal and expected wear. Colors now soft and muted. No major repairs or restoration noted. Minor repairs at ends and corners. 49476-47 (2,000-3,000) – Lot 2050

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2051

ANTIQUE SAROUK ORIENTAL RUG, WEST PERSIA.

Tree of life pattern flanked by Cyprus, all in a blue/black field with dense floral decoration beneath a mihrab on a madder red field. The main border with two color saz leaf and polychrome floral decoration within ivory floral guard borders. SIZE: 4’2-1/2″ x 6’4-1/2″. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Rug retains very good even pile. Rug remains supple. Rich palette. Very good overall with small tear left bottom corner facing. 49476-46 (2,000-3,000) – Lot 2051

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2052

LOT OF 12 BLUE AND WHITE DELFT PIECES INCLUDING: TEN PLATES, CHARGER, COVERED PITCHER.

18th century. 1) 13-3/4″ dia, charger decorated with figure, exotic bird, flower and fernery with flower border. 2) 8″ covered pitcher with blue flower decoration, small dome top cover. 3-8) Set of six 9″ plates, with same decoration, landscape with tree and top of building. 9-12) Four 9″ plates with different scenes. SIZE: As noted above. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: 1) Some losses and chips to edge of rim, otherwise very good. 2) Cover and pitcher have repairs and restorations which are visible. 3-8) Minor rim glaze chips, craquelure to glaze surface, 1 has rim repair, otherwise good. 9-12) 1 with chipping to rim, others only minor chipping. 49476-57 (1,500-2,500) – Lot 2052

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2053

FOUR PRATT WARE PITCHERS AND LARGE PRATT WARE MUG.

Late 18th/19th century. 1) 6″ h, handled mug, scenes on each side of children playing (Mischievous Sport and Sportive Innocence), (impressed on heart shaped medallions). 2-4) three 6″ h, pitchers with same scenes as mug but painted with different colors. 5) 7″ h pitcher, 1 side with scene “The Sailor’s Farewell” and side 2 “The Sailor’s Return”. Nice coloring. SIZE: As noted above. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: 1 pitcher with all over age toning, otherwise very good. 49476-25 (2,000-2,500) – Lot 2053

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2054

LOT OF FOUR BOWLS AND EIGHT CUPS AND SAUCERS FROM THE “NANKING CARGO”.

In 1752 a Dutch merchant ship set sail from Canton, China, headed for Amsterdam. She sank in the South China Sea and after 2 centuries divers discovered the Dutch ship “Geldermalsen” and raised the cargo unseen for 200 years. This lot represents part of the porcelain that was recovered. Lot indcludes: 2 brown glazed bowls with blue and white interior scene having Christie’s stickers, lot #265. 2 blue and white bowls with exterior landscape scenes having Christie’s stickers, lot #3088. 8 handle-less cups and saucers with blue and white decoration, with Christie’s stickers, lot #5057. Accompanying the lot is the book The Geldermalsen, History in Porcelain, by C. A. Jorg. SIZE: Bowls 2-3/4″ h x 6″ dia. Saucers 4-1/2″ dia. Cups 1-1/2″ h x 3″ dia. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Very good to excellent. 49476-56 (1,500-2,000) – Lot 2054

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2055

OUTSTANDING CHINA TRADE CARVED OVAL EAGLE PLAQUE.

Central relief carving shows eagle with arrows and talons holding American shield with stars and stripes. Outer border having 4 inset carved vignettes of figures in landscape. Elsewhere are vines of flowers and leaves, wonderful patina, probably Teak. SIZE: 11-1/2″ h x 13″ w x 1″ d. CONDITION: Very good to excellent. 49875-1 (1,500-2,000) – Lot 2055

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2056

CHINESE EXPORT (19th century) PORTRAIT OF THE STEAM BRIG “SHANE”.

c. 1860. An oil on canvas laid on board portrait of the American Brig “Shane” traveling towards the left under steam power, with sails furled on open seas under pink highlighted white clouds and blue sky. Housed in a carved mahogany frame. The ship having two masts and a central stack billowing black smoke. Three figures on deck and a large American flag off stern. The name emblazoned on bow and at mid ship underneath the stack in the black hull is a two letter Chinese signature possibly of the artist. SIZE: 17″ x 23-3/4″. Overall: 22″ x 28″ CONDITION: Very good, restored (by Yost conservatory), with scattered inpainting. 49845-2 (1,000-1,500) – Lot 2056

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2057

THE ARCHIVE OF DOCUMENTS, PHOTOGRAPHS, & DESK OF CAPTAIN JOSEPH McCART.

Joseph McCart was born in Economy, Nova Scotia Sept. 26th, 1832, died by drowning February 11th, 1878 on his return voyage from Buenos Aires, Argentina as Master of the Brig “Carrie Winslow”. Five miles outside of New York City his ship was hit by the “British America”. His ship sunk, all hands were rescued, but the Captain who chose to remain with the ship in hopes of saving it, was lost. McCart enlisted in the Navy in 1863. Included in this lot, on Navy Dept. stationary, are two Gideon Welles signed documents, both regarding his Ensign status. In 1864 he was promoted to the grade of Acting Master in the Navy of the United States and he spent two years on blockade duty under the command of Rear Admiral R.A. Dahlgren. After the war he lived in Eastport, Maine and continued to Captain several ships until 1878. The lot includes Captain McCart’s ship’s desk which is made up of a mahogany brass bound fold over lap desk which has been attached to a 4-drawer thin chest with graduated drawers and original carved wood handles. The desk is in its original finish and shows years of use with great patina. Another small writing desk accompanies this lot, again, showing wear over the years. Also included are several photographs of family members, one cdv dated 1863 of Joseph McCart in uniform; Two shoulder straps; Several letters; Written history from a family member; Marriage certificate dated 1858; 13-page document “Statement of Expenses of Ship “Sparkling Wave” of Boston Joseph McCart, Master”; 8-page document of “Invoice of Stores”, Ordinance, etc. for the U.S. “Ethan Allen”; Fee document from the Port of New York; Chronometer receipt from Thomas S. Negus; Several Brazilian documents; 1862 letter to his brother; Several shipping documents; Army/Navy Journal June 24, 1865; Several other documents regarding the collections of port fees, etc. Some later family papers; Lodge paperwork; Ship broker cards. SIZE: Desk: 34″ h x 19-1/2″ w x 10-1/4″ d. Writing box: 4″ h x 12″ w x 9-1/4″ d. PROVENANCE: Descended through the family of Capt. McCart. CONDITION: As noted above, documents are all generally intact and in good condition. 50002-1 (900-1,200) – Lot 2057

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2058

INLAID SAILOR’S ANTIQUE SEWING BOX.

Probably done by sailor for his sweetheart at home port. One drawer box has lift lid with open compartment atop which is another lidded compartment which supports pin cushion pillow. Whole inlaid with hearts, diamonds, stars and dots in light and dark woods and mother of pearl. NOTE: Certifiable ESA antique marine ivory. SIZE: 12″ h x 14-1/2″ w x 10-1/4″ d. Special Note: This item contains or is made of ivory. Do not bid on this lot unless you have read and agreed to our "Ivory Position Statement" and the "Waiver of Legal and Financial Risk to James D. Julia in regards to your Purchase of an Ivory Object." This information is located in the front section of our catalog. CONDITION: Very good. 49901-7 IVORY (1,500-2,000) – Lot 2058

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2059

SAILOR’S DOUBLE VALENTINE AND SHELL BASKET.

Late 19th early 20th century, Caribbean or Pacific Islands. Double valentine beautifully rendered with a heart shaped offering within floral border of mature and seedling shells. Second offering depicting shell flowers in the form of a wreath. Basket configured as an arrangement of mollusk shells attached with wire to a rigid wire frame with fixed handle. SIZE: Valentine 9″ dia (closed) x 2-1/2″ d. Basket 11″ h (overall) x 13-1/2″ dia. CONDITION: Sailors valentine in very good condition, no loose, broken or missing shells observed. Pine octagonal case with old surface, dark patina and wear, minor glued repair to lid by latch. Basket very good overall with minimal shell loss. 49861-13 (2,000-3,000) – Lot 2059

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2060

MARITIME COLLECTION OF CAPTAIN GEORGE W. LANE (1860-1948).

Lot consists of: 1) 15″ x 13″ cased sextant in ebony, brass with ivory scales, wooden case having Samuel Thaxter & Son Boston label. 2) 5-1/2″ square dry compass by S. Thaxter & Sons, Boston, MA. SN 4866 on brass housing. 3) 12″ parallel rule marked “England”. 4) 23-1/2″ single draw brass telescope, inscribed “Lawton Coggeshall/To M. Zimmerman/For excelling in Seamanship/and Gunnery/U.S. Ship Portsmouth/Novr. 1881”. 5) 15″ h x 32″ w x 16″ d. natural wood sea chest with hinged lid and added diddy box, key not present, old business card with Lane’s name and address in diddy box. 6) 14″ x 25″ oil on board painting of Lane homestead with Owl’s head lighthouse with red farmhouse and boathouse. Housed in oak frame 17-1/4″ x 29″ overall. 7) 12-1/2″ x 14-1/2″ (overall) framed photograph of Schooner Evelyn W. Hinkly which was captained by George W. Lane. 8) Group of printed copies of Captain Lane’s birth certificate, photographs of ships, his house, newspaper articles, Identification badge, actual 8-1/4″ x 11-1/4″ stock certificate under Lane’s name for “Western Multiphone Company” also stock certificate for “Rockport Fuel Company”. NOTE: In the book Assignment Down East by Henry Buxton on pg 280/281 there is a story involving George W. Lane of Rockport regarding a loss of the “Mary Bradford” by fire. NOTE: Certifiable ESA antique ivory. SIZE: As noted above. Special Note: This item contains or is made of ivory. Do not bid on this lot unless you have read and agreed to our "Ivory Position Statement" and the "Waiver of Legal and Financial Risk to James D. Julia in regards to your Purchase of an Ivory Object." This information is located in the front section of our catalog. CONDITION: 1) Case with cracks, tarnish on sextant. 2) New bolts holding gimbal, case with as found, otherwise good. 3) Good. 4) Lenses are good, missing end cap, some creases and dents brass. 5) Scratches to top surface, refinished, good. 6) Frame with stain, good. 7) Good. 8) Good. 50001-1 IVORY (2,000-3,000) – Lot 2060

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2061

AMERICAN SCHOOL (Early 19th Century) PORTRAIT OF THE SHIP “AMITY” OF NEW YORK.

An important recently discovered marine painting with ties to the early port of New York. This unsigned oil on paperboard mounted on canvas depicts the three masted packet ship “Amity” in full sail in open waters with the American flag off it’s stern and several ships dotting the horizon. Housed in a period carved giltwood frame with round black ball ornamentation in the four corners. Titled and inscribed along the top “the Ship Amity***/of New York **”. The lack of the Black Ball Line flag in this painting possibly dates the work to the earliest period of the ships service 1816-1820. The “Amity” was built in 1816 by F. Cheeseman as a private trader until it was acquired by the Black Ball Line in 1818. She weighed in at 382 tons and measured over 106 feet. The Black Ball Line was a passenger line founded by the New York Quaker merchants headed by Jeremiah Thompson, and included Isaac White and his son William, Francis Thompson and Benjamin Marshall. All were Quakers except Marshall. The line consisted of four packet ships, the Amity, Courier, Pacific and the James Monroe. All of these were running between Liverpool, England and New York City. In operation for over 60 years, it took its name from its flag a black ball on red background. The Black Ball Line was important to early immigration through the port of New York. The Amity, which is French for friendship, was one of The Black Ball Line’s first ships. Rain or shine, blow high, blow low, one of the Black Ball liners sailed from New York for Liverpool on the first and sixteenth of each month, and for many years these were the European mail days throughout the United States. On April 24, 1824 the ship “Amity” was stranded in Manasquan, New Jersey as it ran aground in a fog. The passengers and crew were rescued, and much of the Amity’s cargo was salvaged, except for that in the lower holds which was abandoned. REFERENCE: For a similar example see Skinner August Americana 2015 Auction, lot 182. SIZE: 22-1/2″ x 34-1/2″. Overall: 32″ x 44″ CONDITION: Good, conservation by Peter Williams Museum Services, Boston, MA, with craquelure. 49932-8 (20,000-30,000) – Lot 2061

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2062

SOLON FRANCIS MONTECELLO BADGER (American, 1873-1919) PORTRAIT OF THE SCHOONER “BESSIE C. BEACH”.

An oil on canvas depicting the three masted schooner “Bessie C. Beach” sailing right to left in a light chop ocean on a clear day. The Highland Light & Signal Station at Cape Cod in the background. The ship’s name emblazoned on the bow, stern and on a pennant on the back mast. The ship is seen in full sail flying flags at the top of each mast and the American flag off back. Eight figures are seen on deck. Signed lower left “S.F.M Badger” and signed and inscribed on verso “S.F.M. Badger. 5 Trenton St. Charlestown Mass.” The 128 foot ship was built in 1880 by H.H. Hanscomb in New Haven, Connecticut and weighed 283 tons. Mastered by E.G. McKeague, and owned by F.W. Benedict, her port of registry was New Haven. SIZE: 21″ x 35″. Overall: 26″ x 39-1/2″. CONDITION: Very good, small pinhole in right sail, some surface dirt, with minor abrasions and stretcher marks. 50025-2 (8,000-12,000) – Lot 2062

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2063

ANTONIO JACOBSEN (American, 1850-1921) THREE MASTED SCHOONER IN FULL SAIL.

Oil on canvas depicting an American three-mast black hulled ship sailing left to right in full sail flaying American flag through choppy seas under a pink hued, white cloud & blue sky. Housed in a contemporary antique style gilt wood frame with gilt liner. Signed “Antonio Jacobsen 1918″lower right. SIZE: 18″ x 30”. Overall: 25″ x 37″ CONDITION: Very good, lined, restored with some inpainting, mostly along the top edge 50025-3 (8,000-10,000) – Lot 2063

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2064

ANTONIO JACOBSEN (American, 1850-1921) “GLOUCESTER FISHERMEN ON THE BANKS”.

Oil on board scene shows 3 fishing schooners in parallel formation with part sails out. Several men on deck of each ship on a white crest wavy sea under cloud and light sky. Signed lower right “Antonio Jacobsen 1916″ also the frame on verso having a Max Williams, New York label. Penciled title on verso of board. Housed in a period black and gold frame. SIZE: 12″ x 20″. Overall: 16-1/2″ x 24-1/2”. CONDITION: Small chip in sky, otherwise very good. 50028-1 (3,000-5,000) – Lot 2064

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2065

ATTRIBUTED TO JOHN WILLIAM HUGGINS (British, 1781-1845) WHALING SCENE.

An unsigned oil on canvas depicting an American whaling ship with two whale boats off the coast at sunset. The scene depicts the most dangerous moment for whalers, when the crew prepares to harpoon their prey. The spouting right whale approaches the boats with tail thrashing. Housed in a modern frame. SIZE: 12″ x 18″. Overall: 15″ x 21″ CONDITION: Good, with minor shrinkage cracks, craquelure along stretcher bar, and yellowed varnish. 49989-1 (5,000-7,000) – Lot 2065

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2067

NANTUCKET SWING HANDLE LIGHTSHIP BASKET.

Late 19th/20th Century. The steam bent handle joined by brass buttons to the circular woven deep basket, joined to a typical circular hardwood base. Note: unsigned but with the name “Edith C. Pars” in script. SIZE: Overall height: 9-3/4″ x 8″ d. CONDITION: Original untouched surface with mellow patina, very good overall. 49859-1 (1,500-2,500) – Lot 2067

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2068

VERY FINE CHERRY QUEEN ANNE TRAY TOP TEA TABLE.

Mid-18th century, Connecticut. This example of refined and inspired design with a balance of proportion and delicacy seldom seen. With sweeping cabriole legs, creased knees and outset pad feet with a rhythmically scrolled apron featuring cupid’s bows centering a tombstone drop pendant on all sides. These carved moldings are applied at an angle to the upper portion of the apron,giving them greater projection and with conservation of stock. Thin apron has an applied under molding that with the overhanging top provides a great transition for the applied tray moldings. SIZE: 26″ t x 30-1/4″ l x 18-3/4″ w. PROVENANCE: Estate of Siro R. Toffolon of Old Lyme, CT. CONDITION: Very good condition with evidence of rejoining of the two board top and an absence of some bracing that was not original. Typical minor age cracks to two legs at the juncture of the apron. In pleasing old color and surface. Two fills in top at center from former cleat repair to top. Three small shrinkage cracks to two board top. 49597-12 (30,000-40,000) – Lot 2068

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2069

ASSEMBLED SET OF SIX WALNUT QUEEN ANNE COMPASS SEAT SIDE CHAIRS.

Mid-18th century, Massachusetts. Typical Boston form with peaked yoke crests, vasi-form splats, compass seats with arcades to lower edge of seat rails. Cabriole legs with round knees, out swept pad feet with knee blocks and under pads. Block and turned side stretchers with flying arrow medial and back stretchers. Assembled set consisting of one pair with round turned styles between seat and stretchers, three very close proximates with raked and chamfered rear legs, matching splats, yokes and very similar turnings and one with nuanced differences. Highly companionable grouping of these rare and sought after chairs. SIZE: From 39-1/2″ to 40-1/2″ h x 21-1/2″ w x 18″ d. PROVENANCE: Estate of Siro R. Toffolon of Old Lyme, CT. CONDITION: Very good, with all original knee blocks and slip seats. Some losses to corner blocking and replacements to interior corner blocking. One chair having a patched upper portion of leg at corner which forms seat rail. 49597-9 (20,000-30,000) – Lot 2069

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2070

QUEEN ANNE CHERRY TILT TOP TEA TABLE.

Circa 1775. Chapen scroll with turned shaft with suppressed ball at base with tripod type cabriole legs with pad feet. Constructed with three board top. Materials are cherry with ash cleats (probably replaced) and maple top block. SIZE: 27-1/2″ h, 33″ dia. PROVENANCE: Estate of Siro R. Toffolon of Old Lyme, CT. CONDITION: Older refinish. Cleats probably replaced and replacement to pad feet. Significant wear to pad feet. Old refinish. 49476-45 (800-1,200) – Lot 2070

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2071

FINE PAIR OF COIN SILVER TABLESPOONS BY PAUL REVERE JR. BOSTON, MASSACHUSETTS.

Late 18th century. Spoons monogrammed “RGS” and having “REVERE” touch mark to reverse. Housed in a custom wood presentation case. WEIGHT: 3.6 tr. oz. SIZE: 8-3/4″ l. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Very good to excellent. 49476-5 (8,000-12,000) – Lot 2071

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2072

OUTSTANDING COLLECTION OF FORTY AMERICAN COIN SILVER SPOONS AND LADLES, MOSTLY CONNECTICUT MAKERS INCLUDING: WILLIAM CLEVELAND, SERIL DODGE, NEHEMIAH DODGE, THOMAS HARLAND, PEREGRINE WHITE AND OTHERS.

1) Nehemiah Dodge, Providence RI. 9″ spoon, 5-1/2″ spoon, 7-1/2″ ladle, 6″ ladle. 2) William Cleveland, Norwich, CT. (1770 – 1837). Pair 9-1/2″ spoons, 8-1/2″ spoon, 9″ spoon, two 5″ spoons, six 5-1/2″ spoons, five 5″ spoons. 3) Cleveland & Post, Norwich, CT. Pair 9″ spoons. 4) Charles Brewer, Middletown, CT. (1778 – 1860). 9″ spoon. 5) Peregrine White, Woodstock, CT. (1747 – 1834). Two 8-1/4″ spoons. 6) Thomas Harland, Norwich, CT. (1735 – 1807). Two 8-1/2″ spoons. 7) Miles Beach, Hartford, CT. (1743 – 1828). 9″ spoon. 8) Marcus Merriman, New Haven, CT./Cheshire, CT. (1762 – 1850). Two 9″ spoons. 9) Ebenezer Baldwin, Hartland, CT. 9-1/2″ spoon. 10) Possibly John Gardiner, New London, CT. 8-1/2″ spoon. 11) Seril Dodge, Providence, RI. (1757 – 1802). 8″ spoon. 12) M. Peddinghaus. 7-1/4″ spoon. 13) Jacob Sargeant (1761 – 1843), Hartford, CT. 6″ spoon, two 5-1/2″ spoons, 3-1/2″ salt spoon. 14) Nathaniel Shipman, Norwich, CT. (1764 – 1853). 5-1/2″ spoon. 15) Unmarked. 5-3/4″ spoon. 16) Judah Hart, CT. (1777 – 1824). 5-1/2″ ladle. WEIGHT: 44 tr. oz. SIZE: As noted above. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Generally very good. 49476-135 (800-1,200) – Lot 2072

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2073

RARE COIN SILVER COFFEE POT BY WILLIAM CLEVELAND OF NORWICH, CONNECTICUT.

Pot in tapering bowl design on pedestal with hinged dome lid having urn knoop, light wood handle and oval base hallmarked “WC” in rectangle. Single script “C” monogram. William Cleveland (1770 – 1837), apprenticed in Norwich to Thomas Harland and partnered through the years with several others, including John P. Trott and Samuel Post. He was a grandfather of President Grover Cleveland. WEIGHT: 25 tr. oz. SIZE: 10″ h. PROVENANCE: Estate of Siro R. Toffolon, of Old Lyme, CT. CONDITION: Very good. 49476-7 (1,200-1,500) – Lot 2073

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2074

AMERICAN COIN SILVER FOOTED CENTER BOWL BY E. STEBBINS & CO.

New York, NY Circa 1810. The round deep bowl having a small ribbed rim & pedestal base with stylized leaf decoration. The bottom hallmarked “F.Stebbins & Co”. WEIGHT: 30.2 tr. oz. SIZE: 5-3/4″ h x 8-3/4″ dia. CONDITION: Very good. 49781-1 (800-1,200) – Lot 2074

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2075

38 AMERICAN COIN SILVER SPOONS.

Lot includes 12-1/2″ “I. Andrews, Norfolk”; 12-1/2″ bright cut marked “IW”; Pair of 9″ shell decorated marked “EB & Co” (Erastus Barton & Co., New York, 1810); Pair of 9-1/4″ coffin ended marked “N. Francis” with an eagle touch mark (N.Y. 1805-1828); 9″ coffin ended marked “JJJ”; Set of eight 6″ marked “Smith & Chamberlain”; 8″ marked “W Cowell” (1682-1736) with rat tail; Other makers include G. Gordon, S.M. Hopper, T. Richards, Baldwin, S.S. Blanchard, Palmer & Bachelders, N. Hardy, Curtis & Stiles, Stodder & Frobisher, I.Owen, J. Black. TOTAL WEIGHT: 57.8 tr. oz. SIZE: Sizes range from 6″ to 12-1/2″. CONDITION: Many of the bowls are dented or having loss, otherwise very good. 49781-15 (800-1,200) – Lot 2075

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2076