ROCKWELL KENT (American, 1882-1971) “THE OARSMAN”.

Woodcut Housed in a vintage wood frame, matted under glass Signed in pencil lower right “Rockwell Kent” SIZE: 5-5/8″ x 6-7/8″. Overall 17-1/4″ x 20″ CONDITION: Very good, not examined out of frame 9-25143 (1,500-2,500) – Lot 1000

ROCKWELL KENT (American, 1882-1971) “THE READER” AND “HEAVY HEAVY HANGS OVER THY HEAD”.

1) Wood Cut Housed in a contemporary wood frame Signed in pencil lower right “Rockwell Kent” 2) Lithograph Unframed Signed in pencil lower right “Rockwell Kent” SIZE: 1) 5-3/4″ x 3-1/2″. Overall 9-1/4″ x 12″ 2) 14-3/4″ x 13″. Overall 11″ x 16″ CONDITION: 1) Very good, not examined out of frame 2) Toning with minor mat discoloration, staining on verso, 2 dimple impressions, no tears 9-25144 (1,200-1,800) – Lot 1001

ALEX KATZ (American, 1927- ) “BLUE UMBRELLA”.

Lithograph in colors circa 1979 Housed in a contemporary frame with linen mat Signed lower left “Alex Katz #63/120″, circa 1979 A copy of the bill of sale accompanies the work SIZE: 20″ x 33-1/2”. Overall 23-1/2″ x 34″ PROVENANCE: Purchased from O’Farrell Gallery, Brunswick, Maine in 1986 CONDITION: Good, float mounted with full sheet visible, faded, no tears or stains, not examined out of frame 9-96815 (3,000-5,000) – Lot 1002

CARROLL THAYER BERRY (American, 1886-1978) FOUR WOOD ENGRAVINGS WITH CONTI CRAYON AND PENCIL SKETCH.

1) Woodblock engraving Matted Titled lower left in pencil “Brig Sally of Wiscasset” & signed lower right in margin in pencil 2) Engraving Matted Titled on verso “Windjammers in Camden, 1947” & signed lower left within image stylized signature 3) 3-color woodblock engraving Housed & matted Titled lower left in pencil “Sailing Day – Camden, Maine Coast”, lower left within image stylized signature, lower right in margin in pencil 4) Woodblock engraving Housed & matted Titled lower left in pencil “Between Forest and Sea – Maine Coast”, lower right within image stylized signature, lower right in margin in pencil 5) Conti crayon and pencil Housed & matted Identified on matte “For Dearborn #101, Outward Bound – Maine Coast”, pencil signature SIZE: 1) Block size 7-1/2″ x 9-1/2″. 2) Block size 9″ x 11-1/2″. 3) Block size 13″ x 10″. 4) Block size is 12″ x 9″. 5) Image size 10″ x 12″. PROVENANCE: From a Maine collection CONDITION: 1) Very good. 2) Very good. 3) Very good. 4) Very good 5) Very good 9-94675 (400-700) – Lot 1003

CARROLL THAYER BERRY (American, 1886-1978) FOUR WOODBLOCK ENGRAVINGS AND CHARCOAL SKETCH.

1) Titled lower left in pencil “Storm – Maine Coast” Lower right within image stylized signature, lower right in margin in pencil 2) Titled lower left in pencil “Old Fort Edgecomb – Maine” Lower right in margin in pencil 3) Titled lower left in pencil “Road to the Light – Maine Coast” Lower left within image stylized signature and lower right in margin in pencil 4) Titled lower left in pencil “The Headland – Maine Coast” Lower left within image stylized signature, lower right in margin in pencil 5) Charcoal sketch titled “Morning – Rockport” Estate stamp Carroll Thayer Berry SIZE: 1) Block size 10-1/2″ x 12″. 2) Block size 7-1/2″ x 9-1/2″. 3) Block size 11″ x 13″. 4) Block size is 11″ x 12-3/4″. 5) Block size is 10″ x 12″. PROVENANCE: From a Maine collection. CONDITION: 1) Very good. 2) Very good. 3) Very good. 4) Very good. 5) Very good. 9-94674 (300-600) – Lot 1004

CARROLL THAYER BERRY (American, 1886-1978) FIVE WOOD ENGRAVINGS.

1) Titled lower left in pencil “Ship’s at Bath”, Lower right within image stylized signature, lower right in margin in pencil 2) Titled lower left in pencil “Salt Mine in New York State”, Lower left within image stylized signature, lower right in margin in pencil 3) Titled lower left in pencil “Smack is in, Maine Coast” Lower left within image stylized signature, lower right in margin in pencil 4) Titled lower left in pencil “Winter Morning in Deer Isle” Lower right within image stylized signature, lower right in margin in pencil 5) Titled lower left in pencil “Islands – Maine Coast” Lower left within image stylized signature, lower right in margin in pencil All framed & matted SIZE: 1) Block size 7-1/4″ x 9-3/4″. 2) Block size 10″ x 12″. 3) Block size 9-1/2″ x 7-1/4″. 4) Block size 10″ x 12″. 5) Block size 11″ x 12″. PROVENANCE: From a Maine collection. CONDITION: 1) Very good. 2) Very good. 3) Very good. 4) Very good. 5) Very good. 9-94676 (400-700) – Lot 1005

CARROLL THAYER BERRY (American, 1886-1978) 5 WOOD ENGRAVINGS.

1) 3 color wood engraving “White and Weather-worn” titled lower left Framed & matted Signed with stylized signature in image and in pencil lower right 2) Black and white wood engraving “Lilac Cottage – Wiscasset” titled lower left Unframed, matted Signed with stylized signature in image and in pencil lower right 3) Black and white wood engraving “Retired from the Sea – Maine” titled in pencil lower left Unframed, matted Signed with stylized signature in image and in lower right signed in pencil 4) 3 color wood engraving “Main Lobster Man” titled lower left in ink Framed & matted Digned with stylized signature in image and in ink lower right 5) 3 color wood engraving “The Cove Maine Coast” titled in pencil lower left Framed & matted Signed lower left within image with stylized signature & lower right in pencil SIZE: 1) Block size 10-3/4″ x 12-1/2″. 2) Block size 8″ x 9-1/2″. 3) Block size 7-1/4″ x 9-1/2″. 4) Block size 11-1/2″ x 13″. 5) Block size 10-3/4″ x 12-1/2″. PROVENANCE: From a Maine collection CONDITION: #4 is Slightly darkened but over all very good, remainder are very good 9-94677 (400-700) – Lot 1006

VINCENT ANDREW HARTGEN (American, 1914-2003) UNTITLED LANDSCAPE.

Watercolor on paper Housed in a painted wood frame Signed lower left “Vincent Hartgen” SIZE: Sight: 19-3/4″ x 25″. Overall 30-3/4″ x 34-1/2″ CONDITION: Overall good. Old mat, not examined out of frame 9-94664 (400-600) – Lot 1007

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

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

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

JAMES FITZGERALD (American, 1869-1945) WHITE WATER CANOEING.

Watercolor Housed in a silver painted wood frame, matted under glass Signed lower left (faintly) “James Fitzgerald” A copy of the Statement of Authenticity & the bill of sale accompanies the work SIZE: 19″ x 23-1/4″. Overall 27-1/2″ x 21-1/2″ PROVENANCE: Purchased directly from Ann Hubert (Mrs. Edgar) Dover, MA in 1984. Ann Hubert inherited Fitzgerald’s Art Estate and sold his works primarily from his studio on Mohegan, Island, ME. CONDITION: Overall good, colors slightly faded, not examined out of frame 9-96816 (4,000-6,000) – Lot 1009

CARL SPRINCHORN (American, 1887-1971) “FLOWERS IN ROUND WHITE BOWL”.

Oil on canvas Housed in a good gilt stepped wood frame Unsigned front, but having estate stamp on verso of stretcher, also titled on verso of canvas SIZE: 20″ x 24″ Overall: 25″ x 29-1/4 CONDITION: Very good with only light craquelure 9-96825 (3,000-5,000) – Lot 1010

FRANKLIN STANWOOD (American, 1852-1888) TWO CHILDREN DOWN BY THE RIVER.

Oil on canvas Housed in a modern gilt molded wood frame Signed lower right “Franklin Stanwood 1883-4″ SIZE: Actual: 34″ x 60″ Overall: 41-1/2″ x 67-1/2” CONDITION: Lined, light craquelure, otherwise very good 9-25211 (3,000-5,000) – Lot 1011

GEORGE H. BAILEY (American, 1832-1905) “THE CLAMBAKE, PORTLAND, MAINE”.

Oil on canvas Housed in a contemporary gilt wood frame Unsigned Bears Vose Gallery label on verso, inv. #34723; includes photograph affixed to verso showing artist signature before lining: “G.H. Bailey Pinxt 1851, Portland No.8″ SIZE: 15″ x 21”. Overall 18-1/2″ x 24-1/2″ CONDITION: Lined, large areas of restoration in sky, inpainting in several spots throughout landscape. 9-96566 (800-1,200) – Lot 1012

ALFRED RUSSEL FULLER (American, 1899-1980) MONHEGAN LIGHT.

Oil on canvasboard Housed in a contemporary carved wood gilt frame Signed lower right “Alfred Fuller” Title inscribed on verso SIZE: 16″ x 20″. Overall 21-1/2″ x 25-1/2″ CONDITION: Very good 9-94861 (2,000-3,000) – Lot 1013

ABRAHAM JACOB BOGDANOVE (Russian/American, 1887-1946) “ROCKS & SEA”.

Oil on board Housed in a vintage wood frame with linen liner Signed lower right “A.J. Bogdanove” Bears label with title on verso SIZE: 12″ x 16″. Overall: 17″ x 21″ CONDITION: Surface grime, otherwise very good condition 9-96810 (2,000-4,000) – Lot 1014

ABRAHAM JACOB BOGDANOVE (Russian/American, 1887-1946) “MARINE”.

Oil on board Housed in a vintage wood frame with linen liner Signed lower right “A.J. Bogdanove” Bears label with title on verso SIZE: 12-3/4″ x 16″, Overall: 17″ x 20-3/4″ CONDITION: Surface grime, yellow varnish 9-96811 (1,500-2,500) – Lot 1015

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

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

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

CHARLES E. WILLETTE (American, 1899-1979) HOMES IN HAMPDEN, MAINE.

Oil on wood panel Housed in a painted carved wood frame Signed lower left “Chas E Willette” SIZE: 18″ x 24″. Overall: 23-3/4″ x 29-1/2″ CONDITION: Very good 9-94669 (400-500) – Lot 1017

CHARLES E. WILLETTE (American, 1899-1979) ROCKY BEACH.

Oil on canvas panel Housed in green and gold painted carved wood frame with white painted liner Signed lower left “Chas E. Willette” SIZE: 24″ x 17-3/4″. Overall: 30-1/2″ x 26-1/4″ CONDITION: Canvas mounted on a panel, Good 9-94671 (300-400) – Lot 1018

CHARLES E. WILLETTE (American, 1899-1979) BOATS ON DRY DOCK.

Oil on board Housed in a carved and painted wood frame Signed lower left “Chas. E. Willette” SIZE: 18″ x 24″. Overall: 24″ x 30″ CONDITION: Very good 9-94670 (300-400) – Lot 1019

CHARLES E WILLETTE (American, 1899-1979) SHIP IN DRY DOCK.

Oil on board Housed in a grey painted carved wood frame Unsigned, numbered “123” on verso SIZE: 18″ x 24″. Overall: 24″ x 30″ CONDITION: Good 9-94668 (200-300) – Lot 1020

CHARLES E. WILLETTE (American, 1899-1979) VILLAGE ON A WINTER’S NIGHT, STONINGTON, ME.

Oil on canvas/panel Housed in a grey painted carved wood frame Signed lower left “Chas. E. Willette” Bears small label on verso “Stonington Maine 1940″ SIZE: 27″ x 22”. Overall 32-3/4″ x 28″ CONDITION: Overall good. Canvas mounted on wood panel. 9-94667 (300-400) – Lot 1021

ATTRIBUTED TO CHARLES E. WILLETTE (American, 1899-1979) THE GARDENER.

Oil on canvasboard Housed in carved wood frame Unsigned SIZE: 24″ x 18″. Overall: 30-3/4″ x 24-3/4″ CONDITION: Good 9-94673 (300-400) – Lot 1022

FLORENCE WHITE WILLIAMS (American, 1888-1953) “UP FROM THE WHARF, BOOTHBAY HARBOR, MAINE”.

Oil on canvas board Unframed Signed lower right “Florence White Williams” Inscribed on verso with title SIZE: 16″ x 20″ CONDITION: Surface dirt, otherwise very good 9-96821 (400-600) – Lot 1023

EMILE A. GRUPPE (American, 1896-1978) “AUTUMN IN VERMONT”.

Oil in canvas Housed in a contemporary gold painted wood frame Signed lower left “Emile A. Gruppe” Inscribed on verso canvas “Fall” Bears Clark Galleries label on verso, dated circa 1930 SIZE: 25″ x 30″. Overall: 30-1/2″ x 35-1/2″ PROVENANCE: From a private Boston area collector. Acquired from Clark Galleries, Stowe, Vermont, 2004 CONDITION: Overall very good, with scattered touch up throughout sky and mountain range 9-96737 (6,000-8,000) – Lot 1024

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

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

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

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

EMILE A GRUPPE (American, 1896-1978) “FALL BEECHNUT” OR “EARLY MORNING”.

Oil on canvas Housed in a contemporary silver painted wood frame Signed lower right “Emile A. Gruppe” Illustrated in “Gruppe on Color,” New York: Watson-Guptill Publications, 1979, Page 89 SIZE: 20″ x 24″. Overall 23-1/4″ x 27-1/2 PROVENANCE: From a private Boston area collector. Acquired from Emile Gruppe Gallery, Jericho, VT CONDITION: Very good 9-96736 (3,000-5,000) – Lot 1026

ALDRO THOMPSON HIBBARD (American, 1886-1972) “CAPE COD”.

Oil on canvas Housed in a contemporary gilt wood frame with linen & gilt liner Signed lower left “A.T. Hibbard” A.T. Hibbard Collection Ledgendesea Gallery, Rockport, MA label on verso SIZE: 16″ x 20″. Overall 20-1/4″ x 24″ PROVENANCE: From a private Boston area collector. Acquired from Marine Arts Gallery, Essex MA CONDITION: Very good 9-96740 (2,000-4,000) – Lot 1027

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

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

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

ALDRO THOMPSON HIBBARD (American, 1886-1972) “WINTER SOLITUDE”.

Oil on board Housed in a contemporary gilt wood frame Signed and dated lower right “A.T. Hibbard ’13” A.T. Hibbard Collection (Ledgendsea Gallery, Rockport, MA) label on verso along with Vose Galleries and Guild of Boston Artist labels Exhibited: The Guild of Boston Artists, “Aldro T Hibbard Retrospective”, February 28 March 18, 1995, Item # 9; Program included with this work SIZE: 12″ x 10″. Overall 17-1/4″ x 15-1/4″ PROVENANCE: From a private Boston area collector; Acquired from the Guild of Boston Artists, Boston, MA; Ex-Collection of Winifred Hibbard. CONDITION: Very good to excellent 9-96739 (1,500-2,500) – Lot 1029

ALDRO THOMPSON HIBBARD (AMERICAN 1886-1972) VENETIAN SAIL.

Oil on board Housed in period Thulin style frame Signed and dated lower right “A.T. Hibbard-14″ Identified on MME Fine Art Gallery on verso Fragmented pencil inscription on frame SIZE: Sight: 8-1/4″ x 10″ Overall: 12-3/4″ x 15” PROVENANCE: From a private Boston area collector. CONDITION: Good, minor scattered retouch 9-96741 (1,800-2,200) – Lot 1030

ANTHONY THIEME (AMERICAN 1888 – 1954) “BIRCH TREES”.

Oil on canvas Housed in a contemporary carved and gilt wood frame Signed lower right “A. Thieme” Identified on Grand Central Art Galleries, Inc. Label on verso SIZE: 8″ x 10″ Overall: 13-1/2″ x 16-1/2″ PROVENANCE: From a private Boston area collector. CONDITION: Good, lined minor scattered retouch 9-96754 (1,800-2,200) – Lot 1031

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

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

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

THOMAS M. NICHOLAS (American, 1963- ) “STUDIO ROSES”.

Watercolor Housed in a contemporary gilt wood frame, matted and glass Signed lower left “T.M. Nicholas” SIZE: 10″ x 14″. Overall 18-3/4″ x 22-3/4″ PROVENANCE: From a private Boston area collector. Acquired from Bryan Memorial Gallery, Jeffersonville, VT, 2005 CONDITION: Very good to excellent, not examined out of frame 9-96743 (500-600) – Lot 1033

JOHN C. TERELAK (American, 1942- ) “SPRING TROUT FISHING”.

Oil on canvas Housed in a contemporary gilt wood frame Signed lower left “J C Terelak” SIZE: 24″ x 30″. Overall: 39″ x 32-3/4″ PROVENANCE: From a private Boston area collector. Acquired from An Artful Touch Gallery, Rockport, Massachusetts, 2003 CONDITION: Overall very good 9-96753 (4,000-6,000) – Lot 1034

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

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

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

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

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

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

JOHN C. TERELAK (American, 1942- ) “CITY SIDEWALKS”.

Oil on canvas Housed in a contemporary gilt frame Signed lower right “J.C. Terelak” SIZE: 24″ x 30″. Overall 38-3/4″ x 32-1/2″ PROVENANCE: From a private Boston area collector. Acquired from An Artful Touch Gallery, Rockport, MA CONDITION: Overall very good 9-96750 (2,500-5,500) – Lot 1037

THOMAS R. CURTIN (American, 1899 – 1977) “A VIEW NEAR FLETCHER, VERMONT”.

Oil on board Housed in a contemporary gilt wood frame by Guido Frame Studio Signed lower right “Thos. R. Curtin” Bears Clark Galleries label on verso SIZE: 16″ x 20″. Overall 22″ x 26-1/4″ PROVENANCE: From a private Boston area collector. Acquired from Clarke Galleries, Stowe VT CONDITION: Very good 9-96734 (2,000-4,000) – Lot 1038

THOMAS R. CURTIN (American, 1899-1977) “WINTER LANE”.

Oil on canvas Housed in a contemporary gilt wood frame by Guido Frame Studio Signed lower left “Thos. R. Curtin” Bears Clark Galleries label on verso SIZE: 20″ x 24″. Overall: 34″ x 30″ PROVENANCE: From a private Boston area collector. Acquired from Clark Galleries, Stowe, VT, 2005 CONDITION: Very good to excellent 9-96733 (2,000-4,000) – Lot 1039

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

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

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

PAUL STRISIK (American, 1918-1998) “AUTUMN SNOW, PLEASANT VALLEY, VT” CA 1997.

Oil on canvas Housed in a contemporary gilt wood frame Signed lower right “P. Strisik, N.A.” Exhibited “Paul Strisik, N.A., The Artist and his Collection,” Rockport Art Association, October 4- November16, 2014 SIZE: 16″ x 20″. Overall 21″ x 24-3/4″ PROVENANCE: From a private Boston area collector. Acquired from the Paul Strisik Gallery, Rockport, MA. CONDITION: Very good 9-96749 (1,500-3,000) – Lot 1041

DON STONE (American, 1929- ) “STRIPERS”.

Oil on panel Housed in a contemporary gilt wood frame Signed lower left “Don Stone N.A.” Bears Crane Collection label on verso SIZE: 10″ x 12″. Overall 16-1/2″ x 18-1/2″ PROVENANCE: From a private Boston area collector. Acquired from the Crane Collection, Wellesley, MA, 2005 CONDITION: Very good to excellent 9-96745 (500-700) – Lot 1042

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

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

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

RON STRAKA (American, 1935- ) “TORREOSIRICA IN THE MIST”.

Oil on Board Housed in a contemporary gilt wood frame Signed lower left “Straka” Signed, titled and inscribed on verso; #d655 SIZE: 12″ x 16″. Overall 19-1/2″ x 23-1/2″ PROVENANCE: From a private Boston area collector. Acquired from the Rockport Art Association, Rockport, MA. Exhibited: Rockport Art Association, Solo 2004 CONDITION: Very good 9-96746 (500-700) – Lot 1044

J. THURSTON MARSHALL (American, 1908-1982) “AZALEAS”.

Oil on canvas Housed in a contemporary gilt wood frame Signed lower left “J. Thurston Marshall” SIZE: 18-1/2″ x 20-1/2″. Overall 19″ x 21″ PROVENANCE: From a private Boston area collector. Acquired from Alpert’s Boston, MA, 1969 CONDITION: Yellowed varnish, thick impasto has minor cracking, losses lower left 9-96742 (500-600) – Lot 1045

THERESA F. BERNSTEIN (American, 1890-2002) VIEW OF CENTRAL PARK CA. 1914-1916.

Monotype in colors Housed in a gilt wood frame Signed lower right “Theresa F. Bernstein” SIZE: 7-3/4″ x 6″. Overall 16″ x 14″ PROVENANCE: From a private Boston area collector. CONDITION: Overall good, paper toning, discolorations in margins, not examined out of frame 9-96731 (500-600) – Lot 1046

VICTOR F. BOURGEOIS (French, 1870-1957) “LE CHEMIN DE CHATAIGNES”.

Oil on board Housed in a contemporary frame Signed lower left “V. Bourgeois” Accompanied by certificate of authenticity by Robert Martin, Paris SIZE: 18″ x 21-1/2″. Overall 29″ x 32-1/2″ PROVENANCE: From a private Boston area collector. CONDITION: Minor surface grime, with a 5″ horizontal restoration along horizon line, 3″ area in sky and scattered touch up in sky 9-96732 (1,500-2,500) – Lot 1047

EMILE A. GRUPPE (American, 1896-1978) ASPENS IN FALL.

Oil on canvas Housed in a contemporary silvered frame Signed lower left “Emile A. Gruppe” SIZE: 25″ x 30″. Overall: 28-1/2″ x 33-1/2″ CONDITION: Very good 9-94879 (6,000-9,000) – Lot 1048

EMILE A. GRUPPE (American, 1896 -1978) “AFTERNOON THAW”.

Oil on canvas Housed in a contemporary gilt wood frame Signed lower left “Emile A Gruppe” SIZE: 20″ x 24″. Overall: 29″ x 33″ CONDITION: Very good to excellent 9-25087 (6,000-9,000) – Lot 1049

EMILE A. GRUPPE (American, 1896-1978) “POMPANO FISHERMEN, NAPLES, FLORIDA”.

Oil on canvas Housed in a contemporary gilt wood frame Signed lower right “Emile A. Gruppe” SIZE: 20″ x 24″. Overall: 27″ x 31-1/2″ CONDITION: Very good 9-25086 (5,000-8,000) – Lot 1050

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

Oil on canvasboard Housed in gold wash & painted wood frame having linen & inner gilt wood liner Signed lower right “Emile A Gruppe” Artist name, title and location on verso SIZE: 16″ x 20″. Overall: 22-3/4″ x 26-3/4″ CONDITION: Very good 9-25149 (3,000-5,000) – Lot 1050a

WILLIAM LESTER STEVENS (American, 1888-1969) FARM NESTLED AMONGST FALL FOLIAGE.

Oil on board Housed in a contemporary gold painted wood frame Signed lower right “W. Lester Stevens N.A.” SIZE: 16-1/2″ x 19″. Overall: 20-1/4″ x 23″ CONDITION: Overall good 9-96769 (3,000-5,000) – Lot 1051

WILLIAM LESTER STEVENS (American, 1888-1969) HAYSTACKS.

Oil on canvas Housed in a carved wood frame Signed lower right “W. Lester Stevens N.A.” SIZE: 32″ x 36″. Overall: 36-1/2″ x 40-1/2″ CONDITION: Surface grime, yellowed varnish, one or two minor flake losses and minor touch up 9-96185 (3,000-5,000) – Lot 1052

CHARLES HERBERT WOODBURY (American, 1864 – 1940) “PLAYING IN THE WAVES”.

Oil on canvas Housed in a fine carved and gilt Guido Frame Studio, Boston, MA replacement frame Signed lower left “Woodbury” Two Vose Galleries labels on verso of backing board with artist name, dates & title “Playing With The Waves” and “Playing In The Waves” SIZE: 17″ x 21″. Overall 23″ x 27″ CONDITION: Very good, some in-painting in sky and bottom right. 9-97171 (10,000-15,000) – Lot 1052a

KEN KNOWLES (American, 1968-) “HARBOR LIGHT, GLOUCESTER”.

Oil on board Housed in a Thulin style gilt wood frame Signed lower left “Ken Knowles” Signed, dated & inscribed on verso SIZE: 24″ x 30″. Overall: 29-1/4″ x 35″ CONDITION: Very good to excellent 9-96536 (3,500-5,500) – Lot 1053

KEN KNOWLES (AMERICAN 1968-)”ACADIA BREAKERS”.

Oil on board Housed in a contemporary gilt wood frame Signed lower right “Ken Knowles” Titled and identified on verso SIZE: 20″ x 24″ Overall: 26-1/2″ x 29-1/2″ CONDITION: Good 9-96552 (2,500-3,500) – Lot 1054

CARL W. PETERS (American, 1897-1980) SUNLIT STREET, ROCKPORT, MASS.

Oil on canvas Unframed Signed lower right “Carl W Peters”, numbered on verso “#64″ SIZE: 20″ x 24” PROVENANCE: Acquired directly from the artist’s daughter CONDITION: Overall good 9-96788 (2,500-4,000) – Lot 1055

CARL W. PETERS (American, 1897-1980) ROCKPORT VILLAGE VIEW.

Oil on canvas Unframed Unsigned Bears estate stamp for Carl W. Peters signed by his daughter Elaine Woodbury; numbered “104-R” SIZE: 20″ x 24″ PROVENANCE: Acquired directly from the artist’s daughter CONDITION: Surface grime, large area of over paint in sky 9-96787 (2,500-4,000) – Lot 1056

CARL W. PETERS (American, 1897-1980) GLOUCESTER DOCK SCENE.

Oil on canvas Unframed Unsigned Bears estate stamp for Carl W. Peters signed by his daughter Elaine Woodbury SIZE: 20″ x 24″ PROVENANCE: Acquired directly from the artist’s daughter CONDITION: Overall good with spotty varnish 9-96790 (1,500-2,500) – Lot 1057

WAYNE BEAM MORRELL (American, 1923-2013) “KING ST. ROCKPORT, MASS 1987”.

Oil on board Housed in a fine modern gilt frame with linen liner Signed lower left “Wayne Morrell” Inscribed lower right “Kings St. Rockport, MASS 1987″ SIZE: 16″ x 20”. Overall: 23″ x 27″ CONDITION: Very good to excellent 9-96792 (1,500-2,000) – Lot 1058

HENRY MARTIN GASSER (American, 1909-1981) VIEW OF GLOUCESTER HARBOR AND ROCKY NECK.

Oil on canvas Housed in a contemporary gold painted wood frame with linen liner Signed lower right “H. Gasser” SIZE: 20″ x 24″. Overall: 27″ x 31″ CONDITION: Good, under UV the heavier impasto areas fluorece 9-94811 (1,500-2,000) – Lot 1059

ANTHONY THIEME (American, 1888-1954) TOWN STREET WITH WAGON & CHURCH, ROCKPORT OR GLOUCESTER.

Oil on canvas Housed in a fine carved & gilt modern frame by Guido Frames of Boston Signed lower right “A Thieme” SIZE: 20″ x 16″. Overall: 25″ x 21″ CONDITION: Very good with some inpainting 9-96791 (2,500-4,000) – Lot 1060

HARRY AIKEN VINCENT (American, 1864-1931) FIGURES ALONG THE SHORE.

Oil on canvas Housed in a Paul Goodnow gilt wood frame Signed lower right “H Vincent” Exhibition label from Rockport Art Association, “Harry A. Vincent, ANA & His Contemporaries”, Oct. 6th – Nov. 12, 2006 SIZE: 16″ x 24″. Overall: 25″ x 32″ CONDITION: Good with spotty inpainting throughout sky, restoration in boat & several spots in foreground 9-96542 (8,000-12,000) – Lot 1061

FREDERICK JUDD WAUGH (American, 1861-1940) EVENING TIDE.

Oil on canvasboard Housed in a carved gilt wood frame Signed lower right “Waugh”, bears Grand Central Art Galleries, New York label on verso SIZE: 30″ x 40″. Overall: 35″ x 45″ CONDITION: Overall good with minor discolored varnish, upper left 9-94802 (15,000-25,000) – Lot 1062

FRANK HENRY SHAPLEIGH (American, 1842-1906) “COHASSET HARBOR FROM KENT’S ROCKS”.

Oil on panel Housed in a Hastings & Davenport carved wood gilt gesso frame Signed and dated lower right “F.H. Shapleigh 1874″, signed and titled on verso SIZE: 8″ X 12-1/2”. Overall: 16-1/4″ x 21-1/2″ CONDITION: Very good. Frame has minor loss to upper right back corner 9-94869 (10,000-15,000) – Lot 1063

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 9-25093 (3,000-5,000) – Lot 1064

PETER L. TYSVER (American, 1948-) “STUDY FOR EQUINOX BASS ROCKS, GLOUCESTER”.

Oil on canvas Housed in a contemporary carved gilt wood frame Signed lower left “P. Tysver” Signed, titled & dated “2004” on verso SIZE: 14″ x 20″. Overall: 21-1/2″ x 27-1/2″ CONDITION: Very good to excellent 9-25095 (600-900) – Lot 1065

THOMAS NICHOLAS (American, b. 1934) WINTER SILENCE, ESSEX.

Oil on Masonite Housed in a gray painted carved wood frame Signed lower right “T Nicholas” Lot is accompanied by a letter from artist to original owner SIZE: 11-3/4″ x 8-3/4″. Overall: 18-1/4″ x 15-1/4″ PROVENANCE: James A. Aiener, acquired from artist in 1963. CONDITION: Overall good with minor touch up along edge 7-70778 (1,500-2,500) – Lot 1066

TOD LINDENMUTH (American, 1885-1976) TWO WORKS: “LOBSTERMEN” AND “THE HARBOR AT DAWN”.

Oil on Masonite Housed in a decorative painted wood frame Signed lower left “Tod Lindenmuth”, also titled and signed by artist on verso of board SIZE: 22″ x 28″ Overall: 28″ x 34″ CONDITION: Very good 9-96817 (1,500-2,500) – Lot 1067

ORLANDO ROULAND (American, 1871-1945) MOONLIGHT WASHINGTON SQUARE, MARBLEHEAD, MASS.

Oil on canvas Housed in a carved gilt wood frame Signed lower right “Orlando Rouland” SIZE: 24″ x 30″. Overall 31-1/2″ x 36-1/2″ CONDITION: Lined, minor touch up lower right and lower center, restoration in trees upper center, minor craquelure. 9-94868 (4,000-6,000) – Lot 1068

ROULAND ORLANDO (American, 1871-1945) MARBLEHEAD COMMON AT NIGHT.

Oil on canvas Housed in a carved wood gilt frame with a linen liner Signed lower left “Orlando Rouland” SIZE: 19″ x 18-1/4″. Overall 25″ x 24″ CONDITION: Overall good with minor touch up and 1-1/2″ restoration lower right 9-94858 (3,500-4,500) – Lot 1069

AMERICAN SCHOOL (American, 19th/20th Century) SHIP IN TRANQUIL HARBOR.

Oil on canvas Housed in an antique gilt frame (with losses) SIZE: 24″ x 36″ Overall: 30″ x 41-1/2″ CONDITION: Inpainted and restored, bears signature of Marshall Johnson which fluoresces under black light 9-25214 (2,500-3,500) – Lot 1070

DICKERSON (American, 19th/20th) “SALT WORKS BRIDGE ROAD, EASTHAM”.

Oil on wood panel Housed in a period carved gilt oak frame Unsigned front, titled and signed on verso “Salt Works Bridge Road, Eastham by Dickerson” NOTE: Research indicates that there was a Salt Works of this size in East Orleans, MA, neighboring town to Eastham SIZE: 17-1/2″ x 24-1/2″. Overall: 26″ x 33″ CONDITION: Very good 9-25200 (2,000-4,000) – Lot 1071

BERNARD COREY (American, 1914-2000) “SUMMER SKIES”.

Oil on canvas Housed in a contemporary gilt wood frame Signed lower right “Bernard Corey” SIZE: 10″ x 16″. Overall: 15-5/8″ x 20-5/8″ CONDITION: Very good to excellent 9-25090 (800-1,200) – Lot 1072

BERNARD COREY (American, 1914-2000) “HILLTOP FARM IN FALL”.

Oil on board Housed in a contemporary gilt wood frame Signed lower left “Bernard Corey” SIZE: 10″ x 16″. Overall: 17″ x 23″ CONDITION: Very good to excellent 9-25089 (800-1,200) – Lot 1073

BERNARD COREY (American, 1914-2000) “AFTERNOON GLOW”.

Oil on board Housed in a contemporary gilt wood frame Signed lower right “Bernard Corey” SIZE: 8″ x 14″. Overall: 13″ x 19″ CONDITION: Very good 9-25091 (800-1,200) – Lot 1074

BERNARD COREY (American, 1914-2000) “EARLY SPRING”.

Oil on board Housed in a contemporary gilt wood frame. Signed lower right “Bernard Corey”. Inscribed on verso “PFA #1201″ SIZE: 8-1/4″ x 12”. Overall: 13-1/4″ x 17-1/4″ CONDITION: Very good to excellent 9-25092 (600-900) – Lot 1075

BERNARD COREY (American, 1914-2000) “THE FOOTBRIDGE”.

Oil on board Housed in a contemporary gilt wood frame (some minor chips) Signed lower left “Bernard Corey” SIZE: 8-1/4″ x 11-3/4″. Overall” 15-1/4″ x 18-3/4″ CONDITION: Overall very good 9-25088 (600-900) – Lot 1076

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” 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: 25″ x 35″. Overall: 34-1/2″ x 44-1/2″ CONDITION: Overall very good 9-28034 (200,000-300,000) – Lot 1077

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.” SIZE: 22″ x 28″. Overall: 30″ x 36″ CONDITION: Overall very good 9-28035 (175,000-275,000) – Lot 1078

VICTOR (CASNELLI) CASENELLI (American, 1868-1961) FIVE NATIVE AMERICANS AROUND A WINTER CAMPFIRE.

Gouache/Watercolor Housed in a fine gilt molded wood frame with minor gilt losses, behind glass Signed lower right “V. Casnelli” SIZE: Sight size: 11-1/4″ x 17-1/4″ Overall: 16-1/4″ x 22-1/4″ CONDITION: Very good 9-25208 (6,000-8,000) – Lot 1079

JAMES PERRY WILSON (American, 1889-1976) PANORAMIC LANDSCAPE OF THE WEST.

Three oils on canvasboards Housed together in a divided gold painted frame Signed and dated lower right “J.P. Wilson 1938″ SIZE: 12″ x 16″ (each). Overall: 15-1/4″ x 52” CONDITION: Overall good, surface grime. Frame has chips to paint 9-96462 (3,000-5,000) – Lot 1080

JAMES PERRY WILSON (American, 1889-1976) PANORAMIC LANDSCAPE WITH MOUNTAINS.

Two Oils on canvasboard Housed together in a divided gold painted frame Signed and dated lower right “J.P. Wilson 1938″ SIZE: 12″ x 16″ (each) Overall: 36″ x 15-1/4” CONDITION: Overall good, surface dirt 9-96461 (2,000-4,000) – Lot 1081

WILLIAM HARNDEN (American, 1920-1983) NATIVE AMERICAN ENCAMPMENT.

Oil on board Housed in a contemporary wood frame with linen liner Signed lower right “Harnden” SIZE: 18″ x 24″ Overall: 24″ x 29-1/2″ CONDITION: Very good 9-94813 (1,500-2,500) – Lot 1082

WILLIAM HARNDEN (American, 1920-1983) NATIVE AMERICAN ENCAMPMENT.

Oil on board Housed in a modern carved frame with linen liner Signed lower right “Harnden” SIZE: 18″ x 24″. Overall: 24-1/2″ x 30-1/2″ CONDITION: Overall good 9-94812 (1,500-2,500) – Lot 1083

WILLIAM HARNDEN (American, 1920-1983) DELIVERY TO THE SALOON.

Oil on board Housed in a contemporary wood frame with linen liner Signed lower right “Harnden” SIZE: 20″ x 24″ Overall: 35-3/4″ x 29-3/4″ CONDITION: Very good 9-94815 (1,000-2,000) – Lot 1084

WILLIAM HARNDEN (American, 1920-1983) FIGURE WITH HORSE AND CART OUTSIDE MISSION IN WINTER.

Oil on board Housed in a contemporary wood frame with linen liner Signed lower left “Harnden” SIZE: 18″ x 24″. Overall: 23-3/4″ x 29-3/4″ CONDITION: Overall good 9-94816 (1,000-2,000) – Lot 1085

WILLIAM HARNDEN (American, 1920-1983) STAGE COACH PULLING UP TO HOTEL AT NIGHT.

Oil on board Housed in a contemporary wood frame with linen liner Signed lower right “Harnden” SIZE: 17-3/4″ x 24″. Overall: 24″ x 29-1/2″ CONDITION: Very good 9-94817 (1,000-2,000) – Lot 1086

WILLIAM HARNDEN (American, 1920-1983) PULLING UP TO THE SALOON.

Oil on board Housed in a contemporary wood frame with linen liner Signed lower left “Harnden” SIZE: 16″ x 20″. Overall: 21-3/4″ x 26″ CONDITION: Very good 9-94814 (1,000-2,000) – Lot 1087

AFTER ALBERT BIERSTADT (American, 1830-1902) THE ROCKY MOUNTAINS, LANDER’S PEAK (ENGRAVED BY JAMES SMILLIE).

Steel engraving on paper mounted to cardboard Housed in a modern wood frame behind glass This monumental engraving shows a Plains Indian encampment at the foot of the Rocky Mountains where Bierstadt traveled in 1859 on an expedition led by Colonel Frederick W. Lander. Bierstadt created the painting (now at the Metropolitan Museum of Art, New York) that this engraving was based on four years after the expedition, following the Colonel’s death, and named the Peak in honor of his friend. The painting was widely admired, as it aptly captured the mystique and beauty of the American West. It was sold by Bierstadt for the hefty sum of $25,000 om 1865, prompting the artist to commission an engraving after the composition. It took James Smillie, the esteemed engraver and artist, three years to craft and publish the grandiloquent print. Bierstadt closely monitored the design of the print, checking in on its progress sometimes daily and requesting frequent proofs from the engraver SIZE: 23-1/2″ x 33-1/2″ (to outside of margins) Overall: 24-3/4″ x 34-3/4″ CONDITION: Examined out of frame, laid down, age toning, otherwise very good 9-25204 (1,000-2,000) – Lot 1088

AFTER FREDERICK REMINGTON (American, 1861-1909) REMINGTON’S FOUR BEST PAINTINGS.

Portfolio of four color relief half tones, mounted, with original envelope Unframed New York: P.F. Collier & Son, 1908 Including: “Evening on a Canadian Lake”, “Coming to the Call” (having original artist’s proof label with artist and title, “Caught in the Circle” & “His First Lesson” SIZE: Print: 10-3/4″ x 15-1/2″. Mounted: 15″ x 20″ CONDITION: All four mounted on original mat board, some creases, one with small chip left corner, images strong and signed in the print 9-25126 (1,000-1,500) – Lot 1089

JOE BEELER (American, 1931-2006) THE FENCE THAT TAMED THE WEST.

Pen & ink on paper Housed in a contemporary black and frame Signed lower right “Joe Beeler” Illustration for an article titled “Barbed Wire” by Carol Osman Brown in Arizona Highways magazine October 1969, Vol. XIV, No. 10. SIZE: Sight: 9″ x 14″. Overall 17″ x 21-1/2″ PROVENANCE: Private Collection, Beverly Hills, CA. CONDITION: Overall good. 9-96135 (500-1,000) – Lot 1090

L.F. KEYSOR (American, 20th Century) WESTERN MOUNTAIN SCENE.

Watervolor Signed lower left L.F. Keysor Housed in simple thin gold wood frame with wide mat and inner mat SIZE: Image 9″ x 6″. Overall 15″ x 11-1/2″. CONDITION: Very good 9-25127 (300-500) – Lot 1091

RUSSELL CHENEY (American, 1881-1945) MINING AT THE FOOT OF MOUNTAINS.

Oil on canvas Housed in a beveled wood frame with white wood liner Unsigned on front, but retaining a penned label affixed to verso “Painting by Russell Cheney – Given from his studio by his heirs to Cam Becket” SIZE: 23″ x 28″ Overall: 25″ x 30″ CONDITION: Good, horizontal upper stretcher mark 9-96824 (1,500-2,500) – Lot 1092

ATTRIBUTED TO MARTHA WALTER (American, 1875-1976) NATIVE AMERICAN MOTHER AND CHILD.

Oil on canvas Housed in a hand painted carved wood frame bearing frame plaque with artist name and dates Unsigned SIZE: 24″ x 20″. Overall: 31-1/2 x 27″ CONDITION: Overall good condition with scattered touch up in background, 2″ area of restoration upper left, 1″ surface scratch upper right above child’s head 9-96719 (4,000-6,000) – Lot 1093

ANSEL ADAMS (American, 1902-1984) “THE MERCED RANGE”.

Parmelian print, circa 1930 Housed in a contemporary silver painted wood frame, matted under glass Signed lower right in pencil “Ansel Adams” Ansel Adams ‘The Merced Range’ Parmelian Print Circa 1930 in pencil on verso SIZE: Image: 5-3/4″ x 7-3/4″. Overall 16″ x 17″ CONDITION: Toned, glass of frame has crack, not examined out of frame 9-25146 (2,000-4,000) – Lot 1094

ERIC PAPE (American, 1870-1938) LARGE ILLUSTRATION SHOWING THE ACTRESS CLARA SYDE IN HER ROLE AS ANGEL OF THE VISION SCENE IN “CANTERBURY PILGRIMS”.

Oil on canvas Housed in a modern carved gilt wood frame Signed lower left “Eric Pape 1909” NOTE: Wednesday, 8/4/1909, the town of Gloucester Massachusetts put on an outdoor festival in honor of William Howard Taft, President of the United States who accepted the invitation. As part of this festival, the “Canterbury Pilgrims” a play by Percy MacKaye arranged as a dramatic pageant and produced under the direction of Eric Pape, Master of the Pageant, to be given by night at Stage Fort Park which is located on the Southwest corner of Gloucester Harbor. We are not sure where this large illustrative painting was used or displayed. A copy of the pageant program, admission ticket and information on Percy MacKaye is in an accompanied frame display. Also, Eric Pape’s personal copy of the Canterbury Tales which includes Percy MacKaye’s poem of the prologue and ten tales. Also, a laminated photocopy of the Boston Journal’s article on the festival with a picture of Clara Syde. The article mentions a crowd of 25,000 had amassed and at least 2000 automobiles were parked. Unfortunately, the President did not attend but a 21 rocket salute was given on his behalf. SIZE: 57″ x 37-1/2″ Overall: 62-1/2″ x 43″ PROVENANCE: Consignor acquired from the gentleman who inherited the Pape Estate. CONDITION: Lined, some inpainting, very good 9-96846 (4,000-6,000) – Lot 1100

ERIC PAPE (American, 1870-1938) “REFLECTED LIGHT”.

Pastel Housed in a modern gilt frame behind glass Signed lower left “Eric Pape” NOTE: The sitter is Alice, his wife. Also, there is an original title paper on reverse on Newport, RI stationary Accompanying the painting is a studio photograph of Alice in classical costume. Housed in a simple gold frame with linen mat retaining a Marjon Print & Frame Shop Ltd. Cape Cod, MA label on verso SIZE: Sight size: 40-1/2″ x 29-1/2″ Overall: 44-1/2″ x 33-1/2″ PROVENANCE: Consignor acquired from the gentleman who inherited the Pape Estate. CONDITION: Very good 9-96843 (3,000-5,000) – Lot 1101

ERIC PAPE (American, 1870-1938) BUNNY IN THE WINDOW.

Oil on canvas laid to Masonite Housed in a modern white painted wood frame Signed lower right “Eric Pape”, also Estate stamp on reverse SIZE: Actual size: 26″ x 20″ Overall: 30″ x 24-1/2″ PROVENANCE: Consignor acquired from the gentleman who inherited the Pape Estate. CONDITION: Very good 9-96839 (2,000-4,000) – Lot 1102

ERIC PAPE (American, 1870-1938) ILLUSTRATION FOR THE BOOK “RIP VAN WINKLE AND THE LEGEND OF SLEEPY HOLLOW” 1927.

Oil/Pastel? on light board (not examined out of frame) Housed in a modern bronze gilt wood frame with light tan mat behind glass Signed lower right Eric Pape, also having two Estate stamps on verso SIZE: Sight size: 11-1/2″ x 14-3/4″ Overall: 19-1/2″ x 22-3/4″ PROVENANCE: Consignor acquired from the gentleman who inherited the Pape Estate. CONDITION: Very good 9-96844 (1,000-2,000) – Lot 1103

ERIC PAPE (American, 1870-1938) PORTRAIT OF NATALIE H. HAMMOND AS A GIRL.

Oil on board Housed in a modern gilt molded wood frame Unsigned but having an Estate stamp to reverse Attached to verso are 2 photographs of this sitter as a child NOTE: Natalie’s brother was the man who built the Hammond Castle in Gloucester, Massachusetts. Also, there is a museum in North Salem, New York which was started by Natalie. The Hammond Museum was created as a foundation of support to promote global awareness and development of Eastern cultures with the West. SIZE: Sight size: 19-3/4″ x 15-3/4″ Overall: 23-3/4″ x 19-1/2″ PROVENANCE: Consignor acquired from the gentleman who inherited the Pape Estate. CONDITION: Some minor touch up, very good 9-96841 (1,000-2,000) – Lot 1104

ERIC PAPE (American, 1870-1938) ILLUSTRATION FOR H.G. WELLS 1908 PEARSON’S MAGAZINE ARTICLE “THE WAR IN THE AIR” (VOL 20, ISSUE 6).

Ink on paper Housed in a modern gilt frame with ivory mat Signed lower left “Eric Pape”, also attached to verso is the actual illustration used with caption “The folk were dingily hung about with dirty rags of housecloth” SIZE: Sight size: 20-1/2″ x 12-3/4″ Overall: 27-3/4″ x 20″ PROVENANCE: Consignor acquired from the gentleman who inherited the Pape Estate. CONDITION: Some minor surface toning, good 9-96842 (800-1,200) – Lot 1105

ERIC PAPE (American, 1870-1938) ILLUSTRATION OF BAISIL RATHBONE AS JUDAS.

Graphite and charcoal Housed in a modern gilt frame with mat behind glass Inscribed and titled lower left, signed “Eric Pape” lower right Accompanying this lot is the newspaper illustration SIZE: Sight size: 18-1/2″ x 14″ Overall: 27″ x 22-1/4″ PROVENANCE: Consignor acquired from the gentleman who inherited the Pape Estate. CONDITION: Very good 9-96847 (600-900) – Lot 1106

ERIC PAPE (American, 1870-1938) PORTRAIT OF HELEN HAYES.

Mixed media, charcoal and graphite Housed in a modern gilt frame with mat behind glass Signed lower left “Eric Pape” Accompanying this work is a newspaper clipping including this painting titled “Helen Hayes, star of ‘Pettycoat Influence’ at the Empire” SIZE: Sight size: 14-1/2″ x 9-3/4″ Overall: 24″ x 19″ PROVENANCE: Consignor acquired from the gentleman who inherited the Pape Estate. CONDITION: Very good 9-96840 (600-900) – Lot 1107

ERIC PAPE (American, 1870-1938) FIVE WORKS: ILLUSTRATIONS FROM THE BOOK “NOTRE DAME DE PARIS” 1928.

Ink on paper Housed in similar modern gilt frames with ivory mats Signed with artist’s monogram and one having an Estate sticker on verso SIZE: Smallest sight size: 3-3/4″ x 7-3/4″ to largest 9″ x 4-1/4″ Smallest overall: 9″ x 13″ to largest 14-3/4″ x 10″ PROVENANCE: Consignor acquired from the gentleman who inherited the Pape Estate. CONDITION: Generally very good, some minor foxing 9-96845 (1,000-2,000) – Lot 1108

DEAN CORNWELL (American, 1892-1960) THE OPIUM DEN.

Oil on canvas Housed in a simple thin black frame Signed upper right “Dean Cornwell ’21”, on verso of canvas is pencil inscription “6-1/8″ Line Per Style – 17___? – ____? on bottom”, other pencil inscription and writing on stretcher illegible A native of Louisville, Kentucky, Dean Cornwell became one of America’s premier illustrators and was in fact referred to as the “Dean of Illustrators”. For his studies, he moved to New York City in 1915 where he trained at the Art Students League with Harvey Dunn, the protégé of the renowned illustrator Howard Pyle. Believing that a good illustration was only possible after producing a good painting, Cornwell’s work became highly sought after. His art regularly appeared in popular magazines including “Harper’s Bazaar”, “Cosmopolitan”, “Redbook” and “Good Housekeeping”. He also illustrated the works of authors including Ernest Hemingway and Somerset Maugham, and his advertisements for major companies including Seagrams, Coca-Cola and General Motors were household icons of the 1930s and 1940s. A muralist as well, his work was featured in the 1939 World’s Fair and at Rockefeller Center in New York. Paintings by the artist have been exhibited at the Whitney Museum of American Art, the Pennsylvania Academy of Fine Arts, the Chicago Art Institute and the National Academy of Design. SIZE: 30″ x 36″ Overall: 30-3/4″ x 36-1/2″ PROVENANCE: Purchased in NYC by the consignor’s Grandfather in the early 1950’s CONDITION: Craquelure, original canvas, otherwise very good 9-25137 (15,000-25,000) – Lot 1109

DEAN CORNWELL (American, 1892-1960) “CAPE COD” ILLUSTRATION.

Oil on canvas Housed in a painted wood slat frame Signed lower right “Dean Corn-well” and initialed “DC23″ SIZE: 28″ X 46”. Overall: 28-1/2″ x 47″ CONDITION: Good having surface grime throughout, some of the outlining white paint fluoresces which we believe was applied by the artist to better distinguish the areas 9-25139 (5,000-10,000) – Lot 1110

ORSON BYRON LOWELL (American, 1871-1956) WOMAN IN RED.

Oil on board Housed in a modern gilt wood frame (with minor losses) Signed lower right “Orson Lowell” SIZE: Sight: 17″ x 10-1/4″. Overall: 22″ x 15-1/2″ CONDITION: Craquelure, very good 9-25243 (1,500-2,500) – Lot 1111

GEORGE HAWLEY HALLOWELL (American, 1871-1926) STUDY FOR THE ALTAR PIECE AT THE ALL SAINTS CHURCH, ASHMONT ST. BOSTON.

Watercolor on paper Housed in a fine gilt wood replacement frame with silk liner behind glass by Guido of Boston Signed in pencil lower left “G.H. Hallowell”, retaining an Exhibit label from the Ogunquit Museum of American Art “New England Visions” 1996, also a label verso indicating Ex Collection of Alfred J. Walker SIZE: Sight size: 10-1/4″ x 7-1/2″ Overall: 14-1/2″ x 11-1/2″ CONDITION: Very good 9-96823 (2,000-4,000) – Lot 1112

JAMES MONTGOMERY FLAGG (American, 1877-1960) ARCHIVE OF PHOTOGRAPHS AND SKETCHES BY JAMES MONTGOMERY FLAGG.

James Montgomery Flagg Archive containing thirteen original Flagg illustrations as well as photographs, letters, and articles. This archive contains one of the Flagg’s earliest drawings, dated August 9, 1892 (making Flagg just fifteen years old), a pen and ink drawing of a young boy spilling a pitcher and titled “The Pitcher Tragedy.” Some of his later illustrations were suggestive, as evidenced by “Whistle Stop,” a 9.75″ x 13.25″, pencil and watercolor featuring a nude woman crossing the railroad tracks in front of an oncoming train which is whistling “Whee-Wheeoo!” Two others, starring his friend Emanuel M. Abrahamson (1897-1956), “Mannie,” New York doctor specializing in diabetes and hyperinsulinism and author of “Body, Mind, and Sugar.” In two of the more humorous drawings, dated 1949 and 1950 respectively, we find the good doctor placed in an awkward situation with two nude women. Both drawings appear on the front of envelopes reading, “Merry Xmas to Mannie from Monty.” The remaining images are also pencil and watercolor drawings of various sizes, many featuring Abrahamson in funny situations, all beautifully sketched and colored. Also contained are ten photographs, two of which feature Flagg. In the first, a black and white, 8″ x 10″ Newspictures photograph, Flagg is seen presenting his poster “Appreciate America!” The second, also black and white, 10″ x 8″, Flagg is unveiling his “Your Forests, Your Fault, Your Loss” to President Franklin D. Roosevelt, seated at a desk, with two other men standing behind with the artist. The remaining photographs are of Dr. Abrahamson himself. In addition, there are nineteen letters, spanning the years 1952 through 1968, the majority of which are to Dr. Abrahamson, regarding his book and/or his work with hyperinsulinism; several newspaper articles; April-May 1976 issue of Modern Maturity featuring an article about Flagg; receipts; and one small book “James Montgomery Flagg: Uncle Sam and Beyond,” containing several of his lesser known pieces. Artist James Montgomery Flagg (1877-1960) sold his first piece of art at twelve years old and, by the age of fifteen, was on the staff of both Life and Judge Magazines. He attended six years of art school and traveled to Europe. Upon his return to the United States, he began painting portraits of Hollywood stars for Photoplay Magazine. When the First World War broke out in 1914, Flagg, like many Americans, believed the U. S. should remain neutral, but he was also concerned about the unpreparedness of the country in the event it was pulled into Europe’s conflict. When the U. S. finally became involved in 1917, he and his fellow artists established the Division of Pictorial Publicity to provide the U. S. government with requested posters. Flagg would create forty-six posters for this purpose, including his most famous, the 1917 “I Want You For U.S. Army” recruitment poster featuring himself as Uncle Sam. Following the war, Flagg continued his work painting the film stars of Hollywood for Photoplay and making patriotic themed illustrations throughout the Second World War. PROVENANCE: Consigned directly from the family of Dr. Abrahamson. CONDITION: Good 9-96657 (1,000-2,000) – Lot 1113

NEWBOLD HOUGH TROTTER (American, 1827-1898) “TOO-FAST 1888”.

Oil on canvas Housed in a modern gilt frame Signed lower right “N.H. Trotter”, also title, signed and dated on verso of canvas SIZE: 20″ x 30″ Overall: 24″ x 34-1/2″ CONDITION: Inpainting, mostly in sky, good 9-25210 (3,000-5,000) – Lot 1114

HOWARD L. HILL (AMERICAN -1870) HUNTERS ON POINT.

Oil on canvas Housed in 19th century ornately carved gilt wood frame Signed lower right “H. Hill” SIZE: 14-1/4″ x 20-1/4″ Overall: 21″ x 27-1/4″ CONDITION: Good, lined, minor scatter retouch 9-96531 (2,500-3,500) – Lot 1115

PERCIVAL L ROSSEAU (American, 1869-1937) TWO WORKS: “SETTERS ON HILLTOP NED & BOB” & “POINTERS JIMMIE DE K & PETERS CARROT ON QUAIL”.

Chromolithographs Unframed, matted in shrink wrap Signed in pencil lower right “Percival Rosseau”, Also signed in the print and dated “1923” with a printed remark Published 15th Feb. 1925 by Arthur Ackermann & Son, Inc., NYC NOTE: Percival Rosseau only allowed these two chromolithographs to be made from his paintings. They are rare to find, especially in this condition. The original oil paintings from which these chromolithographs were made were sold at the James D. Julia Firearms Auction, October of 2014 bringing over $130,000 SIZE: Sight 16″ x 23″. Overall 22-1/4″ x 29″ CONDITION: Overall good, matted and shrink wrapped 9-25084 (2,000-3,000) – Lot 1116

GUSTAV MUSS-ARNOLT (American/German, 1858-1927) TWO DOGS.

Oil on canvas Housed in an antique rib style gilt wood carved frame Signed lower left “G. Moss-Arnolt” SIZE: 25″ x 30″ Overall: 32-1/2″ x 37-1/2″ CONDITION: Lined, inpainting with restoration, very good 9-25212 (4,000-6,000) – Lot 1117

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

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

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

JOHN HENRY DOLPH (American, 1835-1903) BEST FRIENDS; PORTRAIT OF A CHILD AND A SAINT BERNARD.

Oil on board Housed in 19th century carved and gilt frame, losses Signed lower left “J.H. Dolph” SIZE: 12″ x 13″ Overall: 19″ x 20-1/4″ CONDITION: Good, scattered losses 9-96675 (1,000-1,500) – Lot 1119

AFTER SIR EDWIN LANDSEER (British, 1802-1873) DIGNITY AND IMPUDENCE.

Oil on canvas Housed in a fine wide molded wood modern frame with gilt wood liner having a gilt artist and title plaque Unsigned (piece of original canvas having the name “Beatie” attached to verso) SIZE: 36″ x 28″ Overall: 44-1/2″ x 36-1/4″ CONDITION: Lined, restored, very good 9-96837 (1,500-2,500) – Lot 1120

UNSIGNED (American, 20th century) SURPRISE VISITOR.

Oil on canvas Housed in a early 20th century gilt wood frame Unsigned SIZE: 28″ x 20-1/4″. Overall: 33-1/2″ x 25-1/2″ CONDITION: Yellow varnish and overall surface grime 9-96698 (700-900) – Lot 1121

PAUL BOUGH TRAVIS (American, 1891-1975) TIGER IN LUSH SETTING.

Gouache Housed in a modern walnut wood frame with white matte Signed lower right “Paul Travis #5 1956″ Paul Travis was a well respected painter, print maker and teacher. Usually referenced as an Ohio painter, he also traveled and taught in Europe, and in 1927 traveled extensively in Africa; his experiences there can be seen in much of his later work. Widely exhibited, venues include the Museum of Modern Art, the Art Institute of Chicago, the Brooklyn Museum and the Corcoran Gallery Biennials, among others. SIZE: Sight: 19″ x 26-3/4”. Overall: 28″ x 35-1/2″ CONDITION: Very good to excellent, not examined out of frame 7-70658 (600-900) – Lot 1122

FERDINAND PAUTROT (French, 1832-1874) TWO WORKS: HUNTING DOGS WITH BIRDS.

Bronze One signed “F. Pautrot, Paris 1869”, other signed “F. Pautrot” and inscribed on side “Admis Aux Deaux Arts” Each showing a hunting dog on naturalistic ground base SIZE: 8-1/2″ h x 13-1/2″ l and 8-1/2″ h x 12″ l CONDITION: Both very good, with high spot wear and dusty surface 9-96684 (1,200-1,800) – Lot 1123

SAM ANTON TERAKEDIS (AMERICAN, 20TH CENTURY) “HIGH PLAINS DRIFTER”.

Bronze mounted to wood base Signed and titled in base of bronze, also numbered 1/30, Accompanied by a Certificate of Authenticity from the artist dated November 2006 SIZE: 26″ l x 18-1/2″ h With base: 20-1/2″ h CONDITION: Very good to excellent 9-94517 (2,000-3,000) – Lot 1124

IRENEE ROCHARD (French, 1906-1984) MALE AND FEMALE ANTELOPE.

Bronze on wood base Signed “H. Rochard”, also “Bronze” SIZE: Bronze: 17-3/4″ w x 8″ h Overall with base: 17-1/2″ w x 9″ h CONDITION: Bronze very good with greenish patina, base with some nicks 9-96726 (700-1,000) – Lot 1125

PIERRE NICHOLAS TOURGUENEFF (Russian/French, 1853-1912) “CHIEN BERGER ALLEMAND COUCHE” (GERMAN SHEPHERD DOG).

Bronze Signed on base “P. Tourgueneff”, also round and rectangular Paris Foundry marks SIZE: 7-1/2″ w x 15-1/2″ l x 4-1/2″ d CONDITION: Very good 9-96705 (2,000-2,500) – Lot 1126

STAR LIANA YORK, (American, 1952- ) “RED TAILED HAWK”.

Bronze on rotating wood base Signed in bronze “S.L. York” and numbered “20/30″ SIZE: Bronze: 31″ h With base: 33-1/2″ h Maximum width: 21” CONDITION: Very good to excellent 9-96776 (1,500-2,500) – Lot 1127

L. OUDRY (French, 19th/20th Century) LOBSTER PLAQUE.

Copper finish metal plaque Housed in a modern decorative frame Signed “L. Oudry dpe Editeur” SIZE: Sight size: 11-1/2″ x 7″ Overall: 17-1/2″ x 13″ CONDITION: Few small dings, one small 1/4″ split at top center, otherwise very good 9-96697 (500-800) – Lot 1128

UNSIGNED (American, 19th Century) KITTENS ENJOYING A BOWL OF MILK.

Oil on canvas Housed in vintage wood frame SIZE: 16″ x 20″. Overall 21-3/4″ x 25-3/4″ CONDITION: Several patches on verso, touch up along edges, several small areas of restoration corresponding with patches 9-94872 (500-800) – Lot 1129

THOMAS HEWES HINCKLEY (American, 1813-1896) PANORAMIC VIEW WITH FARM, COWS & SHEEP.

Oil on canvas Housed in its original gesso decorated gilt frame with gilt liner (as found) Signed lower right “Th. Hinckley 1856″ SIZE: 14″ x 20”. Overall: 22-3/4″ x 28-3/4″ PROVENANCE: From a New England family, on load at Colby College since the early 70’s. CONDITION: Original canvas, light surface dirt, original condition 9-96838 (5,000-7,000) – Lot 1130

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

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

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

LEON FOSTER JONES (AMERICAN 1871-1940) “THE MILL STREAM IN AUTUMN, NEW HAMPSHIRE.

Oil on canvas Housed in a period carved gilt Thulin style frame Signed and dated lower right “Leon Foster Jones ’15” SIZE: 18″ x 18″ Overall: 24-1/2″ x 24-1/2″ CONDITION: Good, lined, repaired tear and scattered retouch 9-96529 (4,500-6,500) – Lot 1132

GEORGE FRANK HIGGINS (American, 1850- ) PANORAMIC SCENE OF THE WHITE MOUNTAINS N.H.

Oil on canvas Housed in a modern molded gilt wood frame Signed lower left “GF Higgins 71″ SIZE: 31″ x 50-1/2″ Overall: 36-1/2″ x 55-1/2” CONDITION: New stretcher, lined, in need of restoration, with separation at upper frame edge 9-25217 (3,000-5,000) – Lot 1133

GEORGE FREDERICK MUENDEL (American, 1871-1948) CONNECTICUT LANDSCAPE.

Oil on canvas Housed in a period carved wood frame (losses to paint surface) Signed lower left “Geo F. Muendel” SIZE: 18″ x 24″. Overall 23-1/2″ x 29-3/4 CONDITION: Small 1/8″ hole upper left, surface dirt, otherwise good 9-94865 (2,500-3,500) – Lot 1134

WORTHINGTON WHITTREDGE (American, 1820-1910) NEWPORT, RHODE ISLAND.

Oil on board Housed in a contemporary gold frame Signed lower right “W. Whittredge” Bears label on verso from Marbella Gallery and Coe Kerr Gallery SIZE: 9-1/2″ x 15-1/2″. Overall 16″ x 21-1/2″ CONDITION: 4″ vertical line of restoration, left edge 9-96131 (1,500-2,500) – Lot 1135

ERNEST LAWSON (American/French, 1873-1939) SPRING LANDSCAPE.

Oil on artist board Housed in a good carved wood frame with linen and gilt liner (dirty) Signed lower right “E. Lawson” SIZE: Actual: 15″ x 12″ Overall: 23″ x 20″ CONDITION: Very good. 7-70787 (3,500-5,500) – Lot 1136

HARRY LEITH-ROSS (American, 1886-1973) BARN IN WOODS, WINTER.

Oil on board Housed in wood frame with gilt liner Signed lower left “Leith-Ross” SIZE: 8″ x 9-1/2″. Overall: 11-1/2″ x 13-1/2″ CONDITION: Surface dirt, yellowed varnish, otherwise good 9-96148 (2,500-3,500) – Lot 1137

JOHN F. CARLSON (American, 1874-1945) WINTER SHADOWS.

Oil on board Housed in a good gilt gesso decorated frame Signed lower right “John F. Carlson” SIZE: 8″ x 10″ Overall: 15″ x 17-1/2″ CONDITION: Very good 9-96848 (2,000-4,000) – Lot 1138

EARL A TITUS (American, 1895-1962) WINTER LANDSCAPE NEW ENGLAND.

Oil on canvasboard Housed in a contemporary carved wood gilt frame Signed lower right “E A Titus” SIZE: 18″ x 26″. Overall 22-1/4″ x 30-1/2″ CONDITION: Overall good 9-94863 (1,500-2,500) – Lot 1139

JOHANN BERTHELSEN (American, 1883-1972) CENTRAL PARK TOWARDS 5TH AVE.

Oil on canvasboard Housed in a carved gilt wood antique frame Signed lower left “Johann Berthelsen” SIZE: 20″ x 16″. Overall: 25-1/2″ x 21-1/2″ CONDITION: Very good 9-96859 (4,000-6,000) – Lot 1140

MANNER OF STEICHEN OR STEIGLITZ (American, Early 20th Century) NEW YORK CITY STREET SCENE AT NIGHT.

Photographic print Housed in a simple black frame with linen mat Unsigned SIZE: Sight 7-1/2″ x 4″. Overall 13″ x 8-1/4″ CONDITION: Not examined out of frame, small scratch just left of center 9-25101 (500-1,000) – Lot 1141

FRANK SWIFT CHASE (American, 1886-1958) SLOAN ESTATE, GREAT NECK, LONG ISLAND.

Oil on canvas Housed in a magnificent pierce carved gesso decorated period frame Signed lower right “Frank Swift Chase” Stamped on verso “Davey Tree Company 127” and inscribed in pencil on stretcher “Sloane Estate” Note: This painting was illustrated in Country Life magazine in an advertisement for Davey Tree Expert Company, Ohio, about 1928 (a copy of the Country Life ad is included with lot). Swift created this wooded landscape with bay in the background on Mr. Alfred Pritchard Sloan, Jr.’s 25 acre Kings Point, Great Neck, New York estate. Sloan was an American business man and CEO of General Motors Corporation. SIZE: 25″ x 30-1/4″. Overall: 37-1/2″ x 42-1/2″ PROVENANCE: See above CONDITION: Overall very good 9-96714 (3,000-5,000) – Lot 1142

ROBERT MELVIN DECKER (American, 1847-1921) ADIRONDACK LANDSCAPE.

Oil on canvas Housed in contemporary silver painted frame Signed lower left “R.M. Decker” SIZE: 27″ x 30″. Overall: 30-1/2″ x 33-1/2″ CONDITION: Overall good; surface dirt and yellowed varnish 9-96708 (2,000-4,000) – Lot 1143

ANNA RICHARDS BREWSTER (American, 1870-1952) UPPER MANHATTAN FROM FORT GEORGE.

Oil on canvas Housed in a modern gilt frame Inscribed on verso “AR BREWSTER 1924 about 190 St Upper Manhattan looking toward West from Fort George” SIZE: 8-3/4″ x 14″. Overall: 15-1/2″ x 20-1/2″ CONDITION: Purple pigments fluoresce under UV 9-96233 (1,000-2,000) – Lot 1144

CHARLES EDWIN LEWIS GREEN (American, 1844-1915) BARNYARD SCENE.

Oil on canvas Housed in 19th century ornately carved and gilt wood frame, some losses Signed lower right “C.E.L. Green” SIZE: 18″ x 26″. Overall: 30″ x 37″ CONDITION: Good, scattered retouch 9-96553 (6,000-8,000) – Lot 1145

WILLIAM MERRITT POST (American, 1856-1935) AUTUMN STREAM.

Oil on canvas Housed in a carved gilt wood replacement frame with some gilt losses Signed lower right “W. Merritt Post” SIZE: 24″ x 36″ Overall: 33″ x 45″ CONDITION: Very good, lined on new stretcher 9-25213 (5,000-7,000) – Lot 1146

WILLIAM CHARLES ANTHONY FRERICHS (American, 1829-1905) CASCADING FALLS UNDER STORMY SKIES (POSSIBLY FALLS OF TAMAHAKA, CHEROKEE COUNTY, NC).

Oil on canvas Housed in a magnificent wide ornate gilt period frame with multiple gilt liners Signed lower left “Wm. Frerichs” SIZE: 31″ x 48″ Overall: 45-1/2″ x 61-1/4″ CONDITION: Some inpainting, very good 9-25207 (10,000-15,000) – Lot 1147

JEROME B. THOMPSON (American, 1814-1886) ENCAMPMENT BY A RIVER WITH PANORAMIC VIEWS.

Oil on canvas Housed in a gilt decorated wood frame Signed center bottom “Jerome Thompson 66″ SIZE: 40″ x 50″ Overall: 46-1/2″ x 56” CONDITION: Light craquelure, some inpainting, otherwise very good 9-25206 (10,000-15,000) – Lot 1148

GEORGE GLENN NEWELL (American, 1870-1947) “THE MOONLIT WAY”.

Oil on canvas Housed in an ornate early 20th century carved and gilt frame Signed lower right “G. Glenn Newell” SIZE: 22″ x 26″. Overall: 35-1/2″ x 39″ CONDITION: Good, scattered retouched, possibly reinforced signature 9-96534 (6,000-8,000) – Lot 1149

CARL W. PETERS (American 1987-1980) “NEW YORK TREES”.

Oil on canvas Unframed Signed lower right “Carl W Peters”, numbered on verso “109-A” SIZE: 20″ x 24″ PROVENANCE: Acquired directly from the artist’s daughter CONDITION: Overall good 9-96789 (1,500-2,500) – Lot 1150

CARL W. PETERS (American, 1897-1980) FALL FOLIAGE, NEW YORK.

Oil on canvas Unframed Signed lower left “Carl W. Peters” Bears estate stamp on verso for Carl W. Peters signed by his daughter Elaine Woodbury, numbered on verso “101-A” SIZE: 20″ x 24″ PROVENANCE: Acquired directly from the artist’s daughter CONDITION: Overall good 9-96786 (3,000-5,000) – Lot 1151

ROBERT W. WOOD (American, 1889-1979) “SHULTS MILL”.

Oil on canvas Housed in a contemporary gold frame Signed and dated lower right “Wood ’54” SIZE: 24″ x 36″. Overall 30″ x 42″ PROVENANCE: J.J. Gillespie Company, Pittsburgh, 1956 CONDITION: Overall good, yellowed varnish, vertical craquelure in sky 9-96755 (3,000-5,000) – Lot 1152

PAUL CORNOYER (American, 1864-1923) “WHITE BIRCHES, PRINCE EDWARD ISLAND”.

Oil on board Housed in a contemporary gilt frame Signed lower left “Paul Cornoyer” Bears Frost & Adams artist material label on verso, Inscribed “White Birches Prince Edwards Island” SIZE: 10-3/4″ x 7″. Overall: 17″ x 13″ CONDITION: Overall good, a few small areas of restoration 9-96318 (3,000-5,000) – Lot 1153

ALFRED R. MITCHELL (American, 1888-1972) FALL LANDSCAPE.

Oil on masonite Housed in a mid century wood frame with gilt molding Signed and dated lower right “A.R. Mitchell 33″ SIZE: 15″ x 12”. Overall 21″ x 18″ CONDITION: Overall good, 2″ vertical scratch 9-96730 (700-900) – Lot 1154

CHARLES HAROLD DAVIS (American, 1856-1933) SUMMER HILLS.

Oil on canvas Housed in a period black painted wood frame Signed lower left “C H Davis” SIZE: 13″ x 16″. Overall: 19-1/2″ x 22-1/2″ CONDITION: Very good 9-25209 (2,500-3,500) – Lot 1155

WALTER FARNDON (American, 1876-1964) A LITTLE SUNLIGHT.

Oil on panel Housed in a gilt wood frame Signed lower right “Walter Farndon” Estate stamped #456 on verso with Vose Galleries label SIZE: 12″ x 16″. Overall 16-1/2″ x 20-1/2″ PROVENANCE: From the estate of the artist; Vose Galleries, Boston CONDITION: Overall good, signature has white pigment over it however does not fluoresce 9-96567 (2,000-3,000) – Lot 1156

ARTHUR CLIFTON GOODWIN (American, 1864-1929) CABIN IN THE WOODS.

Oil on canvasboard Housed in a Guido wood gilt frame. SIZE: 14-1/2″ x 17-1/2″. Overall 22″ x 25″. CONDITION: Surface grime and yellowed varnish, 3″ area of abrasion with paint loss lower right, large area of varnish overlaying signature area (fluoresces orange under UV). 9-94871 (2,000-3,000) – Lot 1157

ROBERT L. LA HOTAN (American, 1927-2002) “SUMMER CLOUDS”.

Oil on canvas Unframed Signed lower right “La Hotan” Kraushaar Galleries, New York label with title & artist on verso Accompanied by an Kraushaar Galleries exhibition pamphlet, February 7-25, 1978, #3 on the 26 paintings exhibited SIZE: 20″ x 24″ CONDITION: Very good 9-96827 (2,000-4,000) – Lot 1158

ROBERT EMMETT OWEN (American, 1878-1957) SUMMER LANDSCAPE WITH HOUSE & FIGURES.

Oil on canvasboard Housed in a modern gilt frame Signed lower left “R Emmett Owen” SIZE: 12″ x 14″. Overall: 15-1/2″ x 17-1/4″ CONDITION: Very good 9-96857 (1,500-2,000) – Lot 1159

ROBERT EMMETT OWEN (American, 1878-1957) SPRING LANDSCAPE.

Oil on canvas Unframed Signed lower right “R. Emmett Owen” SIZE: 36″ x 40″ CONDITION: Lined, craquelure, restoration throughout sky and along edges, touch up scattered throughout 9-96653 (8,000-12,000) – Lot 1160

ALFRED RICHARD MITCHELL (American, 1888-1972) TREE BY A POND.

Oil on Masonite Housed in a contemporary gilt wood frame Bears pencil signature lower right “Mitchell” SIZE: 28″ x 23″. Overall: 34-1/4″ x 29-1/4″ CONDITION: Overall good with shrinkage cracks in tree foliage, surface dirt and 1″ scratch, frame has chips and losses along top 9-96729 (1,500-2,500) – Lot 1161

HENRY VARNUM POOR (American, 1887-1970) LANDSCAPE WITH GOLDEN FOLIAGE.

Oil on canvas laid down on panel Housed in a gilt slat frame Signed and dated lower right “H.V. Poor 60″ SIZE: 14-3/4″ x 26”. Overall: 16-1/4″ x 27-1/2″ PROVENANCE: Marbella Gallery, New York. CONDITION: Canvas is laid down on wood panel, otherwise good 7-70777 (1,500-2,500) – Lot 1162

DAVID BIRDSEY WALKLEY (American, 1849-1934) THE WATERING HOLE.

Oil on canvas Housed in a contemporary gilt frame Signed lower left “D.B. Walkley” SIZE: 15″ x 21″. Overall 21-1/2″ x 28″ CONDITION: Overall good, canvas has slight buckle 9-96297 (1,200-1,800) – Lot 1163

BERTRAM GEORGE BRUESTLE (American, 1906 – 1968) SUMMER FARM.

Oil on board Housed in a partial gilt carved wood frame with linen liner Signed lower left with conjoined initials and last name SIZE: 16″ x 20″ Overall: 22-3/4″ x 26-3/4″ CONDITION: Very good 9-94400 (800-1,200) – Lot 1164

SEARS GALLAGHER (American, 1869-1955) LILY POND.

Watercolor Housed in a fine modern birdseye maple frame with mat behind glass Signed lower left “Sears Gallagher” SIZE: Sight size: 25″ x 19-1/2″ Overall: 30-1/2″ x 24-1/2″ CONDITION: Very good 7-70784 (800-1,200) – Lot 1165

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 9-94672 (700-900) – Lot 1166

FRANK CONVERS MATHEWSON (American, 1862-1941) “THE STUDIO DOOR”.

Watercolor and gouache on paper Housed in a contemporary gilt wood frame with linen matte under glass Signed lower left “F.C. Mathewson” and inscribed lower right “Matunuck, RI” Bears exhibition label on verso with artist name and title of work SIZE: 5-1/4″ x 4-1/4″. Overall: 13-1/2″ x 12-1/2″ CONDITION: Very good, not examined out of frame 9-25094 (300-500) – Lot 1167

ELIOT CANDEE CLARK (American, 1883-1980) EVENING LIGHT.

Oil on canvas Housed in a contemporary wood gilt frame Signed lower left “Eliot Clark” SIZE: 13″ x 9-3/4″. Overall 17 x 14. PROVENANCE: Private Collection of Dr. Irving Levitt, MD, Bloomfield Hills, MI. CONDITION: very good, touch up throughout. 9-96133 (300-500) – Lot 1168

EMMA LEVINIA SWAN (American, 1853-1927) YOUNG GIRL PICKING FLOWERS IN LANDSCAPE.

Oil on canvas Housed in a. ornately carved period gilt wood frame Signed lower right “E.L. Swan” Bears Charles G. Caulder, Providence, Rhode Island label on verso stretcher SIZE: 36″ x 26″. Overall 50-1/2″ x 40″ CONDITION: Overall good (restored) condition. Verso canvas has several small patches. UV shows scattered touch up with large area of restoration in upper right sky and smaller area in upper left; older restoration in girls face. Frame has some losses and areas of overpaint 9-96715 (3,000-5,000) – Lot 1169

MARGUERITE S. PEARSON (American, 1898-1978) “THE SUNLIT ALCOVE”.

Oil on canvas, laid down on Masonite Housed in a Feliciano Nemiccolo gilt wood (over painted in white) frame Signed lower left “Marguerite S. Pearson” Bears handwritten label with title, artist name and address, as well as a business card from the J. L. Hudson Company, Detroit; frame is signed Feliciano Nemiccolo, Readville, Massachusetts SIZE: 33″ x 44″. Overall: 37″ x 47-3/4″ CONDITION: Overall good (restored), 10″ vertical area of restoration lower center, and scattered touch up 9-96774 (5,000-7,000) – Lot 1170

WEEDON GROSSMITH (American, 1855- ) GIRL WITH PARASOL.

Oil on canvas Housed in a 19th century carved and painted wood frame Signed and dated lower right “Weedon Grossmith 1881” Portrait of a young girl wearing a black cloak with matching bonnet with red trim, holding Psalm book in right hand and parasol in left as she gazes at the viewer Verso stencil “Prepared by Windsor and Newton, London” SIZE: 36″ x 28″. Overall: 42-1/2″ x 33-1/5″ CONDITION: Stretcher mark along top, small loss lower right, otherwise good 9-96173 (2,000-4,000) – Lot 1171

AMERICAN SCHOOL (19th/20th Century) INTERIOR SCENE WITH MOTHER & CHILD WITH TOYS.

Oil on canvas Housed in a fine period deep gesso decorated gilt frame with multiple liners Bears signature lower right “Chas. C. Curran, N.A. 1909″ SIZE: 29″ x 24”. Overall: 42-1/2″ x 37-1/2″ PROVENANCE: From a fine private Long Island, NY collection. CONDITION: Lined, inpainting, very good 9-93351 (2,000-4,000) – Lot 1172

GERTRUDE JAMESON BARNES (American, 1865-1939) THE FIRESIDE VISITATION.

Oil on canvas Housed in a carved gilt wood frame (having large loss to the upper left corner & chips) Signed lower right “G.J. Barnes” SIZE: 22″ x 28″. Overall: 28-1/4″ x 34-1/2″ CONDITION: Surface grime with 1/4″ loss upper center, canvas not lined 9-25123 (2,000-4,000) – Lot 1173

HENRY ORNE RYDER (American, 1860-1943) GIRL WITH HER DOLL IN LANDSCAPE.

Oil on canvas, mounted on board Mounted in a fine leaf decorated gilt frame Signed lower right “H.O. Ryder 1880″ SIZE: Sight: 15-1/2″ x 10-1/4″ Overall: 19-1/2″ x 14” CONDITION: Craquelure, bottom left corner with canvas loss, small chip on right margin, otherwise good. 9-93299 (800-1,200) – Lot 1174

ATTRIBUTED TO FRANK DUVENECK (American/German, 1848 – 1919) PORTRAIT OF A MAN WITH WHITE RUFF.

Oil on mahogany panel Unsigned Housed in a carved & ebonized wood frame SIZE: 12-1/2″ x 12″. Overall: 23″ x 23-1/2″ CONDITION: Overall very good with minor spot touchup, frame has some abrasions 9-96721 (3,000-5,000) – Lot 1176

SIR JACOB EPSTEIN (American/English, 1880-1959) NUDE WITH GOLD NECKLACE.

Graphite & watercolor Housed in a modern gilt frame with double matte (small losses) Signed lower right “Epstein” SIZE: Sight: 16″ x 21-1/2″ Overall: 21-1/2″ x 27-1/4″ PROVENANCE: Ex-private Beverly Hills, CA Collection CONDITION: Some light foxing, otherwise very good 9-90893 (1,000-2,000) – Lot 1177

ALBERT PELS (American, 1910-1998) “SUN WORSHIPERS TAR BEACH, NEW YORK”.

Oil on board Housed in a contemporary silver painted wood frame Signed lower left and lower right “Pels” Titled on verso and numbered “147” SIZE: 18″ x 23-3/4″. Overall: 23-3/4″ x 29-1/2″ CONDITION: Overall good, minor touch up, signature on right may have been added 9-96658 (800-1,200) – Lot 1178

MAURICE L. FREEDMAN (American, 1904-1985) “SUMMER RETREAT”.

Oil on canvas Housed in a silver gilt wood frame with linen and white wood liner (some losses to silver and water stain to liner), retaining a Midtown Galleries NYC label Signed lower left “Maurice Freedman”; Titled on verso of canvas SIZE: 22″ x 36″ Overall: 28″ x 42″ CONDITION: Good, some light craquelure to purple areas 9-96826 (5,000-7,000) – Lot 1179

RICHARD WILLIAM DICUS (American, 1901-1973) GIRL WITH BEADED NECKLACE.

Oil on canvas Housed in a carved and painted hardwood frame Signed and dated lower left “dicus 39″ SIZE: 36-1/2″ x 23-3/4″. Overall: 4l” x 28″ CONDITION: Overall good, 3″ area of restoration in background, several areas of touch up along edges and on apron 9-96724 (2,000-3,000) – Lot 1180

ALBERT PELS (American, 1910-1998) A HAND SHAKE.

Oil on canvas Housed in a modern white washed carved frame Signed lower right “Pels” SIZE: 16″ x 20″. Overall: 22″ x 26″ CONDITION: Canvas wrapped around foam core, otherwise good 9-96141 (2,000-3,000) – Lot 1181

AGNES WEINRICH (American, 1873-1946) UNTITLED CUBIST COMPOSITION.

Oil on canvas Housed in a gilt wood frame Signed lower right “A. Weinrich” SIZE: 22-1/2″ x 18″. Overall 28-1/2″ x 24-1/4″ CONDITION: Craquelure throughout, patch on verso corresponds to restoration, touch up in several spots, surface grime 9-96718 (2,000-3,000) – Lot 1182

IAN GAGE (American, 1990-) “RELEVANCE PARADOX III”.

Oil on canvas Unframed Unsigned front, signed titled & dated “2014” on verso SIZE: 23-1/2″ x 23-1/2″ CONDITION: Very good to excellent 9-25138 (600-900) – Lot 1183

JIM DINE (American, 1935- ) “GINGER AND UNI”, 1996.

Woodcut with photoengraving and collograph Housed in a contemporary wood frame Signed and dated center bottom “Dine 1996″ numbered 50 of an edition of 50 SIZE: Sheet 28-1/2″ x 22-3/4”. Overall 30″ x 24-1/2″ CONDITION: Overall very good, colors faded, float mounted in frame with margins in full view 9-96235 (1,000-1,500) – Lot 1185

CLAES OLDENBURG (American, 1929- ) “LIPSTICK ASCENDING CATERPILLAR TRACK”.

Lithograph in colors Housed in a contemporary wood frame Signed in pencil lower right “Oldenburg”, numbered lower left “34 of an addition of 100″ SIZE: 24″ x 19-1/4”. Overall: 34″ x 29″ CONDITION: Staining in margins, faded, not examined out of frame 9-25145 (800-1,200) – Lot 1186

HELEN FRANKENTHALER (American, 1928-2011) REFLECTIONS XI.

Color lithograph Housed in a contemporary frame Signed and dated lower right “Frankenthaler,” blind stamped and numbered 19 of edition of 30 SIZE: Sheet 19-1/2″ x 15″. Overall 29-1/2″ x 24″ CONDITION: Overall good, colors slightly faded, float mounted- entire margins visible- not examined out of frame 9-96236 (1,000-1,500) – Lot 1187

MARC CHAGALL (French, 1887-1985) “THE SUMMER SEASON”.

Offset color lithograph Housed in a contemporary gilt wood frame Signed in plate; bookplate from Daphne and Chloe; includes certificate of authenticity SIZE: 12″ x 9″. Overall 29-1/2″ x 25-1/2″ CONDITION: Overall good, not examined out of frame 7-70661 (200-400) – Lot 1188

SIGNED (American?, Mid 20th Century) FINE CAST BRONZE FEMALE BUST.

Bronze Mounted on a museum base Signed “MF”, front edge of throat SIZE: 18″ h x 14″ w at base CONDITION: Very good to excellent patinated surfaces and condition 9-96606 (1,200-2,200) – Lot 1188a

HENRY HEERUP (Danish, 20th Century) “LITA AND THE SWAN” AND “TWO LOVERS”.

Porcelain Signed on base “Royal Copenhagen Gallery 96/500 Heerup 5432” and “Royal Copenhagen Gallery 93/500 Heerup 5428″ SIZE: 1) Height: 9-1/2″ 2) Height: 7-1/2” PROVENANCE: Fine Newton, MA home (purchased directly from the factory) CONDITION: Very good 7-70313 (300-500) – Lot 1188b

JOHN TERKEN (American, 1912-1993) “LYRICA”.

Bronze Marked on the base “Lyrica”, John Terken Sc., Roman Bronze Works SIZE: 27″ h CONDITION: Very fine patina, very minor high spot wear 9-25000 (4,000-6,000) – Lot 1189

GOTTFRED EICKHOFF (Danish, 1902-1982) “FIGURE OF A WOMAN” (22640).

Stoneware Signed on back “Eickhoff” Note: 50 produced; full page illustration in the Royal Copenhagen Gallery 1977/8 catalog SIZE: 27-1/2″ h x 19-3/4″ d x 11-1/2″ w PROVENANCE: From a fine Newton, MA home CONDITION: Nick in toe, otherwise very good 7-70312 (300-500) – Lot 1190

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 9-25100 (500-1,000) – Lot 1191

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ATTRIBUTED TO FRANKLIN DULLIN BRISCOE (American, 1844-1903) SAILING IN CHOPPY HARBOR.

Oil on canvas Housed in a contemporary wood frame Bears incised signature lower left “Brisco” SIZE: 22″ x 35″. Overall: 25-1/2″ x 38-3/4″ CONDITION: Old yellow varnish, signature scratched into surface, small restored tear upper left, larger restored tear above roof, several areas of restoration, craquelure 9-96175 (5,000-7,000) – Lot 1197

PAUL E. MCGEHEE (American, 1960- ) “U.S.R.C. BEAR AND S.S. CORWIN, 1914 IN ALASKAN WATERS”.

Oil on wood panel Signed lower right “Paul McGehee 1979″ Housed in a contemporary gold painted frame Signed & inscribed on verso by the artist A nicely detailed scene of an uncommon subject NOTE: Accompanying the painting is a 7-page excerpt from Artist/USA including a biography and exhibition record. Paul has been painting since the age of 5 and was an accomplished painter by his teens. The information includes examples of his work in color photographs including this work. His favored medium is oil on masonite and he specializes in landscape & marine scenes SIZE: 29-3/4″ x 39-3/4”. Overall: 35″ x 45″ CONDITION: Overall very good, frame with some losses 9-96316 (4,000-6,000) – Lot 1198

EDMUND DARCH LEWIS (American, 1835-1910) LANDSCAPE WITH MILL.

Oil on canvas Housed in a modern gilt wood frame Signed and dated lower right “Edmund D. Lewis 1883″ SIZE: 22-1/2″ x 42”. Overall: 28″ x 47-1/4″ CONDITION: Overall good (restored). Lined, 3×3″ area of restoration lower right, 1″ area of restoration in river bank and minor touch up in sky 9-96174 (1,500-3,000) – Lot 1199

EDMUND DARCH LEWIS (AMERICAN, 1835-1910) NEW ENGLAND COASTAL VIEW.

Watercolor and gouache Housed in a contemporary gilt frame Bearing signature and dated lower right “Edmund D Lewis 1900″ SIZE: 6-1/2″ x 14″. Overall 14 x 21-1/2”. PROVENANCE: Private Collection, Beverly Hills, CA. CONDITION: Very good, not examined out of frame 9-96134 (800-1,200) – Lot 1200

WILLIAM HENRY PLUMMER (American, 19/20th Century) MARINE SCENE ALONG ROCKY COAST.

Oil on board Housed in 19th century carved and gilt wood frame with losses Signed lower left “W.H. Plummer-1890″ SIZE: 10″ x 18-1/2”. Overall: 15″ x 25″ CONDITION: Good 9-96537 (1,500-2,500) – Lot 1201

WILLIAM THON (American, 1906-2000) “FISHERMAN”.

Oil on canvas board Housed in a 19th Century carved walnut frame with gilt wood liner Signed lower left, pencil identified on reverse “W. Thon – Fisherman” SIZE: 8″ x 10″ Overall: 12-3/4″ x 15″ CONDITION: Very good 9-96820 (1,500-2,500) – Lot 1202

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

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

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

MICHAEL B. KARAS (American, 1954- ) LOBSTER BOAT OFF COASTAL ROCKY SHORE.

Oil on board Housed in its original paint decorated frame with linen and wood liner Signed lower right “Michael B. Karas” SIZE: 24″ x 36″ Overall: 30″ x 42″ CONDITION: Very good 9-96664 (2,000-4,000) – Lot 1204

JOHN STEUART CURRY (American, 1897-1946) CAPE NEDDICK LIGHT, YORK, MAINE.

Watercolor on paper Unframed Signed lower right “John Steuart Curry” SIZE: 15″ x 22″ CONDITION: Good 7-70796 (800-1,200) – Lot 1205

AMERICAN SCHOOL (20th Century) CLIPPER SHIP.

Oil on Canvas Bears signature lower left “F.V. Smith” SIZE: 16″ x 20″. Overall 20-1/4″ x 24″ CONDITION: Yellowed coaching varnish; signature does not fluoresce 9-96757 (800-1,200) – Lot 1206

FREDERIC SHILLER COZZENS (American, 1846-1928) WRECK AT SEA.

Watercolor on paper Housed in contemporary gilt wood frame Signed lower left “Fred. S. Cozzens-98″ SIZE: 13-1/2″ x 21”. Overall: 21-1/2″ x 28″ CONDITION: Good, possible time toning, not examined out of frame 9-96277 (400-600) – Lot 1207

AMERICAN SCHOOL (20th Century) COASTAL VIEW.

Watercolor Housed in a contemporary wood frame Bears signature lower right “Irving R. Wiles” SIZE: Sight 5-1/2″ x 7-1/2″. Overall 11-1/2″ x 13-1/2″ CONDITION: Overall good, not examined out of frame 9-96758 (500-800) – Lot 1208

AMERICAN SCHOOL (19th/20th Century) FOUR WORKS.

1) Samuel R. Chaffee (American, 20th Century) Landscape with Grey Sky Watercolor Housed in a black and gold frame Signed lower right “S.R. Chaffee” 2) William Brayley (American, 19th Century) Ship Sailing Past Cliffs Pastel Housed in a gold painted frame (matching item 3) Signed lower left “W. Braley” 3)William Brayley (American, 19th Century) Cottage in Winter Pastel Housed in a gold painted frame (matching item 2) Signed lower left “W. Braley” 4) H. Hall (American, 20th Century) Seascape Oil on canvas Housed in a carved gold painted wood frame Signed lower left “H Hall” SIZE: 1) 11-3/4″ x 19-1/4″ Overall 19″ x 26″ 2) Overall 9-1/2″ x 21-1/2″ 3) Overall 9-1/2″ x 21-1/2″ 4) 9″ x 12″. Overall: 16″ x 19″ CONDITION: 1) Good, not examined out of frame 2) Good 3) Good, small water stain lower right 4) Craquelure throughout, otherwise good 9-96275 (700-900) – Lot 1209

GEORGE “GOOSEY” TURLAND (American, 1877-1947) SHIP ASHORE.

Oil on canvas panel Housed in a painted wood frame Signed lower left “Geo Turland” SIZE: 12″ x 15-3/4″. Overall: 17-3/4″ x 21-3/4″ PROVENANCE: From the George Turland Estate CONDITION: Overall good 9-96226 (600-800) – Lot 1210

GEORGE “GOOSEY” TURLAND (American, 1877-1947) SAILBOAT AT DOCK.

Oil on canvas Housed in a painted wood frame Signed lower right “Geo Turland” SIZE: 18″ x 14″. Overall: 24″ x 20″ PROVENANCE: From the George Turland Estate CONDITION: Overall good, yellowed varnish and stretcher mark along top 9-96227 (600-800) – Lot 1211

GEORGE “GOOSEY” TURLAND (American, 1877-1947) SEASCAPE, CORNWALL.

Oil on panel Housed in gilt modern frame Signed lower right “Geo Turland” SIZE: 12″ x 16″. Overall: 17-1/2″ x 21-1/2″ PROVENANCE: From the George Turland Estate CONDITION: Minor touch up in rocks, otherwise good 9-96228 (600-800) – Lot 1212

GEORGE “GOOSEY” TURLAND (American, 1877-1947) WEST COAST CORNWALL, ENGLAND.

Oil on panel Housed in a modern gilt frame Signed lower right “Geo Turland”, title inscribed on verso SIZE: 12″ x 16″. Overall: 17-1/4″ x 21-1/2″. PROVENANCE: From the George Turland Estate CONDITION: Very good 9-96231 (600-800) – Lot 1213

WILLIAM LANING (American, 1837-1860) STILL LIFE OF FRUIT.

Oil on canvas Housed in a period gilt and black painted wood frame New York artist supply company stencil on verso SIZE: 17″ x 21″. Overall 26″ x 30″ CONDITION: Not lined, several areas of restoration, several small patches on verso, craquelure, minor canvas buckle lower left 9-96722 (4,000-6,000) – Lot 1214

ABBIE LUELLA ZUILL (American, 1856-1921) SPILLED STRAWBERRIES.

Oil on academy board Housed in a Victorian walnut frame with gilt liner Signed lower right “A L Zuill” SIZE: 10-1/4″ x 12″. Overall: 14″ x 16″ CONDITION: Very good 9-25215 (2,000-3,000) – Lot 1215

IDA J. OLNEY (American, 19th Century) STILL LIFE OF PEACHES, GRAPES AND PEARS.

Oil on canvas Housed in a modern gilt frame Signed lower right “Ida J Olney” SIZE: 29-1/2″ x 21″. Overall: 34-1/2″ x 25-1/2″ CONDITION: Lined. Surface scratch upper center, large area of restoration in background and 1″ area in grapes 9-96167 (1,200-1,800) – Lot 1216

AMERICAN SCHOOL (American, 20th Century) STILL LIFE OF CARNATIONS.

Oil on canvas Housed in a contemporary gold frame Bears added signature lower right “Thos. L. Hunt 1908″ SIZE: 20-1/4″ x 16-1/4”. Overall 25″ x 20-1/2″ CONDITION: Surface grime, not lined , several pinholes 9-96756 (800-1,200) – Lot 1217

ENGLISH SCHOOL (19th Century) STILL LIFE WITH FRUIT INCLUDING PINEAPPLE.

Watercolor on paper Housed in simple gilt frame Unsigned SIZE: 9-1/2″ x 71/2″. Overall: 12-1/2″ x 10-1/2″ CONDITION: Good, possible tear to lower quadrant, not examined out of frame 9-25012 (600-900) – Lot 1218

JOHN WILLIAM HILL (American, 1812-1879) FRUIT STILL LIFE.

Watercolor Housed in a period gilt frame with gilt mat behind glass (as found) Signed lower right “J.W. Hill 1868″ SIZE: Sight size: 13-1/2″ x 17”. Overall: 22-1/2″ x 27-1/2″ CONDITION: Very good 9-25245 (500-1,000) – Lot 1219

UNSIGNED (Early 20th Century) STILL LIFE OF PEACHES.

Oil on canvas laid down on panel Housed in a wood frame Monogramed lower right “CH” SIZE: 22-1/2″ x 16″. Overall 27″ x 21 CONDITION: Surface dirt and spotty varnish, frame has scratches 9-94890 (200-400) – Lot 1220

OLIVE PARKER BLACK (American, 1868-1948) BLUE VASE OF FLOWERS.

Oil on canvas Housed in an antique gesso decorated frame with corner losses Signed lower right “Olive P Black” SIZE: 24″ x 30″. Overall: 31-1/4″ x 37-1/4″ CONDITION: Very good, upper stretcher line with very minor loss 9-96860 (1,000-1,500) – Lot 1221

GEORGE LORING BROWN (American, 1814-1889) VIEW OF NAPLES WITH CASTLE NUOVO.

Oil on canvas laid on wood panel Housed in a period carved gilt wood frame Initialed and dated lower left “GLB 1850″ SIZE: 21-3/4″ x 27-3/4”. Overall: 31-1/2″ x 37-1/2″ CONDITION: Restored tears lower left with touch up in mountain 9-96317 (5,000-8,000) – Lot 1223

PROSPER LOUIS SENAT (American, 1852-1925) HILLSIDE ITALIAN VILLA.

Oil on board Housed in a deep carved gilt wood frame Signed lower left “Prosper L Senat” SIZE: 36-1/2″ x 24″. Overall: 42-1/4″ x 29-1/2″ CONDITION: Surface dirt, otherwise very good 9-96858 (1,500-2,000) – Lot 1224

OSSIP LEONOVITCH LINDE (American, 1871-1940) “CITY OF GOLD & IVORY”.

Oil on canvas Housed in what appears to be its original carved and gilt gesso decorated frame with gilt loss and cracks Signed lower right “Ossip L. Linde”, also having Exhibition tag on verso of frame and title label on stretcher of verso SIZE: 36″ x 29″. Overall: 42″ x 34-1/4″ CONDITION: Surface dirt, craquelure, dirt spot to upper left corner, otherwise good 9-25202 (2,000-4,000) – Lot 1225

JOHN FERY (American/Hungarian, 1859-1934) RIVER FLOWING THROUGH A GERMAN VILLAGE WITH MILL.

Oil on canvas Housed in a carved gilt wood frame Signed lower right “J. Fery” SIZE: 50-1/4″ x 40″. Overall: 56″ x 45-1/4″ CONDITION: Overall good, minor touch up in upper left and right corners and stonework 9-96652 (6,000-8,000) – Lot 1226

SAMUEL COLMAN (American, 1832-1920) NEAR CHEDDAR SOMERSET.

Oil on board Housed in a period carved wood gilt frame Inscribed lower right “S Colman” Inscribed on verso “NR Cheddar Somerset Colman”, bears label fragment on verso “Artist’s Colourment Lead Pencil and Mathematical Instrument Makers” SIZE: 8-1/2″ x 15-1/4″. Overall: 14″ x 20-3/4″ CONDITION: Very good, minor re-touch to sky 9-94870 (4,000-6,000) – Lot 1228

ERNEST WADSWORTH LONGFELLOW (American, 1845-1921) THE SPHINX, EGYPT.

Oil on canvas Housed in a period gilt gesso decorated frame with losses Signed lower right “Ernest Longfellow” SIZE: 26″ X 36″ Overall: 32-3/4″ x 43-1/2″ CONDITION: Very good 9-25240 (4,000-6,000) – Lot 1229

CHARLES HERBERT WOODBURY (American, 1864-1940) “ST. THOMAS (PINK ISLAND)”.

Watercolor on board Unframed Unsigned front but with Estate stamp on verso with penciled title & date “1928” SIZE: 15″ x 22″ CONDITION: Good, left upper corner wrinkled (outside of viewable area when framed) 9-96822 (500-800) – Lot 1230

F. LIGER HIDALGO (19th/20th Century) INTERIOR OF ALCAZAR, SEVILLE.

Watercolor and gouache Housed in gilt frame with gilt mat Signed and inscribed lower right “F. Liger/Seville”. Together with a hand colored photogravure of St. Marks Cathedral, Venice SIZE: Alcazar: 11-1/2″ x 8″. Overall: 20″ x 16-1/2″; St. Marks: 9-1/4″ x 13″. Overall: 16″ x 20″. CONDITION: Both in very good condition 9-96252 (300-400) – Lot 1231

GEORGE “GOOSEY” TURLAND (American, 1877-1947) LANDSCAPE WITH MOUNTAIN VIEW.

Oil on board Housed in a modern gilt frame Signed lower right “Geo Turland” SIZE: 12″ x 16″. Overall: 17-1/4″ x 21-1/4″ PROVENANCE: From the George Turland Estate CONDITION: Overall good with minor touch up 9-96222 (600-800) – Lot 1232

EARLY 19TH CENTURY LEATHER BOUND SAMPLE BOOK FOR THE THOMAS MCLEAN PUBLISHING HOUSE.

Large volume bound with full leather boards, engraved with gold and titled on binding “Collection of Humourous Engravings, Caricatures &c. By Various Artists”. The inside fitted with pages having tipped-in humorous engravings, from publishing house of Thomas McLean, 26 Haymarket St., London. There are 80 hand-colored lithographs, many dated 1827. Accompanying this lot are letters of provenance and early history, of when it was collected in 1923. This volume was apparently used for promotional purposes for the Thomas McLean Publishing Co., some of the titles include, “Sketches By Travellers” series (Colorful with African animals), “An Officer of the Artillery Corpse Unattached”, “Arithmetic, Compound Division”, “Pedestrianism or Foote Travelling”. July 1996 Antiques magazine included with lot with article ” An irreverent look at British landscape connoisseurship, 1770-1830.” Pieces included in total lot: 2 plates; “Locomotion” by Seymour Shortshanks, The Cholic by George Cruikshank, “Tryng on New Boots…Danger of Slight Straps” by Rich & Dighton, A Loan by Joe Lisce, A Most Infernal Bad Dog by H. Pyall, Champagne Driving Away Real Pain by Theodore Lane, Sunday Morning by Theodore Lane, Innocent Amusements by Theodore Lane, Curling Lap Dogs Hair by Theodore Lane, Filling Water- Butt with Spoon by Theodore Lane, I’m Sure Captain Hopkins… by Theodore Lane, Bottling off the Ganges by Theodore Lane, Coo Biddy… by Theodore Lane, Fiddle De Diddle Dy by Theodore Lane and The Dancing Lesson Pt 1 & Pt 3 by G. Cruikshank. SIZE: Overall size 15″ x 21-1/2″ x 2″. Folio size 4″ x 5″ to 14″ x 9″. CONDITION: Both covers detached but intact, leather well worn, approximately 50% of prints no longer intact, some pages detached, some pages partially clipped, some prints with signs of foxing. 9-94537 (3,000-5,000) – Lot 1233

ELYSE ASHE LORD (English, 1900-1977) THE OFFERING.

Etching and aquatint in colors Housed in a contemporary gilt wood frame, matted under glass Signed in pencil lower right “Elyse Lord” Inscribed lower left “TP” for Trial Proof SIZE: 18″ x 22″. Overall: 27″ x 30″ CONDITION: Overall good, not examined out of frame 9-96563 (700-900) – Lot 1234

AFTER REMBRANDT VAN RIJN (Dutch, 1606-1669) CORNELIS CLAESZ, ANSIO PREACHER.

Etching Unframed Bartsch, Hollstein, 271, Signed in plate Watermarked “MBM”, Print for the “Portfolio” by Philip Gilbert Hamertan, Ca 1880 Engraved by Armand Durand SIZE: Plate: 9-1/2″ x 7-1/2″. Sheet: 12-3/8″ x 9-3/8″ CONDITION: Foxing in margins & verso, not laid down 9-96579 (300-500) – Lot 1235

JAMES ABBOTT MCNEILL WHISTLER (American, 1834-1903) CHARING CROSS RAILWAY BRIDGE.

Transfer lithograph Housed in a gilt wood frame, matted under glass Butterfly monogram in plate; Way 120, Levy 166; possibly posthumous impression Bears Frederick Keppel & Co label on verso, No.10413 SIZE: Sight: 6-1/2″ x 9″. Overall 13-1/4″ x 15-3/4″ CONDITION: Minor foxing, not examined out of frame 7-75441 (300-500) – Lot 1236

ATTRIBUTED TO ANTOINE WAUTTEAU (French, 1684-1721) MUSICIAN SERENADING LADIES IN THE GARDEN.

Oil on wood panel Housed in a 19th century carved gilt wood frame Unsigned, stenciled on verso “97GDH” SIZE: 10-1/2″ x 13-1/2″. Overall: 15″ x 18″ CONDITION: Overall good condition, restoration in woman’s red dress and 1″ area in sky, scattered touch up. Frame has several losses 9-96713 (10,000-12,000) – Lot 1237

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

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

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

IN THE MANNER OF PAUL DE VOS (Flemish, 1595-1678) DOGS ATTACKING DEER.

Oil on canvas Housed in a gilt wood frame Unsigned SIZE: 13-3/4″ x 21-1/4″ Overall: 17″ x 24-1/2″ PROVENANCE: Acquired by consignors great grandmother, Bertha Leonard, married to Harry Leonard (family founders of Valvoline Oil). Descended through the family. CONDITION: Very good, lined with some inpainting 9-93976 (2,000-3,000) – Lot 1239

UNSIGNED (Italian, 18th/19th century) BELSHAZZAR’S FEAST.

Oil on canvas Housed in a gilt frame SIZE: 42-1/2″ X 52″. Overall: 46″ x 55″ CONDITION: Fair, overall surface grime with yellowed varnish, several areas or old restoration, several tears, and a patch on verso 9-96445-1 (800-1,200) – Lot 1240

AFTER GIACOMO MORO (Italian, 18th century) FOUR WORKS: THE FOUR ELEMENTS.

Etchings with hand coloring Housed in matching period style gilt frames Each inscribed “Firenze Appo: Giacomo Moro”, and titled: ARIA, TERRA, FUOCO, ACQUA SIZE: 12″ x 14-1/2″. Overall 15-1/4″ x 18-1/4″ (each) CONDITION: Margins of each mezzotint painted with gouache to create faux mat, minor water spots, paper toned and some discoloration. All four frames have losses. Prints not examined out of frame 9-94805 (500-700) – Lot 1241

JEAN FREDERIC SCHALL (French, 1752-1825) “LA PETITE DANSEUSE LA ROSE”.

Oil on canvas Housed in its original gilt wood frame Unsigned front but signed with monogram on verso Label on verso: Marie Therese Ctsse-de la beraudiere old lot label #524 REFERENCE: This painting is detailed on page 30 in the exhibition catalog “Important Oil Paintings from the Collection of Countess de la Beraudiere, Paris”, Sale No 3872 December 11 & 12, 1930. New York; American Art Association, Anderson Galleries Inc, 1930. A copy of this exhibition catalog accompanies the painting SIZE: 16-1/4″ x 13″. Overall 21-1/4″ x 18″ PROVENANCE: Countess de la Beraudiere, Paris. Sale of Countess de la Beraudiere’s property, Anderson Galleries, New York, 1930, Described in catalog, p. 30 CONDITION: Not lined, old yellow varnish, craquelure. Restoration lower left and right corners, 2″ area in figure’s skirt, minor 1/2″ touch up on her chest and upper left and right corners 9-96768 (10,000-20,000) – Lot 1242

JEAN DUPLESSIS-BERTAUX (French, 1747-1819) THE MILL.

Oil on wood panel Housed in a 19th Century gilt wood frame Initialed lower right “JDB” SIZE: 19″ x 23″. Overall: 26″ x 30″ CONDITION: Overall good, with minor touch up 9-94857 (4,000-6,000) – Lot 1243

FOLLOWER OF CLAUDE-JOSEPH VERNET (French, 1714-1789) MEDITERRANEAN LANDSCAPE.

Oil on canvas laid down on masonite Housed in a 19th century carved gilt wood frame Unsigned SIZE: 12″ x 16″. Overall 24″ x 28-1/2″ CONDITION: Good, with restoration along edges and small area in upper right sky 9-96716 (3,000-5,000) – Lot 1244

UNSIGNED (French, 19th Century) BOY WITH YELLOW SONGBIRD.

Oil on canvas Housed in a 19th Century ornately carved gilt wood frame Depicting a wide eyed young boy in blue vest preparing to feed a yellow songbird perched on his index finger SIZE: 22-1/2″ x 33-1/2″. Overall: 31″ x 42″ CONDITION: Overall good (restored), original canvas has been wax lined and restretched on modern stretchers, paint surface has craquelure arrested by lining. UV examination shows minor touch up in sleeve and older restoration in background 9-96176 (1,000-2,000) – Lot 1246

HENRY de GRAY (French, 19th century) THE MYSTICAL MARRIAGE OF ST. CATHERINE AFTER ANTONIO DA CORREGGIO.

Oil on canvas Housed in a 19th century gilt frame with circular opening Signed and inscribed lower right “Henry De Gray. D’apres Le Correge” SIZE: 31″ x 31″. Overall: 41″ x 41″ CONDITION: Old yellow varnish, surface grime, large tear across top, small hole upper right, restored tear lower right and two patches on verso. Frame has cracks, losses and overpaint 9-96437 (800-1,200) – Lot 1247

JACINTE POZIER (French, 1844-1915) TWO LANDSCAPES.

Watercolor sketches Signed “Jacinte Pozier, 1888″ on verso of one Identically housed in simple gold frames having triple mats SIZE: Image 5-1/2″ x 7″. Overall 12-1/2″ x 14-1/2”. CONDITION: Very good 9-25125 (800-1,200) – Lot 1248

LOUIS ETIENNE TIMMERMANS (French, 1846-1910) PORT VIEW AT LOW TIDE.

Oil on panel Housed in ornately carved period gilt gesso frame Signed lower left “L. Timmermans” SIZE: 15″ x 18″. Overall: 23″ x 26″ CONDITION: Overall very good, frame has losses 9-96172 (800-1,200) – Lot 1249

LOUIS GABRIEL EUGENE ISABEY (French, 1803-1886) SHIPS AT DOCK.

Watercolor on paper Unframed, mounted to cardboard with mat Signed and inscribed lower left in French “a ma tante, hommage affectueux, E. Isabey” (To my aunt, with affectionate regards) SIZE: 11-3/4″ x 9-1/4″. Overall: 15-3/4″ x 12-1/2″ CONDITION: Spot foxing, good 7-70798 (1,000-1,500) – Lot 1250

EUGENE GALIEN LALOUE (French, 1854-1941) TWO WORKS: TOWN SCENES.

Gouache Housed in matching gilt frames with gilt mats behind glass, each retaining their original J. Davey & Sons Liverpool labels to verso Signed lower left “Galien Laloue 1877 & 1878″ SIZE: 5-1/2″ x 8”. Overall: 13″ x 15-3/4″ CONDITION: Very good. 7-70793 (2,000-4,000) – Lot 1251

CHARLES FRANCOIS DAUBIGNY (American/French 1817-1878) PAYSAGE ANIME.

Oil on canvas Unframed Unsigned, having “Daubigny” written in pen on back stretcher SIZE: 6-1/2″ x 11-1/2″ CONDITION: Very good, light craquelure, some touch up mostly to edges, otherwise very good 7-70789 (6,000-9,000) – Lot 1252

NARCISSE-VIRGIL DIAZ DE LA PENA (French, 1807-1876) FAMILY GATHERING AMONG THE TREES.

Oil on canvas Housed in a fine period gilt wood frame Signed lower right “N Diaz” SIZE: 20″ x 16″. Overall: 23-3/4″ x 19-3/4″ CONDITION: Lined, inpainting, some varnish consolidation 9-25216 (2,500-3,500) – Lot 1253

AFTER ISIDORE JULES BONHEUR (French 1827-1901) BULL AND BEAR.

Bronze Signed in the casting “J Bonheur 1900″ No foundry mark Set on a green marble rectangular plinth SIZE: Overall: 22″ l. Bronze: 21-1/2” l CONDITION: Very good 9-25586 (800-1,200) – Lot 1254

AFTER PIERRE JULES MENE (French, 1810-1879) SCOTTISH HUNTER WITH HOUND.

Bronze Mounted to a naturalistic base Signed on base “P J Mene” SIZE: 20-1/2″ t. CONDITION: Very good 9-96181 (2,500-4,500) – Lot 1255

ALBERT MORITZ WOLFF (Russian/German, 1854-1923) GIRL WATERING TWO HORSES.

Bronze Signed in Cyrillic “A.M. Wolf” SIZE: 7-3/4″ h x 14″ w x 7″ d CONDITION: Some rubbing to back and tail of horse, generally very good 9-96706 (2,500-3,500) – Lot 1256

EDWARD ANTOON PORTIELJE (Belgium, 1861-1949) A COUPLE ADMIRING THEIR REFLECTION.

Oil on panel Housed in a fine carved and pierced gilt frame with plaque Signed lower left “Edward Antoon Portielie”, bears artist’s wax seal on verso with small label inscribed “N37″ SIZE: 18″ x 15”. Overall: 29″ x 26″ CONDITION: Overall good with minor touch up in his necktie and her dress and background. Tiny shrinkage cracks 9-96440 (5,000-7,000) – Lot 1257

EDWARD ANTOON PORTIELJE (Belgium, 1861-1949) THE FLIRTATION.

Oil on cradled panel Housed in a fine carved and pierced gilt wood frame with plaque Signed upper left “Edward Portielje” SIZE: 14-1/2″ x 18″. Overall: 28″ x 31″ CONDITION: Abrasion lower left and along right edge, tiny shrinkage cracks in center and spotty varnish. Frame has several losses and cracking to gilt 9-96439 (5,000-7,000) – Lot 1258

ATTRIBUTED TO GABRIEL METSU (Netherlands, 1629-1667) “THE ARTIST STUDIO”.

Oil on canvas Housed in a 19th century carved and gilt wood frame bearing frame plaque with artist name and title Unsigned SIZE: 13″ x 17″. Overall: 25-1/2″ x 29-1/2″ CONDITION: Overall good (restored) condition, lined, craquelure throughout, restretched on new stretcher, and several areas of restoration, frame liner has several chips and losses 9-96711 (2,500-4,000) – Lot 1259

ANDRIANUS EVERSEN (Netherlands, 1818-1897) A DUTCH CITY VIEW.

Oil on canvas Unframed Signed lower left “A. Eversen” SIZE: 24-3/4″ x 32″ CONDITION: Overall good; yellowed varnish and patch on verso. Scattered in-painting in foreground, horizontal restoration along top stretcher mark; 1/2″ area of restoration above roof line 9-96710 (2,500-4,000) – Lot 1260

BELGIAN SCHOOL (Dutch, 19th Century) SHEEP IN WINTER LANDSCAPE.

Oil on panel Housed in an ornate carved wood and gilt decorated wood frame Signed lower right “V. Eycke” Note: possible attribution to Charles Van Den Eychen (Belgian, 1809-1891) SIZE: 16″ x 20″. Overall: 28″ x 32″ CONDITION: Overall good 9-96699 (800-1,200) – Lot 1261

PAUL WANTE (Belgian, 1905-1981) PORTRAIT OF RICHARD WAGNER.

Oil on masonite Housed in a contemporary gilt frame Signed lower right “Paul Wante” Artist supply co label on verso: Schilderpaneel SIZE: 25-1/5 ” x 20″. Overall 29-1/2″ x 23-1/2″ CONDITION: Good, face has restoration and small areas of touch up along edge 9-96717 (700-900) – Lot 1262

IN THE MANNER OF PHILIPS WOUWERMAN (Dutch, 1619-1668) BATTLE SCENE FROM THE OTTOMAN-HAPSBURG WARS.

Oil on canvas Unframed A finely rendered painting depicting one of the epic battles between the Austrian Hapsburgs and the Turks SIZE: 19-3/4″ x 27-3/4″ CONDITION: Canvas has been restretched on modern stretchers and lined. Craquelure throughout. Professional restoration done by Jim Wright, MA 7-75319 (3,000-4,000) – Lot 1263

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

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

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

CONSALVO CARELLI (Italian, 1818-1910) “SORRENTO”.

Oil on board Housed in a 19th century carved and gilt wood frame Signed lower right “C. Carrelli” Identified lower right “Sorrento” Period framers label affixed to frame on verso SIZE: 10″ x 17″. Overall: 16″ x 23″ PROVENANCE: Purchased from the estate of Sen. Leverett Saltonstall, Ludlow, VT house, Niece had inherited and sold at estate sale. CONDITION: Good, very minor retouch 9-96578 (3,000-5,000) – Lot 1265

ABRAHAM HULK I (European, 1813 – 1897) MARINE SCENE.

Animated marine scene Oil on wood panel Housed in contemporary wood and gilt frame Signed lower right “A Hulk” Indistinctly inscribed on verso SIZE: 5″ x 7-1/2″ Overall: 8-3/4″ x 11″ CONDITION: Good 9-96184 (1,500-2,000) – Lot 1266

ATTRIBUTED TO JULIUS C. IBBETSON (English, 1759-1817) WATCHING THE SUNRISE.

Oil on panel Housed in a 19th century carved gilt wood frame Unsigned SIZE: 11″ x 14-1/2″. Overall 16-1/2″ 20-1/2″ CONDITION: Yellowed varnish, several small losses and frame abrasions along bottom and sides. Several cracks in panel radiating from bottom, verso panel has old canvas reinforcement, small area of in-painting sky, frame has large losses and over-paint 9-25141 (3,000-5,000) – Lot 1267

GUSTAVE de BREANSKI (English, 1856-1898) SUNSET PEEL CASTLE.

Oil on canvas Housed in a period gilt wood frame Signed lower left “Gustave de Breanski”, frame inscribed with title and artist name, title inscribed on verso with “de Breanski Break Spears Road, Brockloy, London. SE” SIZE: 19-1/2″ x 35-1/2″. Overall 28-1/2″ x 48-1/2″ CONDITION: Verso canvas has several patches, old yellowed varnish, 3″ restored tear in cliff, large area of restoration lower left corner and small restored tear in sky. Frame has significant losses and poor restoration 9-96177 (1,500-3,000) – Lot 1268

JULIUS ROSE (German/American, 1828-1911) A MOUNTAINOUS GERMAN LANDSCAPE.

Oil on canvas Housed in a 19th century carved and gold painted wood frame Signed lower left “Julius Rose” SIZE: 19″ x 31-1/2″. Overall: 32″ x 44″ CONDITION: Lined, 9″ restored tear left quadrant, scattered touch up throughout, several areas of restoration in sky and mountains 9-96723 (2,500-3,500) – Lot 1269

MICHEL MENGHINI (Italian, 19th century) THIRTEEN OLD MASTER MINIATURES.

Set of thirteen watercolor miniatures after famous old master works Housed in a carved gilt wood frame with thirteen openings with several losses Each miniature bears artist label on verso identifying work of art SIZE: 6″ x 4-1/2″ (each). Overall: 29-1/2″ x 34-1/2″ CONDITION: Miniatures all appear to be in very good condition, quality is excellent 9-96442 (800-1,200) – Lot 1270

AFTER RAFFAELLO SANZIO (Italian, 19th century) MADONNA DELLA SEGGIOLA.

Oil on canvas Housed in an ornately carved and gilt wood period frame with acanthus leaf and fruit motif SIZE: Dia: 28-1/2″. Overall Dia: 47″ CONDITION: Frame has several losses and cracking to gilt, with old restoration and some overpaint. Condition of painting is overall good. 9-96436 (800-1,200) – Lot 1271

AFTER RAFFAELLO SANZIO (Italian, 19th century) MADONNA DELLA SEGGIOLA.

Oil on canvas Housed in a carved gilt wood frame SIZE: 27″ x 22″. Overall: 38″ x 33″ CONDITION: Overall good condition, surface grime, and minor touch up along top edge 9-96438 (800-1,200) – Lot 1272

ATTRIBUTED TO GASPARE DIOMEDE DELLABRUNA (Italian, 1839-1915) MADONNA AND CHILD, AFTER BARTOLOME ESTEBAN MURILLO.

Oil on canvas Housed in an ornately carved period gilt wood frame with pierced gallery Inscribed on verso “Painted by D. Dellabruna 1914, Galleria Palatina” Dellabruna copied Murillo’s Madonna and Child, circa 1650, housed at the Palazzo Pitti in Florence, Italy. SIZE: 42″ x 30-1/2″. Overall: 54″ x 43″ CONDITION: Fair. Losses along bottom, small tear in green drapery, 1/2″ tear in infants face, area of restoration in background, canvas buckling upper right and yellowed varnish 9-96435 (800-1,200) – Lot 1273

F. ROLANDO (Italian, 19th century) FROM THE BEST STOCK.

Oil on canvas Housed in a gold painted carved wood frame Signed lower right “F Rolando” SIZE: 16″ x 20″. Overall: 26″ x 30″ CONDITION: Canvas is lined, minor touch up in background, several small areas of canvas “bubble” in top half 9-96178 (800-1,200) – Lot 1274

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

UNSIGNED (Italian, Probably 16th Century) MADONNA.

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

JOHANNES HALL (Estonian, 1771-1838) PAPAL PROCESSION, SAINT PETER’S BASILICA.

Oil on canvas Unframed Signed lower right “J. Hall: and inscribed on verso “Gunalt von Johannes Hall, reval den 10 Feb 1815″ Hall was born in Germany, however moved to Russian controlled Reval, Estonia in 1795. He was the father of famous 19th century Russian artist Edward Hall. The painting is after an engraving created in 1775 titled L’Interno della Basilica Vaticana, by Giuseppe Vasi (Italian, 1710-1782). This view of St. Peter’s Basilica is similar to the work of Giovanni Paolo Panini, which may have been the inspiration for Vasi’s engraving SIZE: 28-1/2″ x 35” PROVENANCE: From a Maryland collection CONDITION: Canvas is loose and not framed; several small areas of paint loss throughout from being rolled, yellowed varnish and old restoration to white areas 9-96310 (3,000-5,000) – Lot 1276

ATTRIBUTED TO KONSTANTIN RUDAKOV (Russian, 1891-1949) SET OF FOUR DRAWINGS OF WOMEN.

Four watercolors and ink on paper Housed in similar black frames, matted under glass Unsigned SIZE: Approx. 10-1/4″ x 7-1/4″ (each). Overall: Larger: 17″ x 14; Smaller 16″ x 12″ CONDITION: Seated woman in red looking left has fox marks, standing woman in green has minor creasing lower right and minor discoloration, seated woman in red looking at viewer has two small fox marks and seating woman with crossed legs has several small fox marks, not examined out of frame 9-96759 (3,000-5,000) – Lot 1277

ALEXIS MATTHEW PODCHERNIKOFF (Russian/American, 1886-1933) “GOLDEN HOUR”.

Oil on canvas Housed in an ornately carved and painted period frame Signed lower left “A.M. Podchernikoff” Bears Wunderly label on verso SIZE: 28″ x 36″. Overall 38″ x 44-1/2″ CONDITION: Overall good, minor area of touch up in sky 9-96712 (3,000-5,000) – Lot 1278

DAVID BURLIUK (Russian/American, 1882-1967) PORTRAIT OF A WOMAN.

Crayon and colored pencil on paper Housed in a contemporary gilt wood frame, matted under glass Signed and dated lower left “Burliuk 1933″ SIZE: 13-1/4″ x 9-3/4”. Overall: 20″ x 16″ CONDITION: Overall very good, drawing has smudges in white spaces (likely in the making) 9-96813 (800-1,200) – Lot 1279

FRANCOIS GALL (French, 1912-1987) SEWING IN THE PARK.

Oil on canvas Housed in a French style decorated frame with linen & gold gilt liner Signed lower right “F. Gall Paris” Label on verso: Arthur Lenars & Co, inscribed “JK102″ SIZE: 19-1/2″ x 24”. Overall 26″ x 30″ CONDITION: Very good 7-75442 (3,000-5,000) – Lot 1281

ADRIEN HENRI TANOUX (French, 1865-1923) AFTERNOON TEA.

Oil on canvas Housed in a white wash molded wood frame (with some seam separation) Signed lower left “Tanoux 1909″ SIZE: 21-3/4″ x 15”. Overall: 29-1/2″ x 23″ CONDITION: Very good 9-25147 (3,000-5,000) – Lot 1281a

CONSTANTIN GUYS (French, 1802-1892) SET OF THREE DRAWINGS OF WOMEN.

Three watercolors en grisaille, including 1) standing woman, 2) two women with horse and buggy, 3) woman entering a carriage Housed in matching gilt wood frames with yellow burlap mattes and frame plaque Unsigned SIZE: 1) 9-1/2″ x 7-1/2″. 2) 7-1/2″ x 11″. 3) 10″ x 9″. Overall: Approx. 17″ x 15″ CONDITION: All three faded, 1) small tears lower left and several creases, 2) abrasions and several small creases, 3) abrasions throughout 9-96728 (2,500-3,500) – Lot 1282

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: Very good 7-70791 (2,000-4,000) – Lot 1283

ATTRIBUTED TO JOAQUIN SOROLLA Y BASTIDA (Spain, 1863-1923) POSSIBLE STUDY FOR “THE WHITE BOAT”.

Oil on board Unframed Signed lower right “J Sorolla B” REFERENCE: Page 139 for larger finished painting, “The Painter, Joaquin Sarolla” by Edmund Peel SIZE: 9-1/4″ x 12″ CONDITION: Original condition with uncleaned surface 9-25242 (15,000-25,000) – Lot 1284

GUILLERMO GOMEZ MAYORGA (Mexican, 1887-1962) “ATARDECER COSTERO”.

Oil on canvas Housed in a contemporary gilt wood frame Signed lower right “G.G. Mayorga” SIZE: 15-1/2″ x 24″ Overall: 23-1/2″ x 31-1/2″ CONDITION: Good, lined with minor retouch 9-25096 (6,000-9,000) – Lot 1285

GONZALO ARIZA (American/Columbian, 1912- ) LUSH TROPICAL FOREST LANDSCAPE.

Watercolor on paper Housed in a molded wood gilt frame with ivory mat behind glass Signed lower left “Gonzalo Ariza” SIZE: 23″ x 34-1/2″. Overall: 33″ x 44″ CONDITION: Very good 9-25241 (3,000-5,000) – Lot 1286

OSWALDO IMPERIALE (Argentinian, 1913-1977) LOADING BOATS IN A COLORFUL HARBOR.

Oil on masonite Housed in a gilt modern wood frame Signed lower right “O Imperiale” Also appears to have title on verso bottom “En el A_ _?” SIZE: 27-1/2″ x 23-1/2″. Overall: 31-1/4″ x 27-1/2″ CONDITION: Very good 9-25203 (1,000-1,500) – Lot 1287

ANGEL SOTO (Mexican, 20th century) MEXICAN CITY VIEW.

Oil on canvas Unframed Signed lower left “Angel Soto” SIZE: 31-1/2″ x 37-1/2″ CONDITION: Overall fair; canvas is not lined, several losses along edges, surface scratches upper right and stretcher marks, 6″ vertical restoration in sky, upper left; smaller area of restoration upper right 9-96669 (800-1,200) – Lot 1288

LEONARDO NIERMAN (Mexican-American, 1932-) UNTITLED.

Oil on Masonite Housed in a gold painted frame with linen liner and gilt molding Signed and dated lower right “Nierman 69″ SIZE: 29-1/2″ x 48”. Overall: 37″ x 56″ CONDITION: Overall very good. Frame has minor nicks 9-94799 (1,000-2,000) – Lot 1289

LEONARDO M. NIERMAN (Mexican, 1932- ) “PEACE”.

Carrera marble sculpture Mounted to black step base Signed “Nierman” at top edge Accompanying the sculpture is a copy of original shipping form from Mexico dated 1978, also a copy of sales certification signed by Leonard Nierman SIZE: 56″ x 17″; height including black marble vase: 60″; height including black wood base: 67″ PROVENANCE: From a fine Newton, MA home CONDITION: Tip of sculpture is chipped, otherwise very good 7-70315 (1,500-2,500) – Lot 1290

JOSEPH WOLFRAM (Austrian, Act. 1860-1873) TWO VIEWS OF GYPSY ENCAMPMENTS.

Two oils on canvas Housed in wood frames with gilt liners Both signed lower right “Wolfram pinx ” SIZE: 5-1/2″ x 7-1/2″ (each). Overall” 14-1/4″ x 12″ (each) CONDITION: Both have craquelure, not lined; one has 1″ patch on verso coinciding with restoration in standing woman’s head 9-96727 (800-1,200) – Lot 1291

MORITZ PLASCHKE (Germany, 1818-1888) MOTHER AND CHILD.

Oil on canvas Housed in a period carved wood white wash over gilt frame Signed lower left “M Plaschke” SIZE: 9-1/2″ x 7-7/8″ CONDITION: Good with frame abrasion along edges, remnant of gold paint lower left 9-96179 (800-1,200) – Lot 1292

C. HUTHER GARMIECH (German, 20th century) MONTE CRISTALLO, ITALY.

Oil on canvas Housed in a contemporary gilt frame Signed lower right “E Huther Garmiech”, titled on verso with inscription “Mit Duerensee (Dolomiten)” SIZE: 27-3/4″ x 31-1/2″. Overall: 31-1/2″ x 35-1/4″ CONDITION: Overall very good 9-96276 (700-900) – Lot 1293

JULIUS KOSTER (Germany, 19th Century) AFTER REMBRANDT VAN RYJN’S SELF PORTRAIT.

Oil on canvas Housed in 19th century carved gilt wood frame Signed, dated and inscribed lower left “Julian Koster, Berlin 1850″. Rembrandt created several self-portraits in his lifetime. This example after Rembrandt’s 1640 self portrait (age 34) housed in the National Gallery, London. SIZE: 23″ x 18-1/2”. Overall: 31-1/2″ x 28″ CONDITION: Overall good, surface dirt, small restoration on verso corresponding to a 1″ tear on front, craquelure throughout. Frame has minor losses 9-96445 (500-700) – Lot 1294

UNSIGNED (Italian School, 19th/20th Century) THE SHORES OF NAPLES HARBOR.

Oil on canvas mounted to wood panel Housed in a modern gilt wood frame With added signature lower right “E. Dalbono” SIZE: 10″ x 17-1/2″. Overall: 14″ x 21-1/2″ CONDITION: Signature fluoresces under black light, otherwise very good 7-70790 (1,500-2,500) – Lot 1295

ATTRIBUTED TO LUIGI ROSSETTI (Italian, 1881-1912) STUDY OF A YOUNG GIRL IN PINK.

Oil on board Housed in a modern gilt frame with linen liner Signed lower left “Rosetti” SIZE: 20″ x 15″. Overall 28″ x 24″ CONDITION: Good, craquelure, loss to sliver of upper left corner, spot of in-painting 9-97172 (800-1,200) – Lot 1295a

ITALIAN SCHOOL (19th century) TWO GENRE SCENES OF BOYS.

Two oils on canvas Housed in matching period gilt frames 1) Boy with violin: signed lower left “L. (?) Rvay” 2) Boy smoking: signed lower right “Giuelt” (?) SIZE: Both paintings: 24″ x 12″. Overall: 28-1/2″ x 16-3/4″ CONDITION: 1) Signature fluoresces; 2) Minor touch up along edges 9-96443 (800-1,200) – Lot 1296

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) 9-96245 (3,000-5,000) – Lot 1297

UNSIGNED (19th Century) PERCHED EAGLE IN MOONLIT LANDSCAPE.

Oil on canvas Housed in a modern gilt decorated wood frame Unsigned SIZE: 35-3/4″ x 28″. Overall: 43″ x 35″ CONDITION: Lined, light surface scratch, some inpainting, very good 9-25244 (1,500-2,000) – Lot 1298

EUROPEAN SCHOOL (19th/20th Century) “WAITING FOR THE FISHERS” AND “THE WHEELWRIGHT”.

Two oils on canvas Housed in carved gilt wood frames “Fishers” signed lower left “A. Baumgartner” (Adolf, 1893-1939)” and “Wheelwright” signed lower left indistinctly SIZE: Fishers: 19-3/4″ X 32″. Overall: 29″ x 41″, Wheelwright: 18″ x 24″. Overall: 25″ x 30-3/4″ CONDITION: “Fishers” has surface grime, old yellow varnish, and several areas of touch up “Wheelwright” has surface grime, abrasions with losses upper right, and canvas buckle 9-96444 (800-1,200) – Lot 1299

JULES GEORGES PASCAL (French, 20th Century) FRENCH WOMEN RIVER FISHING.

Watercolor Housed in a wood frame center taped with mat and no glass Signed lower right SIZE: 9-3/4″ x 15″ Overall: 17-3/4″ x 21-3/4″ CONDITION: Slight foxing and surface dirt, otherwise very good 7-70794 (1,000-1,500) – Lot 1300

FERNAND-ALBERT RENAULT (French, 1887-1939) FEMALE NUDE STUDY.

Watercolor and oil on paper Affixed to a backing mat, loosely housed in a wood frame with ivory mat without glass SIZE: Actual size: 13-3/4″ x 20″ Overall: 21″ x 29″ CONDITION: Foxing spots, surface dirt, otherwise good 7-70797 (1,000-1,500) – Lot 1301

JULES RENE HERVE (French-American, 1887-1981) COWS BY A STREAM.

Oil on canvas Housed in a contemporary frame Bears Signature lower left “Jules R. Herve” Also signed on verso SIZE: 8-3/4″ x 10-1/2″. Overall: 11″ x 13″ CONDITION: Overall good 9-96132 (600-900) – Lot 1302

9 WORKS ON PAPER.

1-3) Robert Yan (French, 1904-1994) three Brittany scenes. Watercolors. Housed in identical wood frames with mat. Signed lower right “Yan.” 4-5) Charles H. Rathbone Jr (American, 1902-1936). Lot of 2 French scenes Charcoal on paper. Both signed lower right one inscribed “Dourarnenez.” Framed in simple wood frames. 6-9) Edwin Augustus Moore (American, 1858 – 1925) four works, three landscapes and one head sketch. Three watercolors and pencil sketch. All housed in wood frames. Note: the double sketch has a National Academy of Design label on verso. One watercolor signed “E.M. 02”, the other two watercolors unsigned, the double sketch signed “EAM” SIZE: 1-3) Sight: 8-1/2″ x 11″ Overall: 13-3/4″ x 16″ 4) 9″ x 12-1/4″ Overall: 15″ x 20″ 5) 8-1/2″ x 11-1/2″ Overall 15″ x 20″ 6-9) Sight: 12″ x 17″, 13-1/4″ x 18-3/4″, 11-1/2″ x 15″ and double sketch 8-1/4″ x 5-1/2″ and 7″ x 4-1/2″ Overall: 19-1/4″ x 24, 22-1/2″ x 27-1/2″, 22-3/4″ x 25″, and 11-1/4″ x 13-1/4″ PROVENANCE: 6-9) Descended through family of the artist. CONDITION: Very good. 4-5) Not examined out of frame. 6-9) Some foxing. 9-93452, 93453, 93455 (400-800) – Lot 1303

JACQUES VILLON (French, 1875-1963) TWO WORKS: MAN WITH DOG AND HORSE CART.

Watercolor and pencil on paper Housed in identical modern frames with linen and gold liner with white matte behind glass Pencil signed “Jacques Villon”, bottom left and bottom right SIZE: Sight: 4-1/4″ x 6-1/4″. Overall: 10″ x 12″ CONDITION: Very good 9-29436 (400-600) – Lot 1304

BERNARD GANTNER (French, 1928- ) LANDSCAPE.

Lithograph in colors on BFK Rives paper Housed in a contemporary frame Signed and numbered lower right “Gantner 236/275″ SIZE: Plate: 20-3/4″ x 15-1/4″. Sight: 26-1/2″ x 18”. Overall: 30″ x 24″ CONDITION: Very good with minor mat burn. Not examined out of frame 9-94666 (100-200) – Lot 1305

GEORGE “GOOSEY” TURLAND (American, 1877-1947) MAJORCA SPAIN.

Oil on board Housed in a modern frame Signed lower right “Geo Turland”, title inscribed on verso SIZE: 12″ x 16″. Overall: 17-1/2″ x 21-1/2″ PROVENANCE: From the George Turland Estate CONDITION: Overall good, board is backed with Masonite 9-96229 (600-800) – Lot 1306

GEORGE “GOOSEY” TURLAND (American, 1877-1947) SUNLIT VILLAGE, MAJORCA SPAIN.

Oil on board Housed in a modern gilt frame Signed lower right “Geo Turland” SIZE: 12″ x 16″. Overall: 17″ x 21″ PROVENANCE: From the George Turland Estate CONDITION: Overall good, board is backed with Masonite 9-96230 (600-800) – Lot 1307

GEORGE “GOOSEY” TURLAND (American, 1877-1947) TEA TRADERS, CEYLON.

Oil on Masonite Housed in a modern gilt frame Signed lower right “Geo Turland”, inscribed on verso “Ceylon 1935″ SIZE: 12″ x 16”. Overall: 17-1/4″ x 21-1/4″ PROVENANCE: From the George Turland Estate CONDITION: Overall very good with minor touch up 9-96224 (600-800) – Lot 1308

GEORGE “GOOSEY” TURLAND (American, 1877-1947) CEYLON MOUNTAINS, SRI LANKA.

Oil on Masonite Housed in a modern gilt frame Signed lower right “Geo Turland” SIZE: 12″ x 16″. Overall: 17-1/4″ x 21-1/2″ PROVENANCE: From the George Turland Estate CONDITION: Overall good with minor touch up 9-96223 (600-800) – Lot 1309

GEORGE “GOOSEY” TURLAND (American, 1877-1947) MOUNTAINOUS LANDSCAPE, CEYLON.

Oil on board Housed in a modern gilt frame Signed lower left “Geo Turland” SIZE: 12″ x 16″. Overall: 17-1/4″ x 21-1/4″ PROVENANCE: From the George Turland Estate CONDITION: Overall good with minor touch ups 9-96225 (600-800) – Lot 1310

COLETTE POPE HELDNER (American 1902-1990) SWAMP IDYL.

Oil on canvas Housed in a painted wood frame Signed lower left “Colette Pope Heldner” Bears label on verso “Swamp Idyl, Louisana Bayou Country by Colette Pope Heldner” SIZE: 18″ x 36″. Overall 20-1/2″ x 38-1/2″ CONDITION: Overall good, surface dirt 9-94665 (800-1,200) – Lot 1311

UNSIGNED (Continental School, 19th Century) LOT OF TWO FLORAL STILL LIFES.

Enhanced prints affixed to canvas Housed in 1920’s black and gilt wood frames Unsigned SIZE: 25″ x 21″. Overall 27-1/2″ x 24″ CONDITION: Stable with losses 9-96278 (200-400) – Lot 1312

LOT OF 2 19TH CENTURY CHROMOLITHOGRAPHS, TWO WEDDING SCENES.

Chromolithographs Housed in gilt oak frames Signed in the plates lower right SIZE: 13″ x 21″ Overall: 20-1/4″ x 28-1/2″ CONDITION: Stable 9-96253 (400-600) – Lot 1313

LEO MEISSNER (American, 1895-1977) THREE PRINTS.

1) Linocut print “Fortunate Harbor” 3 of an edition of 50 Signed lower right Leo J. Meissner, 1929 in pencil 2)Wood engraving print “Chesapeake Boats” 8 of an edition of 50 Signed lower right in pencil, Leo J. Meissner, 1934. 3) Wood engraving print “Fish Beach, Monhegan” 33 of an edition of 60 Signed lower right, Leo Meissner. SIZE: 1) Block size 8″ x 12″. 2) Block size 10″ x 7″. 3) Block size is 8-1/2″ x 11″. PROVENANCE: From a Maine Collection. CONDITION: 1) Minor stains in margins, image clean. 2) Very good. 3) Very good. 9-94678 (150-200) – Lot 1314

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

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

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

UNSIGNED (19th Century) MARITIME SHIPWRECK.

Oil on canvas depicting several sailing vessels in distress in a tumultuous sea. A lighthouse with village (possibly Quebec) and cliffs in background against a grey and white sky. SIZE: 21″ x 66″ (unframed) CONDITION: Fair. Several tears, losses in paint surface, yellow varnish and surface grime. 9-94785 (500-700) – Lot 1316

AMERICAN SCHOOL (19th Century) PORTRAIT OF THE SCHOONER “C. A. KING”.

A watercolor and gouache view of the two masted schooner “Charles A. King” flying an American flag while passing a lighthouse on Lake Huron. The C.A. King, launched in 1863, was a 140″ two-masted schooner that sunk in Lake Huron on September 26, 1895 while hauling coal. Her wreck is a popular destination for divers. Housed in a black painted frame, under original glass. SIZE: Sight: 15-1/4″ x 20-3/4″. Overall: 22-1/2″ x 30″. CONDITION: Overall good condition (for its age). Evidence of old water stains in several areas. Not examined out of frame. 9-25131 (2,000-3,000) – Lot 1317

HALF HULL MODEL OF A STEAMSHIP.

Late 19th early 20th century. American. Finely crafted in pine with 7 lifts, carved figure head and propeller with carved deck detail. Mounted for display on original poplar back board. SIZE: Overall hull 28″. Backboard 7″ x 35″. CONDITION: Very good, nice patina. 9-94781 (1,250-1,500) – Lot 1318

WORKING HALF MODEL OF A SAILING SHIP.

Late 19th early 20th. American. Having 7 lifts, 6 in pine with a thinner center lift in walnut. Mounted on the original backboard with walnut keel and rudder. SIZE: Backboard 9″ h. x 42″ w. Hull 35-1/2″ l. CONDITION: Very good, some old water stains. 7-75573 (800-1,200) – Lot 1319

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

SHEET COPPER CLIPPER SHIP WEATHERVANE.

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

TRADE SIGN, “MEMPHIS BELLE”.

First quarter of the 20th Century, New Orleans, LA. Painted Paddlewheeler Restaurant trade sign, double sided, heavy sheet metal, with original hanging bracket. Depicting a two stack steam paddlewheeler, with “Memphis Belle” beneath, in black panel. SIZE: 48″ x 34″. CONDITION: Very good untouched condition. Untouched original paint with worn, dry surface, one side with more wear than other. 9-96391 (1,500-3,000) – Lot 1321

SHIP CHANDLER’S TRADE SIGN.

Late 19th century, England. Pine, original dry painted surfaces. Well detailed three dimensional sextant with original forged iron hanging ring. SIZE: 31″ x 30-1/2″. CONDITION: Very good original condition, age appropriate wear and abrasions. 9-96411 (1,000-2,000) – Lot 1322

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

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

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

Additional information: The USS Hartford was a steam frigate.

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

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

GILBERT TUCKER MARGESON (American, 1852-1949) CLIPPER SHIP IN FULL SAIL.

Oil on canvas scene of a clipper ship cutting through open seas. Blue and white clouds give way to sun reflecting on the sails with a white capped sea. Signed lower left “G T Margeson”. Housed in a modern gilt frame. SIZE: 50″ x 36″. Overall: 55″ x 40-3/4″. CONDITION: 1-8th” hole lower center, minor touch up lower left, two small areas of restoration in sails, touch up in sky. Stretcher marks and craquelure. 9-94533 (5,000-7,000) – Lot 1325

PINE SEA CHEST.

Early 19th century, American. The lid with painted initials “J-P 1812”. The hinged lid with strap hinges opening to a storage well fitted with open till over 2 compartments over small drawer. The dovetailed case with canted sides, fitted with a long drawer at base. The whole in blue/black paint. The ends fitted with beckets. SIZE: 19″ h x 51″ w x 18-1/2″ d. CONDITION: Generally good with overall wear and abrasion to paint. Wood surfaces exhibit wear and scuffing from extensive use. one rope handle disconnected but present. 9-96696 (1,500-2,500) – Lot 1326

RARE EARLY AMERICAN PINE “SCHOONER’S DESK”.

Early 19th century, New England. The hanging wall desk used on working schooners in the 19th century. The rectangular cabinet mounted with forged iron wall brackets. The hinged lid with raised panels opening to interior fitted with a bank of 6 stationery flanked by dividers above 2 rows of short drawers. The desk with remnants of original blue-green paint. SIZE: 28″ h. x 24″ w. x 11-1/2″ d. CONDITION: Surfaces weathered, and showing normal hard wear from usage, generally good. 9-25135 (1,000-2,000) – Lot 1327

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

MOUNTED HALF MODEL OF A DORY.

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

WILLIAM PIERCE STUBBS (American, 1842-1909) PORTRAIT OF THE SCHOONER F&T LUPTON.

Oil on canvas scene shows a four-mast schooner sailing right to left in dark green and white capped rough waves under blue, gray & dark cloud skies. Sails are up and there are 4 men seen on deck. The name of the ship is emblazoned on the bow and stern. Housed in an antique carved gilt wood frame (with some minor losses). Signed lower left W P Stubbs. NOTE: The F&T Lupton was built in 1888 & owned by A.P. Longstreet out of Keyport, NJ and was used for commerce transportation & travel. SIZE: 26″ x 42″. Overall: 31″ x 47″. CONDITION: Relined, restored with inpainting. 9-25148 (2,000-4,000) – Lot 1329

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

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

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

FINE LARGE WORKING HALF HULL MODEL.

Late 19th century. Constructed with 17 lifts, consisting of alternating layers of 1″ pine and 1/4″ mahogany. Well crafted having a very nice patina and desirable large size. SIZE: 81-1/2″ l. CONDITION: Very good, with minor loss to top lift near bow and minor loss to keel near stern, now fitted with attractive rope and pulley hanger. 7-75409 (300-500) – Lot 1331

UNSIGNED (American, 19th century) FOLK ART PORTRAIT OF SAILING SHIP.

Oil on canvas portrait of a black hulled ship in full sail, flying an American flag with other sailing ships in the background. Housed in a modern gold painted frame. SIZE: 24″ x 35-3/4″. Overall: 30″ x 42″ CONDITION: Canvas has significant circular craquelure with flake losses and shrinkage cracks, surface dirt and frame abrasion. Canvas appears to be restretched on homemade stretcher. 9-96143 (1,200-1,800) – Lot 1332

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

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

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

UNSIGNED (19th Century) PORTRAIT OF THE SCHOONER “JOHN GEORGE”.

Oil on canvas depicting the two-masted schooner “John George” in full sail against a grey sky with landscape in background. The schooner “John George” was mastered by Francis Stevens (1772-1823) of Marblehead from 1817-1822. The ship’s manifest and building records are contained in the Francis Stevens Papers housed in the Philips Library of the Peabody Essex Museum of Salem, Massachusetts. The “John George” was later sailed by Captain Phares Shirley (1783 – 1855) out of Marblehead, Massachusetts. Housed in a contemporary gilt wood frame. SIZE: 20″ x 30″. Overall: 26″ x 36″. CONDITION: Overall good, minor touch up. 9-25130 (1,000-2,000) – Lot 1334

SEA SERPENT WEATHERVANE.

Early 20th century, American. Sheet iron, graphic form iron with pointer arm, mounted to original downrod. Old, crazed, dry black paint over original red. Original directional and roof mount included. SIZE: 20″ t. CONDITION: Very good untouched condition, minor wear and oxidation. 9-96416 (1,000-2,000) – Lot 1335

SEVEN LIFT HALF HULL MODEL.

Late 19th early 20th century. New England. Working model for the construction of a sailing ship, having 6 pine and 1 mahogany lifts. Mounted on original yellow pine backboard with frame, inscribed in pencil on reverse, “Defiance, Capt. Wheeler, built by Edwin Hobbs – Essex” with other indiscernible inscriptions. A copy of a journal from Edwin Hobbs & Co. can be found at http://www.rootsweb.ancestry.com/~macessex/collections/Cameron/cc133b.html. SIZE: Backboard 8″ x 33-3/4″. Hull 30″. CONDITION: Very good. 9-94783 (500-700) – Lot 1336

UNSIGNED (19th Century) PORTRAIT OF A RIVERBOAT CAPTAIN.

Oil on canvas depicting a gentleman wearing a riverboat captains uniform, posing with his hand in one pocket and sporting a gentleman’s ring on his right hand. Housed in a contemporary gilt wood frame. SIZE: 31″ x 25-1/4″. Overall: 36-1/2″ x 31″. CONDITION: Overall good, 2″ area of restoration in captain’s coat, scattered restoration upper right and upper left corners. Several surface scratches. 9-25129 (2,000-3,000) – Lot 1337

STEAMBOAT PADDLE BOX LUNETTE.

Large gold eagle carving holding red, white and blue shield against a flat half circle backboard in blue. The relief attached carving is 5″ deep. Four plank supports to reverse rigged for hanging. Note: the lunettes were placed at the center bottom of the huge wheel box on the sides of river and ocean paddle boats. SIZE: 35″ h x 59″ at widest. CONDITION: Vertical shrinkage, splits at seams, extensive chipping to backboards, some chips to eagle and shield, discolored varnish layer. 9-25128 (4,000-6,000) – Lot 1338

CAMPAIGN CHEST WITH DESK.

19th century, England. In two parts, the upper case with hinged compartment folding out to a sloping baise-lined writing surface beneath a row of 3 drawers above 2 aligned short drawers. Fitted to the lower case of 2 long drawers raised on bracket base all with brass string inlays. The case sides with brass carrying handles. SIZE: 37-1/2″ h x 35-1/2″ w x 18″ d. CONDITION: Generally good. 9-25134 (2,000-3,000) – Lot 1339

LEMEUL D. ELDRED (American, 1848-1920) WHALER AT SEA.

Oil on canvas portrait of a three-masted schooner in full sail flying an American flag with a steam ship in the distance. Gray and pink clouds with a hint of blue sky with white tipped choppy seas. Housed in a period carved gilt wood frame bearing a New Bedford framers label. Signed lower right “L.D.Eldred”. Bears Vose Galleries label on verso with artist, title, and dated circa 1880. SIZE: 22″ x 36″. Overall 26-3/4″ x 40-1/2″ CONDITION: Overall good, vertical craquelure, touch up in steamship, areas of restoration in background sky. 9-94532 (5,000-7,000) – Lot 1340

CAPTAIN’S CAMPHOR WRITING BOX.

Late 18th century. South East Asian. (For sale as trade for American and European Sailors). Brass bound box, having figured camphorwood ends and a slant lid with brass inlaid cartouche. Beneath the lid, a drawer when pulled forward activates the roll top mechanism, revealing pull up interior with slots and Pigeon Holes. SIZE: 19″ x 15″ x 9″ t. CONDITION: Very good. 9-25133 (600-800) – Lot 1341

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

RARE MAHOGANY JEWEL CHEST FITTED WITH SAILOR’S VALENTINES.

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

SOLON FRANCIS MONTECELLO BADGER (American, 1873-1919) PORTRAIT OF SOVEREIGN OF THE SEAS.

Oil on canvas portrait of a black hulled three-masted schooner in full sail flying an American flag with lighthouse in the distance. Several figures on deck and puffy gray clouds against a blue sky. Signed and dated lower left “SFM Badger 99”. Signed on verso canvas “SFM Badger Cha. S. N. Mass-99″. Housed in a contemporary carved gilt wood frame. SIZE: 28″ x 42″. Overall 32″ x 46”. PROVENANCE: Descended within the family circa 1920. CONDITION: Very good original condition, with a small puncture to lower right quadrant. 9-94788 (10,000-15,000) – Lot 1343

LOUIS DODD (American, 1943-2006) ROANOKE.

A finely executed oil on panel depicting the Roanoke leaving New York on her maiden voyage bound for San Francisco on December 18, 1892. The graceful white hulled ship is being escorted by tug boats with the Brooklyn Bridge in the background and several smaller vessels in the foreground. White, puffy clouds against a blue sky contrast the calm green waters of New York Harbor. Signed lower right “Louis Dodd”. Housed in a gilt highlighted burled wood frame inscribed with title. This lot includes an example of “The Painting Technique of Louis Dodd”, an oil on panel, with step by step description of a painting depicting two British ships off the coast. Signed lower right “Louis Dodd” and housed in a black frame with inscriptions. This painting is also accompanied by an extensive collection or archive of the correspondence between Louis Dodd and his good friend and agent. The letters and working drawings illustrate and explain the origins and development of most of the artists paintings, many of which were commissioned by clients of the agent. Included are the papers and drawings for the maiden voyage of the Roanoke, the subject of the painting currently being offered. A copy of “The Confederate Raiders” by Thomas J and Sean Coughlin illustrated by Louis Dodd. A sample painting illustrating the technique and steps used in creating the paintings of Louis Dodd by L. Dodd. SIZE: 17″ x 25″. Overall 23-1/2″ x 31-1/2″; Sample: 11″ x 21″. Overall 16″ x 26″ PROVENANCE: Principal ownership by The Sewell Family in Bath, ME 1892. CONDITION: Roanoke in excellent condition; the sample in very good condition. 9-94776 (18,000-25,000) – Lot 1344

ANTONIO NICOLO GASPARO JACOBSON (American, 1850-1921) PORTRAIT OF THE STEAMER “GUYANDOTTE”.

Oil on canvas portrait shows the black hulled steamship sailing right to left having central staff with smoke billowing, two masts with full sails, one flying a company flag (Old Dominion Line), American flag off stern, name emblazoned on bow, ten men on deck all shown under a blue and white/gray sky. Signed lower right “A. Jacobsen 1886 705 Palisade Av. West Hoboken NY”. Housed in a modern antique style gilt frame. The ship was built by John Roach & Son. of Chester PA for the Old Dominion Line of New York in operation between 1882 and 1926 running between New York and Richmond VA. SIZE: 21″ x 36″. Overall 28″ x 41″. CONDITION: Very good to excellent, lined on new stretcher with some touch-up. 9-97167 (8,000-12,000) – Lot 1345

YELLOW VINEGAR GRAINED STORAGE BOX.

Circa early 19th century, New England. White wood, original paint. Chrome yellow with umber decoration, retaining original iron hinges, lock and clasp. The interior clean, with original dust boards. Lap joined construction. SIZE: 18-1/2″ x 10″ x 7-1/2″. CONDITION: Very good untouched condition, very minor abrasions. 9-96639 (600-900) – Lot 1346

FORGED IRON RUSH LIGHT WITH WOODEN X-BASE STAND.

18th century, New England. Iron, pine, ash. Great early form, the square, twisted rush light shaft, with rush pincer and down-swept, rounded counterbalance arm with conical, seamed snuffer/candlecup. The round, carved pine post mortise joined to ash X-base. SIZE: 31-1/2″ t. overall. CONDITION: Very good original condition, attic patina, the rush light with worn original black paint and light oxidation. 9-96589 (800-1,200) – Lot 1347

RARE AND IMPORTANT CARVED DOME TOP BOX.

1st quarter 18th century, Maine. Top and bottom each carved from one birch log, with stylized pinwheels, goblets and abstract crosshatched elements, the overall surface scrubbed with recesses still containing original salmon paint. SIZE: 19″ x 7″ x 8″. CONDITION: As found, with splits typical of this type of construction, commensurate with age, original hinges detached. 9-96682 (1,000-1,500) – Lot 1348

RED PAINTED “LOLLIPOP” WALL BOX.

Mid 18th Century, New England. Pine, original bittersweet red paint. The open box form with tombstone shaped, chamfered edge back, having pierced lollipop crest. Forged & rosehead nail construction. SIZE: 11-1/2″ x 6″ x 8″ h. CONDITION: Very good, untouched condition, dry painted surface with age appropriate wear, fine patina. 9-96376 (1,000-1,500) – Lot 1349

SCALLOPED HANGING SHELVES.

Early 19th century, New England. Pine, original Spanish Brown paint with dry, crusty surface. Good form with vigorously scalloped sides, pierced hanging holes for rope hanger (now absent), bootjack end feet adjoining mortise shelves, suitable for hanging or standing. Thin stock construction. SIZE: 25″ x 6″ x 33″. CONDITION: Very good untouched condition, minor age appropriate abrasions and wear. 9-96596 (500-1,000) – Lot 1350

SARAH WATTS C___? (American, Albany, NY 1842) PORTRAIT OF WILLIAM WATTS ON HIS ROCKING HORSE.

Oil on canvas scene shows a young boy wearing a green dress with white lace collar. He sits atop a palomino style rocking horse in a room setting with green and orange striped wallpaper. Housed in its original gilt carved wood frame. NOTE: This painting came out of Erie, PA with a provenance of Mary Cramer Currie of Canton, Ohio. It was in bad condition with missing section in the upper wallpaper area. On the back of the canvas was written what we have put in the title. Sarah’s last name is obscured. REFERENCE: Page 87 of Folk Painters of America by Robert Bishop. This painting illustrated appears to be the same sitter & same rocking horse. SIZE: 28″ x 22″ Overall: 34″ x 28″ PROVENANCE: From a private New Jersey Collection; James D. Julia, Aug. 23rd, 2001 CONDITION: The painting has been restored & relined and placed back on its original stretcher and it its original frame. Restorer was Mike Wadnick of St. Paul, MN. Before pictures accompany the lot, very good 9-90620 (1,500-2,500) – Lot 1351

FIVE ARM FORGED IRON CHANDELIER.

Early-mid 18th century, American. Finely wrought, with pigtail hanger above tapered, twisted, long shaft, adjoining 5 down-swept diamond shaped arms, forged from a single piece, terminating in conical, seamed candlecups. SIZE: 30″ t. 17″ dia. CONDITION: Very good untouched condition, nice patina. 9-96420 (1,000-2,000) – Lot 1352

NEW ENGLAND WINE TASTING TABLE.

Early 19th century. New England. Constructed in white pine and walnut. Having shoe feet, with swivel mechanism to support tilting 4 board, bread board pine top. SIZE: 43″ x 37″ top. 29-1/2″ t., when tabled. 47-1/2″ t., when tipped. CONDITION: Very good, typical drying splits between top boards. 9-96573 (800-1,200) – Lot 1353

FOLK ART FOOD CHOPPER WITH HEART.

Early-mid 18th century. American. Heart pierced food chopper/dough scraper of forged iron, copper, and maple. Elliptical curly maple handle with flared base, adjoining dovetailed copper ferrule, affixed to bell shaped forged iron blade, with copper riveted supports. The blade decorated with a pierced heart. SIZE: 11-1/2″ l. x 5-1/4″ w. CONDITION: Very good, untouched condition, untouched dark patina throughout. 9-96361 (500-700) – Lot 1354

4 EARLY TREEN EATING PLATES.

Circa late 18th – mid 19th century, New England. Maple, cherry, beechwood. 3 small plates, each with wide, raised rim, all marked with carved initials on bottom. The fourth, cherry, with dished center, carved “1854”, on bottom, although likely an earlier plate. All with dark, natural patina. SIZE: 7″ to 9″ dia. CONDITION: Good condition, minor age appropriate abrasions, knife marks, age splits, etc. 9-96649 (1,200-1,600) – Lot 1355

STATE OF MAINE FOOTSTOOL RED/BLACK PAINT.

Late 18th early 19th century, Maine. Pine form, imitating a miniature bootjack end blanket chest, with applied, mitered median molding, having generously overhanging top and 1/2 moon cutout. Original black and red grained paint. SIZE: 12″ x 6″ 6-1/2″ h. CONDITION: Fine, minor age appropriate abrasions, early small in-use putty fill, inside corner of one foot. 9-96368 (500-700) – Lot 1356

SMALL LOLLIPOP TOP HANGING MIRROR.

Circa early 19th century, American. Cherry, glass, original finish. Wonderful small pierced lollipop crested hanging mirror, with applied, mitered molding, retaining original silvered glass. SIZE: 8″ x 4-1/2″. CONDITION: Very good untouched condition, the frame with rich dark patina, the glass with age appropriate silver clouding. 9-96627 (600-1,000) – Lot 1357

SUPERB, VERY RARE & IMPORTANT WINDSOR TRIPOD CANDLESTAND.

Circa late 18th century, CT. Tiger maple, chestnut, maple. Early crusty varnished surface over original black paint. The scrubbed top of boldly figured tiger maple with beveled edge, affixed to thick, beveled end, chamfered edge maple cleat, turned maple vase, ring & reel column, mortise joined to ring turned chestnut circular platform, and well turned vase, ring & reel raked legs with long tapering feet. SIZE: Top 17-1/2″ x 18″ x 28″ t. CONDITION: Very good condition, early chip loss and age drying crack to circular platform, crack in cleat glue repaired, cleat screws in-use old replacements, minor age appropriate abrasions. 9-96598 (2,000-5,000) – Lot 1358

PAINTED COUNTRY MEETING HOUSE BENCH.

Early 19th century, New England. Early toned red paint, red with bittersweet toning. Canted, slatted, chamfered edge back, adjoining shaped end sides terminating in step scrolled bootjack end feet. Plank seat with skirt beneath. SIZE: 80″ x 21″ x 31-1/2″ t. CONDITION: Very good untouched condition, minor age appropriate wear, abrasions throughout. 9-96394 (1,500-2,000) – Lot 1359

UNSIGNED (American, Mid 19th Century) PORTRAIT OF A YOUNG BOY HOLDING A CAT.

Oil on canvas mounted to masonite 3/4 portrait of a young boy in a salmon colored dress having lace collar. He holds a white and brown cat in lap and is sitting on a green upholstered bench with a red throw and possibly a black dome topped cat carrier beside him. Housed in a fine gilt replacement frame, unsigned. SIZE: 30″ x 25″ Overall: 34″ x 29-1/2″ PROVENANCE: From a private New Jersey Collection; Jeffrey Tillou Antiques 11/18/99 CONDITION: Some inpainting, the masonite has been reinforced with a wood latticework to prevent warping, very good 9-90629 (2,000-4,000) – Lot 1360

RARE & IMPORTANT VIBRANTLY DECORATED DOCUMENT/KEEPSAKE BOX.

Mid 18th century, New England or PA. Maple. Bold polychrome decoration, top and front with chrome yellow lozenge. Central top decoration, basket of flowers and cherries. Front similarly decorated with floral and cherry spray, outside corners of both with 1/4 round salmon panels. The lid wooden pin hinged, with carved moldings. Sides decorated with tulip and cherries, flanked by yellow bands with undulating white central band. All surfaces with oyster white background. T-head and forged nailed thin stock construction. SIZE: 11″ x 6-1/2″ x 4″. CONDITION: Very good, untouched condition, age appropriate abrasions. 9-96650 (800-1,600) – Lot 1361

PRIMITIVE PINE SPOON RACK.

Early/Mid 18th Century, New England. Having old Spanish brown paint, this two tiered rack with sloped open well box beneath. Tall, pierced, shaped crest back with incised line perimeter decoration. Large rosehead nail construction throughout. Accompanying this lot are six pewter spoons. SIZE: 24″ x 11-1/2″ x 5″. CONDITION: Very good with minor surface abrasions. 9-96607 (1,000-2,000) – Lot 1362

18TH CENTURY DECK BOX.

New England. Constructed in pine, having a slanted lift lid, revealing 2 inner compartments and a well. Lid constructed with battens affixed with rose head nails. Mounted on a rectangular box, constructed with one large dovetail in front and back, and reinforced with forged nails. Fitted with a simple base molding. Retaining its original hasp and forged handles, and retaining much of its original putty colored paint. SIZE: 16-1/2″ x 37″ x 14-1/2″ t. CONDITION: Overall very good, with minor faults commensurate with items age. Old putty repair to back edge of molding. 9-25136 (600-800) – Lot 1363

RARE NEW ENGLAND RED AND BLACK GRAIN PAINTED PINE PANTRY CUPBOARD WITH DRY SINK INTERIOR.

Circa mid 19th century. New England. Cabinet with all-over red and black grain paint. The 2 paneled long front door revealing a red and apple green painted interior fitted with an original dry sink and shelves. The inclusion of a dry sink feature is unique to our knowledge and provides a fine example of Yankee ingenuity. SIZE: 17″ x 34″ x 84″ h. CONDITION: Very good, with wear commensurate with age. 9-25041 (3,000-5,000) – Lot 1364

MANNER OF AMMI PHILLIPS (American, 1788-1865) FOLK ART PORTRAIT OF ANN CARY RANDOLPH JONES.

Oil on canvas in the manner of Ammi Philips, depicting a seated Ann Cary Randolph Jones (1794-1877), holding a ladies basket and wearing a lace shawl and bonnet adorned with orange ribbons. Ann(e) Cary Randolph Jones (1794-1877), wife of William Strother Jones (Jr.) of Vaucluse, VA, was the niece of Thomas Mann Randolph, Jr. (1768-1928) who married Thomas Jefferson’s eldest child Martha Jefferson Randolph. She was also the 4th great granddaughter of William Randolph (1650-1711) who was the first Randolph of Virginia and Thomas Jefferson’s great grandfather. This portrait was handed down to Cary Randolph Marshall, our consignor’s mother. SIZE: 40″ x 29″. Overall: 44″ x 33″ PROVENANCE: Descended through the family of the sitter. CONDITION: Canvas has been wax lined, restoration throughout, including extensive areas in face, neck and bonnet. 9-96509 (1,500-2,500) – Lot 1365

ATTRIBUTED TO AMMI PHILLIPS (American, 1788-1865) PAIR OF ANCESTRAL PORTRAITS.

Two oils on canvas, housed in matching 19th century black and gilt lined frames. The naive portraits depict a seated woman holding her book of prayers with her sewing notions on the table beside her, while the gentleman attired in a black coat and white collar, is reading “The Mercury, Weekly Journal of Commerce”. SIZE: 29-1/2″ x 25-1/2″ (each). Overall: 32-1/2″ x 28-1/2″. CONDITION: Both canvases have been lined and have surface grime. Gentleman has flake losses in the background and restoration throughout, including his face; woman has several areas of restoration in background and dress, only minor touch up in face. 9-96772 (5,000-7,000) – Lot 1366

FINE WILLIAM AND MARY CHEST OF DRAWERS.

Early to mid 18th century. New England. Constructed in Maple with pine secondary wood, having overhanging applied top molding with 2 over 3 drawers construction with graduation, drawers with thumb nail molding, having a base molding on 4 ball and trumpet feet. SIZE: case 35″ x 18″. 37″ t. CONDITION: Overall very good, in 19th century red paint, over earlier surfaces, having minor lip repair and drawer runner repair, feet appear to be original. Retaining original hardware. 9-96565 (5,000-7,000) – Lot 1367

UNSIGNED (American, Mid 19th Century) BOY IN BLUE DRESS WITH WHIP HOLDING HAT HAVING LANDSCAPE BACKGROUND.

Oil on canvas portrait shows a young boy with blonde hair standing wearing a blue dress with black belt, white collar and black bow tie. He holds upwards a whip in one hand and in his left hand his large hat. He stands in front of a naturalistic background overlooking a valley with mountains. Housed in a fine wide gilt frame with minor losses, unsigned. SIZE: 30″ x 25-1/2″ Overall: 37″ x 32-1/4″ PROVENANCE: From a private New Jersey Collection CONDITION: Craquelure, minor inpainting, otherwise very good 9-90627 (1,500-2,500) – Lot 1368

SMALL ENGLISH OAK COFFER.

Late 17th or early 18th century. English or continental. Having splayed ends, with heavy plank legs and molded front having 2 inset panels and overhanging top with cleated wood hinges. All constructed in quartered oak. SIZE: 36″ x 16″ 20″ t. CONDITION: Re-glued top corner, patch where original lock plate would have been, bases of 2 back legs replaced. 9-96558 (600-700) – Lot 1369

NORMAN INFLUENCED CARVED OAK COFFER.

Circa 15th or 16th century. French. Constructed from oak planks with hinged lid, the ends elevated with stepped cutout. The front featuring deep relief carved stylized sunflower elements, surrounded by deep chip carved triangular patterns. The lid now hinged with 18th century forged hinges. SIZE: 48-1/2″ x 16″ x 28-1/2″ t. CONDITION: Battens added to interior of lid to stabilize drying cracks, the till is missing, some new nails added to stabilize, original lock missing, otherwise very good with very pleasant appearance. 9-96568 (3,000-5,000) – Lot 1370

RENAISSANCE STYLE ITALIAN WALNUT SIDE TABLE.

Late 16th or early 17th century. Italy. Featuring a short and stout work table with all over peg and dovetail construction. Having a plank top above a drawer with pinwheel carving, heavily scalloped apron and ball turned legs, a box stretcher and turned feet. SIZE: 25″ x 16-1/2″ x 22-1/2″ t. CONDITION: Very good, with some wear and worm damage to one back foot. 9-96575 (800-1,200) – Lot 1371

OAK WELSH DRESSER.

18th century. Great Britain. Finely crafted in oak with heavy flattened crown molding with open top, having 2 shelves all faced with bead molding, and board and batton back boards. The base with 3 lip molded drawers, having Chippendale brasses above an open base with scrolling frame. Very nice covered of shallow construction and lofty proportioned. SIZE: 17″ x 72″ x 72″ h. CONDITION: Very good overall, with drying splits and worm damage commensurate with age and location. 9-94844 (2,500-3,500) – Lot 1372

JAMES III OVAL GATELEG DINING TABLE.

Circa late 17th century. England. Constructed in oak, having an oval top with 2 drop leaves, and a 6 leg base, having 2 legs that swing outward to support the leaves. The aprons having cupid bow scallop, the legs with turned portion of spindle ball and tapering rod detail, and having lower box stretcher. SIZE: Top when open 51″ x 59″ x 28″ t. CONDITION: Fair to good, retaining original top with minor glue repairs, apron in one end with inset panel where there was once a drawer, losses and slight worm damage to bottom of feet. 9-96560 (2,000-2,500) – Lot 1373

GEO II OAK COFFER.

Mid 18th century English paneled coffer having free shaped and molded front panels separated and surrounded by spiraling inlaid trim and with 3 molded panel top, all constructed with mortice and tenon and wood peg construction. SIZE: 23″ x 52″ x 28″ h. CONDITION: Very good overall with splits in one top panel and two end panels and having old replacement hinges and lock, with fine old finish. 9-94843 (1,200-1,800) – Lot 1374

PAIR OF 18TH CENTURY DELFT WALL PLAQUES.

Late 18th century. Each plaque has a border with a cherub on each side supporting a scallop shell. The central motif is an urn of flowers, the urn is flanked by 2 larger flowers. Both cobalt and manganese decoration are used, the manganese being confined to the border. SIZE: 8-3/4″ x 8″ w. PROVENANCE: Christie’s, lot 199, Sale #5957. From a fine private Long Island, NY collection. CONDITION: There are several small chips and flakes, generally on the border. One plaque has a larger chip at the base that does not show from the front. 9-93410 (700-900) – Lot 1375

BALTIC WALNUT AND PARCEL GILT MIRROR.

Second half 18th century. Europe. Rectangular mirror plate with the conforming molded surround with scrolling crest and pendant apron applied with parcel gilt C-scrolled foliate decoration. The whole of fine figured walnut veneers. Reference: American Tables and Looking Glasses at Yale University by David Barquist. SIZE: 53″ h x 21-1/2″ w. CONDITION: minor old insect holes. Mirror plate old replacement, otherwise good. 7-75317 (1,200-1,800) – Lot 1376

WILLIAM AND MARY OAK DRESSING TABLE.

Early 18th century. England. Having overhanging rectangular top above 3 stepped drawers, heavily scalloped apron on 6 bulbous vase turned legs, with boldly scalloped stretcher and ball feet. SIZE: 31-1/2″ x 21-1/2″ x 28-1/2″ t. CONDITION: Very good, very nice appearance, having evidence of some drawer restoration and 3 replaced feet. 9-96561 (800-1,200) – Lot 1377

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. 8-87112 (300-400) – Lot 1377a

ADMIRAL DAVID FARRUGUT’S UNIQUE SIGNED COPY OF CIVIL WAR NAVAL REGISTER.

This rare 3/4 Moroccan bound set of 1863, 1864 and 1865 naval registers. These registers list officers and personnel of the US Navy each year by position and station. Also listed are all American naval vessels in service, lost, captured etc. Pay scales are listed and a special set of regulations for the uniform for 1864 are bound in. There are over 850 pages bound in Farrugut’s special binding. The ribbed spin reads in gold “Registers of the US Navy 1863-65”. SIZE: 9″ h x 6″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Book is sound and solid, hinges starting, soiling on decorated edges. French end of papers, cloth body heavily scuffed especially on obverse with chipping to leather edges and corners. 9-28004 (500-1,000) – Lot 1378

CONFEDERATE NAVY TARRED CANVAS DUFFEL BAG DISPLAYED AT THE GREENE MUSEUM.

This great rarity is made and marked “W.S. LLOYD/COLUMBUS/GEORGIA.” This is one of a very few examples of this rare Confederate Naval item found stored in the basement of Bannerman’s Island years ago, at least 1 bag was stenciled CSN, though bag shows no discernible external markings. The makers mark stenciled inside is light but mostly discernible. Lloyd is also known to have made rain covers for kepis. Bag is totally hand sewn with 6 hand sewn whipped eyelets. This bag was probably never issued and could be easily displayed. Of the several examples seen from this Bannerman’s stash this appears to be the most complete. SIZE: 3′ h x 20″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Bag overall is sound and solid though quite stiff where folded at bottom and there are tears and reductions at top edge especially in one 6″ length. 9-28026 (800-1,200) – Lot 1379

CIVIL WAR 2ND NEW YORK FLANK MARKER FLAG.

This rare blue silk flank marker measuring 27″ x 20″ including 2″ fringe has painted inscriptions on both sides reading “2ND. REGT. N.Y.S.M” Flag. This flag originally was part of a pair, its mate now in the NY State collection, was captured by Confederate forces either at Mannassas July 21st 1861 or Petersburg VA June 22nd 1864. This flag was ultimately re-claimed by Union soldiers and turned over to the war department. The flag remained in federal hands until 1905 when authorities returned it to NY state where it now resides in its battle flag collection. The 2nd regiment NY state militia originally recruited in June and July of 1861 in New York City soon became the 82nd regiment, saw service in almost every battle in the army of the Potomac. The total enrollment was over 1400 of which 178 died of wounds and 89 from other causes. The unit lost their colonel James Huston, killed at the battle of Gettysburg where the unit had 192 casualties killed, wounded or captured. Few Union regulation flags are available in private hands and this particular example should restore quite nicely. SIZE: 20″ h x 27″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: As can be seen in photos there are contemporary sewn repairs to silk, silk on fly end is shredded and a portion appears missing but at least portions of each letter and number on painted device are present. Fringe is intact on bottom, missing 2″ on top and only 2″ remains on fly edge. Much of the painted surface has chipped along with its attached silk. 9-28014 (2,000-3,000) – Lot 1380

RARE AND HISTORIC 8″ CANNONBALL FIRED INTO THE USS HARTFORD DURING THE BATTLE OF MOBILE BAY AUGUST 5, 1864.

This wonderful relic was sold and cataloged by Norm Flayderman and no one could describe it any better than his catalog description: “DAMN THE TORPEDOES! FULL STEAM AHEAD!” were the immortal words shouted by Admiral DAVID FARRAGUT while tied to the rigging of his flagship USS HARTFORD as this exact huge iron cannonball fired from the Confederate Fort Morgan came whistling across and landing on the deck of his ship as he led the fleet into the Battle of Mobile Bay on August 5, 1864! Few historic relics can claim to be quite as well documented as is this large cannonball! Within four months of that historic encounter at Mobile Bay and landing on the U.S.S. Hartford, this exact cannonball is recorded as having been donated by a prominent New York citizen and a personal friend of the Secretary of the Navy Gideon Welles to a distinguished New York Historic Society in December of 1864, in whose possession it remained, undisturbed for 132 years…until 1996 when the Society had a small “Deaccessioning Project” and placed a few relic items for sale. It was acquired direct from the Society by a reputable New York dealer in May, 1996 and we subsequently acquired it direct from him in October, 1996 and have had it in our collections ever since. This is the very first time it has ever been offered for public sale. There are, of course, documents from that Society that accompany the cannonball (directly from their own records with the historical background). Displayed with this cannon ball in museum is an 1886 color print showing the deck of the Hartford during the battle of Mobile Bay. SIZE: 8″ Dia. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Cannonball still retains much of its original orange paint, the lettering from when displayed was partially discernible as can be seen in photos, original acquisition number from Long Island Historical Society and de-acquisition numbers are still present. 9-28003 (1,000-2,000) – Lot 1381

CIVIL WAR ARTILLERY OBJECTS DISPLAYED AT GREENE MUSEUM.

Grouping consists of archivally framed regulation red trimmed enlisted union shell jacket, an original cannon worm measuring about 6′ (probably for a 6-pounder) and a 13-1/2 x 9-1/2″ albumen photograph of artillerymen and large siege mortars and cannonballs near a fort. Also accompanying lot is a facsimile cannon sponge measuring about 7′ long and a facsimile 17-1/2″ x 11-1/2″ framed artillery recruiting poster. SIZE: Outlined above. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Artillery jacket appears complete with bright colors though not removed from its archival frame, there appears to be mildew or mold staining on some areas of wool nap. Worm has remnants of an old OD paint and black paint to the iron worm with rust and pitting. 9-28028 (2,000-4,000) – Lot 1382

CIVIL WAR CAMP CHEST OF CAPTAIN JAMES R. GROUSBECK, CO. H 3RD IOWA CAVALRY DISPLAYED AT THE GREENE MUSEUM.

This weathered hinged chest with wrought iron hasp and 1 remaining iron handle. Chest was carved on lid for the owner. These utilitarian chests are extremely rare with fine contemporary carved name such as this. The 3rd Iowa cavalry was involved in the last battle of the civil war fought at Columbus GA near the site of the Greene Museum April 16, 1865 where Captain Grousbeck led his company. Grousbeck had just recently in January been promoted to captain and no doubt had had this trunk in this final campaign until he was finally mustered out in Atlanta in August. Grousbeck had served his unit starting as a private in September of 1861 fighting in most of his units engagements with 5 promotions. SIZE: 36″ h x 17″ l x 15″ d. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Wood is weathered, stained, there are ink stains inside lid where it was used as a desk. Reinforcing iron straps are rusted, hinges are both loose and have newer nails for continued use. There are 2 8″ pieces of wood internally of newer addition for reinforcement. 9-28025 (1,000-2,000) – Lot 1383

GROUP OF 12 IMAGES OF CIVIL WAR SOLDIERS.

This grouping includes most formats seen during civil war era including 2 large framed chalk or pastels, one of an enlisted Confederate in profile, the other of a full standing enlisted union Sargent of infantry fully uniformed with his musket. There are three albumen ovals measuring from 6″-8″ one thought to be a young Confederate in the Columbus guards, a Confederate infantryman with his musket, bayonet and belt, and a Union officer standing beside his warhorse. Other images are tintypes and ambrotypes including a quarter plate enlisted New York soldier with SNY buckle with his Enfield musket and pistol in his belt. There is a fine 6th plate of a Confederate enlisted man in homespun shell jacket, a 6th plate Sargent John R. Rent Williams of the Enfield Rifles taken May 9th, 1861. SIZE: large pastels- , 29″ h x 26″ w overall and 19″ h 15″ w, overall 27″ h x 23″ w. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Images overall in good condition with good contrast. The two pastels with acid burn and foxing, gesso chipped and missing on frames. Other images some in original frames and cases. 9-28017 (2,000-4,000) – Lot 1384

CIVIL WAR DIARIES OF BENJAMIN F. HARRINGTON, 4TH IOWA CAVALRY FROM THE GREENE MUSEUM.

These three diaries cover Harrington’s military career day by day from August 5th, 1862 to December 31st, 1863 and from March 16th, 1865 to August 24th, 1865 and a few events after his service. Benjamin is a great diarist, writing long daily accounts with good detail and he notes in his last diary that he has been unfortunate in his efforts to write his journal as one was lost near Jackson MS and the one written between July 1st, 1864 to date of his last diary was stolen by a thief. The 1st diary has 115 pages written starting at the actions near Memphis and Helena AK. Harrington has good details about actions and movements, the 2nd diary which continues from the 1st begins “continuation of the story of my life as a soldier, this is for reference (should I live) if I should die while in the army I wish this sent to my parents.” This book which starts April 30th, 1863 has good detail, abiding in Mississippi and Louisiana. December 31st Harrington sees that he is fighting for a just cause and is winning. “Our nation by gods help is fast emerging from dark recesses and gloom to the light that is destined for a free nation. The down trod ten million are becoming men. We are fast learning to know that the black man has rights and men are becoming willing that he should enjoy them.” Diary 3 begins in Waterloo TN and tells of the fighting and movement through Alabama into Georgia. He describes McCook’s raid through April in Georgia and the capture and destruction of Columbus and West point GA even though Lee had surrendered. On April 24th Harrington along with his unit finally hears of Lee’s surrender 2 weeks earlier and he also hears of a rumor that Lincoln was assassinated. He states “Rumor has told another lie” news was not traveling quickly in the rural Georgia. Harrington describes abandoned confederate camps and political events while in camp for next several months while garrisoning in south central Georgia. On July 4th he mentions a soldier in his unit was presented the “medal of honor” for capturing a flag at Columbus Georgia. Harrington states that “Bate found it in a house after the fight was over when he was looking for something to steal.” August 20th 1865 is the last entry while still in the south, his unit is boarding box cars (without seats) for Chattanooga later to Louisville. The fighting did not end in the south, several of the men got drunk and were fighting and attacked a few Negros that were on the train and one of them hit Isaac Board on the head with a link used to connect the cars and “we thought he was killed but has since recovered.” Also included with these 3 diaries is an apparent captured confederate diary used mostly as an expense book but does have last will for a Colonel Bowers, Desoto Mississippi. SIZE: 1) 6″ h x 4″ l 2) 5″ h x 3″ l 3) 6-1/2″ h x 4″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: All relatively good overall, with typical staining, soiling, loose pages and cracked bindings. 9-28033-1 (2,000-3,000) – Lot 1385

CIVIL WAR DIARY OF LIEUTENANT JAMES SLADE, 10TH GEORGIA VOLUNTEERS FROM THE GREENE MUSEUM.

This typical pocket diary with integral closure and cover which is about 100 pages long is almost completely filled in with much detail of his service beginning May 19, 1862 through December 16th. Book nicely shows his name in pencil “Lieut. Jas. J. Slade Co.A Temp Georgia Volunteers.” Slade was from Columbus GA. The 10th Georgia made it to Virginia just in time to participate in the battles of the Peninsula and Slade describes fighting on the Chickahominy on second page of diary. He goes on to describe the battles and fighting around Richmond over about 54 pages until he leaves for home July 11th back in Columbus Georgia. Slade stays in Columbus and mentions that Major FW Dillard, Quartermaster, pays him $50 in advance and furnishes transportation for his next assignment in Vicksburg MS which he reaches November 8th. By mid-November he is in Natchez MS describing cattle from Texas being bought with counterfeit Confederate funds. He describes Yankee gunboats on the Mississippi river and his last entry, December 16th, he has arrived in Montgomery. Slade’s records are sparse but we do know he was with the 10th Georgia in the 1862 campaigns around Richmond until coming home in July and being re-assigned with General Kirby Smith in the trans-Mississippi department. Details of the 10th Georgia in Virginia in 1862 are in good detail, several pages are shown in online catalog. Also included in this lot is a small folding pocket wallet typical of Civil War Era. SIZE: 6″ h x 3″ l, Wallet: 4″ h x 2″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Fair to good overall, pages are written with a mix of pencil and ink but most text is quite discernible and easily read. 9-28033 (1,000-2,000) – Lot 1386

RARE AND UNIQUE DOCUMENT SIGNED OF 45 OFFICERS AND CREW FROM THE CSS FLORIDA DISPLAYED AT THE GREENE MUSEUM.

This unique document which is on 2 sheets is an oath of allegiance signed at Fort Warren, Boston Harbor February 1, 1865 stating that the undersigned officers and crew of the steamer Florida are being released from confinement and pledge that they will leave the United States within 10 days and that while in the United States will commit no hostile act. It is interesting to note that these combatants including several well known confederate naval personalities were illegally captured by US warship in Brazilian port with half the crew and captain in town. The Brazilian government protested this obvious violation of their sovereignty and the captured vessel was supposed to have been returned to Brazil to rejoin the Confederate navy. Instead of being returned, Florida was sunk by Admiral David Porter though not directly ordered. The Florida along with the CSS Alabama were the most famous of Confederate sloops of war. Florida captured 37 prizes during her impressive career. Also included is a signed limited edition print of the CSS Florida by signed by William R. McGrath. SIZE: 18-1/2″ h x 15″ l each. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Paper was not removed from frames but appears fairly stable though brittle with staining, cracks and some tears with small reductions unaffecting text. Signatures are all discernable though wider on bottom section of first document. Glass covering print is cracked. 9-28005 (1,000-2,000) – Lot 1387

COLLECTION OF COLUMBUS GEORGIA ASSOCIATED CONFEDERATE BANK NOTES.

Included in this lot are all 6 Dillard, Powell & Co Columbus GA denominations known; 25c, 50c, $1, $2, $4 and $5. Several of these denominations are extremely rare, this is most likely the finest set ever assembled. The 6 Dillard notes are in one archival frame. here are all 9 denominations known of the Columbus Iron Works form 5c to $5 with several of these examples appearing un-circulated. There is no doubt that this set were the finest condition of each denomination that could possibly be found with a few denominations rarely seen. There are 3 sheets of Antebellum Bank of Columbus proof notes which show denominations from $1 to $100. These 3 sheets of 4 notes each are archivally framed. Also included in this lot is a nice example of a Bank of Columbus 1859 dated $10 bill with orange overprint. There are an additional 6 Confederate state of Alabama notes of various denominations from 10c to $5. SIZE: Framed sizes range from 19″ h x 31-1/2″ l to 9″ h x 11″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Prospective buyers should view. Many notes are uncirculated & crisp but others are in lesser condition. 9-28006, 28024 (4,000-6,000) – Lot 1388

HENRY BENNING ARCHIVE FROM THE GREENE MUSEUM.

Henry Benning was a famous Georgia politician and Confederate general. Fort Benning in GA is named for him and is the infantry’s largest training facility. Henry Benning letters are quite rare. This archive includes a large frame containing 2 early printed documents Benning co-authored concerning secession, one printed in Milledgeville GA Nov 19th, 1860 the other printed in Richmond VA February of 1861. Frame also contains a 3 page letter written and signed by Benning to his wife while on the GA supreme court in 1859. Also framed is a Columbus GA printed receipt to Henry Benning for a $1000 Confederate bond. Also contained in this archive are 8 autographed letters signed by Benning to his wife from 1855 to 1857. There is a letter written to Benning from Fort Gaines March 20th 1861 which starts “The contingencies of which you wrote in your last letter… actually came to pass and we have a Southern Confederacy embracing the states of Alabama and Georgia…” This letter also retains its original stamped postal cover. Another document included is a series of resolutions for Benning’s brigade likely written just after Gettysburg. The resolutions read in part “1. That the war in which we are engaged is a just and right… that we are battling for our rights, our lives , and our independence. 2. That the same principals which induced us to take up arms in the beginning prompts us now to persevere. ‘if we then judged that the enemy intended to impoverish and oppress us, we now know that they propose to subjugate, enslave , disgrace, and destroy us’ There is no retreat but in Chains and Slavery. 3. That we will never consent to a peace which proposes a denial of [illeg.] and Independence. That to win independence we are willing to brave all to endure all. 4. That we appeal to our government to lose no opportunity, and spare no effort to fill up the ranks of these regiments reduced by so many battles…” Also included in this lot is an antebellum law book signed by Benning and several pieces of Fort Benning ephemera of later vintage. The letters have been transcribed by George Greene and are retained in a file with the original letters. accompanying this lot is a copy of a painting of Benning which was on display in museum. SIZE: Framed Document: 28″h x 32″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Paper overall good to very good with typical staining, Foxing normally seen. Law book is full leather bound, spine is heavily chipped and covers scuffed ad scraped and flaking. Contents are sound with foxing. 9-28027 (2,000-3,000) – Lot 1389

ABRAHAM LINCOLN SIGNED MILITARY COMMISSION OF BRIGADIER GENERAL CADWALLADER C. WASHBURN.

This framed commission on vellum for Cadwallader C Washurn Brigadier General of volunteers July 16th, 1862 signed by Abraham Lincoln as President and Edwin Stanton as the Secretary of War. Washburn, born in 1818, commanded the cavalry of the 13th army corps at Vicksburg. Grant called Washburn “One of the best administrative officers we have.” Washburn left the army in may of 1865 where he went home to Wisconsin, served 2 terms in the house of representatives and became Wisconsin’s 11th Governor in 1872. Washburn was a good businessman, founding what later would become General Mills. Washburn died in 1882 with an estate valued at close to $3 million. His mansion, left in his will to the Dominican sisters or the Catholic Church later became Edgewood College in Madison WI. SIZE: 18″ h x 14″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Vellum document is sound with some staining. Signature and text is discernible though light. 9-28008 (3,000-4,000) – Lot 1390

EARLIEST AND MOST IMPORTANT CONFEDERATE MEMORIAL RIBBON KNOWN AND A WRITTEN HISTORY OF THE ESTABLISHMENT OF CONFEDERATE MEMORIAL DAY.

The “Ladies Memorial Association” of Columbus GA decorated the graves of Confederate soldiers at Linwood Cemetery Columbus GA on April 26, 1866. The hand made silk ribbon emblazoned with a Confederate battle flag on a cruciform staff was thought to be worn on that date by Ms. Lizzie Rutherford. Ms. Rutherford married Captain Roswell Ellis of the Columbus Guards in 1868 and died in 1872. She was however the first proponent for Confederate Memorial day which was published in a text accompanying this lot framed with her ribbon telling the story. The United Daughters of the Confederacy post in Columbus that published this book was named in her honor the Lizzie Rutherford Chapter, UDC. Framed with the original “LADIES MEMORIAL ASSOCIATION” Columbus GA ribbon is a 5 page facsimile letter written by Varina Jefferson-Davis where she reiterates the story of the original 1866 Memorial Day and seeks all Confederate states to establish it. Indeed every southern state did adopt April 26th as Confederate Memorial Day. Tennessee called this day Confederate Decoration Day and Texas called it Confederate Hero’s Day. Confederate Memorial Day is still a holiday in Alabama, Florida, Georgia, Mississippi, South Carolina and North Carolina though dates have been changed. State government offices are closed on this date though federal organizations remain open and do not celebrate Confederate memorial day. Along with this framed grouping is an early 9 page manuscript giving Ms Rutherford’s biography, this display is accompanied by a display board with a portion of Varina Jefferson Davis’ letter stating the origin of Confederate Memorial day with 2 facsimiles of April 26th 1866 photographs of the original Ladies Memorial Association celebrating the first Confederate Memorial Day. SIZE: 24″ h x 26″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Ribbon as framed is frayed and has small reductions on left side however text and image are fine with good colors. Memorial day book appears fine as framed and 9 page letter is very good and complete. 9-28001 (800-1,200) – Lot 1391

RARE ABRAHAM LINCOLN EMBROIDERED MEMORIAL AND ADMISSION TO THE LINCOLN CONSPIRACY TRIAL.

Embroidered memorial is mounted in a round frame with 36 stars on its border. 36 stars would represent the 36th state which was accepted into the union just after Lincoln’s death, July 4th 1865 and Nevada would be known as the “battle born state.” Accompanying this Lincoln memorial is a card signed by General David Hunter which would have admitted someone to the Lincoln conspiracy trials. SIZE: 26″ dia. and 34″ in gilt frame. Card: 2-1/2 x 3. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Embroidery as can be seen in photo has lost much of its color though green and browns are still bright. The frame has been broken and restored utilizing screwed iron sheeting on reverse and frame has had gesso losses restored an re-gilded. Conspiracy trial card is fine and un-issued. 9-28008-1 (1,000-2,000) – Lot 1392

AUTOGRAPHS OF ROBERT E. LEE AND JEFFERSON DAVIS DISPLAYED AT GREENE MUSEUM.

Large framed clipped autograph of Jefferson Davis framed with engraved image of Davis as President of the Confederacy. Robert E. Lee is signed as Captain of Engineers in 1838 on document concerning improvement of the Mississippi river. It is interesting to note that this document is also signed by Mary Custis Lee October 2 1917 as a gift to W. S. Copland just a year before Lee’s daughter died at the age of 84. The largest archive of Lee papers is a group of 4000 items Mary Custis Lee stored this same year, later to be archived at the Virginia Historical Society. SIZE: Lee: 8″ h x 2″ l Davis: 1-1/2″ l x 4″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Both items are framed and were not unmounted but both have good browning signatures with good contrast. Lee document has small crack unaffecting text or signatures, light fading and foxing. 9-28007 (1,500-2,500) – Lot 1393

2 RARE SOUTHERN BROADSIDES OF JOHN WILKES BOOTH.

These 2 broadsides advertise John Wilkes Booth plays in deep South venues of Montgomery, Alabama and Columbus, Georgia. We can find no other examples of John Wilkes Booth in antebellum southern broadsides in any recent auction sales. The Columbus broadside advertises several contemporary plays and Romeo and Juliet. The Montgomery broadside shows contemporary plays and Booth is advertised only as “John Wilkes”. We all know John Wilkes Booth loved the south and his association with prominent playgoers in these southern cities possibly influenced his politics. SIZE: 29″ h x 11-1/2″ l each. PROVENANCE: From the Greene Museum of Southern History. CONDITION: There are 4 lines on another card dry mounted to the Columbus broadside which potentially appear contemporary to the period. Otherwise broadsides appear complete with scattered areas of staining and foxing. 9-28022 (800-1,200) – Lot 1394

CASED COIN SILVER READING GLASSES BELONGING TO EDWIN BOOTH, FAMOUS ACTOR AND BROTHER OF LINCOLN’S ASSASSIN ALONG WITH A FINE ADVERTISING BROADSIDE.

Booth’s silver glasses have a makers mark “A. Wood” in cartouche on right temple. The fitted glasses case top escutcheon has Booth’s initials in script “ETB” for Edwin Thomas Booth. Glasses case is patented January 24th 1860. There is a COA from dealer who sold these glasses stating provenance. Accompanying this lot are two display boards, one a copy of an image of Edwin Booth and the second a copy of an ad for a Columbus Georgia playing of Edwin Booth show in 1859 that interestingly says that tickets are 75c or 25c for a “colored person”. The broadside is in beautiful condition printed on yellow paper by Boston printer advertising a week of plays by Shakespeare and one by Victor Hugo at the Boston Globe Theater. SIZE: 35″ h x 16-1/2″ l. PROVENANCE: Certificate of Authenticity included. From the Greene Museum of Southern History. CONDITION: Case and glasses are good overall, the left lens is loose and appears too small for the glasses. Case is very good overall with some wear to high spots but markings are excellent. Broadside is fine as framed. 9-28022-1 (600-800) – Lot 1395

UNITED CONFEDERATE VETERANS MEMORABILIA.

Lot consist of 2 rare Columbus Georgia Henry Benning Camp reunion ribbons and delegate pin. Also included is a colorful broadside advertisement for the 1910 Mobile AL reunion. SIZE: 32″ h x 14″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: The 1900 Camp Benning ribbon has tear in top where folded for pin and fraying at bottom though unaffecting text or images. The 1910 Georgia division delegate badge with some rust on verso of celluloid and some central fraying of attaching ribbon but otherwise sound. The 1901 Benning Camp ribbon has some fraying around edges, retains its original pin, has an angular cut at bottom with no damage to text or images. Broadside has good colors with some soiling especially at folds. There is a crack in the glass on the frame. 9-28001-1 (1,200-1,500) – Lot 1396

GROUP OF 18 CONFEDERATE AND SOUTHERN IMPRINT SHEET MUSIC.

Several of these are decorated with nice vignettes. Titles include: “God Save the South” 1861 Baltimore, “Harp of the South” 1863 Richmond VA, “Awake; A Southern War Song” 1863 Richmond VA, “Kiss Me Before I Die Mother” printed by D. Duncan Columbia SC, “In Memory of the Confederate Dead” Louisville KY 1866, “Lorena” Macon GA, “All Quiet Along the Potomac Tonight” 1863 Columbia SC, “General Morgan’s Grand March” 1864 Richmond VA, “Song of the Citizen Guards Company A 2nd Regiment KY State Guard- Cheer Boys Cheer” Louisville 1861, “Stonewall’s Quickstep” Macon GA, “Who will Care for Mother Now When This Cruel War is Over” 1863 Columbia SC, “No Surrender Song” Richmond VA 1864. Other songs predate or post date the Civil War published in the South. SIZE: 12-1/2″ h x 10″ l each. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Fair to fine, prospective bidders should inspect. 9-28021 (800-1,200) – Lot 1397

LARGE GROUP OF CIVIL WAR AND ANTEBELLUM SHEET MUSIC.

This group consists of over 50 pieces of sheet music, 23 of which are loose and there are at least 30 bound into one volume. Bound volume has nice copy of “I Wish I was in Dixie’s Land” published in New York in 1959, “Star Spangled Banner” printed in 1861 with a colorful American flag and a multicolor copy of “Rosecran’s Victory March” Published in Cincinnati in 1863. Other highlights in this group include “The Drummer Boy of Shiloh” printed in Louisville in 1865, 1853 “Richmond Schottisch” with colored vignette of city of Richmond, “Maryland My Maryland” printed in 1861, “Gun Powder Quadrille Millitaire” with nice vignette of exploding bombs published in 1863, “Drums and Trumpets” with nice colored cover printed in 1862, “Drums and Cannon, Military Polka” published in 1863 with nice vignette of battle flags and cannon, “Monitor Grand March” printed in 1862 with a color vignette of the fight of the Monitor and the Merrimack, “Fort Sumter Quick Step” published in 1861 with nice vignette of Major Anderson. There are several other military sheet musics with nice color vignettes and military scenes. SIZE: Approximately 13-1/2″ h x 10-1/2″ l each. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Fair to very good, some of the bound issues are trimmed to fit and binding is poor with spine chipping, partially missing and front cover loose. Prospective bidders should view this lot. 9-28021-1 (800-1,200) – Lot 1398

CIVIL WAR ERA MUSICAL GROUP.

Group consists of 2 rare framed civil war era manuals for “Bugle Call” and “Drum and Fife”. The Drum and Fife manual was published in 1862. Also included is a brass bodied banjo with patriotic shaped shield attachments of stretchers to body. Banjo has inset polished bone and mother of pearl frets. Civil War era copper infantry horn has rolled bell and is 22″ overall including mouthpiece. Neither instrument has any apparent markings but similar instruments are seen in civil war photographs. accompanying this grouping is a fine original pencil drawing of a Civil War era zouave drummer, about 11″ x 16″ framed. SIZE: Listed above. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Head of banjo has numerous small holes and areas of insect damage. Missing strings and string tighteners. Horn is very good overall with a few small dents. Two framed pamphlets foxed and soiled. There is a hole present of the cover of “Bugle Call.” 9-28013 (400-600) – Lot 1399

GROUP OF 3 FRAMED MULTICOLOR CIVIL WAR UNION SONG SHEETS.

1) “Union and Liberty” dedicated to the Governor of Ohio. Wonderful patriotic rendition of liberty, eagles and the American flag. 2) “Colonel Ellsworth Funeral March” shows Ellsworth standing on the Confederate flag he took down before being made a martyr. 3) The Union Medley lithographed in Cincinnati with American Eagle and American Flags. SIZE: 20″ h x 17″ l each. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Soiling and staining as framed. 9-28012 (400-600) – Lot 1400

4 RARE ILLUSTRATED FRAMED CONFEDERATE SONG SHEETS.

1) “The Song of the South” decorated in red, white, blue and gold, published by V.P. Faulds & Co. Louisville KY 1861. This rare imprint shows crossed Confederate first national flags of 7-star and 15-star varieties. 2) Rare Baltimore imprint of “Stonewall Jackson’s Way” 1862 Baltimore. 3) “General Robert E. Lee Quick March by Charles Young New Orleans 1865. 4) “Bonnie Blue Flag” published in Baltimore 1862. SIZE: 19-1/2″ h x 17″ l each. PROVENANCE: From the Greene Museum of Southern History. CONDITION: As framed, surfaces show soiling and staining as can be seen in photos. 9-28011 (600-800) – Lot 1401

FABULOUS AND IMPORTANT “BLIND TOM” “THE SLAVE MUSICAL GENIUS” ARCHIVE.

Blind Tom, born a slave in Columbus GA was a piano virtuoso who amazed the American public with dazzling feats of mimicry and memory of the most sophisticated pieces of music ever written. He could sing in German, French and English at the age of 10 years old. There are at least 4 scholarly biographies written about Blind Tom, nee Thomas Greene Wiggins 1849. One of Tom’s biographers, Geneva H Southall states in her 1999 biography “Blind from birth he was a “throw-in” as a bargain when Colonel James Neil Bethune, a highly respected Columbus GA lawyer and newspaper editor who purchased his parents Charity and Mingo Wiggins and two of his brothers at a slave auction in 1850… Tom demonstrated his aptitude for music from his 4th birthday, having slipped unnoticed to the piano and picked out several tunes he had heard played by the Bethune daughters, all of whom were accomplished musicians. After that revelation Tom became something of a “household pet” with all members of the family… One can assume that Tom received a solid theoretical and technical music foundation. His progress was such, by the time of his 6th birthday, he had become a ‘prized possession’ with the Bethune children proudly exhibiting him to their neighbors.” Of the reported 20 children of Charity and Mingo, only Tom had any musical ability or was autistic. Tom had his first public appearance at the Columbus Temperance Hall on October 7th 1857. Within a year Tom was so famous that his owner was being paid royal sums for Tom to perform all over the south. At the Civil War’s end and freedom given to southern slaves Colonel Bethune made a deal with Tom’s parents paying them such that he could continue to be Tom’s guardian and toured with him all over the world making immense wealth for him but little for Tom and his parents. This archive with over 50 pieces of original sheet music, broadsides and photographs chronicle his life. There are 2 Columbus newspapers, October 10th and 14th 1862 advertising soldiers aid concerts hosted by Tom. It was noted in Ms. Southall’s biography that Tom must have been quite aware of the war and politics because at one of these Confederate events he played on the piano Dixie with one hand, Yankee Doodle with the other while singing “The Girl I Left Behind” at the same time. Included are over 20 pieces of sheet music, mostly 19th century dating from 1865. There are 3 broadsides, one with a large vignette of Blind Tom most likely used in one of the many concert halls he performed. There are 8 photographs from life, CDV’s and cabinet cards. There is a requested signature of Tom where his “mark” was sent. There are 6 versions of early biographies “Sketches of the life of Blind Tom” printed beginning in 1867 with several variations printed in the US and England from 30-55 pages. There is a December 1865 phrenological journal which studies the shapes of heads of luminaries from George Washington to Julius Caesar and a full page on Blind Tom. Blind Tom was no doubt among the most famous performers and pianists of his day. His last public performance was in 1905, he died in 1908. His New York Times obituary June 15, 1908 was not glowing about the true genius that Tom Wiggins is known to have had today, and there was no mention of his exploitation throughout his life or that his earnings in today’s money would be the equivalent of many millions of dollars, though he saw little of it and died penniless. Obituaries were published nationwide and black newspapermen were quick to report the almost lifelong slavery that he endured. It is also interesting that Blind Tom is possibly the only person to have 2 obituaries in the New York Times, when he was first reported killed in the Johnstown flood of 1903 and somebody was buried in a tombstone placed on his grave. There are several magazine and newspaper articles also accompanying this group from the 1860’s Harper’s Weekly to he Ladies Home Journal of 1898 and other later editions concerning Blind Tom. There are also 2 large notebooks with biographical research and correspondence prepared by George Greene. This is no doubt by far the largest grouping of Blind Tom memorabilia ever assembled and took almost an entire room to display in the Greene Museum. Also accompanying are several large reader boards from the museum. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Fair to excellent. Prospective purchasers should inspect. 9-28019 (10,000-20,000) – Lot 1402

COLUMBUS GEORGIA PRINTED SLAVE BILL OF SALE AND PAIR OF SHACKLES FROM THE GREENE MUSEUM.

Rare partially printed framed Girard Alabama 1849 bill of sale for a “negro slave named Lee about 20 years old for $725.” This popular exhibit in the Greene Museum displayed a blacksmith made pair of shackles with key. SIZE: Bill of sale 6-1/2″ h x 4″ l, shackles 16-1/2″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Document is good with crack at central fold archivally framed. Shackles of undetermined vintage have iron patina with rust. 9-28016 (1,000-2,000) – Lot 1403

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

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

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

GROUP OF 4 1830’S HANDCOLORED MCKENNEY & HALL LITHOGRAPHS OF INDIANS INCLUDING CHIEF M’INTOSH.

1) Opothle Yoholo (a Creek Chief) Published by Biddle 1837. 2) Timpoochee Barnard (an Uchee Warrior) published by Greenough Philadelphia 1836. 3) Paddy Carr (a Creek Interpreter) published by Greenough Philadelphia 1838. 4) M’intosh (a Creek Chief)published by Greenough Philadelphia 1836. SIZE: 25-1/2″ h X 21-1/2″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Very good as frames with bright vivid colors. 9-28030 (800-1,200) – Lot 1405

LOT OF FIVE MID-19TH CENTURY MCKENNEY & HALL COLOR LITHOGRAPHS OF INDIANS.

1) Chittee Yoholo (a Seminole Chief), A print of F.W. Greenough Philadelphia 1838. 2) Ochio-Finico-Charles Cornels, Published by E.C. Biddle 1834. 3) Yaha- Hajo (a Seminole Chief) published by Daniel Rice and James Clark, Philadelphia 1842. 4) Payta-Kootha (a Seminole Warrior) published by F.W. Greenough Philadelphia 1838. 5) War Dance of the Sauks and Foxes published by Greenough, Philadelphia, 1838. These five prints are accompanied by two 42″ x 21″ framed facsimile prints on No-Way-Ke-Sub-Ba & Chon-Man-I-Case. SIZE: 1) 24″ h x 18″ l 2) 25-1/2″ h x 21-1/2″ 3) 23″ h x 18″ l 4) 24″ h x 20″ l 5) 24″ h x 20″ L. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Good as framed with typical foxing and acid burn. 9-28030-1 (800-1,200) – Lot 1406

2 LARGE MID-19TH CENTURY MCKENNEY & HALL COLOR LITHOGRAPHS OF INDIANS.

1) Tenskwautawaw Published by Greenough Philadelphia 1836. There are 13 pages of text from the original edition describing this Indian as a Creek prophet now living in obscurity west of the Mississippi. 2) Ledagie, A Creek Chief Published by Daniel Rice and James CLark Philadelphia 1843. SIZE: 1) 14″ l x 19″ h 2) 22″ h x 16″ l. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Good, solid, good colors as can be seen in photos. 9-28030-2 (400-600) – Lot 1407

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

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

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

GROUP OF MISSISSIPPIAN PERIOD INDIAN POTS EXCAVATED IN THE CHATTAHOOCHEE RIVER VALLEY DISPLAYED IN THE GREENE MUSEUM.

This grouping consists of 10 clay vessels of varying sizes the largest of which is about 16″ h and 20″ in diameter. 1) This pot has 5 sets of three raised 2″ ridges equidistant around lip of pot. This pot was broken into many pieces with the largest pieces about 12″ x 8″, the smallest pieces 1″ or so. The pot has been put back together such that it displays nicely. 2) The next largest pot is about 13″ tall and about 15″ in diameter, also broken and put back together. This pot has about a 2″ tall band of incised diagonal lines around its lip with 2 formed lifting handles applied to lip. This pot has much restoration, missing a portion of its bottom but displays nicely. 3) Has a severe taper to a small base, is about 7-1/2″ h with a 13″ diameter. Only about 1/3 of this bowl is original, the rest being fabricated to show the rare shape and incised design on rim as can be seen in photos. 4) 12″ in diameter and 6″ tall with design of a “right hand” placed horizontally in 7 positions around bowl with other minor incised line decoration. This bowl is highly restored with only a portion maybe 1/3 original, the rest made to match in a lighter colored clay. 5) about 9-1/2″ tall bottle with same diameter with four round serpentine connected swirls. Pot appears mostly original as repaired from pieces with about a 6″ x 3″ portion in base restored. 6) A 17″ shallow bowl about 3″ tall, broken and repaired. 7) A stylized bird effigy bowl about 6-1/2″ across and 3″ tall, broken in 4 pieces and missing about a 2″ x 3″ section. 8) 7-1/2″ diameter bowl about 4″ tall with swirled serpentine incised design. Bowl appears original and complete with a repaired 2″ x 3″ hole probably done by probe. 9) A 5-1/2″ diameter and about 3″ tall red clay bowl, chipped and missing about 4″ section of lip on one side. There are 2 decorated pottery shards, the larger being 7″ x 4″. there is a small pottery handled “dipper” bowl measures about 2-1/2″ in diameter and broken portion of handle measures 2-1/2″. From this same display there are 5 dished-out stone pieces with varying degrees of bowl shape for grinding and 4 shaped stones for use as pestles and one other shaped rock which appears to be a celt. As can be seen in photographs of the Greene Museum all the objects were displayed together and identified as locally found. SIZE: As listed above. PROVENANCE: From the Greene Museum of Southern History. CONDITION: As listed above. 9-28029 (3,000-4,000) – Lot 1409

DOG EFFIGY POT, CIRCA 1300AD FOUND AT THE NEISLER INDIAN MOUNDS, TAYLOR COUNTY GEORGIA IN 1928.

Among the most popular exhibits at the Greene Museum was this unique red slip painted dog shaped effigy pot. This pot had been part of the Columbus Museum of Arts and History for many years until descendants of family who had loaned it, sold it to the Greene Museum of Southern History across the river. Columbus Museum has 5 other dog effigies found at Bull Creek burial site. The Bull Creek site was found in 1937, all the Bull Creek pots are described and photographed in an article along with this pot published by Lost Worlds by Gary C. Daniels. Daniels attempts to identify the breed of the dog represented, long thought to be a Chihuahua and Daniels in his article postulates the species a new world breed that dates back at least to 100AD in Mexico. A copy of this article is found in the provenance showing this pot and the other 5 known examples which are still at the Columbus Museum of Art. The pot’s design of black painted swirls on body suggests it was associated with the Creek Indian Wind Clan. Creek tradition holds that the Wind Clan was the most ancient clan among the tribe. This design is also similar in Mexican pottery suggesting that there was a trade among different tribes of the Chihuahua breed of dog that most likely originated in Mexico. Regardless of the meaning of these funerary pots, this is only example known or documented in private hands. This actual pot is pictured or mentioned in several scholarly articles and books, another unique and wonderful piece of early American history such as this will probably never be offered again. SIZE: 13″ h PROVENANCE: Family history states it was found in 1928 washing out of edge of creek by school girl. The family loaned it to the Columbus Museum for many years. From the Greene Museum of Southern History. CONDITION: The pot has no apparent damage and is in the same condition since found in 1928. Columbus Museum shows this vessel in photography also in same configuration and states no conservation or repair where several of their other dog effigies are noted as broken, repaired etc. 9-28023 (20,000-30,000) – Lot 1410

MASTODON LOWER JAW FROM GREENE MUSEUM OF SOUTHERN HISTORY.

This wonderful fossil on custom stand is 26″ overall and about 20″ high still retaining 4 complete large teeth that measure about 3″ in length each. Teeth have a yellow golden brown smooth patina like a polished semi precious stone. This was one of the highlights of the Greene Museum. This jaw from a juvenile Mastodon was found many years ago in the Aucilla river in northern Florida. SIZE: Listed above. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Jaw is in 2 pieces and appears mostly complete with some repairs to side of left jaw as can be seen in photos. 9-28032 (3,000-4,000) – Lot 1411

THE LARGEST MASTODON TUSK EVER FOUND IN CHATTAHOOCHEE VALLEY.

This massive tusk with a 7″ diameter and 40″ long was found in Hitchitee Creek. This massive segment of tusk was a highlight for schoolkids who visited this museum. This fossil was displayed below the accompanying limited edition print “The Hunters” by Dean Quigley. Dean Quigly specializes in historical early Native American images and is based in St Augustine FL. This very heavy tusk has a custom wood stand. SIZE: Listed above. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Section appears to be based with thick hollowed area for nerve core with tip appears worn or broken in the mastodons life. There is a 12″ x 8″ section of concretion still attached which would easily clean if desired. Surface of tusk is cracked in a matrix typical of other fossils. cracking sections vary from over 1″ to about 1/8″. There is a glued crack about 10″ long on top middle of tusk and about a 2″ x 1″ laminated chip that has been glued back. 9-28031 (3,000-4,000) – Lot 1412

12 AMERICAN COIN SILVER SPOONS OF GENERAL WILLIAM BABCOCK HAZEN FROM THE GREENE MUSEUM.

Grouping consists of 6 large 9″ and 6 smaller 6-1/2″ “flower basket” decorated spoons all engraved “Hazen USA.” General Hazen was born in West Hartford VT but grew up in Hiram OH where he was a close friend of James Garfield. Hazen graduated from West Point in 1855 serving in the pacific northwest and was severely wounded in a fight with Comanches in 1859. During the civil war Hazen was colonel of the 41st Ohio, being promoted to brigadier general and finally major general being most prominent in the battles of Chickamauga, Chattanooga, Atlanta and in the campaigns of the march to the sea and in the Carolinas. Hazen continued his military service until his death in 1887 and was buried with full military honors at Arlington National Cemetery. Spoons are all hallmarked with 3 cartouches of a star, an “N” and an anchor. SIZE: Outlined above. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Spoons show use, some bowls have small dents, some designs worn more than others but markings all discernible. 9-28015 (800-1,200) – Lot 1413

36 STAR AMERICAN FLAG ON ORIGINAL POLE WITH EAGLE HEAD FINIAL HAND MADE FOR THE GRAND REVIEW MAY 1865 WASHINGTON DC.

This flag is totally handmade of wool bunting with 36 hand sewn double applique 3″ cotton stars. Flag measures 39″ on hoist and 66″ on fly. The 1-1/2″ linen hoist has 6 small hand whipped eyelets which are sewn to corresponding eyelets on pole. Written in shadowed ink on hoist reads “GRAND REVIEW MAY 24 1865.” Accompanying this lot is the reader board displayed with this flag in the Greene Museum which shows a similar sized flag and flagstaff carried by a Maine unit in copy of a contemporary wood cut. This measures 26″ x 36.” SIZE: Poll overall 7-1/2′ otherwise listed above. PROVENANCE: From the Greene Museum of Southern History. CONDITION: Flag has some repairs for continued use especially at corners attaching hoist. There are numerous small holes in the wool bunting, scattered stains, soiling and mildew spots. Colors are still good, blue is bright though red has lost some of its color. Staff is sound and solid and eagle finial appears very good retaining some original gilt. 9-28009 (2,000-3,000) – Lot 1414

FABULOUS ARCHIVE OF HANK GOWDY, 1914 WORLD SERIES MVP AND WORLD I WAR HERO.

This archive includes a 14k gold 1-3/4″ Waltham presentation watch from the baseball fans of Boston and New England on his return from WWI. Also included is an elaborate colored lithograph certificate dedicating “Gowdy Field” at Fort Benning GA stating “Harry Gowdy was the first major league player to enter the service after the declaration of war in 1917.” This document was presented to Gowdy at the polo grounds in New York City. There are contemporary photographs of the presentation included. Along with a pair of game worn New York Giant pants with Gowdy’s name embroidered. Gowdy played his final two years with the New York Giants 1923-1925. There is an original baseball card of Gowdy when with the Boston Braves from the American Caramel Company. There is a small 1911 Helmar Tobacco “stamp” featuring rookie Hank Gowdy, a 7″ felt image of Gowdy with the Braves, a “Howdy Gowdy” pin given to fans upon the trade from the Boston Braves to the New York Giants. Hank Gowdy was the original “Mr October” long before Reggie Jackson claimed that moniker. Gowdy hit safely 6 times and batted .545 in the 1914 World Series. Gowdy and the 1914 Braves have one of the most spectacular come backs being 20 games out of first place in July but overtook John McGraw’s Giants and won the World Series in ease, 4 games to none to the heavily favored Philadelphia Athletics. The Braves Manager George Stallings stated flatly that Gowdy was the most valuable player during the “miracle run.” Gowdy would continue to catching for the Braves through 1917and gained considerable fame and admiration for becoming the first major leaguer to enlist in WWI on June 1st 1917. Hank Gowdy’s war record was quite impressive, he served with distinction in the 166th infantry, part of the famed “rainbow division, the fighting 42nd.” Gowdy returned home a bona fide war hero as popular in Boston as the mayor himself. Hank continued to play ball with the Braves through 1923 when he was traded to the NY Giants, still led by John McGraw who remembered Gowdy’s clutch hitting as part of the 1914 “miracle team.” Gowdy went on to play in 2 World Series with the Giants and retired in 1925. Included in this archive are many original photographs and images including a 1914 group photo of the world champion Boston Braves, WWI Photographs with Gowdy, newspaper clippings. SIZE: Watch as listed above. PROVENANCE: From the Greene Museum of Southern History CONDITION: Watch exhibits chips to ceramic dial,small dents present on large flat of watch. Paper objects are overall good condition with typical soiling, edge wear, scratches typical of early 20th century paper, colors vivid on presentation document with light fading and frame lines visible. Pants sound with soiling, minor mothing with some repairs. 9-28000 (3,000-5,000) – Lot 1415

ROGERS GROUP “TAKING THE OATH” WITH CIVIL WAR ERA DRESS AND 1861 MAP.

3rd quarter 19th century, American. Chalkware statuary group, featuring a Civil War soldier, woman with child and slave boy with basket, titled “Taking the Oath and Drawing Rations”, signed on base “John Rogers, New York, patented January 30, 1866”. Accompanying this lot is a Civil War era dress much like the one seen in Rogers Group, made of patterned blue silk with cotton lining and a large military 1861 dated map published by Lloyd of New York. These three items were all displayed in the same area of the Greene Museum of Southern History. SIZE: Rogers Group: 23-1/2″ t. Map: 36″ h x 28″ w. PROVENANCE: The Greene Museum of Southern History. CONDITION: Repainted, losses to back apparently otherwise very good. 9-28010 (400-800) – Lot 1416

FOUR ANCIENT POTTERY ITEMS.

1) 3-1/2″ h x 8″ widest. interesting handled pot with unique type pouring spout. 2) 5″ h handled gourd vase. 3) 5″ h rounded side two handled vase with pointed body. 4) 3-3/4″ h two handled jar. SIZE: As listed above. CONDITION: 1) Loss to bottom part of spout, spout cracked an repaired. 2) Very good. 3) Very good. 4)Crack to one side. 9-25104 (800-1,200) – Lot 1417

FIVE PIECES OF ANCIENT POTTERY.

Lot includes two small oil lamps (4″ h and 3″ h) a 3-1/2″ h pottery handled jar, a 2-1/2″ h two handled jar and a 6-1/2″ handled jar with flaring rim and knobby handle. SIZE: As listed above. CONDITION: Generally good, shows signs of excavating. 9-25103 (600-900) – Lot 1418

LOT OF SEVEN ANCIENT METAL ITEMS.

1) 3-1/2″ bronze oil lamp with replaced bird finial. 2) 3-1/2″ h handled orb with bird finial. 3) Two 2-1/4″ discs with replaced leather handles 4) three small bells. SIZE: As listed above. CONDITION: Fair to good with losses. 9-25105 (600-900) – Lot 1419

FOUR ANCIENT GLASS VASES.

1) 3-1/2″ h with a tapering bulbous body and straight short neck. The body having three rows of “thumb prints” which appear to be ground with some polish in a light blue color. 2) 3″ h ink bottle shaped vase with iridescence, clear glass. 3) 5-1/2″ h clear vase. 4) 2-1/2″ h aqua vase having molded half ribs to body rolled, flaring rim with a squat molded base. SIZE: As listed above. CONDITION: 1) Crack broken and restored. 2) Crack broken and repaired. 3) Good, crack in neck, signs of excavation 4) Good. 9-25102 (800-1,200) – Lot 1420

SIX ASSORTED ANCIENT ITEMS.

1) Two pottery heads mounted on a museum stand indicating they are Chimaya Santiago River, Ecuador, circa 500 C.E. 2) Stone effigy figure, unknown origin. 3) Black and white spear. 4) Egyptian style Ushabti mounted on a wood plinth. 5) Pottery animal, broken and repaired. SIZE: 1) 3″ h. 2) 4″ h. 3) 3/4″ h. 4) 2-3/4″ h. 5) 3-1/2″ h x 6″ l. CONDITION: Generally good, otherwise as noted above. 9-25106 (800-1,200) – Lot 1421

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

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

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

16 VARIOUS 19TH CENTURY PENOBSCOT INDIAN WOOD ITEMS.

Included in the lot are basket molds, carved mask, other molds and pieces. 10-1/2″ dia. wooden bowl. SIZE: Varies. Mask 11″ x 7-1/2″, molds 8″ dia to 3″ dia. PROVENANCE: A gift to the family of the current owner from Francis Sockalexis, tribal Governor and father of Louis F. Sockalexix, baseball player with Cleveland Spiders 1897-1899. CONDITION: All show use wear. 9-96694 (700-900) – Lot 1423

NATIVE AMERICAN PAINT DECORATED BASKET.

Circa late 19th century, New England. Ash and maple. Original paint. Tapered round body, wrapped rim, carved and notched handles with elongated, tapered tails. Dark nutty patina with yellow, red and blue bands (the blue faded to black). SIZE: 14″ dia. 7″ t. CONDITION: Good untouched condition, few minor splint breaks/losses on bottom, few chipped losses on side. 9-96624 (400-700) – Lot 1424

RECTANGULAR PAINTED GATHERING BASKET.

Circa late 19th century, New England. Ash, old, dry, crusty paint. Shallow rectangular body with open weave bottom, double wrapped rim and tall semi-circular carved handle. The handle in original dry, crazed Windsor Green paint. The basket in dry old white paint over the original green. SIZE: 18″ x 13″ x 11″. CONDITION: Very good, untouched condition, very nice patina with age appropriate paint wear, no breaks or losses to splint. 9-96625 (500-800) – Lot 1425

LARGE WOVEN CHIMAYO STYLE BLANKET.

The multi-colored striped blanked having large indigo blue widest stripes, colors of ivory, green, red, pink, yellow, black and blue elsewhere with stitched number in corner “147” and red wool tasseled ends. Circa 1920’s, probably New Mexico or border area. SIZE: 55″ x 100″ CONDITION: Generally very good, only slight small spot stains. 9-96856 (500-700) – Lot 1426

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

TWO ESKIMO STONE CARVINGS.

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

MAN WITH DOG WEATHERVANE.

Late 20th to 21st century, American. Sheet iron, polychrome painted surfaces. Depicted man with long tailed coat and top hat, holding a cane, being led by a retriever dog. Sheet iron with riveted forge, flattened iron rod braces. SIZE: 24″ t. 35″ l. CONDITION: Very good. 9-96414 (800-1,200) – Lot 1428

BLACKSMITH WEATHERVANE.

Late 19th early 20th century, CT. Iron, rare heavy gauge sheet iron and forged iron, depicting a blacksmith at his anvil, a hammer in one hand, the other holding tongs, gripping piece of iron with curled end. Flattened 1/2 round form forged figure, the tongs and work piece of full bodied form. Original forged, riveted mounting rod. From a blacksmith’s shop in Sharon, CT. SIZE: 33″ t. CONDITION: Very good untouched condition, age appropriate oxidized surfaces, with several old bullet holes. 9-96406 (1,500-2,500) – Lot 1429

ARROW AND BANNER WEATHERVANE.

Late 19th century, MA. The weathervane of copper and iron, Attrib: Harris, Boston, MA. Fitted with three dimensional arrowhead and embossed leafage tail. Layers of dry, early paint with traces of original gilt and verdigris surfaces. Mounted on museum stand. SIZE: 36″ l. CONDITION: Very good, original surface, untouched condition, small separation. 9-96396 (1,000-1,500) – Lot 1430

ROCHESTER IRON WORKS CAST IRON ROOSTER WEATHERVANE.

Circa mid 19th century, American. Rochester Iron Works Co, Rochester NH. Cast and sheet iron, original surface. Well detailed 2-piece hollow casting with attached sheet iron tail. SIZE: 22″ t. CONDITION: Very good untouched condition, age appropriate oxidized surfaces. 9-96646 (3,000-6,000) – Lot 1431

LARGE SHEET IRON GOLFER SILHOUETTE WEATHERVANE.

Early 20th century. Believed to be by Kenneth Lynch, Connecticut. Well cut and designed example in green paint depicting a golfer and caddy beneath large tree. Offered without stand. SIZE: 33″ h. Approximately 45″ l. CONDITION: Head of golfers club absent, surface with typical and expected rust and corrosion, retains original rod and mounting brackets, otherwise good. 9-96760 (3,000-4,000) – Lot 1432

WHIMSICAL OWL ON BROOM WEATHERVANE.

American. Molded copper with weathered gilt surface. Very similar to one depicted in 1893 J.W. Fiske catalogue. SIZE: Owl 22″ t. Broom length 42″. CONDITION: Very good, with good weathered surface, with traces of original gilding. 9-96219 (4,000-6,000) – Lot 1433