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

GUTZON (John Gutzon Mothe) BORGLUM (American, 1867-1941) “APACHES PURSUED BY U.S. TROOPS”.

Bronze Signed atop rock “Gutzon Borglum” “Susse Fondeur, Paris” on edge of base REFERENCE: Plate 60 & 61 on pages 68 & 69 of “Bronzes of the American West” by Patricia Janis Broder, 1974 In describing this bronze, Broder states “Gutzon was greatly influenced by the art of Rodin. From his study of Rodin sculpture, he developed a feeling for sculptural mass and texture. The roughness of surface gave viewers an understanding of the spontaneity of creation. The impressionistic technique produced a harmony between the power of the raw material and the artistic skill of the sculptors hand. However thoroughly he made his preparatory studies of a subject, Gutzon worked rapidly with great energy and thus retained the original vitality and freshness of expression.” SIZE: 16-1/2″ h x 20″ 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: Very good having unpolished surface, dark brown patina with only traces of green verdigris at base edge and tail. 51372-2 (50,000-75,000) – Lot 1197

EMILE PINEDO (French, 1840-1916) NUDE WOMAN IN FRONT OF MIRROR.

Bronze and glass Signed on base “Pinedo” SIZE: 13-1/4″ h. Base: 6-3/4″ w x 6-1/2″ d CONDITION: Circular mark at pillow, otherwise very good 51525-1 (1,000-2,000) – Lot 1249

FRANZ BERGMAN (Austrian, 1898-1963) ARAB CARPET MERCHANT LAMP.

Bronze Signed on the base with the Bergman vase signature, marked “Geschulzt” and numbered “3917”, also marked “made in Austria” on base of man Reference: Illustrated page 193 Antique Vienna Bronzes by Zobel SIZE: 21″ h x 7-1/2″ at widest x 8-1/2″ d PROVENANCE: Maralyn Young estate, Arundel/Falmouth Maine, being sold unreserved. CONDITION: Very good, some light finish scrapes 51412-19 (1,000-1,500) – Lot 1291

JADE COVERED VASE.

China, 20th century. The vase carved from a light celadon colored stone with bands of archaic masks and key fret design circling the body. Dragon form handles at shoulders and comes with original domed top. SIZE: 10-3/4″ t. CONDITION: Very good. 51296-3 (6,000-8,000) – Lot 1569

PAIR OF CLOISONNE VASES.

China, 19th century. The vases decorated with a colorful display of various blossoms and butterflies on a turquoise enamel ground finished with a diapered pattern executed in gilt wire. The top rims with a ring of ruyi and the undersides having a gilt wash. SIZE: 12″ h. CONDITION: Both vases with minor dents and spots of enamel loss in the body. 49764-1 (750-1,250) – Lot 1572

BRONZE STANDING FIGURE DEPICTING TARA.

Tibet, early 20th century. The deity shown in a standing pose wearing beaded necklace and hands in a mudra. SIZE: 18″ t. CONDITION: Very good, with light wear to the surface. 50934-7 (2,000-4,000) – Lot 1595

FAMILLE ROSE FLOWERS & BIRDS VASE.

20th century. Of globular form, the large vase body painted with magpie birds on plum flower trees, while flowers blossom around them. Chinese calligraphy poetry on the side, artist signature “Zhang Zhi Tang”, bottom bears additional mark. SIZE: 15″ h x 9″ d. CONDITION: Very good. 51554-3 (1,000-2,000) – Lot 1624

BLACK DUCK BY GUS WILSON, SOUTH PORTLAND, MAINE.

In back-preening pose. SIZE: 7-1/2″ h x 16″ l. PROVENANCE: From a Maine/Texas estate being sold unreserved. CONDITION: Uneven crack around hole of head, crack where neck meets body. 51398-45 (3,000-5,000) – Lot 2000

LIFE-SIZED DECORATIVE SANDERLING BY A.E. CROWELL, EAST HARWICH, MA.

Mounted on a carved and painted clam shell base which is stamped with Crowell’s rectangular stamp, and exhibiting Crowell’s hand-written signature “A.E. Crowell Cape Cod”. SIZE: 4-3/4″ h x 5″ l. PROVENANCE: From a Maine/Texas estate being sold unreserved. CONDITION: Very good, legs with minor restoration by Steve Weaver. 51398-5 (6,000-9,000) – Lot 2003

LIFE-SIZED DECORATIVE JACK SNIPE WITH DROPPED WINGS, BY A.E. CROWELL, EAST HARWICH, MA.

Mounted on a carved and painted wooden base which is stamped with Crowell’s rectangular stamp and exhibiting his hand-written signature “A.E. Crowell Cape Cod”. Also written in Crowell’s script is “Jack Snipe”. SIZE: 6-1/2″ h x 9″ l. PROVENANCE: Dupont Family, Oyster Harbors; From a Maine/Texas estate being sold unreserved. CONDITION: Very good, crack to eye, Wear to the gesso at one leg joint, rub to tail. 51398-6 (8,000-12,000) – Lot 2004

LIFE-SIZED DECORATIVE KINGFISHER, BY A.E. CROWELL, EAST HARWICH, MA.

Mounted on a wooden base which is stamped with Crowell’s rectangular stamp. Carved with the bill open holding a carved and painted fish. SIZE: 8-1/4″ h x 10″ l. PROVENANCE: From a Maine/Texas estate being sold unreserved. CONDITION: Very good, fish is a replacement carved by Steve Weaver, Cape Cod, MA; Beak has break at center of fish, back of foot with missing tip. 51398-13 (6,000-8,000) – Lot 2007

LARGE AMERICAN COIN SILVER TANKARD BY JOHN ALLEN & JOHN EDWARDS, BOSTON, CIRCA 1700.

The body of a tapered cylindrical form, with s-curve handle, and scroll work thumb piece attached to the dome cover. Marked under the rim “IA” for John Allen (Boston, 1671-1760), along with “IE” for John Edwards (Boston, 1671-1746) Allen & Edwards worked together between 1700-1707. The cover appears to be an early replacement, hallmarked “D Parker” for Daniel Parker, Boston, 1726-1785. Well formed onslow style thumb lift, the end of the S-curved handle with a cherub mask and monogrammed “ABM”. WEIGHT: 32.5 troy oz. SIZE: 8″ h. CONDITION: As noted above, also appears to have old restoration to base, otherwise good. 51159-3 (7,000-9,000) – Lot 2055

AMERICAN COIN SILVER TANKARD BY JOHN BURT, 1691-1745, BOSTON, MA.

The tankard of a tapered cylindrical form with ring molding and onslow style thumb lift attached to the domed cover. Hallmarked on the side just below the top rim “John Burt”. Monogrammed “HJS” on the handle. WEIGHT: 19.1 troy oz. SIZE: 7-1/2″ t. CONDITION: Overall very good, minor shallow dents, possible touch up repairs to base. 51159-5 (4,000-6,000) – Lot 2056

GEORGE II SILVER TANKARD BY FRANCIS PAGES, LONDON 1737/8.

The tankard of a slightly tapered form with rounded bottom and stands on a splayed foot. Comes with original dome cover and is hallmarked on the underside of both the cover and the base with a maker’s mark “FP”. The front of the tankard with an elaborate etched armorial crest. WEIGHT: Approximately 25.2 troy oz. SIZE: 7-1/4″ h. CONDITION: Small bend to rim of cover, otherwise very good. 51159-2 (2,000-4,000) – Lot 2060

EXTREMELY RARE & IMPORTANT HORSE & RIDER WEATHERVANE BY J. HOWARD & CO.

Third quarter of the 19th Century. Molded cast zinc & copper. Depicting a gentleman with long coat having top hat holding a riding crop atop a prancing horse. Applied copper mane and other intricate original applied copper details. Zinc having a beautifully worn whitened surface with very little traces of yellow sizing around the bridle. Beautiful original verdigris copper surface. Mounted on its original iron mounting bar. Signed & stamped on body “Made by J. Howard & Co. West Bridgewater, Mass”. Accompanied by a museum stand. Additionally, it is accompanied by an original pencil drawing (owned by our consignor) of Emerson Point, showing the weathervane on the well house, rendered by the famous maritime artist, John Moll, of Oxford Maryland, commissioned by Lucy Kennedy Miller, maternal grandmother of our consignor, and presented as his gift from the family to the next fortunate owner of this historic item. REFERENCE: This exceptional weathervane was located on the well house at Emerson Point, in Maryland, on the Eastern Shore of the Chesapeake Bay (see image). Emerson Point was owned by William Hambleton and this property was figured significantly in the life of Frederick Douglass. Douglass was never a slave on this land, however he was such on Thomas Auld’s plantation near St. Michaels and on other plantations in the area. William Hambleton’s daughter, Rowena Hambleton, was married to Thomas Auld, Douglass’ slavemaster at the time – after Auld’s first wife Lucretia, passed away. William Hambleton gave one of his finest horses as wedding present to Thomas Auld. In Douglass’ autobiographical book, “My Bondage and My Freedom”, he references this: ” One of my greatest faults, or offenses, was that of letting his horse get away, and go down to the farm belonging to his father-in-law. The animal had a liking for that farm, with which I fully sympathized. Whenever I let it out, it would go dashing down the road to Mr. Hamilton’s, as if going on a grand frolic. My horse gone, of course I must go after it. The explanation of our mutual attachment to the place is the same; the horse found there good pasturage, and I found there plenty of bread. Mr. Hamilton had his faults, but starving his slaves was not among them. He gave food, in abundance, and that, too, of an excellent quality. In Mr. Hamilton’s cook, Aunt Mary, I found a most generous and considerate friend. She never allowed me to go there without giving me bread enough to make good the deficiencies of a day or two”, and further stated “Master Thomas at last resolved to endure my behavior no longer; he could keep neither me nor his horse, we liked so well to be at his father-in-law’s farm”. Regarding Emerson Point, Douglass’ first escape attempt involved preparations to steal one of William Hambleton’s log canoes on that property, and though he and his co-conspirators laid their paddles and food the night before the planned escape near the old wharf there (the remnants of which are to this day still visible), he was betrayed and was marched off to prison after being approached and questioned by Mr. Hambleton. On the property is a graveyard including the grave of Rowena Hambleton Auld, her parents, some of the Dawsons & the Jenkins children from a neighboring plantations. Emerson Point and its graveyard have been listed as a historical site in the Maryland Historical Trust Survey. SIZE: 28″ h x 27″ l. PROVENANCE: As provided to us based on our consignor’s research and personal knowledge of such: Purchased, installed & owned at Emerson Point, MD by William Hambleton (lineal heir of William Hambleton Sr. of Scotland, born circa 1636 & original owner of Emerson Point by deed circa 1659, granted by Cecil, Lord Baltimore), 1783 to 1855; Maintained at Emerson Point by the Seth Family, Circa 1893 to 1928; Purchased as a part of the sale of Emerson Point (noted on old maps as “Seth Point”) from the Seth Family in 1928 by Lucy Kennedy Miller (famous suffragette and leader of the Woman Suffrage Party, and the first president of the Pennsylvania League of Women Voters) and John Oliver Miller, and maintained by them at Emerson Point through 1964; Maintained at Emerson Point from 1964 to 2007 by Eliza Miller (daughter of Lucy Kennedy Miller & John Oliver Miller); Ceded by will to our consignor, (nephew & Sister-son to Eliza Miller) in 2007.; Maintained by our consignor from 2007 to 2012 at Emerson Point (under ownership of said Emerson Point property); Removed from Emerson Point by our consignor in 2012 and since then retained by our consignor. CONDITION: Top of top hat restored, restored & replaced tail. Otherwise untouched and in remarkably beautiful condition. 51004-1 (60,000-80,000) – Lot 2105

FOLK ART CARVING “MORTAL COMBAT” ATTRIBUTED TO MOISE POTVIN (1876-1948), WOONSOCKET, RHODE ISLAND.

The wood carving shows a ferocious male lion in combat with a large green spotted boa constrictor. The snake has coiled itself around the body of the cat and they are head to head with open mouths. Nicely carved with good detail and painted surface. Mounted on a rectangular black wood base with title in pencil on bottom. Possibly one of two known similar carvings. According to an article on the artist, he was a self taught carver and violin maker who moved to the United States from Quebec, Canada in 1891. He would travel in the States & Canada lecturing & showing his carvings. The carving is accompanied by a small group of biographical and historical information on his carvings. SIZE: 9-1/4″ h x 18″ l. Base: 19″ x 7-1/2″ x 1-3/4″ h. CONDITION: Very good. 51037-1 (5,000-8,000) – Lot 2170

LARGE MAJOLICA GROUP OF DANCING FROGS BY DELPHIN MASSIER.

The large group depicts three frogs with arms around each other within a circle and mouths open towards the sky. Signed on the underside “Delphin Massier Vallauris”. SIZE: 17″ t. CONDITION: Chips around foot, glaze loss around the open mouths, line extending from edge of foot. 51335-7 (2,500-3,500) – Lot 2405

RARE SQUIRREL WITH NUT CAST IRON DOORSTOP WITH RUBBER BUMPERS BY BRADLEY & HUBBARD.

Unmarked. SIZE: 11-3/4″ h. CONDITION: Good, the rubber bumpers are partially present. 51145-10 (800-1,200) – Lot 2563

RABBIT CAST IRON DOORSTOP WITH RUBBER BUMPERS BY BRADLEY & HUBBARD.

Back marked “B&H 7800”. SIZE: 15″ h. CONDITION: Deterioration to two of the bumpers, otherwise very good. 51145-11 (1,000-1,500) – Lot 2564

RARE SOLDIER WITH FLOWER IN GUN DOORSTOP.

Solid flattened half round casting with integral hollow case base with paint having vibrant colors. SIZE: 13″ h. CONDITION: Minor abrasions, craquelure, possible inpainting of jack & hat, otherwise very good. 51145-14 (1,000-1,500) – Lot 2569