Winter Fine Art, Asian & Antiques Auction
Totals Over $3.2 Million!

Auction: February 9th & 10th, 2017: 10am

Preview: February 8th, 2017: 9am-5pm and February 9th & 10th 2017: 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: 2/3/2017

Please Note: GREAT NEWS! Both paintings are signed lower right “A E Hardy”

ANNA ELIZA HARDY (American, 1839-1934) TWO FLORAL STILL LIFES OF ROSES.

Oils on board One in giltwood frame, matted under glass, the other in mahogany frame under glass One signed lower right “AE Hardy”, the other unsigned SIZE: 1) Sight 8-1/4″ x 10″. Overall 14-3/4″ x 16-3/4″. 2) 8″ x 10-3/4″. Overall 12″ x 14-3/4″ CONDITION: 1) Spotty varnish, surface dirt and small area of retouch. 2) Minor retouch 51019-8 (600-700) – Lot 1000

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1018
Revised: 1/26/2017

Please Note: We have been notified this may not be a Monhegan scene due to the saw mill included in the painting, we cannot verify if there was or was not a sawmill on Monhegan Island.

ANDREW WINTER (American, 1893-1958) SAWMILL, MONHEGAN MAINE.

Oil on canvas Housed in a 1950’s carved wood partial gilt frame with linen liner Signed lower right “A Winter” SIZE: 22″ x 26″. Overall: 31″ x 35-1/4″ CONDITION: Some surface dirt, very good 51319-12 (2,000-4,000) – Lot 1018

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1030
Revised: 1/26/2017

Please Note: Size should read 22″ x 16″.

ALZIRA BOEHM PEIRCE (American, 1908-2010) “CHILDRENS BATH”.

Oil on canvas Unframed Initialed lower right “AP.”, signed titled and inscribed on verso “Alzira Peirce, Bangor, ME. Children’s Bath” SIZE: 16″ x 22″ PROVENANCE: By descent within the family of the artist CONDITION: Surface grime, abrasions along edges, depression to canvas upper left. 51220-10 (800-1,200) – Lot 1030

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1040
Revised: 2/9/2017

Please Note: There is a typographical error in our catalog description. The spelling of the foundry inscribed in the bronze is “Alexus” The Alexis foundry was renown for the quality of its work, and was the choice for many leading artists of the day. We were made aware of this discrepancy very recently. Upon further investigation and discussions with our experts, we believe this to be a “casting” error that is not uncommon from the time of creation. We will guarantee its authenticity as described in our conditions of sale.

PAUL HOWARD MANSHIP (American, 1885-1966) “INDIAN HUNTER AND HIS DOG”.

Bronze Inscribed on center top of base “1926 Paul Manship”. Inscribed on side of base “Alexis Rudier Fondeur Paris” According ot Janis Conner & Joel Rosenkranz Indian Hunter and His Dog was one of the sculptor’s most popular and widely recognized sculptures. It is also one of the few that is not based on mythology but rather takes its inspiration in part from Manship’s recollections of his childhood in Minnesota. “Indian Hunter and His Dog is a fluid, subtly naturalistic work whose sophisticated triangular composition has much in common with the Diana and Actaeon groups.” (Rediscoveries in American Sculpture: Studio Works, 1893-1939, Austin, Texas, 1989, page 148. Manship was commissioned to install a life-size version of Indian Hunter and His Dog at Cochran Memorial Park in Manship’s home town of Saint Paul, MN. It is believed that 12 examples of his 21″ version were made. 8 examples are known to be in institutions. The last one to come to the auction market was in 2013 at Sotheby’s, New York, 12/4/13, lot 36 and sold for $1,565,000 (incl. premium). SPECIAL NOTE: We would like to thank Steve Tatti Fine Arts Conservator, NYC, for his assistance in cataloging this item SIZE: 21″ h x 24″ l PROVENANCE: Alice Osofsky (1913-1994) Garden City, Long Island, NY; Donated to a private CT museum in the late 1960’s by Alice Osofsky for a collection of Tiffany Studio glass & lamps; De-accessioned from a private CT Museum (name withheld by request). Alice Osofsky was a well recognized and respected dealer & authority on Tiffany glass & lamps. CONDITION: Wonderful unpolished brown bronze patina, arrows bent at finger tips, otherwise very good 51372-3 (400,000-600,000) – Lot 1040

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1043
Revised: 1/26/2017

Please Note: This is an American boat, not British as we indicate in the description. The USS PT-529 was an 80′ class Motor Torpedo Boat with a speed of 41 knots. It was built by Elco, placed in service assigned to Squadron 36 April 22, 1944 and placed out of service October 29, 1945. Other specs include DISPLACEMENT: 38 tons, BEAM: 23′, DRAFT: 5′, ARMAMENT: 4 21″ XIII torpedoes in 2 tubes; 1 20mm, 2×2 .50 cal mg, CREW: 17, Powered by three 4M2500 12-cylinder Packard gasoline engines; 1200 hp. Also, please note that Bruce Arthur Norris (February 19, 1924-January 1, 1986) was owner of the Detroit Red Wings professional ice hockey team from 1952 to 1982. He was the son of James E. Norris and half-brother of James D. Norris. Members of the Norris family owned the Red Wings for almost fifty years before selling the franchise to Mike Ilitich in 1982.

JACK LORIMER GRAY (American, 1927-1981) PORTRAIT OF THE BRITISH TORPEDO BOAT “529”.

Oil on canvas Housed in a fine giltwood frame Signed lower right “Jack L. Gray”, inscribed on stretcher “Painted for Bruce A. Norris 1967 J Gray” with title and artists signature SIZE: 20-1/4″ x 30-1/4″. Overall 28″ x 37″ CONDITION: Very good, lined, with some inpainting 51344-7 (6,000-8,000) – Lot 1043

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1059
Revised: 1/26/2017

Please Note: Overall size should read 31″ x 37″.

BOB BLUE (American, 1924-2008) “ARRIVAL OF THE TALL SHIPS FOR THE MAYOR’S ESPERANTO CUP RACE”.

Oil on canvas Housed in a modern silver gilt molded wood frame Signed lower left “Bob Blue” NOTE: The “Esperanto Cup” is the coveted prize of the Mayor’s race, and is the symbol of the rekindling of the schooner races of the 1920s and the fishing fleet that the races represent. SIZE: 24″ x 30″. Overall 31″ x 27″ CONDITION: Very good 51302-1 (1,000-2,000) – Lot 1059

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1110
Revised: 1/24/2017

Please Note: Upon further examination, we cannot guarantee that this painting was by Frank Currier (1843-1909).

FRANK CURRIER (American, 1843-1909) LANDSCAPE WITH COWS AT A WATERING HOLE.

Oil on canvas Housed in a gilt decorated 19th century frame Signed and dated lower left “F Currier 1888″ SIZE: 18″ x 24”. Overall 21″ x 27″ CONDITION: Good, surface grime, discolored varnish, minor craquelure in sky 51515-1 (1,000-2,000) – Lot 1110

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1130
Revised: 1/26/2017

Please Note: We have been notified that this painting will be entered into the catalog raisonne that Anne Louise Avery is compiling.

EDWARD MITCHELL BANNISTER (American, 1828-1901) LANDSCAPE WITH LILY POND & BRIDGE.

Oil on canvas Housed in its original magnificent antique gesso decorated gilt frame with two gilt liners Signed lower right “E M Bannister” Verso of stretcher retains a partial Boston Art Club label and a Frost & Adams, Boston label SIZE: 20″ x 30″. Overall: 31-1/2″ x 41-1/2″ CONDITION: Some small areas in sky with inpainting, otherwise very good 51558-1 (10,000-20,000) – Lot 1130

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1173
Revised: 1/26/2017

Please Note: This image was used on a Remington Arms-Union Metallic Cartridge Co. Advertising Poster.

GOODWIN (American/English, Early 20th Century) THREE HUNTING DOGS PEERING OUT THE WINDOW.

Oil on canvas Housed in a wood frame Signed lower right “Goodwin” SIZE: 22″ x 15″. Overall 27-1/2″ x 20-1/4″ PROVENANCE: Maralyn Young estate, Arundel/Falmouth Maine, being sold unreserved. CONDITION: Good with surface grime 51412-32 (800-1,200) – Lot 1173

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1185
Revised: 1/26/2017

Please Note: Overall size should read 26″ x 19-1/2″.

IDA MARIE PERRAULT (American, 1872-1929) DANCE OF THE FAIRIES.

Watercolor, ink, and gouache on paper mounted on a silk mat Housed in a simple green frame under glass Signed and inscribed lower right “Marie Perrault copyright” SIZE: 12-3/4″ x 9-1/2″. Overall 19-1/2″ x 26″ PROVENANCE: Maralyn Young estate, Arundel/Falmouth Maine, being sold unreserved. CONDITION: Very good, possible fading 51412-34 (1,000-1,500) – Lot 1185

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1210
Revised: 2/3/2017

Please Note: We have been notified by Cardozo Gallery that this is not their 150th Anniversary Edition and is not from their gallery therefore we are uncertain of the vintage & origin of this goldtone.

EDWARD SHERIFF CURTIS (American, 1868-1952) CANYON DE CHELLY – NAVAHO, 1904 – 150th ANNIVERSARY EDITION GOLDTONE.

Goldtone Housed in a contemporary wood frame Signed lower left “Copyright 1904 E S Curtis” NOTE: According to Cardozo’s website this goldtone was produced using Curtis’s original plate and being a limited edition made by Cardozo Fine Arts. “Canyon de Chelly (pronounced “chay”, after the Navaho “Ta Sh_”) was one of the most sacred places for the Navaho and remains so to this day. It is located in Northeastern Arizona in the heart of Navaho country. Of Curtis’ 50,000 negatives this is considered to be one of his ten most important and powerful. The insignificance of man relative to nature is clearly illustrated through the sheer size (approximately 1,000 feet high) of enduring cliff formations that surround the riders. Canyon de Chelly is regarded as Curtis’ single most popular goldtone today and the contemporary Goldtone captures the subtleties and richness of the original negative in a way that was impossible a hundred years ago.” SIZE: Image: 18″ x 22″. Overall: 24-3/4″ x 29″ CONDITION: Very good 51344-13 (3,000-5,000) – Lot 1210

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1269
Revised: 1/26/2017

Please Note: Size should read 11-1/2″ x 9″.

DAVID COL (Belgian, 1822-1900) “LA VISITE D’UN AMI”.

Oil on mahogany panel Housed in a molded giltwood frame with presentation plaque Signed and inscribed lower right “DC. No 102”, bears label on verso inscribed with title and “David Col Antwerp 9 Juin 1871″ SIZE: 9″ x 11-1/2”. Overall 16-1/2″ x 14″ CONDITION: Very good with old restoration and surface grime 51528-1 (2,000-4,000) – Lot 1269

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1302
Revised: 2/1/2017

Please Note: Artist is NOT Robert Eric Moore (American, 1927-). The artist is Robert E. Moore (American, 1956-2003).

ROBERT ERIC MOORE (American, 1927-) SUMMER MEADOW.

Oil on canvas Housed in a modern ebonized wood frame Signed lower right “R.E. Moore” SIZE: 18″ x 25″. Overall 22″ x 29″ CONDITION: Very good to excellent 51529-8 (1,000-2,000) – Lot 1302

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1317
Revised: 1/24/2017

Please Note: When examined outside of the frame, we found a 1″ taped tear that is located on the bottom edge and extends into one of the child’s feet.

WILLIAM JAMES GLACKENS (American, 1870-1938) FOUR BOYS WALKING A DOG.

Ink on paper Housed in a modern giltwood frame matted under glass Signed lower left “W Glackens” SIZE: Sight: 7″ x 10-1/4″. Overall 17″ x 20-1/2″ CONDITION: Horizontal center, several small fox marks, not examined out of frame 51541-2 (4,000-6,000) – Lot 1317

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1367
Revised: 1/26/2017

Please Note: Overall size should read 35″ x 45″.

THEODORE TIHANSKY (American, 20th century) “RELAXING AT THE TRAILING YEW”.

Oil on canvas Housed in a giltwood frame Signed lower right “Theodore Tihansky” SIZE: 22″ x 48″. Overall: 45″ x 35″ CONDITION: Very good 51276-1 (500-1,000) – Lot 1367

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1512
Revised: 1/26/2017

Please Note: The dragon form netsuke (shown top row, 2nd from left) has been removed from this lot. Lot is now a group of seven netsukes.

LOT OF EIGHT CARVED NETSUKES.

19/20th century. The lot comprised of seven wood examples carved in various form along with an example carved from a Tagua nut. Many signed by the artist. SIZE: Between 2-1/2″ and 1-1/2″. CONDITION: Overall very good, Tagua nut with a rough spot on the back, creature hatching from egg with small repair to top of wing. 51121-1 (2,000-3,000) – Lot 1512

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1553
Revised: 2/8/2017

Please Note: Upon closer examination, we noted that there is a regilding and painting on the rim at the two outer edges of the bowl. Our consultant believes there may have been handles at one time, and a very professional restorer removed the handles and repainted this area. Also, the finial on the lid shows signs of professional restoration.

ROSE MANDARIN CIDER JUG AND RETICULATED BASKET.

19th century, China. The jug beautifully painted with vibrant enamels depicting a group of figures standing in the courtyard. Comes with original dome cover having a recumbent foo lion finial finished in gilt. The basket having reticulated walls and flared top rim, painted with a group of women and two attendants. Comes with reticulated underplate. SIZE: Jug 9-3/4″ h. Basket and underplate 9-1/4″ l. CONDITION: Cider jug very good, couple small glaze pops on spout. Basket, very good. 51341-3 (1,500-1,800) – Lot 1553

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1565
Revised: 2/3/2017

Please Note: GREAT NEWS! Upon closer examination our cataloger believes that this is from the first half of the 20th century.

JADE INLAID FOUR PANEL SCREEN.

China, 20th century. Each section inlaid with numerous Jade carvings resting atop carved wood stands inset in the panels. Each section carved with shallow relief stylized dragons. The reverse painted with a polychrome archaic design highlighted with gilt. SIZE: Each panel 72-1/2″ t x 14″ w. CONDITION: Very good. 51426-1 (4,000-6,000) – Lot 1565

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1587
Revised: 1/26/2017

Please Note: Country of origin should be “Mongolia” not “Tibet”.

THANGKA PAINTING.

Tibet, 19th century. The image with a central buddha with a Mandorla over her shoulder with others floating in the clouds. Accompanied by a certificate of authenticity. SIZE: Image 23-1/2″ x 16″. Overall 43″ x 24″. CONDITION: Some scattered staining, small hole along top edge. 51437-32 (400-600) – Lot 1587

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1640
Revised: 1/12/2017

Please Note: Upon further examination and consultation, the country of origin should be Iran, not India.

INLAID WOOD MIRROR.

Early 20th century, India. The front doors hand painted in vibrant colors open to reveal a mirror housed in a heavily inlaid frame. SIZE: Overall 14-3/4″ h x 11″ w. CONDITION: Losses to inlay, splits in wood, entire piece with a thick coating of varnish which has discolored. 51241-1 (100-200) – Lot 1640

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1647
Revised: 1/24/2017

Please Note: Upon closer examination we found a crack approximately 4″ long on the second vase.

MIRRORED PAIR OF FAMILLE ROSE VASES.

China, 20th century. Each vase made in a wide cylindrical form with hand-painted mirrored landscapes around each body containing various figures. The undersides with apocryphal Qianlong seals in iron red. SIZE: 15-1/2″ t. CONDITION: One vase with large crack through the body, other example is very good. 50934-8 (1,000-1,500) – Lot 1647

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2024
Revised: 1/26/2017

Please Note: A noted expert in this field states that he dug an 1824 Serial #1 Fisher. So tag number 12 is not the only Serial #1, however is a much finer example and not excavated.

EXCEPTIONAL AND FINEST COLLECTION OF RAREST VARIETIES OF CHARLESTON, SOUTH CAROLINA, “SLAVE HIRE” OCCUPATIONAL TAGS 1800-1864 INCLUDING SEVERAL UNIQUE EXTREME RARITIES.

Charleston, South Carolina, was the only city in the antebellum South to issue these tags or badges which had to be worn by any slave that was “hired out”. Each year a slave owner who hired out a slave had to pay a tax and the slave had to wear a brass “Slave Tag” proving the tax had been paid. The greater the skill and training required, the higher the tax. Charleston slave tags were authorized from 1800 up to the Civil War with the last badges made in 1865. We have offered several great groupings of slave tags in past auctions, but now offer, undoubtedly, the only complete collection of rare slave trades including the finest and only 1800 Huckster known. This badge is unique. Also included is the ultra-rare Carpenter of which no more than 4 or 5 examples are extant. Also in this grouping is the only known serial number “1” badge known and it is a pristine, non-excavated 1864 dated Mechanic. All badges in this collection are in very good to excellent condition with no repairs and all complete. All of these badges were family heirlooms or souvenirs excavated around various sites around Charleston and all with exception of 1864 serial number “1” Mechanic are of the earlier large varieties that are the most difficult to find. Slave Badges and the Slave-Hire System in Charleston, South Carolina, 1783-1865 by Harlan Greene, Harry S. and Brian E. Hutchins, 2004 is a wonderful, scholarly text that explains the quantities and makers of each badge and the census of known examples. All badges are authentic, original, and collected by a leading numismatics authority over a 30 year period. Almost all are maker marked and the other badges are noted as to maker as documented in the Greene/Hutchins text. Quoted portions of badge descriptions are from their text: 1) 1800 octagonal “HUCKSTER” No. 49. 1800 is the first year that badges were made which had to be worn at all times by new Charleston law. Few badges from this date are known and as noted this is the only known Huckster and it is maker marked “Atmar”. Ralph Atmar, Jr., a jeweler, was the first manufacturer of slave hire badges for the city of Charleston. No other city had such strict regulations and no other city required slaves to wear badges. The original ordinance published September 3, 1799 in the City Gazette stated the following: “Denomination” and price of said badges are as follows: Huckster, not under 30 years of age, $6 per badge. Mechanic, $3. Porters and Cart and Drayman, $2. Fishers and hired servants $1. These indeed were the categories and prices established by the ordinance. The terms in the press give us clues as to what the words on the badges were: “Huckster”, “Mechanic”, “Porter”…..” This unique badge was totally unknown to the trade until now. Two other Hucksters are known, both dated 1803, one of which is in the historic Charleston Confederate Museum at 188 Meeting Street. 2) 1810 octagonal “FISHER” No. 28. Another rare badge which is rarely offered. This badge is maker marked “Lafar” on verso. John Joseph Lafar was the official badge maker for the City of Charleston for about 20 years. He owned slaves and also served as City Marshal from 1818-1830, a total of 656 badges were made in 1810 of all types. The survival rate on slave badges is extremely low. For instance, even though 644 badges were made in 1808 and 1809, no examples are known. During the Civil War, copper for these badges was so scarce that it was advertised for by manufacturer to buy old copper, no doubt many old badges which had no value to their owners now were recycled. 3) 1813 octagonal “CARPENTER” No. 35. This badge is maker marked “Lafar” on verso and few Carpenter badges were made. Based on the great rarity of this particular trade, there are only 4 or 5 Carpenters known, one being 1811 and the others being 1813. The highest serial number noted is “69”. 4) 1815 diamond “FRUITERER & c” No. 74. This badge is maker marked “Lafar” on verso and few Fruiterer badges are known. Fruiterer is a very unusual occupation by today’s terms and was not a fruit picker but actually a vendor. Lafar is unique in his badges that he added “& c”. Earlier badges had Fruiterer only. “It shows the confusing arising from the term, for a Fruiterer sold more than fruit”. 5) 1818 square “PORTER” No. 604. This badge is maker marked “Lafar” on verso. Porter was the 2nd most common of slave hire badges made, but this is a fine example from an early year where the shape had been changed to square instead of diamond. 6) 1819 diamond “PORTER” No. 583. This badge is also made by Lafar, and note the change from 1818 back to a diamond shape. 7) 1823 diamond “SERVANT” No. 1328. This badge is maker marked “JJ Lafar” on obverse. This particular Lafar mark is scarce and only occurred for a few years. “It is estimated that only 1,261 badges were sold (1823) and that number of slaves were hired out, a great decrease from the year before, suggesting that the Denmark Vesey Rebellion, and fear of those slaves that hired their time, might have an impact on the practice in the year after the dramatic events. One slave who had an 1823 badge was “Mary”, a washer woman on the green. Her badge is No. 471, her owner stated in an ad seeking her return (Courier, March 26, 1823)”. 8) 1824 square “MECHANIC” No. 24. This badge, like the last, is maker marked on the obverse “JJ Lafar”. Mechanic badges are among the rarer badges found and this is the first of 3 fine, rare examples in this collection. 9) 1825 diamond “SERVANT” No. 1013. This badge is maker marked “Lafar” on obverse and has a beautiful copper patina, well struck with excellent markings. Servant badges were the most common badges made and this is a fine representative of an early example. 10) 1828 square “MECHANIC” No. 219. This badge is the last year that Lafar marked his badges and this badge is maker marked “Lafar” on verso. Lafar continued to make badges, though he no longer marked them with his name. All Mechanic badges are very scarce and this is a great example with a most unusual associated document. The document also dated 1828 (April 1st), is a Charleston Bill of Sale of two slaves “Sambo and Carolina”, both bricklayers who would have been required to wear a Mechanic slave tag when working in Charleston. 11) 1836 diamond “MECHANICK” No. 357. This badge is in remarkable, beautiful condition with a beaded border around misspelling or colloquial “Mechanick”. This badge was made by William M. Rouse. “William M. Rouse had been selected, perhaps because of his low bid (Courier, November 18, 1835)…estimates are that 3707 badges were sold for 1836”. Later badges by Rouse had Mechanic spelled correctly. 12) 1864 diamond “MECHANIC” No. 1. This is the only serial number “1” badge of any type for any year and is exceedingly rare. This badge was made by William Veronee and was the last contracted slave badge maker in Charleston. Less than 1,500 badges total were made during the last 2 years of the Civil War and very few have surfaced. Scarcity of brass for these badges is noted in that “many if not all badges from these years show striking on both sides, a practice carried out by Veronee”. This is a beautiful rarity with an impeccable surface. CONDITION: Very good to fine overall. All badges have well discerned markings including cartouches, serial numbers, dates, occupations and makers marks. Badges have varying surfaces from quite smooth to pitted. 51563-1 (90,000-125,000) – Lot 2024

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2037
Revised: 1/26/2017

Please Note: There is a typographical error in the second to the last sentence of the description, sentence should read: “This was repaired with square nails during the gun’s working life”.

EXTREMELY RARE AMERICAN MADE COLONIAL-REVOLUTIONARY WAR MILITARY AMERICAN FOWLER FITTED FOR BAYONET, DATED 1773, BY THOMAS EARLE WHO MADE A CUSTOM FOWLER FOR GEORGE WASHINGTON.

This rare and aesthetically pleasing American Revolutionary War era arm was presented quite accurately by earlier collector Professor Charles Thayer, University of Pennsylvania: “Perhaps the most famous New England arms maker of the Colonial-Rev. Period, Thomas Earle was personally commissioned by George Washington to make a custom fowler for the Commander in Chief of the Continental Army. This is the subject of a detailed article in Man at Arms (Dec., 1997, v. 19, no. 6, p 19-29). The present offering is a rare opportunity to acquire a signed Earle fowler. There are only about half-a-dozen authentic examples known, and most of these are locked up in major collections and museums. Other New England fowlers use French components, but this one, like others by Earle, is 100% American. It is dated 1773 on its silver escutcheon, just two years before Lexington, Concord, and Bunker Hill. British officers credited their American adversaries with effective long-range sniping using long fowlers like this one. Its military usage is obvious from the fact that it was altered to accept a bayonet, which accompanies it. This gun is a classic example of the “Worcester County” school, with its slender, graceful stock of cherry and typical “cloud”-form side-plate (See Tom Grinsdale’s book Flintlock Fowlers, pg. 60-65). George Washington had an extensive collection of personal arms; most were ordered from London. Clearly, the Commander-in-Chief considered Earle to be their equal. Washington’s Earle fowler has vanished. Of the handful that remain, this is the only one that is dated and the only one adapted to a bayonet. About half of the surviving Earle’s guns are stylistically of the 1780’s or so, too late for the momentous events of 1775. This gun has seen a great deal of honest wear, consistent with combat use. For example, the mainspring once slipped off the tumbler and split the wood under the rear of the lock. This was repaired with square nails during the gun’s working like. Like an old veteran, this gun wears its wounds with pride!” CONDITION: Old cracks restored as noted above. Brass and silver heavily worn from use such that details are light. Initials and date on thumbplate are barely discernible, but present. Wood overall has a hand worn patina. Only recent restoration noted is inset wood forward and under lock. Extremely rare, original American bayonet has matching patina beneath bayonet accoutrements and has been with gun a very long time as metal on barrel retains much of its original surface. Other metal surfaces of barrel and lock are overall brown/grey with pitting, especially around breech. 51268-1 (20,000-30,000) – Lot 2037

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2044
Revised: 2/9/2017

Please Note: A knowledgeable collector notified us that this signature was almost a perfect match with a signature in a letter that Einstein signed related to fundraising for studying the implications of atomic energy to society. When we researched this further, we found that a special rubber stamp was made to sign his signature for this letter. We do not guarantee this as a handwritten signature by Einstein.

CLIPPED ALBERT EINSTEIN AUTOGRAPH.

Clipped from a typed letter with remainder reading “Faithfully Yours, Albert Einstein” all in type. Centered with a blue penned signature “A. Einstein”. The clip was found in an envelope which has some age from Brookline, MA and is inscribed “Einstein signature in __ for a contribution to his medical school”. SIZE: 1-1/2″ x 4-1/2″. CONDITION: Very good, nice & bold. 51437-45 (500-600) – Lot 2044

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2068
Revised: 1/23/2017

Please Note: THE SECOND FLAG IN THIS LOT HAS BEEN WITHDRAWN, THE DESCRIPTION SHOULD NOW READ…

BEAUTIFUL 36-STAR AMERICAN PARADE FLAG, COMMEMORATING THE BATTLE BORN STATE OF NEVADA, 1865-1867.

This 27″ flag has six rows of six stars in canton and has been archivally framed. SIZE: Flag: 27″ x 17-1/2. Frame: 22-3/4″ x 33″. PROVENANCE: The Timothy Gallagher Collection. CONDITION: Very good overall with some water staining and red has turned a very pleasing orange/red. 51371-10 (1,000-2,000) – Lot 2068

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2082
Revised: 2/8/2017

Please Note: Under closer inspection it appears that there is a faint signature lower right which is illegible, however it appears to read “Smith”.

UNSIGNED (American, Last half of the 19th Century) COASTAL SCENE DEPICTING NAVAL ACADEMY OR YACHT CLUB.

Oil on wood panel scene shows a three-story white building with green shutters having a large porch with several people on the porch. A smaller building is to the left with people and a tall flagpole with American flag and gold eagle finial. The shoreline has a road with white picket fence and three cannons serviced by two men in military outfits. The well kept lawn reaches along the dock with boat house topped with an Indian princess holding a bow & arrow. In the foreground in a single mast sailboat and a three-person rowboat. At the end of the dock is a single-mast sailboat with two figures. In the distance is a sidewheel coastal steamer and several sails. NOTE: This painting was found in the Tiverton, Rhode Island area and was thought to be a depiction somewhere along the Newport/New Bedford coast. It is also possible that it shows a military academy on the Maryland coast. More research is needed to pinpoint the actual location as there are a number of landmarks that should be recorded. NOTE: The detailed rendering in this painting is reminiscent of James E. Buttersworth and C H Gifford’s work. SIZE: 6″ x 12-3/4″. Overall: 11-1/4″ x 18″. CONDITION: Original, untouched condition, tack holes in corners. 51319-13 (6,000-12,000) – Lot 2082

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2151
Revised: 1/23/2017

Please Note: We cannot guarantee that the green paint is original. Please read the disclosure in the catalog under CONDITION.
Please Note: The Kennebec Canoe Company made 60 salesman samples between 1916 and 1926. the style of this canoe is considered to be an open gunnel, not a closed gunnel as described. There is not a metal label on the bow, and it appears that some of the original varnish has been refreshed.

GREEN PAINTED WOOD & CANVAS CANOE MODEL MADE BY KENNEBEC BOAT & CANOE CO.

Early 1900’s, Waterville, Maine. An accurately detailed model of a canvas-covered wood-framed canoe; retaining the original green painted and varnished surface, with KENNEBEC stenciled on the sides; retaining the original woven basket type seats (predating cane). The closed gunnels and shape to the bows suggest a date of the early 1900’s. Retaining the original Kennebec Model metal label on the bow. NOTE: These sample canoes were created for advertising purposes and were hung in shops of sporting goods suppliers and used as salesman’s samples. Generally these canoes were about 4′ long, and were given to wholesale accounts that ordered rail boxcars of full-size canoes. Larger sample canoes, as this is, required a greater purchase or a special order. These salesman’s sample canoes are rare and desirable for their advertising merit, as well as for their decorative appeal. This is a particularly fine example in terms of scale, large size, and early boldly lettered advertising, in remarkable condition. SIZE: 66″ l. CONDITION: Very good condition with expected age darkening to varnished interior. Upon close inspection the large block letters “Kennebec” can be seen at center on each side under the green paint. We believe that it is possible that the manufacturer moved the name to the bow and this was repainted at that early time. 51174-1 (12,000-18,000) – Lot 2151

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2152
Revised: 1/26/2017

Please Note: Upon closer examination, we noted that this sample has open gunwales, not closed gunwales. In addition, it does not show design elements common to the Carleton Canoe Co. on the gunwales, so we cannot guarantee that it is a Carleton model. The Carleton Canoe Company was acquired by Old Town Canoe Company in 1910. Consequently we now believe that the vintage is the first quarter of the 20th Century. Finally, we noted evidence of small repairs on the hull of the canoe.

RED PAINTED WOOD & CANVAS CANOE; PROBABLY MADE BY CARLETON CANOE COMPANY.

Circa 1900-1910, Old Town, Maine. An accurately detailed model of a wood-framed and canvas-covered canoe; retaining the original red painted and varnished surface. The profile of this canoe, with medium rise to the bows and enclosed gunwales, predicts the early date. NOTE: Salesman’s sample canoes were given to sporting good stores with the purchase of railroad boxcars of full-size canoes. They hung in windows as trade stimulators, they were effective in advertising the product. SIZE: 35-1/2″ l. CONDITION: Very good original condition. 51174-2 (2,500-4,000) – Lot 2152

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2195
Revised: 1/12/2017

Please Note: The Provenance of this lot should include “Ex-Collection of Joan L. Thayer”.

FOLK ART CARVING OF A 19TH CENTURY CARVED BEAR.

Probably New England. The carved smiling bear with brown glass eyes, rendered to be displayed in either a seated position or standing on all fours. In brown paint with black nose, red mouth and with beige stomach and highlights. SIZE: Seated 9″ t x 5″ w. CONDITION: Bear retains all original surfaces with excellent patina. Slight nick to tip of left ear otherwise very good condition. 50990-4 (1,200-1,500) – Lot 2195

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2223
Revised: 1/26/2017

Please Note: Title should read “FINE QUM SILK ORIENTAL RUG, CENTRAL PERSIA”.

FINE ISFAHAN SILK ORIENTAL RUG, CENTRAL PERSIA.

Late 20th century. This finely woven signed example with an oval poled medallion set within a burgundy field within a conforming oval trefoil vinery border set within floral jade green spandrels. The whole with intricate fine floral sprays and garlands in pastel colors. The plum main border with dense floral vinery and with two scrolling foliate guard borders of pale sage green. SIZE: 4′ 4″ x 6′ 8″. PROVENANCE: From a Maine/Texas estate being sold unreserved. CONDITION: Very fine. 51358-52 (400-600) – Lot 2223

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2437
Revised: 1/26/2017

Please Note: There are no full plates in this lot. There are 14 daguerreotypes and ambrotypes: two half plates, one quarter plate, six sixth plates and five ninth plates.

LARGE LOT OF OVER ONE HUNDRED 19TH CENTURY PHOTOGRAPHS.

This grouping appears to have originated in New England with many New England back-marks on CDVs and cabinet cards. Grouping has 12 daguerreotypes and ambrotypes. Nine of these images are in decorated gutta percha cases, including two rare full plates, one half plate, three quarter plates and three sixth plates. There are two small albums of photographic gem tintypes, over thirty gems in those two albums. There is a series of thirty-one 1870-71 dated CDVs of actors of the Passion Play (Passionssiel, Oberammergau). Other CDVs are mostly portraiture with a few Civil War soldiers. There are four cabinet cards of Vice Presidential candidates John Logan and Thomas Hendricks, 1884. PROVENANCE: Maralyn Young estate, Arundel/Falmouth Maine, being sold unreserved. CONDITION: Good to fine, interested parties should inspect. Hard rubber cases are mostly very good, though one full plate is discolored, soiled, chipped and the emulsion of the two soldiers on ambrotype is highly flaked and quite poor. 51412-86 (400-800) – Lot 2437

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