2021 Marine Sale Catalog by Eldred's Auction

THE MARINE SALE AUGUST 19-20, 2021

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THE MARINE SALE August 19-20, 2021 Robert C. Eldred Co., Inc. Headquarters 1483 Route 6A I P.O. Box 796 East Dennis, MA 02641 phone: (508) 385-3116 I fax: (508) 385-7201 MA License #155 Connecticut Office 5 Roosevelt Avenue Mystic, CT 06355 (860) 912-8169

A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 25 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000. We accept checks, cash, money orders, wire transfers and major credit cards for payment. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address.

info@eldreds.com www.e ldre d s.com

Auction

Each session begins at 9:30 a.m. Eastern at our East Dennis Headquarters. Online, phone and absentee bidding available. Limited in-person bidding available.

Bidders holding a Massachusetts or out-of-state resale number must provide the certificate or copy thereof when registering to bid or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in or shipped to Connecticut are subject to 6.35% Connecticut sales tax. Residents of other states may be subject to state and local sales taxes.

Important notices

Exhibit

Wednesday, August 18, from 10 a.m. to 5 p.m., and by appointment.

Absentee and Telephone Bidding

Please use the bid form found at the back of this catalog, visit our website, or phone 508-385-3116 to make arrangements for absentee and telephone bidding.

Online Bidding

This auction will be held simultaneously online at www.eldreds.com. Prospective bidders must register and be approved prior to bidding.

Covid-19 Notice

Terms

As the situation regarding the virus unfolds, we urge you to visit our website, www.eldreds.com, for the most up-to-date information regarding auction dates, times and bidding options.

Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is. All dimensions and weights are approximate. Per Federal and international regulations, items made with whale bone, ivory or other protected species will not be shipped internationally. Items made with these materials and marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state. Firearms marked with an asterisk (*) will only be delivered to holders of a Federal Firearms Dealer’s License.

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Staff Directory Antiques & Fine Art Specialists

Production & Administrative Staff

Joshua F. Eldred CEO and President Head of American and European Paintings jeldred@eldreds.com

Wendy A. Dunford Treasurer wendy@eldreds.com Susan Eastman Client Services seastman@eldreds.com

Mary Ann Giddings Eldred Chairwoman of the Board maeldred@eldreds.com

Devyn Henry Administrative Assistant dhenry@eldreds.com

William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com Eric S. Mulak Vice President Head of Sporting Antiques, Folk Art & Collectibles Consignment Manager eric@eldreds.com

Katie Lingoes Shipping klingoes@eldreds.com

Duncan H. Gray Head of General Merchandise dgray@eldreds.com

Rachel Martin Assistant Head of Photography rmartin@eldreds.com

Leah S. Kingman Head of European Decorative Arts lkingman@eldreds.com

Angela R. McParland Executive Assistant amcparland@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Madison Morris Head of Photography mmorris@eldreds.com

Anne G. Lajoie Head of Asian Arts annie@eldreds.com

Kathleen Morse Auction Coordinator kmorse@eldreds.com

Gregg Dietrich Senior Consultant and Specialist

Megan Nichols Shipping Coordinator mnichols@eldreds.com Cheryl Stewart Head of Marketing Catalog Layout and Design cheryl@eldreds.com

Jennifer Lacker Mystic Representative Mary M. Kuhrtz, Barbara H. Cleary and Christine Leofanti Gallery Assistants

Sarah Eldred Taylor Vice President of Human Resources sarah@eldreds.com

Kino Gray and Al Gray Shipping and Inventory Assistants

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Nora Ingram Administrative Assistant ningram@eldreds.com

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Would it surprise you to find out sea shanties became trendy in 2021? Songs nearly 200 years old went viral on TikTok, a social media platform, and one even cracked the U.K. Top 40 at the height of the pandemic. Their catchy lyrics, easy to learn and intended to be sung by a group, were appealing for their energy, optimism and sense of community, at a time when those things were lacking, and because they capture the romance we all have with the sea. “We are tied to the ocean,” President Kennedy famously said at the 1962 America’s Cup dinner in Newport. That year’s race saw the New York Yacht Club’s Weatherly defeat Gretel of the Royal Sydney Yacht Club, the first America’s Cup challenger not from the United Kingdom or Canada. (Just a few months ago, the 36th America’s Cup was raced between syndicates from New Zealand and Italy in yachts that look strikingly different than the 12-meters of the Kennedy era.) Kennedy’s quote resonates because the sea provides something for all of us: inspiration in its beauty and treasure in its depths, the siren call to explore its uncharted waters and the drive to harness its relentless power, respite in its boundless isolation and energy in the community of singing a shanty or crewing a vessel. The many varied lots presented here represent how closely we are tied to the ocean. In them, we hope you find something that captures your imagination and furthers your romance with the sea. On behalf of everyone at Eldred’s, thank you for your interest in this year’s Marine Sale. We look forward to seeing you at the auction. Cheryl Stewart Eldred’s

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Properties From

The Collection of Ian R. MacKenzie The Collection of Michael Gill The Kelton Collection of Marine Art & Artifacts The India House, New York Private Collection, New York Private Collection, St. Louis Private Collection, Maine Private Collection, Connecticut Private Collection, Massachusetts Private Collection, New Jersey Private Collection, California Rhode Island Private Collection And Numerous Other Estates and Collections

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Index Index of Artists Page 6-7 Session I Lots 1-293 Session II Lots 501-815 Bidder Information Page 290 Conditions of Sale Page 291 New Buyer Registration Page 292 Absentee and Phone Bid Form Page 293 Illustrations Page 296

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Index of Artists ADAM I, EDOUARD ALLERSTON, JOHN TAYLOR ARGUIMBAU, PETER LAYNE BAKER, ELISHA TAYLOR (attr.) BALDWIN, WILLIAM BALLINGER, HARRY RUSSELL BENSON, JOHN P. BENTHAM-DINSDALE, JOHN BERNATH, SANDOR BRADFORD, WILLIAM BRENTON, SIR JAHEEL BRISCOE, FRANKLIN DULLIN BURNS, MILTON JAMES BUTTERSWORTH, JAMES EDWARD BUTTERSWORTH, THOMAS CHARMAN, RODNEY CHENG, DAVID CLARK, WILLIAM (attr.) COOLE, BRIAN CORNÈ, MICHELE FELICE (attr.) COZZENS, FREDERIC SCHILLER CROSS, ROY CUNNELLY, JOHN DAVIS, WILLIAM R. DE SIMONE, ANTONIO DESOUTTER, ROGER DODD, LOUIS DUCEY, BERT DUTTON, T.G. (after)

705 289 662, 663 561 224 790 614 236 664 526-528 244 522 697 630-633 502 538, 539 540 600 582, 583, 717 270, 271 720-725 648 515 805-807 613 757 211 237 513

EDDY, ALAN J. 671 EDGAR, WILLIAM 619 ETOKA, WALTER 222 EWEN, JR., WILLIAM H. 715 FEDI, GIUSEPPE (attr.) 277, 598 FISCHER, ANTON OTTO 586 FOLEY, MARCUS 171 FONDO (FUNNO), NICOLA 612 FOWLES, ARTHUR WELLINGTON 639 GALLARD-LEPINAY, PAUL CHARLES EMMANUEL 520 GRANBERG, CARL JOHAN 707 HAMILTON, JAMES 521 HAMPTON, BLAKE 179 HATHAWAY, GEORGE M. 788 HILL, JOHN WILLIAM (after) 729 HOPF, JOHN T. 655 HORTER, CHARLES D. (attr.) 575 HOWES, JEROME 813-815 HOYNE, THOMAS 680 HUNT, JOE 811-812 JACOBSEN, ANTONIO NICOLO GASPARO 634-638 JEWETT, FREDERICK 518 JOHNSON, MARSHALL 574 JOHNSTON, W.S. 730 KENNEY, CHARLES "FRAN" 585 LORMIER, EDOUARD 547 LOUD, RICHARD K. 659, 661 LUNDGREN, CHARLES J. 668 MASON, BARRY 584

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Index of Artists MAYS, JR., LEWIS VICTOR McAULIFFE, JAMES J. McGURL, JOSEPH McMINN, WILLIAM KIMMINS MEADOWS, JAMES W. MEARS, GEORGE MELBYE, ANTON MORAN, SANDY MULLER, WILLIAM G. NEMETHY FAMILY OF PAINTERS O'BRIEN, PATRICK OLSON, A.F. OUDES, ADMIRAL M. PARSONS, CHARLES (after) PEARCE, LEONARD JOHN PICAULT, AFTER EMILE LOUIS PINEDA, JOSE RECKHARD, GARDNER ARNOLD ROUX I, ANTOINE (ANGE-JOSEPH) ROUX, ANTOINE (attr.) SALMON, ROBERT SCOTT, JOHN (attr.) SHEPPARD, WARREN SIMONEAU, EVERETT SKILLETT, STEPHAN D. SMITH, JOSEPH B. SMITH, XANTHUS RUSSELL SPENCER, RICHARD BALL STOBART, JOHN

580 573 808 523-525 291 618 602 809 716 718 240 750 555 556, 667 640 170 611 587 595, 596 265 505-507 503 617,731 742 609 627-629 562 504 209

STOKES, STAN STUBBS, WILLIAM PIERCE STUBER, DEDRICK BRANDES TAYLOR, CHARLES THIMGAN, DAVID THOMPSON, TIMOTHY TRONIER, CHRISTIAN CARL TUDGAY, FREDERICK J. TUDGAY, FREDERICK J. (attr.) VALENKAMPH, THEODORE VICTOR CARL VAN DER STOOP, WILLEM (attr.) VAN EMMERIK, GOVERT VOORHEES, JR., CLARK G. WALTERS, SAMUEL WEMP, JACK RICHARD WETHERBY, ISAAC (attr.) WHITCOMBE, THOMAS (attr.) WILKINSON, NORMAN WILLIS, THOMAS WRIGHT, RICHARD (attr.) YORKE, WILLIAM GAY YORKE, WILLIAM GAY AND MARY E. YORKE, WILLIAM HOWARD YOUQUA

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225,226 563 572 610 579 642 601 615 616 719 501 290 215, 216 508 669 257 238 ,594 292, 293 641 593 604 605 606-608 532

Session I Thursday, August 19, at 9:30 a.m. Lots 1-293 Scrimshaw and Whaling Lots 1-226 The Collection of Ian R. MacKenzie Lots 44-71 The Collection of Michael Gill Lots 110-147 Prisoner-of-War Lots 227-235 Also Paintings, Models, Instruments and More

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POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING A LADY Mid-19th Century Obverse depicts an attractive lady standing below the bough of a weeping willow. She is wearing a large feathered hat, a double-strand bead necklace, a patterned dress and heeled shoes. Reverse depicts an American flag variant on a flagpole flanked by slender trees and a flowering plant. Red, blue and green elements throughout. Length 6.75”. 800/1,200

1, obverse and reverse

SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF NAPOLEON Mid-19th Century Finely shaded and detailed bust portrait of Napoleon in uniform. Subtle floral and foliate surround arches toward a laurel leaf crown. Length 5.75”. 1,000/1,500

SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF A LADY Mid-19th Century Half-length portrait of an attractive curly-haired lady resting her arms on a windowsill, framed within a tessellated and daisy arch and with a checkerboard panel at base. She is wearing a beribboned hat, a beaded necklace and a striped puffy-sleeve dress. Mounted on a wooden stand. Total height 6.5”. 800/1,200

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PAIR OF POLYCHROME SCRIMSHAW WALRUS TUSKS WITH PATRIOTIC MOTIFS Mid-19th Century Left tusk depicts two slender flower stems, a sailor standing by an anchor, and Lady Liberty by the shore, holding a flag and a shield, with an eagle at her side and a cannon and a ship in the distance. Right tusk depicts identical flowers, a spread-wing eagle with banner, shield, arrows and crossed American flags, and a woman on the back of a rearing horse. Geometric borders below four of the images. Pierced at tips. Lengths approx. 21”. 1,200/1,500

* PAIR OF UNENGRAVED WALRUS TUSKS Lengths approx. 22”.* Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 500/800

4, pair

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POLYCHROME SCRIMSHAW WHALE’S TOOTH Mid-19th Century Obverse depicts a three-masted vessel flying colorful flags and pennants, including a blue, white and red striped flag from the foremast, a long red and blue pennant, an “A” burgee from the mainmast, a U.S. jack from the mizzenmast, and a bold American flag off the stern. Portholes or gunports colored red. Reverse depicts a spouting, open-mouthed sperm whale. Traces of a vine and double line border encircles base. Length 4.25”. 2,000/3,000

6, obverse and reverse

POLYCHROME SCRIMSHAW WHALE’S TOOTH 19th Century Obverse depicts a bust portrait of a woman wearing a headpiece, a pendant necklace and a patterned dress. Reverse depicts a cross wrapped in a foliate vine. Length 4.25”. 800/1,200

7, obverse and reverse

SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF A LADY HOLDING A BIRD Mid-19th Century Full-length portrait of an elaborately coiffed lady wearing a puffy-sleeved ankle-length dress and holding a fan or purse in her left hand. A small bird is perched on a finger of her right hand. Portrait contained within a geometric frame. Length 5.25”. 700/1,000

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WHALEBONE SWIFT 19th Century Turned yarn cup with a medial band of a carved quilted diamond pattern highlighted by metal pins. Adjustment knobs and screw and the barrel-form clamp formed as tiers of disks, some with the same quilted diamond pattern. One side of clamp with two bands of alternating silvered metal and shell panels. Shaft carved in the same quilted diamond pattern. Length 16.25”. Cage diameter approx. 24”. 500/700

10.

11.

SMALL NANTUCKET BASKET WITH WHALEBONE COMPONENTS 19th Century Oval woven basket with whalebone swing handle, ears and base plate. Height to rim 2.5”. Length 4.5”. 1,000/1,500

WHALEBONE FID WITH SCRIMSHAW DECORATION Mid-19th Century Depicts three different sailing vessels. Geometric border at lower edge. Length 9.25”. 1,000/1,500

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12.

TWO WHALEBONE SEAM RUBBERS 19th Century Lengths 12.5” and 15”.

14. 500/800

Provenance: Barbara Johnson Whaling Collection. Rafael Osona Auctions, Nantucket, Massachusetts.

13.

TWO WHALEBONE CAULKING TOOLS 19th Century One entirely made from whalebone. Other a reaming iron with turned whalebone handle incised with initials “H.P.” and concentric rings. Lengths 5.5” and 6.5”. 500/800 Provenance: Barbara Johnson Whaling Collection. Rafael Osona Auctions, Nantucket, Massachusetts.

THREE WHALEBONE FIDS Mid-19th Century Two with incised lines at end. All three pierced for hanging loop. Nice patina. Lengths from 11.75” to 14.25”. 2,000/3,000

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15.

EXOTIC WOOD SEAM RUBBER Dated 1868 Beautifully grained golden hardwood. Faceted knop, the top stamped “1868” with one number on each face. Blade stamped “RW” on two sides and reliefcarved with an anchor on a third side. Length 4.5”. 600/1,000 Provenance: Purchased from Justin Cobb, 1995. A Rhode Island Private Collection.

16.

WHALEBONE FID 19th Century Incised decorative line banding at top. Pinprick initials “BDK”. Strung with a ropework wrist cord. Length 6.75”. 500/700 Provenance: Purchased in Kennebunkport, Maine, 1993. A Rhode Island Private Collection.

17.

BOXED SET OF TWENTY-EIGHT EBONY AND IVORY DOMINOES 19th Century Ivory faces secured with brass pins. Original dovetailed wooden box with sliding lid. Pencil inscriptions on underside of box, including names and date “July 25, 1897”. Box height 2”. Length 7”. 500/1,000 Provenance: Purchased in Portsmouth, New Hampshire, 1988. A Rhode Island Private Collection.

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18.

WHALE IVORY BUTTER STAMP 19th Century Single-piece construction. Balusterform handle. Stamp impresses a piecrust border surrounding a sixpetal flowerhead studded with dots. Height 1.75”. 1,000/1,500 Provenance: Purchased in a Tennessee antique shop, 1994. A Rhode Island Private Collection.

19.

TURNED WHALE IVORY WHALING LOGBOOK WHALE STAMP 19th Century Top of handle with pinpoint outline of a whale. Stem with “Sperm” in pinpoint lettering. Stamps an image of a compressed sperm whale with an open circle in the center for labeling the number of barrels taken. Length 1.75”. 2,000/3,000

20.

WHALE IVORY PIPE TAMP OR DOCUMENT SEAL 19th Century Beautifully turned knop and stem. Brass end. Length 2”. 300/500 Provenance: Purchased in Kennebunkport, Maine, 1993. A Rhode Island Private Collection.

Provenance: Purchased in New Bedford, Massachusetts, 1990. A Rhode Island Private Collection. Note: Similar examples have come to market since 1995, one for a right whale and marked for the ship “Echo” and one marked for the “Eliza Adams”, Fairhaven, 1842.

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scrimshaw associated with

Wh al i ng Ma ste r C ha rle s Lit tle

According to Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 163-164, Charles Little was born in Westport, Massachusetts, in 1816 and was a master aboard whaling voyages sailing out of New Bedford. These three pieces are associated with him, though it is unclear whether he made them himself or he brought them home with him from one of his voyages. His wife Cynthia, probably the recipient of the pieces, accompanied him on at least one of the voyages he captained, aboard the vessel Congress from 1846 to 1848, or the Emma C. Jones from 1849 to 1853. The pieces descended to their eldest son George, and family history has relayed the provenance since then.

21.

EXCEPTIONAL INLAID AND IVORY-HANDLED ROLLING PIN 19th Century Wooden roller with contrasting wood and mother-of-pearl inlay in a harlequin pattern. Turned whale ivory handles with contrasting banding and spacers, possibly baleen. Metal mounts. Length 16”. 3,500/5,000

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22.

WOODEN CUTLERY BOX WITH WHALEBONE INLAY Mid-19th Century All four sides with inlaid whalebone diamonds. Inlaid whalebone plaque above handle engraved “C. Little”. Dovetail construction. Height 6.75”. Length 14.25”. 3,000/4,000

23.

WHALE IVORY PIE CRIMPER 19th Century Wheel yoke carved as an eagle’s head terminating in two opposing hearts. Eagle’s eye serves as the metal axle for the fluted wheel. Pistol grip-style handle with chamfered edge and two medial baleen bands. Length 7”. 1,500/2,500

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24.

OUTSTANDING AND RARE INLAID WHALE IVORY AND WOOD SEWING STAND Mid-19th Century Octagonal four-drawer base surmounted by two octagonal wooden platforms supported by turned whale ivory columns. Upper tier with four thread spindles and the lower tier with eight. Turned whale ivory cup at top, probably for a pincushion. Turned whale ivory components, including the cup, spindles, columns, drawer pulls and turned feet, with red and blue incised banding. Platforms and top of base with sunburst design in alternating woods. Perimeter moldings in alternating woods studded with metal pique. Base’s drawers and panels with matching abalone and ivory inlay in a flower petal and concentric circle design. Ivory trim at each corner of base. Height 11.5”. Length 9”. 9,000/12,000

25.

CASED ALPHABET SET Second Half of the 19th Century Complete set of whalebone tiles, with six tiles for each letter and additional vowel tiles and blanks. Tiles with scrimshaw uppercase letters on one face and lowercase letters on other face. Grained hardwood case. Interior of case with engraved panels to identify compartments for each letter. Case 5.5” x 8”. Tiles .75” x .5”. 1,000/1,500 Provenance: Paul Madden Antiques, Sandwich, Massachusetts, 1991. Private Collection, Falmouth, Massachusetts.

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26.

RARE WHALE IVORY AND BALEEN-BANDED UNICORN PIE CRIMPER Mid-19th Century Desirable example. Full-bodied galloping unicorn with pointy ears, inlaid baleen eyes, curled tail and two horns that serve as a crimping fork. Front legs support a fluted wheel. Fine, deep patina. Length 7”. 12,000/15,000 Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts, February 1, 2000. The Folk Art & Americana Collection of Carl and Sonia Schmitt. Note: Similar examples appear in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 182-183.

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27.

IVORY PIE CRIMPER WITH PIERCED STAR DESIGN Mid-19th Century Whale or walrus ivory. Beautifully carved handle, open at the center, pierced with five-pointed stars within a circle. Swing hanging loop at one end of handle. Opposite end with a scrolled wheel support and an openwork wheel with serrated edge and central fylfot. Length 5.25”. 2,500/3,500

28.

SAILOR-MADE WHALE IVORY NANTUCKET PIE CRIMPER WITH PIERCED HEART AND OTHER DESIGNS Mid-19th Century Shield-shaped tail with a pierced design of a column of diamonds flanked by columns of hearts and circles, and an incised border around the perimeter. Shaft constructed of twin pierced panels in a similar design of a column of hearts surrounded by circles. Architectural carving at base of shaft near wheel mount. Delicately fluted wheel. Deep patina. Length 6.5”. 2,000/2,500

Note: Crimpers with similar piercings and construction are illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Conn.: N. Flayderman & Co., 1971), p. 178, Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine with the New Bedford Whaling Museum, 2012), p. 195, and A Mariner’s Fancy: The Whaleman’s Art of Scrimshaw by Nina Hellman and Norman Brouwer (N.Y.: South Street Seaport with Balsam Press, et al, 1992), p. 58.

29.

CARVED AND PIERCED WHALEBONE PIE CRIMPER Second Quarter of the 19th Century Tapered handle with filigree carvings along the perimeter and a column of pierced diamonds, heart and circles down the length. On one side of handle the pierced shapes have pique borders of stippling and contrasting inlay, probably baleen. Fluted wheel, possibly whale or walrus ivory. Length 7.25”. 2,500/3,500 Provenance: The Thomas Mittler Scrimshaw Collection. Illustrated: Through the Eyes of a Collector by Nina Hellman (2015), fig. 126. Note: A similar example, possibly by the same hand, is illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 178.

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30.

WHALEBONE AND IVORY THREAD STAND Mid-19th Century Three octagonal whalebone platforms are supported by a central wooden dowel and whale ivory balusters and are raised on three ivory legs. Upper tier with four thread spindles and lower tier with eight. Elegant flower-form whale ivory cup at top, probably for a pincushion, with scalloped rim and incised banding. Retains multiple spools of old thread. Height 8”. 4,000/6,000

31.

CARVED WHALEBONE KNITTING BASKET Mid-19th Century Swing handle and crossing staves with delicate pierced designs. Tops of staves with decorative carving and pierced hearts. Mahogany base plate. Height with handle raised 7”. Diameter 7”. 8,000/12,000 Note: A basket with similar pierced design but without handle, probably by the same hand, is illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 228.

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32, obverse and reverse

32.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH TWO COASTLINE SCENES Mid-19th Century Vibrantly colored scenes wrap around the circumference of the tooth. Upper scene depicts a large American three-masted ship, a port with palm trees and buildings, one of which is flying an American flag, a smaller two-masted vessel, and a port with buildings and a lighthouse. Above the three-masted ship is a scalloped arch and a flock of birds. Above the two-masted ship is an American eagle with banner, shield, olive branches and arrows. Lower scene depicts an American-flagged three-masted sailing ship, a lighthouse, a palm tree, a smaller sailing vessel and a large waterfront building flying an unidentified flag, possibly of the Kingdom of Hawaii. Length 4.75”. 4,000/6,000 Provenance: The Kobacker Scrimshaw Collection.

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33, obverse, edge and reverse

33.

SCRIMSHAW WHALE’S TOOTH “PREPEAR TO MEET THY GOD” Dated 1868 Obverse depicts a couple in formal dress. The man is wearing a stovepipe hat and holding a cane, and the woman is wearing a bonnet and a long striped dress. The couple is surrounded by a dove, signifying peace, a flowering plant, signifying prosperity, and an unusual array of five sailing vessels. Reverse depicts a three-masted vessel heading out of port, flying assorted flags and pennants. On the coastline are two trees, a house, and two figures seeing off the ship, one holding a large flag. Numerous birds in flight surround ship. One edge with “PrePear to Meet Thy God” within a swag border. Other edge with a “C”, a Maltese cross and a “C” above “G 1868”. Initials and date flanked by three entwined fish, signifying the Holy Trinity, a mustard seed plant, signifying faith, and palm branches, signifying regality. Unique geometric composition, many elements deeply engraved. Length 5.25”. 2,000/3,000 Provenance: The Kobacker Scrimshaw Collection.

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34.

VERY FINE POLYCHROME SCRIMSHAW WHALEBONE BUSK Mid-19th Century A red geometric band separates two vignettes: a whaling scene and a patriotic spread-wing eagle. The whaling scene depicts a whaleship and a six-man whaleboat harpooning a surfaced whale that is spouting red. The eagle clasps a “Pluribus Unum” banner in its beak, has a red-striped American shield at its breast, and clutches flagpoles flying a red-striped American flag and a U.S. jack in its talons. Both vignettes with a quarter-sun design at each corner. Red line borders at both ends of busk. One end is lobed. Length 11.25”. 6,000/8,000

35.

POLYCHROME SCRIMSHAW WHALEBONE BUSK 19th Century Depicts two intersecting hearts, a quarter fan design, a tree, “AWS”, two phases of the moon, three stars, a hot air balloon with American flags, a lighthouse flanked by a tree and the keeper’s house, and a small branch. Some images separated by barber’s pole and crosshatch borders. Intersecting half-circle border along perimeter. Executed in shades of red and blue. Lobed and curved ends. Length 12.25”. 3,000/4,000 Provenance: The Howland Scrimshaw Collection.

36.

DOUBLE-SIDED SCRIMSHAW WHALEBONE BUSK Mid-19th Century Intricately and elegantly rendered. Obverse depicts a coastal scene of trees, two stately buildings, a starboard view of a three-masted vessel flying pennants from each mast and a large American flag off the stern, a port view of a similar three-masted vessel, a stern view of a vessel flying a long pennant, a smaller two-masted vessel flying a long pennant, a lighthouse, and a building, possibly a tavern, with a signpost and a fence. Initialed “R.B.” above lighthouse. Reverse with eight images: a heart containing arrows and geometric and foliate designs, a ruffled circle containing a five-pointed star within a larger five-pointed star, a potted plant, a cartouche containing “RB”, intersecting hearts containing arrows and fan designs, an overlapping circle and leaf pattern, a fylfot, and a half fan design. Images are separated by assorted geometric borders and some are accented with quarter fan or foliate designs. Curved ends. Length 13.75”. 3,000/4,000 Note: This busk, particularly the designs on the reverse, bears a strong resemblance to a baleen example from a Long Island Collection, sold at Eldred’s, The Fall Marine Sale, November 21, 2019, Lot #143, and are possibly by the same hand.

36, detail

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36, reverse

36, obverse

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37.

FINELY CARVED WHALE IVORY AND WHALEBONE CANE WITH EAGLE’S HEAD HANDLE 19th Century Whale ivory L-shaped handle, the end carved and engraved as an eagle’s head, with a slightly open beak, lively eyes and rows of feathers. Eagle terminates in incised banding, one band engraved with a four-petal clover design. Whalebone shaft with two sections of spiral carvings above a tapered cylinder. The upper spiral carving is narrow and runs counterclockwise, while the lower section is wider and runs clockwise. Both sections with ink highlights to accentuate the spirals. Length 30”. 3,000/5,000

38.

WALKING STICK WITH WHALE OR WALRUS IVORY CLENCHED FIST HANDLE 19th Century Clenched right hand and wrist, nicely detailed with fingernails and lines on the palm. Elongated two-part ivory throat with ebonized wood spacers. Ebonized wood shaft with metal ferrule. Wonderful patina and pearling of ivory components. Length 36”. 2,000/3,000

39.

CANE WITH CARVED WALRUS IVORY POLAR BEAR HANDLE 19th Century Polar bear with elongated neck, bent over at the waist, forming an L-shaped handle, and detailed with inset wooden eyes, and carved snout, mouth, ears, paws and textured fur. Ebony and walrus ivory banded throat. Fruitwood shaft with whalebone ferrule. Length 36.25”. 800/1,200

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40.

LARGE WHALEBONE SEAM RUBBER 19th Century Knob handle and barrel-form shaft with incised concentric banding. Subtle bull’seye pattern on top of handle. Nice patina. Length 5.5”. 700/900

41.

TWO WHALEBONE-HANDLED TOOLS 19th Century A chisel, blade marked “[illegible] Brothers Cast Steel”, and a bootjack. Lengths 8.75” and 12”. 500/700 Provenance: The Thomas Mittler Scrimshaw Collection. Illustrated: Through the Eyes of a Collector by Nina Hellman (2015), figs. 189 and 190.

41, two

42.

SAILOR’S WHALEBONE-HANDLED KNIFE WITH SHEATH First Half of the 19th Century Handle with scrimshaw silhouette of a sperm whale. Steel blade. Original leather-covered sheath with tooled geometric and twine decoration. Total length 14”. 700/1,000

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43.

POLYCHROME SCRIMSHAW WHALE’S TOOTH BY EDWARD BURDETT Circa 1829-1833 Inscribed on lower edge “Engraved. by Edward Burdett. of Nantucket. Onboard of The William Tell.” in fine serifed lettering. Obverse titled in the same serifed lettering within a cut-cornered rectangular cartouche “William Tell. Of New-York.”. Depicts a whaling scene of the William Tell cutting in and two whaleboats in the water off the bow, in pursuit of a surfaced whale. Reverse titled in the same manner “Friends. Of NewLondon.”. Depicts a starboard view of the whaleship Friends, flying an American flag off the stern and with three whaleboats on davits, heading toward port. Off the bow is a sloop flying a red pennant and a hilly coastline with a lighthouse and the keeper’s house. A red berry vine wraps almost entirely around the circumference of the base. As typical of Burdett’s work, the scenes exhibit extensive details including a lookout in a mast and two figures on deck of the William Tell, the billowing American flag on the Friends, an arrow weather vane atop the lighthouse and smoke emanating from the house’s chimney. Fine use of red sealing wax in the figures, flags, whale, whale blubber and buildings. Deeply carved ship hulls and sperm whale. Excellent even patina. Length 7.75”. 300,000/400,000

From the inscription, we know the tooth presented here was created while Edward Burdett was onboard the ship William Tell, which left New York in November 1829 and returned to port in February 1833. The William Tell probably encountered the Friends during either her 1827-1830 or 1830-1834 whaling voyages. The ship Friends is depicted on at least three other Burdett teeth, one that was part of the Kendall Whaling Museum Collection, one in the Mystic Seaport collection and the third presented later in this auction. Edward Burdett was a pioneer of American scrimshaw, and in his short but prolific career he produced what are widely considered masterpieces of the genre. He was born on Nantucket in October 1805, the son of a merchant sea captain. His first whaling voyage was aboard the Foster from 1822 to 1824. In successive voyages he sailed aboard the William Tell and the Montano. In November 1833, while serving as first mate onboard the Montano, Burdett w as entangled in line, dragged by a whale overboard, and drowned.

Provenance: A Private Massachusetts Collection, descended in the family for more than 70 years.

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the collection of

Ian R. MacKe n zie

Ian Roderick MacKenzie, who grew up in Palm Beach and worked on Wall Street, is said to have been happiest on Nantucket. During college breaks he worked at Bosun’s Locker, the beloved local watering hole, where his summer earnings exceeded his starting salary at Goldman Sachs. He faithfully returned to the island with his family, eventually purchasing a house on India Street. He and his wife Carolyn delighted in collecting marine antiques from around the world but particularly Nantucket-related scrimshaw and other items pertaining to the island. His carefully curated collection reflects his passion for the island, its history and its people. Ian generously gave back to the community he loved, serving for many years as a trustee of the Nantucket Conservation Foundation and maintaining memberships in several historic, preservation and social organizations on the island. He passed away from cancer in September 2020 and is buried on Nantucket. His rare wit and jolly nature is missed by all who knew him.

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44.

MACY WROUGHT IRON TOGGLE HARPOON ON WOODEN POLE Mid-19th Century Stamped on toggle “Macy”. Attached manila rope. Harpoon length 32.5”. Total length 98”. 1,500/2,000

45.

WROUGHT IRON ARCTIC DOUBLE FLUE HARPOON ON WOODEN POLE Mid-19th Century Attached manila rope. Harpoon length 33”. Total length 110.5”. 3,000/4,000

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46.

WHALEBONE MODEL OF A WHALEBOAT 19th Century Wooden hull planked in bone. Length 14.25”. Includes stand. 2,000/3,000

47.

WHALEBONE AND EBONY WATER CASK WITH SCRIMSHAW DECORATION Mid-19th Century Constructed of alternating bone and ivory staves, bone heads and copper hoops. Ebony bung hole plug. One bone stave engraved with a small port-view portrait of a vessel at sea. Length 6.75”. Includes stand. 1,200/1,800

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T H E CO L L E C T I O N O F I A N R . M A C K E N Z I E

48.

OVAL RETICULATED PANBONE WORK BASKET Mid-19th Century Sides with a band of encircled six-pointed stars above a diamond pattern. Pine base. Replacement swing handle, probably from the Late 19th Century. Basket height 3.5”. Total height with handle raised 9”. Length 9.75”. Width 7”. 4,000/6,000

49.

CUTLERY BOX WITH WHALEBONE EMBELLISHMENTS Mid-19th Century In beautifully figured walnut. Voluted handle with whalebonetrimmed edges, whalebone line inlay along perimeter, and inlaid whalebone and baleen five-pointed stars. Canted box with contrasting figured wood sawtooth inlay along edges. Stepped rectangular base with whalebone trim and burled wood veneer. Height 8.5”. Length 14”. Width 6.75”. 5,000/8,000

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50.

INLAID MAHOGANY BOX 19th Century Bone panels along edges of hinged lid and base. Top of lid inlaid with bone and ivory quarter-moons at corners and a compass rose at center surrounded by four diamonds. Front of lid inlaid with three bone or ivory five-pointed stars. Rectangular bone escutcheon with pierced heart/shield. Interior fitted with a compartmented lift-out tray. Height 6.75”. Width 16”. Depth 9.25”. 3,000/5,000

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T H E CO L L E C T I O N O F I A N R . M A C K E N Z I E

51.

POLYCHROME SCRIMSHAW WHALEBONE DITTY BOX DEPICTING ALWILDA Mid-19th Century A rare example made entirely of panbone, the only known example of a scrimshaw ditty box depicting Alwilda, the female pirate. Top of lid with an exceptionally fine portrait of Alwilda, an image probably sourced from The Pirates Own Book ... by Charles Ellms. She stands on a checkered floor, holding aloft her sword with her right arm, resting her left hand on her hip, and wearing a dagger tucked behind her sash. Vine and scalloped border along perimeter. The sash, the cuffs of her jacket and the scalloped border are colored red. Lid’s lip with a band of alternating shaded and concentric diamonds and the base with a sawtooth band above feathered diamonds and geometric garlands, all evocative of American Plains Indian designs. Lip joined with two carved and pinned fingers and the base with five. Height 2.75”. Length 7”. Width 5”. 12,000/15,000 Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts.

51, above and below

Illustrated: To be included in Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis, Mass.: Alan Granby, fall 2021), Chapter 12 -- Boxes, plates 12.17a and 12.17b. The book will accompany a fourmonth scrimshaw exhibit to be held at the Cahoon Museum of American Art in Cotuit, Massachusetts. Note: Several pieces of scrimshaw depicting Alwilda are in museum collections, are illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 76-77, and Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), p. 110, and have come to market in recent years, showing the popularity of the motif with scrimshanders.

According to legend, Alwilda, or Awilda, was the daughter of a 5th Century Scandinavian king, and she turned to piracy to escape an arranged marriage to the crown prince of Denmark. Later the prince was sent to quell the pirates and was able to board Alwilda’s ship and win the battle. She was so impressed by his bravery, she revealed her true identity and agreed to marry him.

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52.

SCRIMSHAW WHALEBONE BUSK WITH WHALING SCENE Mid-19th Century Active whaling scene of a whaleship, a large pod of whales, and four six-man whaleboats, one of which has been stoved. Figures visible on deck of the whaleship, in action in the whaleboats, and tossed in the air and floating in the water around the stoved boat. Scene is framed within husk garlands and flanked by a sprig of forget-me-nots and a music-themed emblem of a lyre and a baton backed by foliate boughs. Length 15.25”. Includes stand. 2,000/3,000

53.

POLYCHROME SCRIMSHAW WHALEBONE BUSK Mid-19th Century Depicts six finely detailed vignettes, one of a farmer beneath a towering tree in a flower meadow, one of a large bird perched on a tropical branch, one of a rosebud, one of a ship flying a British flag off the stern and an ensign off the mainmast, one of a couple approaching a stone house surrounded by trees, and one of two figures in a small boat sailing around tropical islands. Foliage throughout all scenes is finely stippled, providing texture and dimension. Vignettes separated by thin double line borders. Shaded diamond bands along edges. Both ends of busk are curved. Length 13.25”. 1,500/2,000

54.

WHALEBONE BUSK WITH SILVERED METAL DECORATION Mid-19th Century Top of busk carved with central heart and square corners. Heart is further formed by an engraved and studded perimeter. Similarly engraved and studded diamond at center and line borders along the edges. Five larger rivet-like studs surround a plaque engraved “C M”. Deeply carved crescent near bottom of busk. Bottom of busk is carved in a curve. Marked on back in white “NH30A”, indicating the piece was from the collection of Meylert Armstrong of Greenwich, Connecticut and New Hope, Pennsylvania, and then part of the E. Norman Flayderman collection. Length 14”. 2,000/3,000 Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 163. Flayderman describes it as an “unusual specimen”.

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T H E CO L L E C T I O N O F I A N R . M A C K E N Z I E

55, obverse, edge and reverse

55.

POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO MOSES DENNING, KNOWN AS “THE STARK TOOTH” First Half of the 19th Century Obverse depicts a whaling scene of a whaleship, three six-man whaleboats, one of which has been stoved by a sperm whale, a flock of birds, and a waif flag in the water. Whaleship with finely rendered rigging and sails with distinct reef points. Whimsical depiction of the water, which is shaped loosely as a sperm whale but terminating in a spiral at both ends. Reverse depicts a ship off a coastal lighthouse. The ship, which has the same finely rendered rigging and sails as the one on the obverse, is flying a large American flag off the stern, a long red pennant from the mainmast, and a smaller pennant from the foremast. Stippled and crosshatched composition of the water, which also terminates in spirals. Tip encircled by a harlequin band, above which is an anchor and a looping length of rope. Harlequin and shaded bands encircle base. Length 8”. Includes stand. Accompanied by a copy of a letter from Kristina Barbara Johnson, in which she describes the tooth as a favorite from her collection, which is why it was not offered for sale in the Sotheby’s auctions in the early 1980s. The letter also relays

how she purchased the tooth from Leon Stark, how she used it in lectures, on television programs and in museum exhibitions, and how she believes it to be an early example, circa 1820s. A copy of a Certificate of Authenticity signed by Johnson is also included, as is a copy of a 1998 Scrimshaw Examination Report by the Kendall Whaling Museum. In the cover letter included with the Kendall report, Stuart M. Frank, Ph.D., Director, describes it as “quite an excellent piece of authentic, antique whalemen’s scrimshaw -- though, in my view, not as early ... as Barbara seems to think it is”. 30,000/50,000 Provenance: Antique dealer Leon Stark of Philadelphia, late 1960s. Barbara Johnson Whaling Collection. Purchased directly from Barbara Johnson by Hyland Granby Antiques, Hyannis Port, Massachusetts, June 30, 1998. Note: This tooth bears several similarities to the Moses Denning tooth seen in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 4.3, including the sails and reef points on the ship, the long pennants, the flock of gulls and the overall sense of whimsy.

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56.

SCRIMSHAW WHALEBONE BUSK BY JOSIAH SHEFFIELD, JR. Circa 1830 Depicts a whaling scene of three ships, decreasing in size from left to right, and two six-man whaleboats in pursuit of a large pod of whales. Each of the ships is flying a long pennant from the mainmast and an American flag from the mizzenmast. The smallest is more definitively a whaleship, with a whaleboat on davits at the stern and a whale drawn up alongside the vessel. One of the whaleboats is fast to a whale and the other’s harpoon has nearly made a strike. The pod of whales is almost playfully arranged, with some whales overlapping each other and others placed at the edges of the busk so they are only partially rendered. Two old typewritten labels affixed to reverse: “Corset-board or ‘stomacher’ of whale bone etched with a sail needle by Mr. Haight’s great uncle, a whaling capt. depicts a typical whaling scene” and “Josiah Sheffield uncle of Henrietta ___ Smith Haight; was captain of a whaler at the age of 19, born in Nantucket; ___ seat at age of 30 and went to Fabius, N.Y. for 17 years then to Makokita, Iowa with his second wife, Mary E. Mason ... he made the whalebone swift, and brought back the paddle, sea shells etc. from the Pacific when on whaling voyages there; was about 70 when he died ...”. One label inscribed in pencil “Ship Timoleon - 1833”. Length 13”. 8,000/12,000 Illustrated: To be included in Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis, Mass.: Alan Granby, fall 2021), Chapter Ten – Busks, plates 10.3a and 10.3b. The book will accompany a four-month scrimshaw exhibit to be held at the Cahoon Museum of American Art in Cotuit, Massachusetts.

According to Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 249-250, Josiah Sheffield, Jr. was born in 1807 on Nantucket to parents who hailed from Rhode Island. It is likely his first whaling voyage was aboard a Nantucket ship, and then he served aboard the New Bedford ship Averick from 1828 to 1831, though he was listed as Jonah Sheffield, rather than Josiah. His third and last whaling voyage, lasting from 1831 to 1835, was on the New Bedford ship Timoleon, during which he is known to have scrimmed the “Timoleon Tooth”, which is part of the New Bedford Whaling Museum Collection, a similar tooth also depicting the Timoleon, and the pair of teeth known as the “Log Teeth” presented in the following lot. Sheffield settled in Fabius, New York, then by 1870 had moved to Maquoketa (Makokita), Iowa. He died there in 1880.

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T H E CO L L E C T I O N O F I A N R . M A C K E N Z I E

56, obverse and reverse

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57.

PAIR OF EXCEPTIONALLY RARE AND HISTORICALLY SIGNIFICANT SCRIMSHAW WHALE’S TEETH BY JOSIAH SHEFFIELD, JR., KNOWN AS THE “LOG TEETH” Circa 1831-1835 The only known examples of authentic scrimshaw that document a whaling voyage in the manner of a log. Engraved aboard the New Bedford whaleship Timoleon during an 18311835 voyage, one signed by Sheffield. Teeth labeled “No. 8” and “No 9” at tips, indicating this pair is most likely part of a larger series chronicling the voyage, with an indeterminate number of other “log teeth” yet to be discovered. “No. 8” tooth engraved in cursive lettering “No. 8 N. West Coast July 29” 1833 Lat. 37 10. N. Lon. 125. 00. W. Took 6 Whales.” above a ship portrait captioned in serifed lettering “Sept 20 1833 Anchored in St Barbara Sept 29 Sail’d for Todos Santos Bay”. Decorative rules and flourishes are interspersed between lines of text, figures are visible on board the ship, and geometric bands line the edges. Signed on reverse “Josiah Shefield [sic] Jr” within an oval border, the lettering surrounding a stylized compass rose. Sheffield spelled incorrectly here is believed to be a “typographical” error. “No 9” tooth engraved in serifed lettering, matching the caption on the “No. 8” tooth, “Oct 3 1833 Anchor’d in Todos Santos “9” Sail’d for Turtle Bay Nov 7 “ Off C. St. Lus. Lat. 22.42 N. Lon 110.08 W. Took 2 Whales 110 bbls” above crossed American flags on arrow-tipped poles set on a stepped plinth. Engraved below in the same serifed lettering “Oct 14 Anchor’d in Turtle Bay. & Cooper’d 1000 bbls, 31 Sail’d for Cape St Lucas”. A stylized compass rose, the same as seen at the center of the signature on the “No. 8” tooth is set between “Took 2 Whales” and “110 bbls”, and some additional rules are interspersed between lines of text. The flags and plinth are very finely rendered. Reverse with a rectangular frame containing a portrait of a figure in a long gown standing and holding a small book or purse.

Illustrated: “Scrimshaw” by Nancy N. Johnston, published in Antiques & Fine Art Magazine, 2006. To be included in Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis, Mass.: Alan Granby, fall 2021), Chapter Three Early Scrimshanders, plates 3.17a, 3.17b and 3.17c. The book will accompany a four-month scrimshaw exhibit to be held at the Cahoon Museum of American Art in Cotuit, Massachusetts. Note: According to Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 249-250, Josiah Sheffield, Jr. produced these teeth on his third and last whaling voyage, from 1831 to 1835, while aboard the New Bedford ship Timoleon. Earlier in the same voyage he produced a larger work, known as the “Timoleon Tooth”, signed “J. Sheffield Jr” and dated June 1833, which has a portrait of the Timoleon, a verse, and lists the captain and officers. It is part of the New Bedford Whaling Museum Collection and is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 3:2a and 3:2b. An unsigned tooth by Sheffield, illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 16, is dated July 3, 1833 and also has a portrait of the Timoleon, lists the mates and documents a capture. This tooth sold at the Richard A. Bourne Company, Hyannis, Massachusetts, May 30, 1990, Lot #56. Interestingly, Sheffield’s Timoleon shipmate John H. Ricketson, also produced a tooth chronicling the voyage, with a table of ports visited and corresponding dates. It is also in the New Bedford Whaling Museum Collection and is illustrated in Ingenious Contrivances, Curiously Carved, fig. 3:3b and in Scrimshaw and Scrimshanders ..., p. 17.

The teeth are believed to come from the same jaw and have a mellow age patina. Accompanied by a January 11, 2006 letter and a copy of a January 12, 2009 letter, both from Stuart M. Frank, Ph.D., Senior Curator, New Bedford Whaling Museum, describing in detail the artistic and historical significance of this pair of teeth. In both letters he remarks about the misspelling of “Sheffield”, an error regarded as “understandable and unimportant, and in no way diminishing the solid attribution”. Also includes clippings and photographs pertaining to Sheffield scrimshaw. Lengths 6” and 6.25”. Includes stands. 80,000/120,000 Provenance: James D. Julia, Fairfield, Maine, January 26, 2006, Lot #437. Catalog notes state the teeth were found in a house in upper New York State on the shore of Lake Ontario. Hyland Granby Antiques, Hyannis Port, Massachusetts.

57, reverses of pair

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T H E CO L L E C T I O N O F I A N R . M A C K E N Z I E

57, pair

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58.

“SUSAN’S TOOTH” SCRIMSHAW WHALE’S TOOTH BY FREDERICK MYRICK Circa 1829 Incorporates standard elements of Myrick “Susan’s Teeth”. Inscribed on edges “The ship Susan of Nantucket March the 24th 1829” and “Death to the living long life to the killers Success to sailors wives & greasy luck to whalers”. Obverse depicts “The Susan on the coast of Japan”, titled in banner above a whaling scene of the whaleship and three whaleboats in pursuit of whales off her bow. To the right above the ship is a foliate arch surrounding a spread-wing eagle grasping an “E. Pluribus Unum” banner in its beak and arrows and laurel leaves in its talons, and with an American shield at its breast. Reverse depicts “The Susan on her homeward bound passage”, titled in banner above a scene of the whaleship in calm seas. Band of Xs encircles the tip, above which is engraved crossed American flags on the obverse and an anchor on the reverse. Foliate vine encircles the base. Length 5.5”. Includes stand.

Included in the Kendall Whaling Museum Monograph Series No. 13 Frederick Myrick of Nantucket Scrimshaw Catalogue Raisonné, compiled by Donald E. Ridley, P.E. (Sharon, Massachusetts: Kendall Whaling Museum, 2000), p. 22, number 29-03-24, and accompanied by a copy of a July 20, 1998 Scrimshaw Certificate of Authenticity issued by the Kendall Whaling Museum, reference no. 98-01, signed by Stuart M. Frank, Ph.D., Director, certifying the piece as a genuine sperm whale tooth and that the work is that of Frederick Myrick. Also includes assorted clippings about “Susan’s Teeth”. 50,000/70,000 Provenance: Sotheby’s, February 1-2, 1985, Lot #523A.

58, obverse, reverse and edges

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T H E CO L L E C T I O N O F I A N R . M A C K E N Z I E

59.

POLYCHROME SCRIMSHAW WHALE’S TOOTH BY EDWARD BURDETT Circa 1830-1833 Signed on edge “Engraved. By. Edward Burdett.”. Obverse titled “Wm. Tell. of. New York. Cutting. Boiling. And Fast to a Whale.” Depicts a whaling scene of the American whaleship William Tell, aboard which Burdett served, and a whaleboat in pursuit of a surfaced whale. Faint “W” in sky above whale. Reverse titled “Friends. Of. New London. Homeward. Bound. Full.”. Depicts the whaleship flying a large American flag off the stern, a long red-striped pennant from the mainmast and a “P O[?]” house flag from the foremast. Another whaleship is visible in the distance. The ship Friends is depicted on at least three other Burdett teeth, one that was part of the Kendall Whaling Museum Collection, one in the Mystic Seaport collection and the third presented earlier in this auction. As typical of Burdett’s work, a vine wraps around the circumference of the base and the ships’ hulls are deeply engraved. The serifed lettering is also the same as on other Burdett examples. Length 6.25”. Includes stand. Accompanied by a copy of a July 20, 1998 Scrimshaw Certificate of Authenticity issued by the Kendall Whaling Museum, reference no. 99-01, signed by Stuart M. Frank, Ph.D., Director, certifying the piece as a genuine sperm whale tooth and that the work is that of Edward Burdett. In the certificate’s cover letter, Frank describes it as a “prime example of Burdett’s later work and it may be the very last piece he ever did”. Also includes several clippings and photographs of Burdett teeth. 50,000/70,000

59, obverse, reverse and edges

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60.

BONE MODEL OF A WHALESHIP 19th Century A three-masted vessel, detailed with rigging, whaleboats on davits and spare boats on deck, two anchors on chains, tryworks, cutting stage, spread-wing eagle sternboard, etc. Some wooden and black-painted details. Displayed on a wood cradle. Total height 15.25”. Length approx. 18”. 3,000/5,000

61, three

61.

THREE WHALEBONE OR WHALE IVORY BLOCKS 19th Century A whalebone double block, a whale ivory double block and a whale ivory single block. All with metal pins. Lengths from 2.5” to 3.75”. 1,200/1,500 Provenance: Single block from the Barbara Johnson Whaling Collection. Retains collection sticker.

62.

* POLYCHROME ENGRAVED WHALEBONE BUSK BY DAVID LAZARUS Nantucket, Contemporary Depicts six colorful vignettes separated by geometric borders. Vignettes include a waterfront scene of a reuniting couple, a heart surrounded by flower blossoms, a sperm whale and a blue whale, a compass rose, a ship under sail, and a rose stem adjacent to an outline of Nantucket Island. Busk with lobed top and curved bottom. Signed in bottom vignette “D Lazarus”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. Length 13”. 800/1,200

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T H E CO L L E C T I O N O F I A N R . M A C K E N Z I E

63.

SUPERB PAIR OF VIBRANTLY PAINTED SCRIMSHAW WALRUS TUSKS Circa 1830-1860 Designs are carved in outline and painted fully in color. One depicts a Black man and the other a white man, and both tusks with images of a leaf, a five-pointed star, three conjoined chain links, a shield and a small garland, possibly angel’s wings or two lovebirds. The triple links, and possibly the other images, could be symbols of the Independent Order of Odd Fellows, or the iconography could reference the Fugitive Slave Act or the Dredd Scott decision. The Black man, probably a slave, is wearing tattered clothing, including a collared shirt, a vest with a striped lapel, and patchwork pants. The bearded white man, possibly a slave-driver or agent attempting to retrieve a fugitive, is wearing a top hat and a long green jacket, is smoking a pipe, holding a baton or rolled papers behind him in his right hand, and gesturing with his left hand. Diamond and serpentine decoration at tip. Marked on back of one in white “NH[illegible]”, indicating the pair was from the collection of Meylert Armstrong of Greenwich, Connecticut and New Hope, Pennsylvania, and then part of the E. Norman Flayderman collection. On contemporary wood bases. Total heights 15.25”. 8,000/12,000 Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 30.

63, pair

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64.

* NARWHAL TUSK A well-preserved example with tip intact. *Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. Length approx. 81”. 6,000/8,000

65.

NARWHAL TUSK CANE 19th Century Flattened knob handle, possibly walrus ivory, inlaid with a copper disk. Handle affixed to shaft with tiny brass pins. Brass-lined eyelet and brass ferrule. Length 33.75”. 5,000/7,000

64 65

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T H E CO L L E C T I O N O F I A N R . M A C K E N Z I E

66.

67.

LARGE NANTUCKET LIGHTSHIP BASKET Mid- to Late 19th Century Oak swing handle, rim and ears. Wide splint staves and cane weaving. Copper rivets. Pine base plate, possibly two boards nailed together. Incised mark on underside “K8”. Height to rim 9”. Diameter 14.75”. 2,500/3,500

WOODEN MODEL OF WHALEBOAT 20th Century Black-painted hull with red rail. Complete with harpoons, lances and other implements, two tubs of line, oars, mast with sail, etc. Displayed on a cradle on a mahogany plinth within a brass-trimmed glass and mahogany case. Case height 7.5”. Length 27.5”. Width 9.5”. 2,000/3,000

68.

BENJAMIN COLE BOXED COMPASS London, 18th Century Engraved card signed at center of compass rose “Cole Fleet Street London”. Stepped brass 360-degree scale. Mahogany box with hinged cover, brass bezel and glazed aperture. Box height 1”. Width 5.75”. Depth 5.75”. Bezel diameter 5”. 1,000/1,500

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69.

EXTREMELY RARE, LARGE AND FINE EXAMPLE OF AN 18TH CENTURY SIX-DRAW VELLUM-COVERED TELESCOPE Main tube marked “A 7” and is embossed with foliate and scroll designs and with the British Royal Coat of Arms. Each draw labeled “1” through “6”. First draw also marked “A” and with additional letters on the vertical, possibly “OIL”. Sixth draw inscribed in script “JW AP 23/70”. Wooden fittings, including screw-on eyepiece and lens covers. Length closed 22.25”. 5,000/10,000

70.

JAMES CHAPMAN DECAGONAL ONE-DRAW TELESCOPE Late 18th Century Tapered mahogany tube. Signed on draw “Made by Jas. Chapman St. Catherines London” in script lettering within a foliate wreath. Retractable lens cover with pin intact. Length closed 37.5”. 2,000/3,000 James Chapman worked in St. Catherines, London, from 1774 to 1796, and possibly as late as 1804. George Washington purportedly used a spyglass made by Chapman.

70, detail of signature above

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T H E CO L L E C T I O N O F I A N R . M A C K E N Z I E

71, pair

71.

PAIR OF EXCEPTIONAL CARVED WOODEN TRAILBOARDS Mid-19th Century In the forms of beautiful women with long cascading hair, wonderfully expressive facial features, finely executed hands and gracefully flowing robes. One with her right hand at her chest and the other with her left hand at her waist, almost benevolent in posture. Figures terminate in relief-carved panels of foliate, scroll and spiral motifs. Excellent weathered patina. Possibly carved from teak. Lengths approx. 69”. 25,000/35,000

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76.

72.

73.

74.

75.

* UNENGRAVED WHALE’S TOOTH Semi-polished. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. Length 8”. 600/900

Note: A very similar example, probably by the same hand, is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 10.40. The illustrated example is also missing its second wheel.

* UNENGRAVED WHALE’S TOOTH Mostly polished. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. Length 8.25”. 1,000/1,500

77.

* PAIR OF UNENGRAVED WHALE’S TEETH Polished and cut flat at base. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. Lengths 5.75”. Widths at base 4.5”. 1,500/2,500

WALRUS TUSK TIP CARVED IN THE FORM OF AN EAGLE’S HEAD Last Half of the 19th Century Well-detailed carving set with a pearl eye. Bristles affixed to base for use as a brush. Total length 4.5”. 500/1,000

78.

CARVED WHALE IVORY JAGGING WHEEL WITH SNAKE-FORM HANDLE Mid-19th Century Looped snake with delicately carved mouth, inset eyes and support for head. Star-form fluted wheel below an additional crimping tool with a distinctive ruffled carving. Ebony bands between handle and shaft, and near crimping tool. Length 7”. 4,000/6,000

LARGE WHALEBONE BUTTER STAMP OR COOKIE MOLD 19th Century Handle with incised banding and ring turnings. Stamp impresses a ropework border surrounding an eagle with a shield at its breast, arrows in its talons and an eight-pointed star over its shoulder. Height 3.25”. 2,500/3,500 Provenance: A New London-area home. Purchased from Neil Blodgett, Jr., 1994. A Rhode Island Private Collection.

POLYCHROME SCRIMSHAW PIE CRIMPER Mid-19th Century Walrus or whale ivory. Both sides of balustroid handle engraved and wax-inlaid with a red and green floral wreath, a large red and green flowering plant emanating from an urn, and a red line border along the perimeter. Pique inlay forms a star design below the medial baleen band. Sides of handle with line of pique inlay. Yoke carved as two doves set on an arch studded with pique inlay, their eyes serving as the wheel axle. One openwork toothed wheel; other wheel missing. Length 7”. 3,000/5,000

Provenance: Collection of Charles H. Carpenter. Illustrated: The Decorative Arts and Crafts of Nantucket by Charles H. and Mary Grace Carpenter (N.Y.: Dodd, Mead & Company, 1987), p. 180, fig. 170.

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79.

PAIR OF SCRIMSHAW WHALE’S TEETH “HOPE” AND “VICTORIOUS”, DESCENDED IN THE HOWLAND FAMILY Circa 1860 According to family history, noted in a letter that accompanies the pair, the teeth were engraved by Samuel Angelo Howland when he was a boy serving on a whaling voyage out of New Bedford or Fairhaven, circa 1860. Obverse of “Hope” tooth depicts sunrays and a foliate garland framing “Hope” and a port-side portrait of a three-masted vessel flying flags and pennants from the masts and an American flag off the stern. Subtle rope-like border at base of sea. Reverse depicts sunrays and a ribbon garland, a bust portrait of a woman flanked by fronds, a spread-wing eagle clutching arrows, olive branches and a Liberty shield in its talons, and a well-detailed close-up view of a whaling scene with three whaleboats, one under sail, in pursuit of two surfaced whales. Obverse of “Victorious” tooth depicts an anchor wrapped in rope, a Liberty shield backed by implements and cannons, a foliate garland, and a monumental figure of Victory, holding a laurel crown and an American flag on a pole topped with a phrygian cap. She stands on a plinth labeled “Victorious”, and to the left is a small scene of a three-masted vessel at sea, flying a long pennant from the mainmast and an American flag off the stern. Reverse depicts a foliate motif, a doubleheaded eagle clutching a shield, an American flag, a solid flag and a long streamer, and a port-view portrait of a threemasted vessel flying assorted flags and pennants, including an American flag off the foremast. Some polychroming throughout both teeth. Fine details and workmanship. Lengths approx. 6.5”. 35,000/50,000 Provenance: Samuel Angelo Howland to his grandson Richard Hubbard Howland in 1924. Rafael Osona Auctions, Nantucket, Massachusetts, August 13, 1994. Private Massachusetts Collection. A letter from Richard Howard Howland accompanies the lot. Samuel Angelo Howland, born in 1846, was the son of Olney Gifford Howland and a descendant of Henry Howland, who emigrated to Plymouth in 1624, four years after his brother John came to Plymouth aboard the Mayflower. The family is also related to Hetty Green, known as “The Witch of Wall Street”, Presidents Richard Nixon and Gerald Ford, and Winston Churchill. Richard Howard Howland was a noted historian who served as president of the National Trust for Historic Preservation in the late 1950s. His letter indicates his grandfather gave him the pair of teeth when he was 12 years old, and

79, obverse and reverse of pair

that he was unsure of the name of the ship his grandfather served aboard, nor the exact dates of the whaling voyage.

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80.

VERY RARE PIECE OF PAINTED PANBONE Mid-19th Century One of the largest pieces of panbone we have ever seen. Depicts a panoramic whaling scene of a whaleship cutting in and whaleboats in pursuit of a large pod of sperm whales. One boat has been stoved, one boat is attacking and the third is rowing away from a waifed whale. The whaleship is flying a blue agent’s flag from the central mast and smoke is visible on deck from the tryworks. A gull swims alongside the whales in the foreground and another whaleship and pod of whales are in the distance. Scene framed within a flowering acanthus leaf border. Oil paint executed in shades of green, blue, black, red and sienna. 10.75” x 20”. 10,000/15,000 Provenance: The Collection of Robert Dowd, Richard A. Bourne Company, Hyannis, Massachusetts, August 7, 1984, Lot #240. Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, July 31, 1989, Lot #113. A Maryland Collection.

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81.

82.

WHALEBONE SNATCH BLOCK Mid-19th Century Fine example. Length 5.5”.

700/900

INLAID WHALE IVORY BODKIN Mid-19th Century Ring- and rope-carved tapered shaft with three contrasting bands, probably baleen. Faceted terminal with contrasting inlaid dots, possibly baleen or ebony. Length 6”. 1,000/1,500 Provenance: A Long Island Collection.

83.

WHALE IVORY LOOSE-RING BODKIN Mid-19th Century Bulbous- and ring-turned terminal with loose ring and incised flattened ball finial. Pearling throughout. Length 5.75”. 400/600

84.

TWO WHALEBONE BODKINS Mid-19th Century 1) Double-tapered form with faceted terminal and medial octagonal disk. Length 5”. 2) Square tapered shaft with filigree carving and red and blue pique inlay. Terminal carved as a left hand with pointing index finger. Length 3.5”. 300/400

84, two

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85.

EXTENSIVELY CARVED WHALE IVORY BODKIN Mid-19th Century Terminal carved as a clenched left fist. Square tapered shaft with a ball-in-cage, a pierced faceted knop and architectural carvings. Rich patina. Length 4.5”. 300/500 85

86.

87.

WHALEBONE FID WITH LEATHER THUMB STRAP Mid-19th Century Thumb strap looped around a wide incised band at the center of the tapered shaft. Roughly carved at tip. Length 4”. 200/300

INCISED AND INLAID WHALE IVORY BODKIN Mid-19th Century Turned and flattened ball terminal with incised rings, some highlighted with red wax inlay. Length 3.25”. 250/350 87

88.

FIVE WHALE IVORY AND WHALEBONE BODKINS Mid-19th Century Differing forms, all with decorative turnings. Lengths from 2.75” to 4.25”. 200/300

88, five

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91.

89.

90.

STEEL FLENSING KNIFE Mid-19th Century Applied hardwood handle. Total length 31.25”.

300/500

92.

IRON TEMPLE-TYPE TOGGLE HARPOON 19th Century Similar to #218 in Harpoons and Other Whalecraft by T.G. Lytle. Length 27.25”. 300/500

93.

WROUGHT IRON TEMPLE-TYPE DARTING GUN TOGGLE-HEAD HARPOON 19th Century Length 38.25”. 400/600

700/1,000

TOGGLE IRON 19th Century Lengths of rope wrapped around shaft near cone. Unmarked. Length 33”. 400/600

PORPOISE IRON 19th Century Unmarked. Length 56.5”.

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94.

1882 MODEL EBEN PIERCE BRASS HARPOON GUN New Bedford, Massachusetts, Late 19th Century Stamped in several places “2” and “3”. All mechanized parts complete and in working order. A similar example illustrated in Harpoons and Other Whalecraft by T.G. Lytle, p. 236. Length 38”. 6,000/9,000

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95.

WROUGHT IRON LANCE 19th Century Unmarked. Possibly Azorean. On original hardwood pole. Retains length of old manila rope. Length 82”. 500/700

96.

WROUGHT IRON ARCTIC DOUBLE-FLUE HARPOON America, 19th Century Unmarked. Length 47.25”. 400/600

97.

WROUGHT IRON HARPOON 19th Century Wooden shaft. Retains length of rope. Length 93”. 700/1,000

98.

FOUR BRASS HARPOON BOMB LANCES 19th Century With shells. Lengths from 12” to 18”. 500/700

95 98, four 97

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99.

PAIR OF SCRIMSHAW WHALE’S TEETH 19th Century Obverses with port-view portraits of vessels under sail, one a full-rigged ship and the other a barque. Both ships flying unidentified owners’ flags and have distinctly shaded sails. The sea, composed of short stacks of parallel lines, wraps around to the reverses, which depict whaling scenes. One shows a whaleboat under sail in pursuit of a pod of five whales, and two additional whaleboats engaged with a spouting sperm whale. Mountainous island in the distance. The other shows three whaleboats, one stoved and one under sail, and three whales, one of which is waifed. Chain-like band of alternating diamonds encircles tip. Nice mellow patina. Lengths 4.5” and 4.75”. 2,000/3,000

99, obverse and reverse

100.

* BOOK SCRIMSHAW AND SCRIMSHANDERS WHALES AND WHALEMAN By E. Norman Flayderman. Limited edition copy, numbered 89 of 150. Inscribed and signed by Flayderman. Inscribed whalebone plaque on cover. With slipcase. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 1,800/2,500

100

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101.

101

WHALEBONE CANE 19th Century Whale ivory knob handle carved as a Turk’s-head knot. Ivory throat with spiral incising, once containing inlay, probably baleen, that is now missing. Long and substantial tapered whalebone shaft. Length 38.25”. 4,000/6,000 Provenance: Descended in the family of whaling captain George Hathaway Taber, who was active 1838-1873.

103

102

102.

CANE WITH WHALE IVORY HANDLE 19th Century Knob handle carved as a knot. Spiral-carved throat terminates in an intricate rope-carved band. Whale ivory components highlighted by black ink. Baleen spacer. Tapered wood shaft. Length 33.5”. 2,000/3,000

103.

LARGE WHALE IVORY, WHALEBONE AND EBONIZED WOOD CANE 19th Century Crook handle made up of alternating segments of ivory and wood, the end probably the tip of a whale’s tooth. Cylindrical whalebone shaft. Length 37”. 1,000/1,500

104.

DIAMOND-SET LADY’S CANE 19th Century Walrus ivory knob-form handle inlaid with an abalone heart centering a lumpy rose-cut diamond. Tapered cylindrical whalebone shaft fitted with a brass ferrule. Length 32”. 800/1,200

104

104, detail of handle

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IMPORTANT NOTICE Items marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state.

105.

* PAIR OF ENGRAVED WHALE’S TEETH FEATURING SHIP PORTRAITS 20th Century Bow views of a three-masted vessel. Lengths approx. 6.25”. 1,500/2,500 105, pair

106.

* ENGRAVED WHALE’S TOOTH BY ROBERT SPRING Dated 1970 Depicts a whaling scene with the “Ship Three Brothers”, a whaleboat under sail, and another whaleboat harpooning a surfaced sperm whale. Geometric composition, the sea composed of columns of parallel lines. Titled in rectangular banner at base. Signed and dated on reverse “R. Spring 70”. Length 3.75”. 600/900

107.

* ENGRAVED WHALE’S TOOTH BY RYAN COOPER 20th Century Depicts the locomotive “Gen. Washington”, titled in script below image. Detailed and finely executed. Signed in rectangular cartouche with “R” and “C” flanking a whaling iron. Length 6”. 700/900

106

107

108.

109.

* ENGRAVED WHALE’S TOOTH BY CHARLES A. MANGHIS OF NANTUCKET Dated 2002 Oval reserve depicts a map of “Sandwich Isles or ‘Owyhee’”, with several of the Hawaiian Island locations labeled. Remainder of tooth is mostly unpolished, save for a small reserve on reverse containing signature “Old Hawaii Charles A. Manghis Nantucket 2002”. Length 6”. 600/900

108

* ENGRAVED WHALE’S TOOTH BY GIL DOLMAN Circa 1867 Titled “New Bedford 1810”, depicts a street scene of a horse and buggy, an oxcart, several figures and numerous buildings. After the work by William Allen Wall. Signed lower right “Dolman”. Length 7.5”. 350/500

109

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the

Gi l l Wha lin g C o lle ctio n

110, obverse and reverse

110.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENE Mid-19th Century Obverse depicts a busy scene with two American-flagged whaleships, both processing whales, and six whaleboats in pursuit, including one waifing a whale. Reverse depicts three different sailing vessels off a coastal lighthouse. The large ship at center is flying an American flag off the stern and a red and white striped flag from the foremast. Pierced hole at base. Length 6”. 7,000/10,000

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111.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING LADY LIBERTY AND LADY JUSTICE Mid-19th Century Liberty holds an American shield in her left hand and a pole topped with a “Liberty” cap in her outstretched right hand. Justice wields a sword in her left hand that crosses Liberty’s pole and holds the scales of justice in her right hand while leaning her arm against a column. The two figures flank a spread-wing eagle with an American flag above a floral emblem. Opposite edge with an All-Seeing Eye above two pierced hearts within a foliate wreath. Length 4.5”. 10,000/15,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, September 11, 1998. Includes a copy of the original sales receipt.

112, obverse , reverse and edges

112.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC AND MARITIME MOTIFS Circa 1840 Obverse depicts a hand emerging from a cloud to hold a bold American flag on a staff above two leaves flanking a sunburst with human face, a broadside portrait of a warship, and a spread-wing eagle perched atop a globe. Considerable use of red sealing wax in the flag’s red stripes. Reverse depicts a naval engagement between British and American frigates, both flying flags and banners colored with red sealing wax. Scalloped border encircles base. Length 7”. 10,000/15,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, January 20, 2003. Includes a copy of the original sales receipt.

112, obverse and reverse

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The Gill Wh a li n g C o l l ec t io n

113, obverse and reverse

113.

SCRIMSHAW WHALE’S TOOTH DEPICTING “THE TUSCAN” AND “SOUTH SEA WHALE FISHERY” Mid-19th Century Obverse with a broadside starboard portrait of the British ship The Tuscan flying a Union Jack from the foremast, a pennant from the mainmast and an ensign off the stern. Identified below scene in script lettering. Reverse depicts a whaling scene with distant whaleship, four whaleboats and four visible whales. Titled above scene in the same script lettering. Length 6.5”. 6,000/8,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, October 7, 1996. Includes a copy of the original sales receipt, which indicates the tooth was from a Philadelphia-area estate.

114.

114

WHALEBONE CASK MEASURE ATTRIBUTED TO SAG HARBOR WHALING MASTER BARNEY GREEN Circa 1850s Square at the top tapering to a wedge fitted with a V-shaped metal cap. One face with two deeply incised parallel lines running the length. No measurement markings, indicating it is probably an unfinished work. Length 52”. 2,500/3,500 Provenance: The Green Family. Nina Hellman Antiques, Nantucket, Massachusetts, October 1, 2013. Includes a copy of the original sales receipt.

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115.

SIGNED AND DATED SCRIMSHAW WHALE’S TOOTH PERTAINING TO THE SHIP NORTHERN LIGHT Dated 1861 Obverse depicts a full-rigged ship flying an American flag and another distant ship coming head-on. In the foreground, mostly depicted on the edge of the tooth, is a whaling scene of a pod of whales, one of which is waifed, two whaleboats in pursuit, and an overturned whaleboat, with her six men and assorted gear in the water. Reverse depicts a coastal scene of a large lighthouse, buildings, and several vessels of different rigs, some of which are flying American flags. Other edge depicts a sperm whale inscribed “Ship Northern Light N.B.” at center, signed “J.T.” on upper fluke and dated “1861” on lower fluke. Whale executed in a unique parquet patchwork pattern, and the water on both the obverse and reverse scenes has a rope-like pattern. Length 6.75”. 20,000/25,000 Provenance: Rafael Osona Auctions, Nantucket, Massachusetts, August 7, 2004, Lot #186G.

According to the WhalingHistory.org database, the ship Northern Light was built in Mattapoisett, Massachusetts in 1851. She made several voyages out of New Bedford from 1851 to 1881 and was lost in 1898. On an 1861 to 1862 voyage, her master was Jacob Taber, possibly the “J.T.” signature seen here. Taber made another voyage aboard the Northern Light from 1863 to 1864, as well as seven other voyages on other vessels.

115, obverse , reverse and edges

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The Gill Wh a li n g C o l l ec t io n

116.

POLYCHROME SCRIMSHAW WHALEBONE BUSK Mid-19th Century Cartouche at center, the name mostly worn away, is surrounded by flowering plants and trees, one tree with a snake coiled around the trunk. Upper vignette depicts a spread-wing eagle above a monument flanked by American flags. The eagle holds a banner in its beak, has a red-striped shield at its breast and crossing arrows by its tail feathers. Lower vignette depicts a building with a large watchtower topped with American flags and a whale-form weather vane. Vignettes with arched borders. Delicate foliate vine around perimeter. Ruffled carving at top and bottom. Length 12”. 5,000/8,000

117.

POLYCHROME SCRIMSHAW WHALEBONE BUSK Mid-19th Century Modified heart-shaped lobed top, with a five-pointed star in each lobe. Also depicts crossing foliate branches, two red and blue striped shields, two clusters of leaves, a heart containing initials “F” and “S”, an anchor with rope, and a potted flowering plant on plinth. Some images separated by delicate drape and tassel bands. Shaded line border. Length 13.25”. 2,000/3,000

118.

SCRIMSHAW BALEEN BUSK DEPICTING WHALES Mid-19th Century One side depicts a sperm whale and the other side a right whale, both identified in script lettering. Length 12.75”. 800/1,200

116 117

118, obverse

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119, pair, obverses and reverses

119.

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH WITH WHALING SCENES Circa 1840 Edge of one tooth with a unique bird’s-eye view of a whaleboat with its crew overboard, presumably having been stoved by the nearby whale spouting blood. Obverse depicts a whaleship and a whaleboat under sail. Reverse depicts a whaleship and a whaleboat approaching a surfaced whale that is spouting blood. A whaleman is prominently depicted at the bow of the whaleboat, iron in hand. Whaleships on both sides flying assorted pennants and flags. Other tooth with near mirror-image scenes of a whaleship flying an American flag off the stern and a whaleboat under sail. The four whaleships depicted across both teeth all have prominent billetheads and deeply stippled points on the sails and the hulls. Coloring comes mostly in the whale spouts. Wonderful patina. Lengths approx. 6.25”. 10,000/15,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, 1998.

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The Gill Wh a li n g C o l l ec t io n

120.

120

SCRIMSHAW WHALE’S TOOTH “INVOY OF NEWPORT RI” Mid-19th Century Depicts a whaling scene of a whaleship, two whaleboats under sail, and two visible whales. Large ship at center is seen from the port side, with figures in the rigging and on deck, three whaleboats on davits and an American flag flying off the stern. Both whaleboats with a whaleman standing at the bow, two irons at the ready. At far left, a whale’s tail is visible, and at far right, a waifed whale. Titled in serifed lettering below scene. Length 7”. 4,000/6,000 Note: “Invoy” may be a misspelling of “Envoy”, the name of a whaleship that was built and sailed out of Rhode Island on four whaling voyages between 1833 and 1847.

121.

SCRIMSHAW WHALE’S TOOTH WITH ACTIVE WHALING SCENE Mid-19th Century Obverse depicts a whaleship cutting in, with a whale drawn up alongside the starboard side of the vessel and a whaleboat on davits. Scene wraps around to the reverse, where three six-man whaleboats are pursuing two surfaced whales. Initialed “R.E.S.” on obverse below scene, above crossing branches. Length 4.25”. 5,000/7,000

121, obverse and reverse

122.

122

SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENE Mid-19th Century Depicts a British-flagged whaleship under sail and four whaleboats in pursuit of a pod of five whales, one in a flurry. Scene covers nearly the entire side of the tooth, from tip to base and edge to edge. Decorative metal hanger affixed to top center. Length 6.25”. 8,000/12,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, October 13, 2014. Includes a copy of the original sales receipt.

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123.

SCRIMSHAW WHALE’S TOOTH DEPICTING HOPE AND BRITANNIA, ATTRIBUTED TO THE BRITANNIA ENGRAVER Mid-19th Century Obverse depicts Hope standing with an anchor and the reverse Britannia standing alongside a British flag, probably the St. George’s ensign of the Royal Navy, and holding a shield at her side. Both figures with vine patterns on their gowns and deeply stippled highlights. Differing geometric, pique and foliate bands encircle the tip and base. Length 5.25”. 8,000/12,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, December 8, 2004. Includes a copy of the original sales receipt. Note: The vine pattern on the gowns, the deeply stippled elements, the various decorative bands and the clean-lined composition seen here are similar to teeth attributed to the Britannia Engraver, notably two that were part of the Thomas Mittler Scrimshaw Collection, illustrated in Through the Eyes of a Collector by Nina Hellman (2015), fig. 35 and 36, and sold at Eldred’s, The Spring Americana Auction, April 8, 2017, Lots #1041 and #1042.

123, obverse and reverse

124.

124

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INLAID ROSEWOOD DRESSER BOX Circa 1830s Hinged lid with whalebone and ebony line inlay and a central whalebone plaque. Each corner of the lid and box with a whalebone panel inlaid with ebony in a crosshatch pattern. Box with a brass locking mechanism, a shield-shaped escutcheon and a scalloped bracket base. Interior fitted with a hinged mirror and five fruitwood compartments, each with a faceted whale ivory knob on the cover. Well-constructed, indicating it was probably made by a ship’s carpenter. Height 4”. Width 13”. Depth 10.75”. 2,000/3,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, May 17, 2015. Includes a copy of the original sales receipt.

The Gill Wh a li n g C o l l ec t io n

125.

WHALEBOAT COMPASS WITH BOX MARKED “LB” 19th Century Gimballed dry card compass by C.R. Sherman & Co., New Bedford. Pine box under blue-green paint, one side stenciled “LB” for larboard boat. Metal mounting brackets. Sliding cover missing. Height 6”. Width 8.5”. Depth 7.5”. 300/500

125

126. 126

WHALEBONE TILLER 19th Century Square tapered shaft with chamfered corners. Faceted knob. Length 17.75”. 3,000/5,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 20, 2005, Lot #600.

127

127.

WHALEBONE DOUBLE-ENDED HANDLE 19th Century Length 15”. 1,200/1,800

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128.

DIANA KIM ENGLAND 14KT GOLD NANTUCKET LIGHTSHIP BASKET PENDANT Swallow’s nest-form basket with a sea star on the cover, a whale on the cover interior and an interior heart-form charm. Underside marked “DKE 14K 37/200”. Length 2.25”. Includes original box. Approx. 7.79 total dwt. 700/1,000

129.

DIANA KIM ENGLAND 18KT GOLD ROUND NANTUCKET LIGHTSHIP BASKET LOCKET Cover with scallop shell and interior with heartform charm. Underside marked “DKE 18K”. In the “Belle” size, diameter 7/8”. Includes original box. Approx. 9.85 total dwt. 1,000/1,500

128

130.

CHARLES MANGHIS 14KT GOLD, BONE COMPOSITE AND MAHOGANY NANTUCKET LIGHTSHIP BASKET PENDANT Cover depicts Nantucket Island. Interior with original owner’s name. Underside signed “CA Manghis Nantucket 2004”. Includes original box. Length 2”. 400/600

131.

PHOTOGRAPH OF WHALESHIPS AT DOCK Either being refitted or salvaged. Signed lower left “Copyright 1892 by J. O’Neil New Bedford”. Frame made from wood salvaged from the whaleship Rousseau, one of the longest active whaleships in service in the 19th Century. Marked and dated 1801 at lower right edge of frame. 14.5” x 18.25”. Framed 28.75” x 33”. 700/1,000

132.

WHALE IVORY AND WHALEBONE CANE 19th Century Whale ivory knob handle carved as a Turk’shead knot. Contrasting spacer, possibly baleen. Whalebone shaft with sections of ribbed, quilted diamond and rope twist carving. Length 37”. 3,000/5,000

130

129

132

Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, September 13, 2010. Includes a copy of the original sales receipt.

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The Gill Wh a li n g C o l l ec t io n

133.

SCRIMSHAW PANBONE PLAQUE BY THE PANBONE ENGRAVER Circa 1830 Depicts a finely rendered and detailed whaling scene of the British-flagged “Mary Grove[s?]”, three whaleboats, one of which is stoved, and several whales, one of which is waifed. A vessel under sail is visible in the distant left, and in the distant right, the sun is rising over a volcanic island. Water made up of strikingly thin parallel lines. Scene framed within a thin line border. Double line border around perimeter of plaque. Upper margin with a crude, half-finished depiction of a sidewheel steamship and the letters “W S”, possibly followed by some additional faint lettering. Approx. 8” x 15.25”. 10,000/15,000 Provenance: John F. Rinaldi Nautical Antiques, Kennebunkport, Maine, September 2011. Includes a copy of the original sales receipt. Note: This plaque is very similar to, and undoubtedly by the same hand, as one illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 5.2.

134.

SCRIMSHAW PANBONE PLAQUE Mid-19th Century Depicts a dynamic whaling scene of three whaleships, one cutting in, and seven whaleboats in pursuit of a large pod of whales, one of which is waifed. Approx. 3.5” x 16.25”. Includes a simple wood stand. Pierced at top for hanging. 6,000/8,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, June 1, 2004. Includes a copy of the original sales receipt.

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133

134

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The Gill Wh a li n g C o l l ec t io n

135.

POLYCHROME SCRIMSHAW WHALEBONE AND WHALE IVORY SWIFT Mid-19th Century Turned whale ivory yarn cup, collars and adjustment knobs, the yarn cup and an adjustment knob engraved with vines of red flowers. Simple cylindrical whalebone shaft. C-shaped whalebone clamp inlaid with abalone, tropical wood and metal pins. Adjustment screws also inlaid with metal pins. Whalebone cage. Yarn cup and clamp can be unscrewed. Length 25”. Cage diameter approx. 23”. 8,000/12,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, January 3, 2007. Includes a copy of the original sales receipt.

135

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136, two views

136.

RARE SIGNED AND DATED POLYCHROME SCRIMSHAW PUZZLE BOX Dated 1847 Carved from whale or walrus ivory in the form of a ship’s hull and engraved with a red stripe. Two-part lid; the upper tier depicts a full-length portrait of a Scotsman and slides open to reveal the lower tier, which is engraved “Hugh Nairne fecit Newport RI 1847”. Completely opening the lid reveals a hollowed-out interior engraved “Green Walden”. Length 4.5”. Includes painted wood stand. 4,000/6,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, May 17, 2008. Includes a copy of the original sales receipt. Green Walden was the master of the revenue cutter Morris, which sailed in April 1847 from Baltimore, Maryland to Portland, Maine.

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The Gill Wh a li n g C o l l ec t io n

137, two views

137.

WHALING LOGBOOK COFFIN STAMP 19th Century Carved from dark tropical wood and mounted with a whale ivory handle. Used to indicate the death of a crewman. Height 1.75”. Length 2”. 2,000/3,000

138.

WHALING LOGBOOK DOUBLE-ENDED STAMP 19th Century Carved from dark tropical wood, roughly in the shape of a whale’s tail. Larger end stamps an image of a sperm whale with a central open rectangle, a place to label the number of barrels of oil taken. Smaller end stamps an image of a whale’s tail. Height 1.5”. Length 1.75”. 800/1,200

139.

WHALING LOGBOOK WHALE STAMP 19th Century Carved from a lightweight wood, roughly in the shape of a whale’s tail. Stamps an image of a sperm whale, detailed with a flipper, an eye and an open mouth. Height 2.5”. Length 1.75”. 800/1,200

140.

WHALING LOGBOOK WHALE STAMP 19th Century Carved from dark tropical wood. Stamps an image of a whale, possibly a right whale, with a central open rectangle, a place to label the number of barrels of oil taken. Nicely worn and patinaed. Height 1.75”. Length 2.25”. 800/1,200

138, two views

139, two views

140

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141

141.

WHALING JOURNAL FROM THE WHALESHIP SAPPHO Begins July 21, 1848 and ends January 18, 1852. The ship departed New Bedford and traveled around Cape Horn to Chile, the Galapagos, the coast of Colombia and other destinations. Includes accounts of desertions and illness. 16” x 10.25”. 5,000/8,000 Provenance: Nina Hellman. Includes receipt.

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The Gill Wh a li n g C o l l ec t io n

142.

WHALING JOURNAL OF THE SHIP PORTLAND OF NEWBURGH, NEW YORK Begins June 23, 1832 and ends April 27, 1833. A complete account of the voyage. Contains approx. 17 stamps of whale’s tails and several landfall drawings, notably a fold-out of Cape Town and the Cape of Good Hope. 8” x 6.5”. 4,000/6,000

142, multiple views

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143, two views

143.

WHALING JOURNAL FROM THE WHALESHIP ARNOLDA Begins November 12, 1855 and ends April 26, 1859. Covers a journey from New Bedford to the Pacific. Contains approx. 82 whale stamps within the journal and back page, and more in an account record. Several entries note friction between the crew, which refused duty. Last entry mentions 2,500 barrels of oil. 13” x 8.25”. 6,000/9,000

144.

PARTIAL WHALING JOURNAL OF TWO VESSELS Includes entries on the whaling bark Hero on a voyage from Westport, Massachusetts from June 16, 1806 to December 5, 1807, and the schooner Ranger on a voyage from Westport to Guadeloupe from December 26, 1804 to April 3, 1805. Includes typewritten notes pertaining to interesting entries, including whale captures by the Hero. 1,000/2,000

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The Gill Wh a li n g C o l l ec t io n

145

145.

EXCEEDINGLY RARE QUADRANT LABELED FOR T.A. GARDNER, NANTUCKET Nantucket, Circa 1830 Marked on inset ivory panel “T A Gardner Nantucket”. Ebonized wood frame with inset ivory 0-95 degree scale. Brass index arm, sights, etc. In a wedge-shaped green-painted wooden case with a paper label on interior for “John Kehew, Nautical Instrument Maker ... New-Bedford ...”. Lot also includes an August 11, 1832 issue of the Nantucket Inquirer, which has a listing for a “Nautical & Hardware Store. Thomas A. Gardner has for sale a general assortment of Hardware, amongst which may be found best bell metal Sextants; plain Quadrants; ...”. Case height 3.5”. Length 12.5”. 10,000/15,000 Provenance: Paul Madden Antiques, Sandwich, Massachusetts, June 20, 2005. Includes a copy of the original sales receipt, which indicates the quadrant was purchased from Mrs. Pflick of Cape Cod, who claimed it was found in a Newport, Rhode Island collection. Note: According to Madden’s notes, Thomas A. Gardner was born March 24, 1804 and married Eliza Drew on April 22, 1832. His shop was destroyed in a fire in 1848. He also writes the quadrant was probably English-made but that this was the only known example to have a Nantucket label.

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146.

WATCH HUTCH WITH LABEL FOR WHALING MASTER JETUR R. ROGERS 19th Century In the form of a miniature mantel clock, made up of a carved whale’s tooth within a wooden frame topped with three turned finials. Stepped figured wood base. Label on back of base inscribed “Jetur R. Rogers”. Includes a pocket watch, believed to be Craven, Liverpool, with a paper label for Sag Harbor watch maker B.F. Hope. Height 6”. Width 4.25”. 3,000/5,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, October 11, 2007. Includes a copy of the original sales receipt. Jetur R. Rogers (1841-1919) was master during an 1877-1881 whaling voyage aboard the Stamboul of New Bedford. He retired to Southampton, Long Island.

146

147.

PAIR OF SCRIMSHAW WHALE’S TEETH DEPICTING SOUTH SEAS FIGURES 19th Century One tooth depicts a full-length portrait of a warrior or king on the obverse, and a royal canoe on the reverse. Other tooth depicts fulllength portrait of a woman, possibly a queen, wearing a long dress and holding a handbag on the obverse, and a landscape with thatched huts, dogs and chickens on the reverse. Lengths 5.25”. 5,000/7,000

147, obverse and reverse

Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 20, 2006, Lot #872.

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148.

* ENGRAVED SECTION OF WHALEBONE DEPICTING WHALING SCENES One side depicts a whaleship and six whaleboats in pursuit of a pod of six whales. Crude rendering of a sun face above the pod of whales. Scene signed illegibly lower right. Other side depicts two whaleships and three whaleboats in pursuit of four whales. One ship is flying an American flag and the sternboard is marked “William [illegible] New Bedford”. The other ship is cutting in. Slight traces of polychroming. Image of a sperm whale on edge. Length 19.5”. 2,000/3,000

148, obverse and reverse

149, reverse

IMPORTANT NOTICE Items marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state.

149.

* ENGRAVED WHALE’S JAW BONE 20th Century Obverse depicts a scene of Nantucket Harbor, with the paddlewheeler Nantucket rounding Brant Point Light and other vessels at dock or under sail. Reverse depicts a spread-wing eagle with a Liberty shield, arrows, olive branches and a “Under My Wings Everything Prospers” banner. Height 4.5”. Length 9.25”. 500/800

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150

Aletha Macy (1901-1971) was born on Nantucket and was a direct descendant of Thomas Macy, one of the original founders

150.

* BONE HALF HULL MODEL OF A WHALEBOAT BY ALETHA MACY Nantucket, Massachusetts, Dated 1965 Mounted on a cut-corner plaque with bone trim around the perimeter. Signed and dated on reverse of plaque “A Macy 1965”. Plaque 6.25” x 15.75”. 800/1,200

of the island community. Her talents emerged as a child and she apprenticed with cabinet and clockmaker Lincoln Creeley for thirty years, starting in high school. In the mid-1950s she began carving ivory pieces to go on the tops of José Reyes and Stephen Gibbs Nantucket basket purses. Ivory grew to be her preferred medium, and her scrimshaw and carvings became a popular tourist souvenir, notably her “whale boards”, which were a collection of carved whales mounted to a backboard.

151

151.

* CARVED BONE SPERM WHALE BY J.R. LAUBIN 20th Century Mounted on a dowel on a brown painted wooden base, which is also mounted with a carved and engraved bone ship-form plaque. Whale signed on lower edge “JR Laubin”. Total height 7.75”. Length 18”. 500/1,000

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152

152.

DISPLAY BOARD OF FIVE CARVED WHALES Early 20th Century Central plaque marked “The Great Whales of the Oceans”. Whales include sperm, blue, right, killer and humpback, each identified with a plaque. Plaque 7.25” x 10.125”. 1,000/1,600

153.

PAIR OF WHALING-THEMED PAPERWEIGHTS Late 19th/Early 20th Century One depicts a whaleship in the Arctic and the other a whaleboat in pursuit of a sperm whale. Lengths 5”. 200/300

IMPORTANT NOTICE Items marked with an asterisk (*) may only be purchased by a Massachusetts resident and will not be shipped out of state.

154.

BOOK THE YANKEE WHALER By Clifford W. Ashley. Boston: Houghton Mifflin Company, The Riverside Press, Cambridge, 1926. One of a stated first edition of 1,625 copies. Q. Gilt cloth spine and pictorial boards. 300/500

155.

SCARCE BOOK BARK KATHLEEN SUNK BY A WHALE Bark Kathleen Sunk by a Whale as Related by the Captain, Thomas H. Jenkins to which is added an account of two like occurrences, the loss of Ships Ann Alexander and Essex. New Bedford, Mass.: H.S. Hutchinson & Co., 1902. Black and white illustrations, including some photographs. Thin 12mo. Light green cloth with white lettering and image of a whaleship and spouting whale on cover. Appendix, “Driftwood for Open Fireplaces”, and publisher ads at rear. Sticker for the publisher’s New Bedford bookstore on front endpaper. 150/250 Provenance: A Rhode Island Private Collection.

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156.

* PAIR OF POLYCHROME ENGRAVED WHALE’S TEETH DEPICTING SEA LIFE 20th Century One depicts two toothed whales and the other a dolphin and a large-finned fish. Crosshatch and pique borders wrap around the circumference of the bases, and a rope and circle border extends from bases over the tips, separating the images. Lengths 5.5”. 500/1,000

156, pair, obverse and reverse

157.

* POLYCHROME ENGRAVED WHALE’S TOOTH BY ROBERT SPRING Dated 1979 Depicts a spread-wing eagle, backed by the rays of the sun and clutching a Liberty shield, above a portrait of an American-flagged three-masted vessel. Portrait within a wheat garland surround. Signed and dated on reverse “R Spring 79”. Length 6”. 500/700

157

158.

159.

* PAIR OF UNENGRAVED WHALE’S TEETH Semi-polished. Lengths 6.25”. 700/1,000

CARVED WOODEN SPERM WHALE WEATHER VANE Mid-20th Century On stand with finders. Total height 43”. Length 38.5”. 500/1,000

159

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160

160.

SCRIMSHAW WHALE’S TOOTH DEPICTING A SPREAD-WING EAGLE Circa 1860 Clutching a small fish and a harpoon in its talons. Faintly initialed below “A.C.”. Length 4.25”. 400/600

161.

SCRIMSHAW WHALE’S TOOTH DEPICTING A BRITISH-FLAGGED SHIP 19th Century Finely engraved sails with deeply stippled reef points. Flying a pennant from the mainmast and a British ensign off the stern. Length 4.5”. 500/1,000 161

162.

CHILD’S CHEST First Half of the 19th Century In mahogany, with whalebone and ivory embellishments. Upper tier with attached mirror and single drawer. Case with three full-width drawers and turned feet. Whalebone tag on top etched “M Folger”. Height 26.25”. Width 17”. Depth 8”. 2,000/3,000

163.

WHALEBONE-HANDLED WHISK BROOM Turned and incised handle. Length 6”. 200/400

162

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164.

SCRIMSHAW WHALE’S TOOTH WITH WHALING MOTIFS Mid-19th Century Obverse depicts a coastal whaling scene, possibly in the Arctic, with a surfaced sperm whale off the bow of a whaleship. Masts of other vessels visible above the hills at left of scene. Reverse depicts a ship in a tropical harbor, the coastline dotted with palm trees and wigwam-type buildings. Masts of other vessels visible above the hills at right of scene. Edge depicts a sperm whale with a detailed eye and open mouth. Unique composition of images, mostly formed with areas of stippling and bands of shading. Length 5”. 5,000/8,000

164, obverse, edge and reverse

165.

165

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RARE WHALING JOURNAL FROM THE WHALESHIP KATHLEEN AND MATCHING WHALE’S TOOTH Begins August 5, 1890 and ends March 2, 1892. Vessel departed from New Bedford under Charles Childs, commander. Includes several monotone and color illustrations of whales, whaling scenes, stoved boats, etc. Entry for April 25 and 26, 1891 includes a paragraph pertaining to a sailor sneaking a woman aboard the ship and the captain doling out sexually explicit punishment. Accompanied by a whale’s tooth scrimshawed and drawn with a mythical creature, matching an illustration on p. 29 of the journal. Tooth length 6.5”. 5,000/10,000

166.

SCRIMSHAW WHALEBONE BUSK Mid-19th Century Depicts eight finely rendered geometric designs including entwined hearts, checkerboards, hex signs, etc. Vine border around perimeter and between some of the geometric designs. Length 14”. 1,200/1,500 Provenance: Purchased in Kennebunkport, Maine, 1990. A Rhode Island Private Collection.

167.

SCRIMSHAW WHALEBONE BUSK 19th Century Six vignettes of trees, hex signs and olive branches surrounded by a scalloped border. Faint inscriptions on the back. Length 13.75”. 300/500

168.

RARE COMPLETE SET OF TWELVE NYOIL BOTTLES IN ORIGINAL BOX Late 19th/Early 20th Century Unopened bottles, still retaining oil, cork stoppers and foil wraps. Original labels marked “Nyoil 4 Oils Combined for Lubricating, Cleaning, Polishing and Preventing Rust ... Wm. F. Nye New Bedford, Mass. U.S.A.”. Bottles contained within original cardboard box with Nyoil label. Bottle heights 4.5”. Box height 5”. 5,000/7,000

166

168

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169

169.

UNUSUAL DECORATED WHALE RIB 19th Century Nearly entirely covered with brown-black inked or painted pictographs including palm trees, whales, ships, stick figures, grass-skirted dancers, turtles, an eye, a poodle, and other animals and sea life. According to the consignor, Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling Museum and founder of the Scrimshaw Forensics Laboratory, suggested possible Marquesan iconography, and the images bear some resemblance to “tiki” figures seen in Ralph Linton’s “Material Culture of the Marquesas Islands” (1923) and Art of the South Seas (N.Y.: Museum of Modern Art, 1946). Length approx. 46”. 2,500/3,500 Provenance: Purchased in Rockport, Maine, 1983. A Rhode Island Private Collection.

170.

AFTER EMILE LOUIS PICAULT France, 1833-1915 “The Whaler”. Signed on base “E. Picault”. Bronze, height 24”. 1,500/2,500 Provenance: Capo Auctions, New York. A Nantucket Collection.

170

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171

171.

MARCUS FOLEY Nantucket, Contemporary Carved wooden whale. Signed verso “M. Foley”. Length 61”. 1,200/1,800 Provenance: A Nantucket Collection.

172, two views

172.

WHALING JOURNAL OF THE WHALESHIP HIBERNIA Begins on November 1, 1857 and ends February 6, 1860. Vessel departed from New Bedford under William Booker, master. The Hibernia was eventually condemned. Advertising cards and unrelated diary entries at end of journal. 15.25” x 10.5”. 2,000/3,000

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173, obverse, reverse and related material

Born in South Carolina in 1788, John Templar Shubrick served aboard the Chesapeake under Decatur, the Constitution during the capture of Guerrier and Java, the Hornet during the capture of Peacock, and the President, when he was captured by the British. He was released at the end of the war, then joined Decatur to sail to Algiers in 1815 as an executive officer. He was commander of Epervier in July 1815 when the brig and all souls aboard were lost at sea. The sloop of war Epervier, 447 feet in length, was captured by Peacock off Florida in 1814. She was sent to Savannah for repairs and following the war she sailed in the Mediterranean Squadron with a mission of stopping the harassment of American shipping by the Dey of Algiers. When a treaty was signed with the Dey, Epervier, with Shubrick in command, was chosen to bear a copy of the treaty to the United States. She was never seen again after sailing through the Strait of Gibraltar on July 14, 1815.

173.

WAR OF 1812 MEMORIAL SCRIMSHAW WHALE’S TOOTH Early 19th Century Deep and rich patina. Obverse with bust portrait of illustrious naval officer Lieut. John Templar Shubrick (1788-1815) flanked by leafy branches and framed within a checkered surround. Reverse depicts the full-rigged brig Epervier, of which Shubrick was commander. Tooth accompanied by documents and research material including an original engraving of Shubrick from which the scrimshaw portrait is based, a September 1816 issue of The Analectic Magazine & Naval Chronicle that contains a memorial to Shubrick by Moses Thomas, p. 248-251, a photocopy of a biographical sketch on Shubrick by noted author James Fennimore Cooper, published in the December 1844 issue of Graham’s Magazine, etc. Length 5.5”. 30,000/40,000 Provenance: Brought west with a family that settled in New Mexico before 1850. Purchased in 1981 from Forrest Fenn, Santa Fe, New Mexico. A Rhode Island Private Collection.

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174

175

176

178

177

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179

174.

WHALING CAPTAIN’S “GOING-ASHORE” CANE Mid-19th Century Faceted mushroom-style whale ivory handle, inlaid with an 1837 Seated Liberty half-dime at top, and alternating red and blue wax dots and banding. German silver collar. Tapered octagonal whalebone shaft with medial band of alternating red and blue wax dots and three incised rings. Brass ferrule. Length 35.5”. 1,200/1,500

177.

WHALEMAN-MADE WHALE IVORY CANE 19th Century Flattened ball handle inscribed “Thomas Coffin 1831”. Brass tip is a replacement. Length 32.5”. 300/400

178.

WHALE IVORY AND WOOD CANE Third Quarter of the 19th Century Mushroom-form handle inset with mother-of-pearl and three horizontal bands. Rosewood shaft with whale ivory banding, one band scrimshawed with five sailing vessels and three with anchors, harpoons and scrolls. Whalebone ferrule. Length 35.5”. 1,000/1,500

179.

BLAKE HAMPTON Oklahoma, b. 1932 Whaling in the Arctic, the crew of the “Louisa B.”encountering the Great Blue Whale. Signed lower right “Hampton”. Titled along lower margin. Gouache on artist board, 15.5” x 21.5”. Framed 17.5” x 23.5”. 400/600

Provenance: Purchased from New Bedford collection in 1992. A Rhode Island Private Collection.

175.

ELEPHANT IVORY AND WHALEBONE CANE Mid-19th Century Large ivory cue ball handle. Metal collar. Whalebone shaft with sections of deep fluting and ring and spiral carvings tapering to a simple cylinder. Length 34.75”. 600/900 Provenance: A Private Collection, New York.

176.

WHALEMAN-MADE CANE Mid-19th Century Whale ivory flattened ball handle with mother-of-pearl inlay at top. Hardwood shaft with whale ivory and baleen banding at upper portion and a whale ivory tip. Length 34”. 400/600

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180

180.

* LARGE POLYCHROME ENGRAVED WALRUS TUSK BY DAVID LAZARUS 20th Century Includes five vignettes titled “Sailing Day”, “A Stove Boat”, “Nipped in the Ice”, “Homeward Bound” and “A Safe Harbor”. Signed and dated “91” lower left. Length 31.25”. 1,000/1,500

181.

SCRIMSHAW WALRUS TUSK Dated 1863 Floral, foliate, heart and American flag decoration. Initialed and dated. Length 21.5”. 800/1,200

182.

WHALEBONE FID 19th Century Nicely turned and incised. Length 13”.

181

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400/600

183.

CARVED COCONUT SHELL COVERED FOOTED BOWL First Half of the 19th Century English silver hallmarked cover and rim. Four whale’s teeth legs with applied silver feet. Shell carved with three cartouches, one with British flags, surrounded by swag designs. Height 8.25”. 1,000/1,500

183

184.

COCONUT SHELL FUNNEL WITH METAL INLAY Mid-19th Century Inlaid metal band around rim and geometric shapes around bowl. Metal stem with seven-pointed star mount. Length 5.75”. 500/700

184

186

185.

ROPEWORK AND BALEEN BLACKJACK 19th Century Twisted baleen shaft with ropework weighted ends. Length 11.5”. 300/500

186.

BALEEN BLACKJACK 19th Century Twisted baleen shaft with ropework-covered lead weight and knob handle. Length 11”. 250/350

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187.

MAHOGANY BOX INLAID WITH MOTHER-OF-PEARL 19th Century Hinged top and all four sides of box inlaid with mother-ofpearl hearts, stars and diamonds. Heart-shaped escutcheon. Pine base panel. Alligatored finish. Height 6.25”. Width 14”. Depth 8.5”. 700/1,000

187

188.

HANDWRITTEN WHALEMAN’S TELEGRAPHIC CODE BOOK Dated 1883 Inscribed on cover “1883 Telegraphic Code J & W.R Wing[?] New Bedford, Mass and San Francisco, Cal”. Contains several pages of codes for “General Remarks”, “Reporting Sperm Oil”, “Price Sperm Oil”, etc., and codes pertaining to the whaling barks Atlantic, Fleetwing, John Dawson and another, possibly the Abraham Barker. Contained in a paper-covered ruled notebook. Approx. 5.5” x 3.5”. 300/500 Provenance: Barbara Johnson Whaling Collection. Retains Barbara Johnson collection sticker.

188

189.

TWO BOTTLES OF “NYOIL” SPERM WHALE OIL WITH ORIGINAL PAPER BOXES 19th Century Both sealed, corked and full of oil. Manufactured by William F. Nye, New Bedford, Massachusetts. Bottle heights 4.5”. Box heights 4.75”. 400/600

190.

BOTTLE OF W.F. NYE INC. “PURE SPERM OIL” 19th Century Full bottle with original cork stopper and paper label. Height 3”. 300/500

189 190

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191, pair

191.

PAIR OF WHALEBONE DRUMSTICKS 19th Century Lengths 17.5”. 500/1,000

193.

HANDMADE WHALEBOAT MODEL BY PETER MIELE Massachusetts, 20th Century Meticulously crafted and detailed model, complete with oars, masts, whaling irons, barrels of line, water casks, a knife and hatchet, etc. Displayed on a wood cradle. Length 29.25”. Height on cradle 4.5”. 500/800

192

192.

WHALEBONE FID 19th Century Tapering oblong shaft, incised “JN” and pierced at top for leather hanging loop. Length 17.25”. 500/800

193

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194.

WHALEBONE AND IVORY SINGLE SWIFT Mid-19th Century Yarn ball cup and clamp with incised sealing wax banding. Nice ring turning throughout. Height 21.75”. 1,500/2,500

195.

BOTTLE OF SPERM WHALE OIL 19th Century Amber glass bottle. Paper label marked “Sperm Oil Simon Rau & Co. Apothecaries Bethlehem, PA”. Height 5.75”. 300/500

194

100

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196

196.

ENGRAVED POWDER HORN AND WHALE’S TOOTH AND A PHOTOGRAPH OF A SHIP CAPTAIN 19th Century Powderhorn engraved with a three-masted ship flying an American flag. Marked “Capt. E B Coffin 1860”. Tooth depicts a whaling scene. Hand-colored photograph depicts the captain holding a spyglass. The lot was purchased thirty years ago at a southeastern Massachusetts auction. Powderhorn length 8”. Tooth length 9.25”. Framed photograph 12” x 10”. 2,000/3,000

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101

199

197

198

197.

WHALE IVORY PIE CRIMPER WITH INLAID HANDLE Mid-19th Century Architectural handle with ball finial, a segment of open columns, a central faceted knop, a segment of closed columns, a seed-form segment and a baluster-form yoke. Knop with diamond-shaped abalone inlay. Fluted wheel. Deep patina. Length 5.5”. Includes metal stand. 3,000/4,000 Provenance: A Private Collection, New York.

102

198.

WHALEBONE PIE CRIMPER WITH SCRIMSHAW DECORATION Second Half of the 19th Century Pinpoint foliate designs above “Mary”. Length 7.25”. 500/800

199.

WHALE IVORY AND WALRUS IVORY DOUBLE-WHEEL PIE CRIMPER Mid-19th Century Tapered shaft with knob terminal, a free-spinning ring, a static ring and contrasting bands, possibly baleen or exotic wood. Simple yoke supports a fluted wheel and a plain disc wheel. Length 6”. Includes metal stand. 1,000/1,500 Provenance: A Private Collection, New York.

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200

200.

WHALEBONE AND IVORY SWIFT Mid-19th Century Yarn ball at top with red incised banding. Cylindrical squat clamp with red and black incised banding. In a fitted wooden box. Height 14.5”. Cage diameter approx. 9”. Box height 5”. Width 20.5”. Depth 5.5”. 800/1,200

201.

TWO SCRIMSHAW BALEEN BUSKS 19th Century 1) Heart-shaped lobed top and curved bottom. Depicts hearts, potted plants, a Union shield and foliate motifs surrounded by a vine border. Handwritten label verso “From Mrs John (B...) Horton Rehoboth 1891”. Length 14.25”. 2) Canted top and curved bottom. Inscribed at center “Jane M. Busby”. Depicts a ship portrait, a landscape with house, a monument flanked by a weeping willow, a flowering plant, a winged angel with a “Hope” banner, and geometric panels interspersed with flowers and foliate vines. Illegible inscription on reverse. Length 13.75”. 250/350

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103

202.

TWO CARVED WHALEBONE PERSONAL ITEMS 19th Century A needle holder with openwork-carved and incised star designs, length 1.5”, and a neckerchief slide depicting a Union shield, length 1.5”. 250/350

202

203.

* POLYCHROME ENGRAVED WHALE’S TOOTH BY SALMAN RASHIDI New England, Contemporary Depicts the whaleship William Baylies off a hilly coastline, with a sloop off her bow. She flies an assortment of flags and pennants, including a “William Baylies” pennant from the mainmast and an American flag off the stern. Signed lower left “Rashidi”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. Length 7”. 1,000/1,500

203

Salman Rashidi first saw scrimshaw while on vacation in Hawaii in 1980. Although he had been studying electrical engineering at the University of Idaho, he changed his career path to focus on art and scrimshaw. He has received numerous awards for his work and created the Associated Press Lifetime Achievement Award presented to Walter Cronkite.

204.

204

104

WHALEBONE PIE CRIMPER WITH OPENWORK HANDLE Mid-19th Century Handle comprised of four sections of whalebone in varying pillar, pierced heart and architectural forms. One end of handle with a shield-form mount supporting two side-by-side fluted wheels. Other end with a three-tine fork. Length 8.75”. 1,000/1,500 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts. The Collection of Sam and Donna McDowell.

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205

206

205.

WHALEBONE AND MAHOGANY GAVEL WITH INSCRIPTION PERTAINING TO THE WHALESHIP STAFFORD 19th Century Mahogany handle. Turned whalebone head inscribed “Whale Ship ‘Stafford’” and “Atlantic City, N.J. Febr. 12th 1884”. The Stafford ran aground off Atlantic City in 1884 and had to be offloaded for repair. While at dock she became a temporary tourist attraction. Length 6”. 400/600

206.

PAGE TURNER WITH WHALE’S TOOTH HANDLE 19th Century Small whale’s tooth handle with unusual grained pattern. Exotic wood shaft, possibly rosewood, subtly shaped to conform to the undulations in the tooth. Baleen banding between handle and shaft. Length 11.5”. 200/300

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207

207.

WHALEBONE GAVEL 19th Century Incised banding on both head and handle. Length 8”. 300/500

105

208

208.

CHART CHEST 19th Century Under old orange-red paint. Marked on front “Charles W. Morgan.”. Dovetail construction. Height 10.5”. Width 56”. Depth 11”. 3,000/5,000 Provenance: Purchased from John Sylvia, Sr., who claimed he purchased it in New Bedford, Massachusetts many years prior.

209.

JOHN STOBART Massachusetts/Florida, b. 1929 “Mystic Seaport - The Charles W. Morgan at Chubb’s Wharf by Moonlight”. Titled on the center margin. Numbered 2008/6141. Signed “Stobart” lower right margin. Color offset print, 19.25” x 29” sight. Framed 27.75” x 37”. 400/600

209

210.

BRASS BELL FROM THE WHALESHIP ROUSSEAU New Bedford, 19th Century Stamped on top “Rousseau, New Bedford”. Hangs from a wrought iron frame mounted to two wooden planks. Height 18”. Width 19”. Depth 12”. 800/1,200 The whaleship Rousseau was built in Philadelphia in 1801 by Nicolas Vandusen for banker Stephen Girard. Sailing regularly from 1832 to 1882 out of New Bedford, she was broken up there in 1893.

210

106

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Louis Dodd United Kingdom, 1943-2006 Lot 211

211

211.

“New Bedford Waterfront Showing the Clipper Syren and Whaling Bark Massachusetts 1865”. Signed lower left “Louis Dodd”. Titled on frame. Oil on board, 22” x 36”. Framed 27” x 41”. 10,000/15,000 Provenance: Mystic Maritime Gallery, Mystic, Connecticut. An Important Private Collection, Newport, Rhode Island.

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107

212

212.

HAND-COLORED AQUATINT “SOUTH SEA WHALE FISHERY” London, Circa 1825 “A representation of the Ships Amelia Wilson & Castor off the Island of Bouro. _ with their Boats & Crew, in the various process of Fishing, shewing the manner the Spermacetti Whales are caught, also the mode of cutting them into the Ship...”. Marked in lower margin “Painted by W.J Huggins, Marine Painter to his Majesty - The Head of a Large Whale in the Agonies of Death.” at left, “London, Published Jan 1st 1825 by W.J. Huggins, Marine Painter, 105, Leadenhall Street. A Boat destroy’d by a Wounded Whale.” at center, and “Engraved by T. Sutherland.” at right. On paper, 17.5” x 23” sight. Framed 25.5” x 30.5”. 400/600 Provenance: Grogan & Co., Boston, January 1989. The Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

213.

BUFFALO POTTERY SOUVENIR JUG OF NEW BEDFORD Early 20th Century Brown transfer decoration of sperm whaling, the whaleship Niger and other whaling motifs. Height 6.5”. 300/500 213

108

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215

216

214.

TWO WHALE-THEMED CARVINGS Dated 1978 1) Wooden sculpture of a whale and calf, carved in the round, with the calf mounted behind the fin of the mother. Displayed on petrified root base. Signed and inscribed on the bottom of the base “Rancus #140 Monterey ‘78”. Height 7”. Length 18”. Width 10.5”. 2) Whale plaque in the style of Voorhees. Signed and dated verso “Ike Tucker ‘87” and “Whale Conn Animal”. Length 11.25”. 400/600

215.

CLARK G. VOORHEES, JR. Connecticut/Vermont, 1911-1980 Carved and painted wooden sperm whale plaque. Stamped verso “CV” and “C. Voorhees”. Length 17.5”. 800/1,200

216.

CLARK G. VOORHEES, JR. Connecticut/Vermont, 1911-1980 Carved and painted wooden sperm whale plaque. Stamped “CV” and “C. Voorhees” below the tail. Length 17”. 1,000/1,500

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109

217

217.

INUIT CARVED WALRUS IVORY DECORATIVE FAUX PIPE Second Half of the 19th Century Carved as two manned Unimak hunting boats on a base adorned with seals and seal heads, walrus and walrus heads, whales, dog heads and hunters. The boat nearest the mouthpiece has harpooned a whale, and two of the men are rowing and two are handling the harpoon and line. The boat nearest the bowl is halibut fishing, with three men rowing and one hauling in a fish. The bowl is topped by a figure. In front of the bowl is a ball-like iceberg. Length 12.5”. 10,000/12,000 Provenance: Descended in the family of whaling captain George Hathaway Taber, who was active 1838-1873.

218.

WHALEBONE-HANDLED FOOD CHOPPER, POSSIBLY INUIT Late 19th Century Handle and steel blade conjoined with a whalebone heart-shaped mount. Length 3.25”. 300/500

218

219

219.

110

INUIT WHALEBONE-HANDLED WHISK BROOM Late 19th Century Openwork handle carved as a hand grasping an animalistic figure. Total length approx. 10”. 250/350

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220.

NORTHWEST COASTAL CARVED WHALE’S TOOTH 19th Century Depicts three totems. Height 5.5”. 1,000/1,500

220, three views

221, with details

221.

INUIT CARVED AND ENGRAVED OOSIK First Half of the 20th Century Polished baculum with walrus ivory end caps, one carved, engraved and polychromed as the face of a polar bear with its mouth wide open, baring its teeth, and the other as the face of a walrus. Baleen spacers between bone and end caps. Length 21.5”. 1,800/2,500 Provenance: Estate of Errol Rudman of Rudman Capital.

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111

222.

WALTER ETOKA Inuit, b. 1919 Large whale vertebrae, carved in the form of a candlestand with a traditional Inuit “Smiling Face”. Supported by a steel T-stand. Height on stand 18”. Width 19”. Depth 11”. 1,000/1,500

222

223.

CASED WALRUS IVORY RULER AND THERMOMETER 19th Century Measurements for 0 to 8 inches. Inset thermometer with Fahrenheit and Celsius degree scales. Marked below thermometer “Rd. 43090”. Leather-covered case. Length 12”. 150/250

223

224.

WILLIAM BALDWIN America, 20th Century “Whaler Josephine Leaving Point Barrow, 18th August, 1889”. Depicts the New Bedford whaling fleet off Point Barrow, Alaska in 1889. Other boats pictured include the Wanderer, the U.S. revenue cutter The Bear, the J.H. Howland, the Josephine and the Belvedere. Signed lower right “Wm. Baldwin ‘79”. Tempera on board, 22.25” x 44.75” sight. Framed 35.75” x 51”. 2,500/4,000

224

112

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Stan Stokes America, 20th Century Lots 225-226

225

226

225.

“Charles W. Morgan”. Depicts an Arctic whaling scene with three whaleboats in the water giving chase to a whale. Mountainous snow-capped coast in the distance. Signed lower right “Stokes”. Signed, titled and dated verso “Stan Stokes 2008 All Reproduction Rights Reserved”. Oil on canvas, 36” x 48”. Framed 42.75” x 54.75”. 6,000/8,000 Provenance: Mystic Gallery at Mystic Seaport. Retains label verso. Commissioned by the consignor.

226.

“Moonlit Wharf ”. Depicts a clippership at dock, tied up with several other vessels, with buildings on the right side of the wharf and a man rowing a dory past the clipper ship. Signed lower left “Stokes”. Signed, titled and dated verso “Stan Stokes 2009 All Reproduction Rights Reserved”. Oil on canvas, 24” x 36”. Framed 31.25” x 43.25”. 4,000/6,000 Provenance: Mystic Gallery at Mystic Seaport. Retains label verso.

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113

227

227.

114

NAPOLEONIC PRISONER-OF-WAR CARVED BONE SPINNING JENNY, A RARE SIX-FIGURE EXAMPLE Late 18th/Early 19th Century Finely carved and detailed mechanized model; turning the crank animates the figures and spinning wheel. Upper platform with four female figures in hats and a dancing couple, all with some traces of polychroming. Two of the women are standing, one beside a table topped with a bowl and a cup. The other two women are seated in high-back stools, one rocking a baby and the other feeding a beautifully pierced cobweb-style spinning wheel that is raised on a small platform. The dancing couple, possibly two children, spin on a round platform. Lower platform with hand crank, three pierced cobweb-style wheels and other mechanisms that activate the figures and spin the wheel. Platforms joined by turned columns and are raised on a turned bone foot. Height 5.5”. Width 3.5”. Depth 2”. 6,000/8,000

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228.

229.

RARE AND EXCEPTIONAL NAPOLEONIC PRISONER-OF-WAR BONE BODKIN CARVED AS A SOLDIER Early 19th Century Soldier, possibly a member of the French Old Guard, with a bearskin hat, epaulets, a buttoned long-tailed coat, and a sword at his side. Tapered shaft carved with bands of filigree and other ornamentation. Length 5”. 4,000/5,000

CASED BONE MODEL OF A SHIP Last Half of the 19th Century Retains an erroneous tag pertaining to the maker. Case height 13.75”. Width 18”. Depth 8”. 1,000/1,500

228, two views

229

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115

231

230

230.

NAPOLEONIC PRISONER-OF-WAR BONE GAMES BOX Early 19th Century Tall narrow box with polychrome diamond, star, concentric circle and other geometric engraving on sides. Sliding lid with cribbage board, concentric circle decoration and a large thumb tab. Contains twenty-six non-matching bone dominoes. Height 2.25”. Length 6.5”. Width 1.25”. 800/1,200

231.

NAPOLEONIC PRISONER-OF-WAR BONE SPELLICANS GAME SET Early 19th Century Intricate openwork-carved cylindrical box with threaded cap. Contains twenty-six spellican “straws”, thin bone strips, most with shaped terminals. Box height 5.5”. Diameter 1”. Straw lengths approx. 4”. 800/1,200 In spellicans, also called spillikins or jackstraws, players remove a straw from a pile, one at a time, without disturbing any of its neighbors, using a small carved hook. Each straw has a points value and the game is won by the player with the highest score.

116

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232.

PRISONER-OF-WAR BONE GAMES BOX 19th Century Sliding lid with shell-shaped pull. Interior of box with central divider, engraved with red and blue diagonal stripes. Contains approx. 74 bone dominoes, some with black pips and red central lines and some with gold-painted pips. Height 1”. Length 6.5”. 600/900

232

233.

PRISONER-OF-WAR POLYCHROME BONE GAMES BOX 19th Century Sliding wooden lid with bone knob. Sides of box with pierced hearts, spades and modified clubs, carved concentric circles, applied moldings, and red and blue-black highlights. Turned legs. Wooden base panel. Height 2.25”. Length 5.5”. 900/1,200

234.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE GAMES BOX Early 19th Century In double casket form. Two domed lids with reliefcarved floral designs and fruit-form knobs lift to reveal two sliding lids with matching fruit-form knobs, relief-carved foliate designs and a pierced cribbage board track. Box with scalloped and serrated side panels with applied ribbed moldings, and geometriccarved corner panels. Bone base panels affixed with large metal pins; one panel missing. Contains a pair of dice and approx. 35 bone dominoes. Height 2.75”. Length 6.75”. Width 4.25”. 1,000/1,500

233

234

Provenance: A Nantucket Collection.

235.

NAPOLEONIC PRISONER-OF-WAR BONE GAMES BOX Early 19th Century Sliding top with painted inserts of ladies. Sides with cribbage board and painted panels. Contains dominoes. Height 2.75”. Length 7”. Depth 3”. 2,000/3,000

235

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117

236.

236

JOHN BENTHAM-DINSDALE United Kingdom, 1927-2008 Action between the Majestic and Terpshichore. Signed lower left “John Bentham-Dinsdale”. Inscribed verso “Action between the Majestic and the Terpsichore 3rd February 1814 The Majestic was out in the Atlantic looking for and hoping to meet the Constitution when on the morning of Feb. 3rd she sighted 2 French ships, the Terpsichore and the Atalante. After a long chase she overhauled the Terpsichore and after a short action captured her. The Atalante took no part, not even helping her sister ship and as the day closed made off to the South East. John Bentham-Dinsdale”. Oil on canvas, 24” x 36”. Framed 29.5” x 41.5”. 2,500/3,500 Provenance: Omell Galleries, London.

237.

BERT DUCEY America, Contemporary A naval battle between the U.S.S. United States and the H.M.S. Macedonian during the War of 1812. Signed and dated lower left “Ducey 2001”. Watercolor, 16” x 20” sight. Framed 24.5” x 28.25”. 1,200/1,500

237

238.

ATTRIBUTED TO THOMAS WHITCOMBE United Kingdom, c. 1760-1824 “English Frigates”. Unsigned. Titled and attributed to Whitcombe on frame plaque. Oil on canvas, 12” x 17”. Framed 22” x 27.5”. 1,500/2,500

238

Provenance: Private Collection, New York.

239.

AMERICAN SCHOOL 19th Century “Ship Wasp Capturing the Frolic”. Unsigned. Titled lower center. Watercolor on paper, 20.5” x 26.5”. Framed 28” x 34”. 2,000/3,000

239

118

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Patrick O’Brien Maryland, b. 1960 Lot 240

240

Patrick O’Brien began painting in the 1980s. He illustrated children’s books until 2003, when he entered the marine art field. Since then, he has won awards from the National Maritime Historical Society, the Mystic International Marine Art Exhibition and the American Society of Marine Artists, among others. His work has also been featured in publications such as The

240.

“Don’t Tread on Me”. The U.S.S. Raleigh attacking a British convoy. Signed and dated lower right “Patrick O’Brien 08”. Titled verso. Oil on canvas, 24” x 36”. Framed 35.25” x 44.25”. 10,000/15,000

New York Times, the U.S. Naval Institute, and the Sea History magazine.

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119

241.

ENGLISH CARVED MAHOGANY GANGWAY BOARD Mid-19th Century Deep relief carving of the Royal seal at center, featuring a rampant lion and unicorn and a “Dieu et Mon Droit” banner. Further embellished with crossed cannons, cannon balls and other military equipment. Arched top with a deeply carved wave pattern. Sides and base with rope carving. Brass plate wraps around the board and two threaded brass eyelets are mounted to the top corners. Pair of legs at base extend when gangway was in use and would fit into slots on the vessel. Mounted on a contemporary base. Total height 55”. Gangway height 27.75”. Width 16.5”. Depth 2.5”. 2,000/3,000

241

242.

DUTCH HISTORIC BRASS HANGING LANTERN According to the Poore-Moseley family, this lantern came from the U.S.S. Constitution. Turnip-form top, hexagonal body with pierced and molded designs, and eight turned feet. Glass corner panels cut in a foliate design. Height 17.5”. 5,000/10,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire.

242

120

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243.

PLANK-ON-FRAME MODEL OF A 50-GUN ENGLISH FRIGATE Circa 1750 Hull planked with boxwood, with hundreds of small planks, scaled to the appropriate size and shape, fastened with tiny pins. At the stern, the planks are remarkably well-joined. Beautifully carved beakhead with a figurehead in the form of a crowned full-figured female holding a torch in her right hand. Each side of hull with thirteen large cannon ports with strap hinges that allow them to operate. With the exception of the most forward and the most rear cannon port, there is a tiny hinged door to the left of each, which provides an opening for an oar in the event the vessel was becalmed. Two additional small cannon port doors on the upper gun deck near the stern, for a total outfit of fifty hand-cast brass cannons. Outstandingly carved quarter galleries with carved and glazed windows, fluted columns and a full-body figural pillar. Raised bulwark is planked and has applied moldings. Deck also planked with boxwood. Deck mounted with three nested longboats, each a highly crafted model unto itself. Frigate further detailed with a windlass, a double wheel, spars, ebonized yardarm and lateen spanker, natural finish spars, wood and metal anchors, etc. Meticulously rigged, with properly sized and shaped deadeyes and blocks. Height 37.5”. Length 43.25”. Width 18.25”. Displayed on a contemporary tabletop inlaid wood base. 15,000/20,000

243

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121

244

244.

Vice Admiral Sir Jaheel Brenton was a British officer in the Royal

SIR JAHEEL BRENTON England, 1770-1844 “A Sketch of the Action of the 3rd of May 1810”. Titled lower center. Signed “By Sir Jah Brenton”. Watercolor on paper, 8.5” x 18.5”. Framed 9.75” x 20”. 500/1,000

Navy who served during the French Revolutionary and Napoleonic Wars. He had a long and distinguished career and eventually earned the rank of Vice Admiral. In “The Action of May 3rd” Brenton served as the captain of “Spartan”. While he was ultimately victorious, he suffered a severe wound to his hip, essentially ending his career as a captain.

245.

ENGLISH POWDER BUCKET Early 19th Century Leather cover decorated with the coat of arms of King George III and marked “1812”. Height 12.5”. Diameter 6.5”. 400/800

246.

245

247.

122

ENGLISH POWDER BUCKET Late 18th/Early 19th Century Canvas cover with painted decoration of the Royal coat of arms with the “Dieu Et Mon Droit” banner. Height 19”. Diameter 7.5”. 500/1,000

246

PAIR OF 1805 32-POUND DECK CANNON MODELS Circa 1975 By London Enterprises, Ltd. (19681994). Bronze barrels, lengths 9.75”, mounted on stepped wheeled carriages. Mounted for display on maple boards with identification/maker plaques. Heights 5”. Lengths 12”. Widths 8”. 300/500

247, pair

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248.

SINGLE-DRAW BRASS AND MAHOGANY TELESCOPE Late 18th/Early 19th Century Tapered mahogany tube. Brass fittings, including threaded lens cap. Unmarked. Length closed 30.5”. 400/600

248

249.

MODEL OF THE CONTINENTAL NAVY SLOOP PROVIDENCE BY MARK SUTHERLAND Circa 2020 In ¼” to 1-foot scale. Hull built up from the solid with a painted white bottom, black waist, buff topsides cut and pierced for ten cannons on carriages, and applied sheer strake and rail, all painted black. Planked deck detailed with head post, anchor windlass, deck hatches, pin and fife rails, ladders, companionway, pumps, boxed compass tiller, the Continental Navy flag, etc. Rigged as a sloop with bowsprit, mast, standing and running rigging, etc. Displayed on a pair of brass pedestals on a mahogany base within a wood-trimmed glass case. This model is based on information from John Miller and the painting of the Providence by artist John Mecray. She is authentically painted per the full-size replica. Case height 28.25”. Length 30.25”. Width 10”. 1,200/1,800 John Paul Jones’ 12-gun sloop Providence was a sloop-of-war in the Continental Navy, originally chartered by the Rhode Island General Assembly as Katy. The ship took part in a number of campaigns during the first half of the American Revolutionary War before being destroyed by her own crew in 1779 to prevent her from falling into the hands of the British after the failed Penobscot Expedition.

249

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123

250.

SHERATON PIER MIRROR 19th Century Upper reverse-painted glass tablet depicts a naval battle, likely between the U.S.S. Constitution versus H.M.S. Guerriere. Height 49.5”. Width 24”. 500/1,000

250

251.

BRASS-BOUND CAMPHORWOOD CAMPAIGN CHEST 19th Century In two parts. Exceptionally grained camphorwood throughout. Upper case with a central secretary drawer flanked by stacks of two drawers, all over a full-width drawer. Secretary drawer contains pigeonholes and drawers. Lower case with two graduated full-width drawers and turned feet. Drawers with inset brass hardware. Height 46.5”. Width 41.75”. Depth 19.25”. 1,500/2,500

251

252.

PORTRAIT OF CAPTAIN FREEMAN NORTON 19th Century Noted verso “The portrait of Captain Freeman Norton of Holme’s Hole-Vineyard Haven born 1790 died 1835 he followed the sea for some years and was afterwards in the shipping business in his native town. Married Mary Holmes, daughter of Charles Holmes and left four daughters Mary, Hannah, Martha, and Frances the later marrying Capt. Kimball Harlow of Duxbury. Their daughter Lydia Frances born July 10th 1844 married F.G.G. Wadsworth of Duxbury”. Pastel, 15.75” x 12.5” sight. Framed 21” x 18.5”. 1,000/2,000

252

124

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253.

ENGLISH PAPIER-MÂCHÉ TRAY WITH PAINTED DECORATION OF A NAVAL ENGAGEMENT 19th Century Gilt border. 24.5” x 30.5”. 500/700

253

254.

ENGLISH BRASS-BOUND MAHOGANY CAMPAIGN KNEEHOLE DESK Circa 1880 In three parts. Gilt tooled leather writing surface. Top with three side-by-side drawers. Each pedestal with three graduated drawers and bracket feet. Drawers with recessed brass hardware. Height 32.5”. Width 55.5”. Depth 29.5”. 3,000/5,000

254

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125

255.

POLYCHROME LIVERPOOL SOFT-PASTE PLATE England, Early 19th Century Central decoration of a three-masted vessel flying an American flag over “DMA”. Lip with floral sprigs. Diameter 10”. 600/800 Provenance: Northeast Auctions, Portsmouth, New Hampshire.

255

256.

PANTRY BOX WITH SHIP PORTRAIT PAINTED ON LID Late 19th Century Depicts an American ship under full sail. Height 5”. Diameter 9.75”. 400/600

256

257.

ATTRIBUTED TO ISAAC WETHERBY Massachusetts/Iowa/Rhode Island, 1819-1904 Portrait of a ship captain holding a spyglass. Labeled verso “As signed on back of original canvas in lower right corner: ‘Wetherby Pinxit Nov. 1844’”. Oil on canvas backed with wood panel, 30” x 25”. Framed 37” x 31.75”. 2,000/3,000

257

126

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258.

BRASS-BOUND ROSEWOOD CAMPAIGN CHEST 19th Century In two parts. Upper case with two half drawers over a full-width drawer. Lower case with two full-width drawers. Traditional inset brass hardware. Height 40.5”. Width 40”. Depth 16”. 500/1,000 Provenance: Donald Howes.

258

259.

ENGLISH BRASS-BOUND MAHOGANY CAMPAIGN CHEST 19th Century In two parts. Upper case with two half drawers over a full-width drawer. Lower case with two full-width drawers and turned feet. Typical inset brass hardware. Height 42”. Width 39”. Depth 18.5”. 1,500/2,500

259

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127

260.

AMERICAN SCHOOL 19th Century Portrait of seated sea captain holding a telescope. Window over his left shoulder provides a view of the sea and numerous ship. Unsigned. Oil on canvas, 34” x 28”. Framed 38” x 31”. 1,000/2,000

261.

PINK LUSTER CREAMER WITH MARITIME DECORATION First Half of the 19th Century Black transfers depict “The Enterprise and Boxer” and “The Wasp boarding the Frolic”. Height 5.5”. 500/800 Provenance: The Collection of Bill Guthman.

262.

260

PINK LUSTER CREAMER WITH PATRIOTIC DECORATION Early 19th Century Transfers depict “Success to the United States of America”, with an American flag, eagle and American Native, and “Peace Plenty and Independence”, with an American eagle. Height 5.75”. 1,800/2,500 Provenance: The Collection of Bill Guthman.

261

128

262

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263.

PAIR OF SUNDERLAND LUSTER PLAQUES WITH SHIP PORTRAITS 19th Century Pink and pink and green luster. One labeled “Northumberland 74”, the other untitled. Both 8” x 9”. 400/600

263

264.

PAIR OF SUNDERLAND PLAQUES WITH MARITIME DECORATION 19th Century Matched pair with slightly different paint. Depict British vessels and verse “May Peace & Plenty on our Nation Smile. And Trade with Commerce Bless the British Isle”. Both 8.5” x 9.5”. 400/600 264

265.

ATTRIBUTED TO ANTOINE ROUX France, 1821-1882 Two vessels at sea. Unsigned. Watercolor on paper, 6.5” x 10”. Framed 12.25” x 15.5”. 400/600

265

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129

266.

CASED SCALE MODEL OF THE PRIDE OF BALTIMORE BY M. CLAYTON OSTERLING 20th Century Hull planked and trunneled, with painted red waists and white topsides. Planked decks detailed with pin and fife rails, belaying pins, barrels, hatches, cannons rolled out on carriages, boat lashed to the center, deckhouse, companionway, tiller, boom crutch, etc. Rigged with a bowsprit and two masts, standing and running rigging, furled sails, and other rigging details. Displayed “on the ways” within a mahogany and glass case. Case height 24.5”. Length 32”. Width 11.25”. 2,000/3,000

266

130

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267.

SOFT-PASTE JUG WITH MARITIME DECORATION First Half of the 19th Century Reverse-tapered form with raised banding. Black transfer depicts a British three-masted ship and the Great Seal of the United States. Height 9.25”. 1,000/1,500

268.

PINK LUSTER CREAMER WITH PATRIOTIC DECORATION First Half of the 19th Century Transfers depicts an American three-masted sailing vessel surrounded by a chain containing the names of famous American naval captains, and an American eagle surrounded by a chain containing the names of 19th Century historical figures. Height 4.75”. 800/1,200

268

267

Provenance: The Collection of Bill Guthman.

269.

CASED MODEL OF THE GAFF SCHOONER THE PATRIOT BY WILLIAM E. HITCHCOCK America, 20th Century Hull built up from the solid with a copper foil bottom and black topsides. Basswood planked deck detailed with anchor, stove pipe, deck hatches with gratings, central swivel gun, deck house, etc. Rigged as a gaff schooner with a bowsprit, two masts, standing and running rigging, and other details. Displayed on pin mounts within a brass-trimmed mahogany and glass case. Case height 21”. Length 24.75”. Width 9.5”. 2,000/3,000

Maker William E. Hitchcock (1928-2006) was a prolific builder of ship models and his work has been exhibited at the Peabody Essex Museum in Salem, Massachusetts, Mystic Seaport in Mystic, Connecticut, and numerous other museums and private and corporate collections.

269

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131

270

271

270.

132

ATTRIBUTED TO MICHELE FELICE CORNÈ America/France/Italy, 1752-1845 “The Brigh Attalant of Boston, Capt. Taylor Departing from Naples 1800”. Unsigned. Watercolor, 12.5” x 16.5” sight. Framed 21.5” x 26.5”. 4,000/6,000

271.

ATTRIBUTED TO MICHELE FELICE CORNÈ America/France/Italy, 1752-1845 “Brig Alexander Wm. S. Sichet Master Departing from Nap”. Watercolor on paper, 16.25” x 22”. Framed 23” x 27.5”. 4,000/6,000

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272

272.

CASED EXHIBITION STANDARD MODEL OF L’AMISTAD BY ALAN BURGHARDT America, 20th Century Hull built up from the solid with painted green bottom and black topsides. Deck planked and pinned and detailed with anchors, anchor windlass, pin and fife rails, hatches, galley, buckets, deck eyes, skylight, compass house, tiller, etc. Rigged as a schooner with a bowsprit and two masts, standing and running rigging, and other details. Displayed on an inlaid cherry base on a “T” keel stand within a glass and cherry case. Also includes a plan for a study model and a brief document regarding the making of these plans. Case height 27.25”. Length 37”. Width 15”. 3,500/6,500

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133

273.

PORTRAIT OF THE SHIP CATERINA BY PUJOL Late 19th/Early 20th Century “Caterina, Giovanni D’Asti - A.D. 1793”. Signed lower right “J. Pujol”. Watercolor on paper, 18.5” x 25.75”. Framed 22.25” x 29”. 1,000/1,500

273

274.

PORTRAIT OF TWO VESSELS BY PUJOL Late 19th/Early 20th Century “‘Mathilde’ y ‘San Fernando’ el ano 1803 A.D.”. Signed lower right “J. Pujol”. Watercolor on paper backed with masonite, 22” x 33.5”. Framed 25.5” x 37”. 1,200/1,800

274

275.

PORTRAIT OF THE SHIP CHARLES LAW OF LONDON Mid-19th Century “Charles Law of London - Chas. Smith Com.”. Unsigned. Ink and watercolor on paper, 18.25” x 25.5” sight. Framed 27” x 34.5”. 1,500/2,500

275

134

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276

277

276.

AMERICAN SCHOOL Mid-19th Century “Packet Ship Isaac Webb of New York 1841”. Seen flying American and Black Ball Line flags. Signed and dated lower right “James Alrich of New York 1853”. Watercolor and gouache on wove paper, 20.5” x 29” sight. Framed 25” x 34”. 1,000/2,000

277.

ATTRIBUTED TO GIUSEPPI FEDI Italy, 1792-1819 “Melanto of Whitby George Parry Master”. Unsigned. Watercolor on paper, 19.5” x 26”. Framed 22” x 28”. 3,000/5,000 Provenance: Peter Tillou. Northeast Auctions, Portsmouth, New Hampshire, August 19, 2000, Lot #628. Private Collection, Massachusetts.

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135

278.

CHRICTON BROS. STICK BAROMETER London, Circa 1880 Ebony or rosewood case. Also fitted with thermometer. Beautifully engraved ivory scales. Barometer marked with maker’s name. Height 39.5”. Width 6.5”. 2,000/3,000

279.

GIMBALLED SHIP’S BAROMETER England, 19th Century Signed “Steele & Son, 9 Dukes Place, Wapping, Liverpool”. Mahogany case with brass fittings and bone degree scales and adjustment knob. Also fitted with a thermometer inside door. Height 37”. 500/800 Provenance: Delaney Antiques, West Townsend, Massachusetts.

278

136

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280.

CASED QUADRANT BY RODGERSON, LIVERPOOL 19th Century Marked on inset ivory panel “Rodgerson, Liverpool”. Ebonized wood frame with inset ivory 0-110 degree scale. Brass index arm, sights, etc. In a wedge-shaped wooden case. Case height 4.25”. Length 12.75”. 400/600

280

281.

CASED QUADRANT 19th Century Ebonized wood frame with inset ivory 0-110 degree scale. Brass index arm, sights, etc. In a wedge-shaped wooden case with faded paper label on interior. Case height 5”. Length 12.5”. 300/400

281

282

282.

LEATHER-WRAPPED BRASS TELESCOPE BY SPENCER, BROWNING & CO. London, 19th Century Inscribed “Spencer, Browning & Co., London, Day or Night”. Length closed 20.5”. 200/300

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137

283.

BRASS DESK TELESCOPE England, 19th Century Marked on tube “Wm. Parris & Co 50. Holborn London”. On tripod. Height 18”. Tube length closed 38”. 500/1,000 283

284.

PARKES AND HADLEY’S PATENTED ORRERY MADE BY GEORGE PHILIPS & SON, LONDON England, Circa 1890 Marked “Parkes and Hadley”. Globe marked for George Philips. In its original fitted case. Case height 10”. Width 19”. Depth 11”. 1,500/2,500

284

285.

138

CELESTIAL GLOBE BY ERNST SCHOTTE & CO., BERLIN Early 20th Century Mounted on a brass and steel stand. Height 9”. Width 9”. Depth 9.5”. 250/350

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285

286.

CASED SAMUEL EMERY DRY CARD BOAT COMPASS 19th Century Face marked “S. Emery Salem”. Green and black painted case. Height 4.5”. Diameter 7”. 500/800

287.

CASED BRASS TELESCOPE Probably England or France, Early 20th Century Retailed by Andrew J. Lloyd & Co., Boston. Unmarked. Brass tubes and fittings. Includes a collapsible mahogany tripod. Height on tripod 60”. Overall length of brass tube closed 39”. Pine case height 5.5”. Length 41”. Width 9”. 4,000/6,000

287

288.

BRASS TUBE TELESCOPE ON A TRIPOD BY A. BARDOU Paris, France, Second Half of the 19th Century Retailed by Thomas Hall & Son, Boston. Height on tripod 64”. Length of tube closed 39.25”. 1,200/1,600

288

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139

289.

JOHN TAYLOR ALLERSTON England, 1828-1914 “North East Wind Briddington Bay”. Signed lower right “J.T. Allerston”. Titled on contemporary label verso. Oil on canvas, 14” x 21”. Framed 24” x 31”. 1,000/1,500

289

290.

GOVERT VAN EMMERIK The Netherlands, 1808-1882 “Boten op woliige zee” (Boats on a stormy sea). Signed lower left “G van Emmerik”. Titled in Dutch on gallery label verso. Artist’s wax seal verso. Oil on canvas, 22.5” x 29.5”. Framed 32.75” x 38.5”. 1,500/2,500 Provenance: Kunsthandel Roelofs, Amsterdam. Christie’s, New York, Maritime Sale, February 26, 2002, Lot #104. Private Collection, Cape Cod, Massachusetts.

290

291.

JAMES W. MEADOWS England, 1768-1864 Ships off Dover. Signed faintly lower left. Oil on canvas, 12.5” x 22”. Framed 15” x 25”. 2,000/3,000 Provenance: Kennedy Gallery, New York, 1964. Private Collection, Connecticut.

291

140

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Norman Wilkinson United Kingdom, 1878-1971 Lots 292-293

292.

“Rounding the Fastnet”.

Signed lower right “Norman Wilkinson”. Titled, signed and dated on label verso “Certificate. Picture. ‘Rounding the Fastnet’ is an original painting by the undersigned Norman Wilkinson June 17th 1964”. Oil on canvas, 18” x 24”. Framed 24.5” x 30.5”. 3,000/5,000

292

293.

“The Needles, Isle of Wight”. Titled verso on label for Tyron Gallery, Ltd., London. Oil on board, 18” x 24”. Framed 22.75” x 28.75”. 3,000/5,000 Provenance: The Tyron Gallery, London. A private American collector, thence by descent to the current owner.

293

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141

Session II Friday, August 20, at 9:30 a.m. Lots 501-815 Property from the India House, New York Lots 544-560 Selections from the Kelton Collection Lots 588-626 Also Paintings, Ship Models, Instruments and More

142

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501

501.

ATTRIBUTED TO WILLEM VAN DER STOOP German, 17th Century North Baltic port. Unsigned. A 1964 letter from the Lyman Allyn Museum attributes the painting to Van Der Stoop. Oil on canvas, 32” x 47”. Framed 41” x 55”. 4,000/6,000

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141

502

502.

THOMAS BUTTERSWORTH England, 1768-1842 “In Channel Off Dover”. Signed lower right “T. Buttersworth”. Titled on gallery label verso. Oil on canvas, 17.75” x 24”. Framed 22.5” x 28.25”. 8,000/12,000 Provenance: Wunderlich Galleries, New York. Kennedy Galleries, New York, 1964. Private Collection, Connecticut.

142

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503

504

503.

ATTRIBUTED TO JOHN SCOTT United Kingdom, 1802-1885 The barque Cowslip off the mouth of the Tyne. Unsigned. Attribution and location based on Christie’s catalog description, November 1, 2001, Lot #526. Oil on canvas, 19” x 26.5”. Framed 26” x 33.5”. 1,800/2,500

504.

RICHARD BALL SPENCER England, 1812-1897 Portrait of the Black Ball Line ship Legion of Honour. Signed lower left “R.B. Spencer”. Oil on canvas, 20” x 30”. Framed 25.5” x 35.5”. 5,000/7,000 Provenance: A New England institution. Eldred’s, July 20, 2012, Lot #546. Private Collection, California. The Legion of Honour was built in 1863 by H.W. Wilson of St. John’s, New Brunswick. She was part of Thomas MacKay’s Black Ball Line, which primarily sailed from England to Australia delivering mail and travelers eager to capitalize on Australia’s gold rush.

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143

Robert Salmon England/Massachusetts, 1775-c.1851 Lots 505-507

505.

“Loch Lomond”. Signed and titled verso “RS Loch Lomond”. Oil on board, 7.75” x 9.75”. Framed 16” x 18”. 7,000/10,000 Provenance: Kennedy Galleries, New York. Skinner Inc., November 21, 2003, Lot #209. Private Collection, Massachusetts.

505

506.

Vessels off a cliff-side lighthouse. Unsigned. Oil on panel, 7.75” x 9.75”. Framed 13” x 15”. 4,000/6,000 Provenance: Private Collection, New York.

506

144

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Robert Salmon England/Massachusetts, 1775-c.1851 Lots 505-507

507

507.

ROBERT SALMON England/Massachusetts, 1775-c. 1851 “Ships and a brig of the John Gladstone & Company fleet in the Mersey”. Signed lower right “R. Salmon”. Titled on frame plaque. Oil on canvas, 26” x 43”. Framed 35” x 51”. 30,000/50,000 Provenance: Private Collection, New York.

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145

Samuel Walters England, 1811-1882 Lot 508

508

508.

Britannia in Hudson Bay”. Unsigned. Oil on canvas, 32” x 48”. Framed 36” x 52”. 25,000/35,000 Provenance: Kennedy Galleries, New York, 1964. Private Collection, Connecticut.

146

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147

509.

POLYCHROME LIVERPOOL JUG Late 18th/Early 19th Century Polychrome transfer of the three-masted American ship Cumberland and a monochrome transfer of the farmer’s arms. Marked below spout “Keziah Willson” over the Great Shield of the United States. Height 9.5”. 1,000/1,500

510.

POLYCHROME LIVERPOOL JUG Late 18th/Early 19th Century Transfer of the three-masted American ship the Boston Packet on one side, and images of Washington, Justice and Liberty and a ribbon and star surrounding the names of fifteen states on opposite side. Marked below the spout with initials within a wreath and the Great Seal of the United States. Height 11.5”. 2,500/3,500

509

Provenance: Northeast Auctions, Portsmouth, New Hampshire.

510

511.

POLYCHROME LIVERPOOL SOFT-PASTE SHALLOW SOUP BOWL Early 19th Century Transfer of a three-masted vessel flying an American flag and maritime motifs bordering the water. Diameter 10”. 400/600

511

512.

SHIP’S APOTHECARY CHEST Mid-19th Century In mahogany, with a brass bail handle at top. Contains assorted glass bottles. Height 10.5”. Width 11.5”. Depth 7.5”. 1,000/1,500

513.

AFTER T.G. DUTTON England, 19th Century “The Clipper Ship Mirage ...”. Engraved by E. Duncan. Hand-colored lithograph on paper, 15” x 20” sight. Framed 24” x 29”. 300/500

512

148

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514.

DOVETAILED SEA CHEST 19th Century In walnut. Canted front. Old iron strap hinges. Nicely shaped cleats with rope beckets. Height 21”. Width 37.5”. Depth 21.5”. 600/900

514

515.

JOHN CUNNELLY Great Britain, 20th Century The U.S. frigate Hancock. Signed lower right “Cunnelly”. Oil on canvas, 16” x 24”. Framed 22.25” x 30.25”. 600/800 Provenance: Omell Galleries, London.

515

516.

RARE LIGNUM VITAE MASTHEAD TRUCK 19th Century In the form of an acorn. Height 10”. 400/600

516

517.

SEA CHEST 19th Century In walnut. Dovetail construction with canted sides. Bold iron hinges. Interior of lid painted with yellow and red hex signs. Nicely carved cleats. Height 16.5”. Width 37.25”. Depth 16”. 500/800

517

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149

518.

FREDERICK JEWETT Connecticut/Ohio, 1819-1864 Ship off the coast flying an American flag. After a work by Christian Cornelis Kannemans (The Netherlands, 1812-1884). Signed lower right “After Kannemans J.F. Jewett”. Oil on canvas, 23” x 32”. Framed 31.5” x 40.5”. 1,000/1,500

519.

AMERICAN SCHOOL 19th Century Clipper ship at sea. Signed illegibly lower right. Oil on canvas, 20” x 30”. Framed 24” x 34”. 1,500/2,500

520.

PAUL CHARLES EMMANUEL GALLARD-LEPINAY France, 1842-1885 Fishing off a coastal village. Signed lower left “E. Gallard-Lepinay”. Oil on board, 28” x 39.75”. Framed 33” x 44.5”. 2,000/3,000

518

519

520

150

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521

521.

JAMES HAMILTON Pennsylvania/California, 1819-1878 New York Harbor at sunset. Signed lower right “J. Hamilton”. Oil on canvas, 12” x 20”. Framed 20” x 28”. 6,000/9,000

522.

FRANKLIN DULLIN BRISCOE Pennsylvania/Maryland, 1844-1903 A gaff-rigged boat in a foggy harbor. Signed lower right “F.D. Briscoe”. Oil on canvas, 14” x 12”. Framed 17.5” x 15.5”. 1,000/1,500

522

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151

William Kimmins McMinn California/United Kingdom, 1820-1898 Lots 523-525

523

524

523.

The Pickwick in two positions off Liverpool. 524. The Zelica under sail. Unsigned. Identified and titled on frame plaque. Signed faintly lower left “McMinn”. Oil on canvas, 24” x 37”. Framed 30.5” x 43.5”. Oil on canvas, 20” x 30”. Framed 25” x 35”. 6,000/9,000 5,000/8,000 Provenance: Omell Galleries, London. Private Collection, Massachusetts.

152

Provenance: Omell Galleries, London. Manuge Galleries Limited, Nova Scotia. Private Collection, Massachusetts.

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William Kimmins McMinn California/United Kingdom, 1820-1898 Lots 523-525

525

525.

A ship of the Blackball Line off Liverpool. Signed lower left “W.R. McMinn”. Oil on canvas, 30” x 48”. Framed 36” x 55”. 10,000/15,000 Provenance: Ted Thomas, Concord, Massachusetts. Hirschl & Adler, New York. Private Collection, Massachusetts.

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153

William Bradford Massachusetts/California, 1823-1892 Lots 526-528

526

526.

Starboard view portrait of the ship Harry Bluff, hove-to, awaiting a pilot.

She’s flying her house flag from the mainmast and an American flag from her gaff, and the ship’s name appears at the stern, below the lifeboat hanging from davits, and at the bow, below where three sailors are handling lines. Beautifully and realistically rendered sails shown at rest, the folds and creases visible where they are pressed against rigging lines. To her right is a two-masted topsail schooner with a rig and hull shape similar to the yacht America’s. To the right of the schooner is a three-masted steam/sail vessel rounding a point of land. Signed and dated lower left “Wm. Bradford Fair Haven, Maass [sic] 1856”. Accompanied by the essay “William Bradford, Portrait of the ship Harry Bluff” by Erik A.R. Ronnberg, Jr. and an extensive condition report from Yost Conservation, LLC, Oxford, Connecticut, which states the painting is in “very good condition,” and that the restoration included removing “the previous restorer’s discolored varnish layer and excessive and unnecessary retouches ...”. Oil on canvas, 28” x 42.25”. Framed 36.5” x 50.5”. 40,000/60,000

154

Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 20, 2014. Literature: William Bradford Sailing Ships & Arctic Seas by Richard C. Kugler (New Bedford, Mass: New Bedford Whaling Museum, 2003), p. 89-97, for several illustrations of William Bradford ship portraits. American Clipper Ships 1833-1858 by Octavius T. Howe and Frederick C. Matthews (Salem, Mass.: Marine Research Society, 1926), p. 260, for history of the Harry Bluff. Essay “William Bradford, Portrait of the ship Harry Bluff” by Erik A.R. Ronnberg, Jr. (November 2014).

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William Bradford and Fitz Henry Lane’s portraits of 1850s sailing ships are at the highest level of ship portraiture painted in the 19th Century. Here, Bradford exhibits a wonderful luminous quality in the brilliant coloring of the sky and the subtle tones of the soft cloud banks. It is one of his later ship portraits, and the controlled execution of the color, structure and highlighting of the water and the fine rendering of the sails rank it as one of his best. According to Ronnberg’s essay, the Harry Bluff was built at Chelsea, Massachusetts in 1855 by Jotham Stetson, registered at 1,244 tons, 184 feet in length, 37 feet in beam and 24 feet in depth. She was owned by Charles Reynolds Green and St. Croix Redman, who was also her master. Her name, “Harry Bluff”, selected by the builder, was the nom de plume of naval officer and hydrographer Matthew Fontaine Maury, who wrote a series of articles about U.S. Naval policy for the Richmond Whig. In publications at the time of her launch, her figurehead was described as a tar lifting his hat and her color scheme as a black hull and buff inboard. She was intended for the packet trades between New Orleans and European ports, but the background here is possibly the entrance to New York Harbor, her port of registry. While the Harry Bluff isn’t flying a pilot signal flag, this probably indicates the lack of uniformity in signal flags at the time, rather than Bradford’s ignorance. The Harry Bluff was lost on Nantucket’s South Shoal in March 1869 while bound for Boston from Cadiz.

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155

William Bradford Massachusetts/California, 1823-1892 Lots 526-528

527

527.

156

The coast of Labrador. Signed lower right “W. Bradford”. Oil on canvas, 18” x 30”. Framed 23” x 35”. 5,000/10,000

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William Bradford Massachusetts/California, 1823-1892 Lots 526-528

528

528.

New Bedford Harbor. Signed lower right “W. Bradford”. Watercolor and wash, 8.5” x 16”. Framed 15.25” x 23”. 10,000/15,000 Provenance: The collection of Francis Dolloff. Private Collection, Massachusetts. Exhibited: The Museum of Fine Arts, Boston. deCordova Museum, Lincoln, Massachusetts.

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157

529

530

529.

CHINESE SCHOOL Mid-19th Century “A View of the Waterfront, Canton”. Unsigned. Housed in a period Chinese Chippendale gilt frame. Oil on canvas, 18.25” x 24”. Framed 22.5” x 28”. 5,000/10,000 Provenance: Vose Galleries, Boston. Private Collection, Cape Cod, Massachusetts.

530.

CHINESE SCHOOL 19th Century Portrait of the American clipper ship Northern Light. Unsigned. Housed in a period Chinese Chippendale frame. Oil on canvas, 18” x 23.5”. Framed 23” x 28”. 4,000/6,000 In 1853, Northern Light, with Captain Freeman Hatch at the helm, sailed from San Francisco to Boston via Cape Horn in a recordsetting 76 days, 6 hours, a record that still stands for a single-hull vessel. Sailing around Cape Horn is widely regarded as one of the most challenging routes in yachting due to extreme weather and strong currents.

158

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530.

CHINESE SCHOOL 19th Century Whampoa Harbor. Unsigned. Oil on canvas, 24.75" x 35". Framed 28” x 38”. 20,000/30,000

530A

531.

CHINA TRADE TWO-PART SECRETARY DESK Early 19th Century In solid hardwood, including secondary woods. Upper case with glazed double doors over half drawers. Lower case with a slant lid over four drawers. Fitted interior. Both parts with campaign-style handles. Height 83”. Width 44”. Depth 22.5”. 2,500/3,500

531

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159

532.

YOUQUA China, Active 1840-1870 Extremely fine set of four watercolor paintings depicting Canton, Shanghai, Macao and Amoy harbors, circa 1863. Each scene is identified in black ink in the lower margin and is surrounded by parallel line borders. The set is outstandingly detailed and exhibits dramatic lighting and shading and exceptional color density. One with label verso “Youqua Painter Old Street No 34 Queensroad No 107.”. 1) “Canton 1863”. Also marked in black ink lower left “Hai Nam”. The harbor is filled with assorted Chinese vessels and is lined by two-story buildings, one fronted by an American flag flying from a tall flagpole. The very calm water is composed of fine horizontal bands of color. 9.25” x 12.375”. 2) “Shanghai”, also titled in black ink lower left “Above the Ocean”. The harbor is fronted by stately two-story buildings and is filled with a variety of Chinese vessels as well as an English two-masted schooner and four Western ships, two flying American flags, one flying a British flag and the other a French flag. Several finely detailed figures visible on the vessels, engaged in various pursuits. Like in “Canton”, the water here is very calm and is composed of fine horizontal bands of color. 9.25” x 12.375”. 3) “Macao”. Also marked in black ink lower left “G. Mum” and faintly inscribed in pencil lower right “The Gate[?]”, possibly referring to the Portas de Cerco, the Barrier Gate separating the Macau Peninsula from mainland China.

160

The gently curving harbor is surrounded by rows of elegant two-story buildings, a residential neighborhood and distant hills, one topped with a fort-like structure and another with a temple-like building. One of the buildings on the waterfront is fronted by a flag on a flagpole, possibly an American flag. Several assorted Chinese vessels and a small Western sloop fill the harbor, and many finely detailed figures are visible on the vessels and on shore. The calm water is composed of fine concentric bands. 9.5” x 12.125”. 4) “Amoy”. A wide array of buildings, some flying French and Dutch flags, line the bustling harbor filled with assorted Chinese vessels and a British-flagged sloop. Two of the vessels in the foreground are flying vibrant green and red flags and have detailed figures maneuvering the craft. In the distance are rolling hills. The calm water here is also composed of fine horizontal bands. 9.5” x 12.5”. Each painting is tacked at a few points to a light blue silk ribbon, which is tacked at a few points to a backing sheet; the mounting is easily removable. Housed in contemporary mahogany frames with reverse-painted black and gilt mats and metal plaques marked “Youqua”. 20,000/30,000 Provenance: Rafael Osona Auctions, Nantucket, Massachusetts, August 18, 2018.

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532, four, detail and label at left

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161

533.

CHINESE EXPORT PORCELAIN SERVING DISH WITH ARMORIAL CREST OF THE BRITISH EAST INDIA COMPANY Circa 1805 Square, with rounded corners. Red, blue, white, purple and black enamel and gilt crest with lions holding flags flanking a crowned shield divided into four fields and a “Auspicio. Regis. Et. Senatus. Angliae” (By Command of the King and Parliament of England) banner. Gilt rim, exterior orange-red border studded with black dots, and interior gilt fleur-de-lis border. Believed to be from the last set produced for the British East India Company in 1805. 8.5” x 8.5”. 2,500/3,500 Provenance: A Rhode Island Private Collection.

533

534, pair

534.

162

PAIR OF CHINA TRADE ARMCHAIRS WITH CANED SEATS Mid-19th Century In rosewood, with carved backs and reeded arms and legs. Includes seat cushions. Heights 32”. 800/1,200

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535.

CHINESE SCHOOL 19th Century The clipper ship Chocura. Unsigned. Oil on canvas, 18” x 23.5”. Framed 24” x 29”. 2,500/3,500

535

536.

CHINESE SCHOOL Circa 1885 British steam/sail vessel Nurtaran outward bound. Detailed with numerous passengers on deck. Oil on canvas, 26” x 34.5”. Framed 29.75” x 38.5”. 1,500/2,500 Provenance: Eldred’s, Summer Marine Sale, July 1995. The Kelton Collection of Marine Art & Artifacts.

536

537.

CHINESE SCHOOL 19th Century China Trade portrait of the Admiral of San Francisco under shortened sail, circa 1865. Identified by label on back of stretcher. Oil on canvas, 18” x 23.5”. Framed 24.75” x 30.5”. 800/1,200 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1998. The Kelton Collection of Marine Art & Artifacts.

537

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163

538.

RODNEY CHARMAN America/United Kingdom, b. 1944 Awaiting the Tea. Signed and dated lower left “Rodney Charman ‘83”. Oil on canvas, 20” x 28”. Framed 25.25” x 33.5”. 300/500

538

539.

RODNEY CHARMAN America/United Kingdom, b. 1944 Sunrise on the China Coast, the Oriental at Hong Kong, 1851. Signed lower left “Rodney Charman ‘82”. Oil on canvas, 20” x 24”. Framed 25.75” x 30”. 300/500 Provenance: Omell Galleries, London.

539

540.

DAVID CHENG America/China, 20th Century Hong Kong Harbour. Signed and dated lower left “David Cheng Hong Kong 1961”. Oil on canvas, 18” x 24”. Framed 22” x 28”. 400/600

540

164

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541.

BRASS-BOUND CAMPHORWOOD CHEST Mid-19th Century Bold brass carrying handles at sides. Height 23.5”. Width 42”. Depth 21.25”. 900/1,200

541

542.

PAIR OF CHINA TRADE PORTRAITS OF LADIES Mid-19th Century Both ladies seated next to potted plants. Unsigned. Housed in rosewood frames with brass hangers. Oils, 17” x 22.5” sight. Framed 25” x 19.5”. 1,200/1,800 542, pair

543.

543

RARE CHINA TRADE ROLL-TOP LAP DESK 19th Century In mixed woods, including a burlwood panel on lid. Unengraved brass nameplate on lid. Recessed brass handles at sides. Single drawer which, when opened, operates a mechanism that opens the roll top. Height 9”. Width 19.25”. Depth 14.75”. 600/900

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165

Property from

Th e Indi a Ho use , New Yo rk The landmark India House building, in lower Manhattan, was constructed in the 19th Century and was used by several private companies and enterprises prior to it becoming the home of the India House organization in 1921. The building is in the style of a Renaissance palazzo, and the name references the Indies, epitomizing the rare and exotic, and the Dutch West India Company, the first colonizers of Manhattan. India House, the organization, was established in 1914 by a group of businessmen who wanted to promote foreign trade. It existed for many years as a social club, and its diverse collection of Maritime, Asian and New York art was renowned. Several of the items presented here are included in A Descriptive Catalogue of the Marine Collection To Be Found at India House, a book published in an edition of 1,000 copies for the Board of Governors of India House in 1935.

544.

TWO ENGRAVINGS FROM THE SERIES “THE SIEGE OF HAVANA IN 1762” London Plate V, “This Perspective View of the Landing and Marching the Troops along the Shore towards the Fort Cojimar between the Hours of One and Three in the Afternoon of June 7th 1762.” and Plate [?], “This Perspective View of the Order of Sailing and Conducting His Majesty’s Ships of War and Transports...”. After Dominic Serres (United Kingdom, 1722-1793). James Mason (United Kingdom, c. 1710-1785), engraver. Philip Orsbridge (United Kingdom, c. 1764-65), publisher, London. Engraving, 18” x 26” to the plate mark. Framed 21” x 29”. 1,000/1,500 From a series of twelve prints documenting the Siege of Havana in 1762, the last major operation of the Seven Years War.

The Siege of Havana was prompted by Spain’s entry into the War in support of France. The British government retaliated by attacking Spanish overseas possessions, including an amphibious attack on Havana, beginning in March 1762. One print shows the shore landing and marching of troops toward Fort Cojimar on June 7. The other shows the assembly of the fleet. Both views based on drawings from eyewitness sketches made during these events by Lieutenant Philip Orsbridge, who had served at Havana. Orsbridge engaged P.C. Canot and James Mason to engrave them as a set of a total of twelve prints, which he published. British forces captured Havana in August and dealt a

544, two

serious blow to the Spanish Navy. Havana was later returned to Spain under the 1763 Treaty of Paris that ended the Seven Years War.

166

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545.

FINE SCALE MODEL OF CAPTAIN COOK’S H.M.S. RESOLUTION Hull built up from the solid and planked over, the topsides cut and pierced for twelve cannons. At the stem is a figurehead of a seahorse supported by the head rails, and at the stern there are simple quarter galleries and the transom detailed with windows, a lantern and the name “Resolution”. The decks are planked in a similar fashion and detailed with bit posts, pin and fife rails, stove pipe, open waist with two boats mounted above, capstan, ladders, raised poop deck, double wheel, etc. Rigged with a bowsprit, three masts, standing and running rigging and a full suit of cotton sails. Displayed on a pair of brass pedestals within a wood-framed glass case on a fitted stand. Model height 27.75”. Length 33.5”. Width 10”. Case height 63.75”. Length 41”. Width 14”. 1,000/1,500 H.M.S. Resolution was a sloop of the Royal Navy, a converted merchant collier built in 1770 and purchased by the Navy and adapted. Captain

545

James Cook made his second and third voyages of exploration in the Pacific in the Resolution.

546.

BRITISH WOOLWORK DEPICTING TWO SHIPS ENTERING A HARBOR United Kingdom, 19th Century A British ship of the line and a White Fleet frigate (displaying the white dusters) under full sail, passing a fort flying the Union Jack and another castle. Stitched in various colors. Housed in a bird’s-eye maple frame with gold liner and original glass. Canvas 18.5” x 27.5”. Framed 22” x 31.25”. 400/600

546

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167

547.

EDOUARD LORMIER Greece/France, 1847-1919 “Le Dévouement” (The Devotion). Figure standing on a rockery base. Signed within the cast “Bronze France E. Lormier”. Susse Frères (France, active 1839-1970s) pastille foundry stamp. Dark brown patination. Bronze, height 28” and width 18”. 800/1,200 A full-scale monumental version of the same figure, titled “Monument des Sauveteurs”, was installed on the Boulevard de Alliés in Calais in 1899 and later transferred to the Quartier of Courgain in 1960.

547

548.

168

EXCEPTIONAL AND LARGE NAPOLEONIC PRISONER-OF-WAR BONE MODEL OF THE FIRST-RATE 110-GUN H.M.S. ROYAL SOVEREIGN Circa 1805-1810 Hull built up over a wooden plug and planked and pinned in bone from the keel to the topsides. At the bow is a carved figurehead in the form of a Roman warrior, hands at his sides and with a feathered headdress. The figurehead is supported by head rails with carved detail. The quarter galleries and transom are elaborately carved and pierced in bone with banded and rope-twist detail, the windows glazed in mica. The taff-rail, at the top of the transom, is cut and notched with a boom crutch and decorated with the heads of cherubs. Extending from the stern rails is a pair of davits rigged with hoisting lines and hooks. At the top of the transom, carved in relief, is an eagle, lion and dragon above double balconies with carved posts and railings. The lower portion of the transom is carved in relief and is fitted with a rudder with a decorated edge and check chains. The deck is planked and pinned in bone, and detailed with pin and fife rails, anchors hung out on posts, deck rings, cleats, capstan, belfry with turned bone posts and brass bell. The deck is cut out at the waist with carved railings and posts, and decorated with carved swags. On either side of the waist are a pair of boats swung out on hoisting lines. Other details include deck opening, ladders, poop deck with deck house, etc. Rigged with a bowsprit and three masts, each rigged with tops, trees, cross spars and stun’ sail booms, all in bone, the standing and running rigging including ratlines running up from bone chain plates and rigged with bone deadeyes, turning blocks and fairleads. Other parts of standing rigging include stays, shrouds, intermediate shrouds, and running backstays. Running rigging includes sheets, halyards, topping lifts,

bracing lines, and other rigged details. Displayed on a pair of brass stanchions within a modern plexiglass case with base and built-in lighting. Model height 31.5”. Length 41”. Width 14.5”. Case height 72.5”. Length 47”. Width 17.75”. 30,000/50,000 Provenance: James A. Farrell (America, 1863-1943), president of U.S. Steel. Gifted to India House. Literature: Carl C. Cutler’s A Descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), p. 53, #159. It is noted this is a model of the H.M.S. Royal Sovereign (which is unlikely), and is referred to as a “magnificent Admiralty working model...”, also noting that this ship, the H.M.S. Royal Sovereign was Vice-Admiral Collingwood’s flagship of the lee division at the battle of Trafalgar. Under Vice-Admiral Collingwood, the H.M.S. Royal Sovereign was the first ship of the fleet in action at Trafalgar on October 21, 1805. She led one column of warships; Nelson’s Victory led the other. As she cut the enemy line alone and engaged the Spanish three-decker Santa Ana, Nelson pointed to her and said, “See how that noble fellow Collingwood carries his ship into action!”. At approximately the same moment, Collingwood remarked to his captain, Edward Rotheram, “What would Nelson give to be here?”. Upon Nelson’s death, Vice-Admiral Collingwood became the admiral in command of the fleet, and he proceeded to bring the British fleet together in the final victory.

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Property from The India House, New York

548, multiple views

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169

549.

RIGGED MODEL OF THE CLIPPER SHIP UNION OF 1851 Post-1960 Hull built up from the solid, with painted copper bottom and black topsides. Detailed with a gold painted figurehead of a dragon, white sheer strake, chainplates and rudder. The deck finished bright with the planking lines scored in, and detailed with railings, bell, capstan, bit post, pin and fife rails, companionways, deck houses, stove pipe, two ship’s boats on davits, hatches, ship’s wheel, etc. Rigged with a bowsprit, three masts, spars, standing and running rigging, and a full suit of cotton sails. Displayed on a simple wood cradle. Height on stand 25.5”. Length 43.5”. Width 10.5”. 400/600

549

550.

HAND-COLORED LITHOGRAPH OF THE BARQUE TORY By T.G. Dutton. Fully titled “‘Barque Tory’, 800 Tons Burthen, G.E. Langford, Commander Australian Cordilleras Gold Mining Company This print of their Chartered Ship leaving the Downs with their first expedition to Australia”. On paper, 11.25” x 17.5” sight. Framed 20.5” x 26.5”. 150/250

550

The Tory was wrecked off Hannah Bay/Port Stephens at 2 a.m. on July 14, 1853. All crew and passengers were saved except for one child, Stephen Taylor. In the subsequent court cases, Commander Langford was exonerated, but Thomas Barker, the chief mate, was found guilty of manslaughter.

170

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Property from The India House, New York 551.

CURRIER & IVES HAND-COLORED LITHOGRAPH “THE IRON STEAMSHIP ‘GREAT EASTERN’ 22,500 TONS.” Circa 1858 After Charles Parsons (America, 1821-1910). Depicts the Great Eastern underway with a flotilla of small craft in the foreground. On paper, 20.25” x 30.5” sight. Framed 27.25” x 36.25”. 400/600 Literature: Carl C. Cutler’s A Descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), p. 82, #297.

552.

ENDICOTT & CO. HAND-COLORED LITHOGRAPH OF THE U.S. GUNBOAT CHENANGO Circa 1863 After Charles Parsons (America, 1821-1910). Marked “Lithographed & Published by Endicott & Co. 59 Beekman St. New York The United States Gunboat. Chenango. Built by J. Simonson Greenpoint. N.Y. - Engine by Morgan Iron Works. N.Y.”. Signed “C. Parsons 63”, with facsimile signature on plate. On paper, sheet size 20” x 32”. Framed 22.5” x 34.75”. 250/350

551

Literature: Carl C. Cutler’s A Descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), p. 68, #262, with an extensive note on the ship.

553.

ENDICOTT & CO. HAND-COLORED LITHOGRAPH OF THE U.S. GUNBOAT OZARK Circa 1864 Marked “The United States Gunboat Ozark, Built by Geo. C Bestor Lithographed & Published by Endicott & Co. 59 Beekman St. New York”. On paper, 17.5” x 29.5” sight. Framed 21.5” x 33.5”. 400/600

552

Literature: Carl C. Cutler’s A Descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), p. 105, #348, with an extensive note on the ship. U.S.S. Ozark was a single-turreted river monitor built for the U.S. Navy during the American Civil War. The ship served in the Mississippi River Squadron during the war and participated in the Red River Campaign shortly after she was commissioned in early 1864. Ozark patrolled the Mississippi River and its tributaries after the end of the campaign for the rest of the war. She was

553

decommissioned after the war and sold in late 1865.

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171

554.

HAND-COLORED LITHOGRAPH OF THE BRITISH CLIPPER SHIP HERRADURA 1868 After Charles William Foster (Australia, 1840-1920). Published by T.G. Dutton, December 1868. Marked in plate lower left “Clipper Ship Herradura - 1000 tons London to Punta Arenas in 87 Days”. Similar notation on mat with date 1872. 12.5” x 18.25” sight. Framed 20.5” x 26.5”. 250/350 The Herradura was built by Messrs Alex. Hall & Co., Aberdeen in 1868.

554

555.

ADMIRAL M. OUDES The Netherlands, 20th Century The tug Roode Zee towing a square rigger in from the sea. Signed and titled lower right “SSLB Roode Zee - Ad. M. Oudes”. Watercolor on paper, sheet size 10.5” x 13”. Framed 17.75” x 20”. 250/350

555

556.

PRINTS OF THE CLIPPER SHIPS NIGHTINGALE AND SOVEREIGN OF THE SEAS 1) Nightingale off the Battery in New York Harbor, by N. Currier. Later chromolithographic print, after the drawing by Charles Parsons, produced at the end of Currier & Ives’ career. 2) Sovereign of the Seas off New York. Reproduced for India House circa 1954. Plates 8.5” x 11”. Framed 15.75” x 18.25”. 150/250

556, two

172

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Property from The India House, New York

557

The ship Tusitala was the last full-rigged merchant ship to fly the American flag. She was an iron-hulled sailing ship of 1,684 tons built in 1883 in Greenook, Scotland as the Inveruglas. She subsequently sailed under the Norwegian flag as the Sophie. After being laid up for several years, she was acquired by a group of New York writers and artists who went by the name of the “Three Hours for Lunch Club”. The ship was brought under the U.S. flag and renamed Tusitala, in honor of Robert Lewis Stephenson. (Tusitala was the Samoan name adopted by Stephenson, meaning “Teller of Tales”.) The “Three Hours for Lunch Club” quickly ran short of funds and the Tusitala was sold to James A. Farrell, the president of U.S. Steel and the founder of Isthmian Steamship Company. His sons would later form Farrell Lines, which would grow to become a major U.S. shipping firm. (Farrell Lines is now a U.S- flag subsidiary of P&O Nedlloyd.) Farrell operated the Tusitala in service from New York to Hawaii via the Panama Canal until in 1939 it became a training ship at the United States Maritime Services Training Center at Bayboro Harbor in St. Petersburg, Florida. The ship was finally scrapped in Mobile, Alabama in 1947.

557.

DETAILED MODEL OF THE SHIP TUSITALA OF THE FARRELL LINE Early 20th Century Hull built up and painted with a green bottom and white topsides. Deck detailed with bollards, chocks, capstan, railings, ladders, ventilators, pin and fife rails, anchor posts with anchors, deck hatch, deck houses with stove pipe and four boats mounted on rails, binnacle, wheel house, etc. Rigged with a bowsprit, three masts and standing and running rigging. Displayed on a pair of wood posts within a glass and mahogany case with stand. Within the case is a silver plaque marked “Ship ‘Tusitala’ Given in Memory of John A. Farrell 1890-1966”. Model height 22”. Length 34.5”. Width 9”. Case height 53.25”. Length 40.5”. Width 14.5”. 1,200/1,800 Literature: Carl C. Cutler’s A Descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), p. 53, #162.

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173

558.

HAND-COLORED LITHOGRAPH “THE DETROIT RIVER TOW OF THE SEVENTIES” Circa 1900 After Seth Arca Whipple (America, 1855-1901). Detroit Publishing Co. On paper, 16.25” x 21.25” sight. Framed 23.5” x 28.5”. 250/350

559.

H.E. BOUCHER MFG. CO. FINE SCALE MODEL OF A MERCHANT BRIG Circa 1925 Hull built up from the solid and planked with a bright finished bottom and painted black topsides and rudder. The cap rail finished bright as are the planked decks. Detailed with bowsprit bracing posts, anchors, pin and fife rails, companionway, ship’s boat on cradles, deck gratings, pump, deck house, tiller, etc. Rigged as a brig with a bowsprit, two masts, stun’sail booms, standing and running rigging, hoisting lines and more. Displayed within a glazed case on a pair of turned brass pedestals on the traditional Boucher gray sand base. Case height 23.25”. Length 31.25”. Width 13.25”. 1,000/1,500

558

Literature: Carl C. Cutler’s A Descriptive Catalogue of the Marine Collection at India House (At the Sign of the Gosden Head, New York: 1935), p. 57, #192. Commercial brigs such as this were mostly involved in the

559

Triangular Trade carrying sugar, molasses, rum and cotton from the Caribbean to ports in the U.S., though some went as far as Europe and the Mediterranean.

174

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Property from The India House, New York

The second of Albert Ballin’s trio of super-liners, the Leviathan, originally named Vaterland, was built by Blohm & Voss in 1914 with principal dimensions of 948-ft. LOA and 100-ft. beam, and she cruised at 23 knots. She had numerous innovative features and refinements that included split uptakes from the engine room to the first two funnels,

560.

BRONZE BELL FROM THE S.S. LEVIATHAN Cast in bronze by Newport News Shipbuilding & Drydock Co., Newport News, Virginia, 1923. Height 22”. Diameter 24”. Height on stand 65”. 4,000/6,000

which allowed for uninterrupted public spaces of 300 feet and forced draft ventilation that all but eliminated the use of funnels. Leviathan also had a double bottom and watertight bulkheads that had attained new importance after the Titanic’s tragedy. Her career as a German passenger liner was brief; while she was docked in Hoboken, New Jersey, the United States entered the World War I and seized Vaterland. The U.S Navy commissioned her U.S.S. Leviathan, a name chosen by Woodrow Wilson, as a troop ship. During her service she carried 119,000 American Expeditionary Force troops to Europe. She was decommissioned from the U.S Navy in 1919. From 1919 to 1922, she was laid up in New York Harbor until it was decided to put her back in service. After a complete reconditioning at Newport News, she entered commercial service as the flagship of the new United States Lines, which operated her for the U.S. Shipping Board until 1929. Subsequently sold into private hands, the ship ran until 1934. High operating costs and low passenger numbers during the Depression led to the Leviathan being laid up in New York Harbor until 1938, when she was sold to the ship breakers Rosyth & T.W. Ward of Sheffield, United Kingdom.

560, photo not included with lot

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175

561.

ATTRIBUTED TO ELISHA TAYLOR BAKER New York/Connecticut, 1827-1890 The schooner Abby K. Bentley. Unsigned. Oil on canvas, 24” x 32”. Framed 31” x 39”. 4,000/6,000

561

562.

XANTHUS RUSSELL SMITH Pennsylvania/Maine, 1839-1929 “'Great Republic’ Built by Donald McKay”. Signed lower left “Xanthus Smith”. Titled on frame plaque. Artist also identified on frame plaque, but misspelled “Xandus”. Oil on canvas, 14” x 22”. Framed 22” x 29.5”. 4,000/6,000

562

563.

WILLIAM PIERCE STUBBS Maine/Massachusetts, 1842-1909 The five-masted schooner Governor Ames. Signed lower left “W.P. Stubbs”. Oil on board, 18.5” x 24.5”. Framed 25.5” x 31”. 4,000/6,000 The Governor Ames was the first five-masted schooner, and in the Late 19th Century she was the world’s largest cargo vessel. She was launched December 1, 1888, by the Leavitt-Storer shipyard of Waldoboro, Maine and was named for Oliver Ames (then the Governor of Massachusetts). The Governor Ames was owned and operated by the Atlantic Shipping Company based in Somerset, Massachusetts.

563

176

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564

565

566

567

564.

565.

MOUNTED HALF HULL MODEL Late 19th Century Built up in thirteen alternating light and dark wood lifts. Hull with slightly curved bow with a long overhang at the stern. Mounted on its original dark-finished backboard. Mellow age patina. Backboard 8” x 28”. 2,000/3,000

MOUNTED HALF HULL MODEL Late 19th Century Built up in nineteen alternating light and dark wood lifts. Hull with curved bow and a long overhang on the stern. Mounted on its original dark-finished backboard. Mellow patina. Backboard 8” x 28”. 2,000/3,000

566.

MOUNTED BUILDER’S HALF HULL MODEL 19th Century Hardwood model built up in eight lifts. Walnut backboard with molded edge. Backboard 5.75” x 28.5”. 500/1,000 Provenance: The Collection of James P. Marenakos.

567.

MOUNTED BUILDER’S HALF HULL MODEL 19th Century Pine model built up in eight lifts, pinned with wood pegs from the deck. Original backboard with molded edge. Backboard 10” x 44”. 700/1,000 Provenance: The Collection of James P. Marenakos.

568.

BUILDER’S HALF HULL MODEL 19th Century Hardwood model built up in eight lifts. Length 40”. 400/600

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177

569

569.

STERNBOARD FROM THE SCHOONER WILLIAM WEST Gold lettering on a blue-black ground. Signed in white paint lower left and right “CL Bedell Painters”. Height 14”. Length 102”. 1,000/1,500 The William West, a 67.8 ton schooner, was built in Essex, Massachusetts in 1869. In 1877 her home port was Boston, and then Provincetown, Massachusetts in 1884.

570.

PAINTED SEA CHEST 19th Century Under blue-green paint, showing traces of dark red. Dovetail construction. Patriotic red, white and blue ropework beckets. Height 16”. Width 44”. Depth 17”. 800/1,200

570

571.

CASED FOLK ART MODEL OF A SCHOONER Early 20th Century Hull built up from the solid, the bottom covered in copper foil (later, a William E. Hitchcock technique) and the topsides painted black. Deck scored and detailed with various deck houses, stove pipe, coils of line, hatches, companionway, etc. Rigged with a bowsprit and two masts with standing and running rigging. Displayed on a pair of brass pedestals within a mahogany and glass case with brass trim. Case height 22.25”. Length 28.75”. Width 11.25”. 1,000/1,800

571

178

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572

573

574

575

572.

DEDRICK BRANDES STUBER California, 1878-1954 Clipper ship in full sail. Inscribed “To Mary, From the artist, best regards, Dedrick Stuber, 12-25-43”. Oil on board, 15” x 19”. Framed 18” x 22”. 1,000/2,000

574.

MARSHALL JOHNSON Massachusetts, 1850-1921 Pilot boat meeting a ship. Signed lower left “Marshall Johnson”. Oil on canvas, 25” x 30”. Framed 32” x 37.5”. 800/1,200

573.

JAMES J. MCAULIFFE Massachusetts, 1848-1921 “Outward Bound, Coast of Maine 1914”. Signed and dated lower right “J.J. McAuliffe 1914”. Titled verso. Oil on canvas, 18” x 28”. Framed 21.5” x 31.5”. 800/1,200

575.

ATTRIBUTED TO CHARLES D. HORTER America, fl. 1854-1870 A coastal anchorage. Oil on board, 8” x 6”. Framed 15.5” x 13.5”. 600/800

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179

576, pair

576.

577.

PAIR OF HALF HULL MODELS 19th Century Pine models built up in nine lifts. Lengths 49”. 1,500/2,000

SEA CHEST Mid-19th Century In pine under old green paint. Dovetail construction. Lid inset with a U.S. large cent. Underside of lid carved “Richard Lincoln Creesy” and with a drawing of a threemasted ship. Interior fitted with a lift-top till, a single drawer and an open storage compartment. Manila rope handles at sides. Height 16”. Width 37.5”. Depth 18”. 1,200/1,500 577

578.

LLOYD HANSEN THOMAS Maine, 1910-1990 Diorama of the Red Jacket. Painted board with wood sails. After an N. Currier print of the Maine clipper ship Red Jacket in ice off Cape Horn. Signed and dated lower right “L.H. Thomas ‘39”. 19.5” x 24.5”. 500/700

578

180

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579

579.

DAVID THIMGAN California, 1955-2003 Side view of the clipper ship Dreadnought. Signed and dated lower right “2000 D. Thimgan F/ASMA”. Presented to the consignor, per inscription on stretcher dated September 23, 2000. Oil on canvas, 14.25” x 18”. Framed 19.25” x 23.25”. 5,000/8,000

580.

LEWIS VICTOR MAYS, JR. Connecticut/Maine, 1927-2015 A brigantine departing New Haven. Signed lower right “Mays”. Pencil on paper, 4” x 7.25” sight. Framed 9” x 12”. 300/500

581.

JOURNAL OF CHARLES A. BENSON WHILE ABOARD THE SALEM BARK GLIDE Mid-1870s Inscriptions at front indicate Benson was from Salem, Massachusetts, and the Glide, captained by Capt. Beadle, was built at Salem in 1860 by Samuel Lewis for John Bertram & Co. Entries commence October 4, 1876, “From Boston bound towards Zanzibar”, and end July 16, 1877[?] “From Zanzibar Bound Toward Boston”. Most entries provide latitude, longitude and commentary on the weather and the day’s activities. At rear are lists of provisions, verses, etc. Cure for diphtheria at front. Scattered ephemera pasted down and tucked in throughout. 8.5” x 7” ruled volume with marbled boards. 250/350

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181

582

582.

BRIAN COOLE America/United Kingdom, b. 1939 Portrait of a clipper ship flying an American flag. Signed lower right “Brian Coole”. Oil on panel, 19.75” x 30”. Framed 23.5” x 33.5”. 2,000/3,000

583.

BRIAN COOLE America/United Kingdom, b. 1939 Portrait of an American brigantine. Signed lower right “Brian Coole”. Oil on board, 13” x 16.25”. Framed 22” x 25”. 2,000/3,000

583

584.

BARRY MASON United Kingdom, b. 1947 “Hove-to, Taking on a pilot, the Araby Maid”. Signed lower left “Barry Mason” and verso. Titled on label verso for Omell Galleries. Oil on canvas, 20” x 30”. Framed 23.75” x 33.75”. 1,500/2,500

584

Provenance: Omell Galleries, London.

585.

CHARLES "FRAN" KENNEY Massachusetts, 1919-2014 Sunbeam off Gayhead. Signed lower right “Charles F. Kenney ASMA”. Oil on board, 19” x 23”. Framed 24” x 28”. 1,500/2,500 Provenance: Mystic Seaport Gallery.

585

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586.

ANTON OTTO FISCHER New York/Germany, 1882-1962 “Night Passage”, 1945. Signed lower right “Anton Otto Fischer”. Housed in a gilt frame in the style of Newcomb-Macklin. Oil on canvas, 30” x 28”. Framed 37” x 35”. 5,000/7,000 Provenance: Quester Gallery, Stonington, Connecticut.

586

587.

GARDNER ARNOLD RECKHARD New York, 1858-1908 “Running the Reefs Off Johnstons Point, L.I. Sound”. Signed and dated lower left “Gardner Arnold Reckhard 1891”. Titled verso. Oil on canvas, 48” x 30.5”. Framed. 3,000/5,000

587

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183

selections from

The Kelton Collection Eldred’s is pleased to offer maritime art and artifacts from the Kelton Collection over a series of auctions, including the thirty-eight following lots, as well as Lots 212, 536 and 537.

588.

17TH CENTURY BOXWOOD NOCTURNAL Circa 1680 Probably British. Square and octagonal brass nuts framing the sighting hole; signed “IB” by owner or maker on square brass hub nut. Complete with rotating volvelle and rotating pointer arm for alignment with the stars of the Big and Little Dippers, Ursa Major and Ursa Minor (labeled G and L respectively). Divided and stamped with scales for date, hour, lunar age and polar distance. Fine compass rose on the reverse. Handle with pierced heart design and stamped on both sides with simple rosettes. Length 9.75”. Diameter of scales 4.5”. 2,500/3,500 Provenance: Tesseract, Hastings-on-Hudson, New York, Catalogue 64, #18. The West Sea Company, Old Town, San Diego, California, 1999. Purchased by the Kelton Foundation, 2012.

588

184

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589

589.

OCTANT BY GILBERT & SONS, LONDON AND OTHER PROPERTY OF JOHN ADAMS Late 18th/Early 19th Century Collection of John Adams (1757-1807), of Edmonton, England, who maintained a practice of instruction in navigation and mathematics. Descended directly through his family. Included are his fine octant, a framed engraving of himself, a couple of letters in his possession and a splendid silver medal he was awarded. 1) Ebony and brass “T” frame octant, circa 1806, signed “Gilbert & Sons London” on the 12” brass radius arm. Fitted with screw clamp, inset ivory 0-90 degree scale, pinhole sight, solar filters, auxiliary telescope with eyepiece, fine rotary adjustment of the index mirror rather than the horizon mirror, handle and feet. Complete with original keystone-shaped box with the partial trade label of “Gilbert & Sons, late Gilbert & Wright, No. 148 Leadenhall Street ...” selling “Improved achromatic plated and brass telescopes, Octants...”. The octant dates from 1806, when “Gilbert & Sons” took over from “Gilbert & Wright”. Length of radius arm 12”. Scale arc 9.5”. 2) Print of John Adams by J.T. Smith, published in 1795, with a paper fragment showing the signature “J. Adams”. (Fragment previously attached to the back of the print.) Framed 11” x 13”. 3) Group of letters that reveal astronomical and mathematical practices of the day. One, written in 1779 to an unknown recipient, is from Jonathan Wheatcroft of Paxford (in the Cotswolds), reporting on his failure to observe a new comet, even with his “2-1/2” Foot Improved Achromatic Dollond telescope. Another is from Charles Small of Ferryhill, writing to Jonathan Lindsay of London, discussing complicated

problems in plane geometry, complete with proof and various kind words about colleagues and family. Complete with remains of a wax seal, and early postal markings; 4) Silver presentation medal “Arts and Commerce Promoted”, inscribed “To Mr. John Adams, 1785” for “Artificial Horizon Improved”. In the Society’s records, twelve pages were devoted to Adams’ improvement. In seeking an instrument capable of measuring arcs up to 180 degrees, for use with his new horizon, Adams turned “to Messrs. Gilbert & Wright, who immediately presented me with an improved Quadrant, by which the fore and back observations are equally facile and just”. Medal in excellent condition, in its original wood case lined in green velvet and covered in shagreen. Diameter 1.75”. 6,000/8,000 Provenace: John Adams, and thence by descent through the Adams family. Gorrings, East Susex, United Kingdom, April 2007. Acquired by Tesseract, Hastings-on-Hudson, New York, at the above sale. Acquired by the Kelton Foundation from the above, March 2008. John Adams worked in Edmonton, Middlesex, seven miles north of London. In 1782 he revised and corrected James Atkinson’s epitome of the Whole Art of Navigation. In his preface of that year, Adams explains “The present reviser, having been eight years in the fea fervice, and eighteen a teacher of this art, enables him to say ... that he has now rectified what was amifs; alterered [sic] what was diforderly; explained what was obfcure; ftruck out what was not abfolutely neceffary; and copioufly added where it was wanting, ...”.

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185

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T H E K E LT O N C O L L E C T I O N

590.

IMPORTANT EARLY 17TH CENTURY BRASS ASTROLABE FROM THE NUESTRA SENORA DE ATOCHA, SPAIN 1616 Recovered from “the Pilot’s chest” in the wreck of the Nuestra Senora De Atocha in 1985. (The Spanish galleons Atocha and Santa Margarita both sank in a sudden storm off the coast of Florida in the autumn of 1622.) Unsigned and impressed with year 1616. Concave ballast to the base, and flanked on either side by mullet and plain arms. Graduated upper quadrants with altitude scale 0-90 degrees at 10-degree intervals and labeled at 50-degree intervals. Lower quadrants also divided, with separate altitude scale centered on the hole below the suspension ring, forming a single 0-90 degree arc, graduated at 10-degree intervals and labeled at 50-degree intervals. Pivoted alidade with adjacent suspension ring, now fitted with a beveled index arm showing a modern repair, reading lower scale. Tabular sights, each with single pinnule. Diameter 8.25”. Thickness .38”. 40,000/60,000 Provenance: Mel Fisher & Salvor’s Inc., recovered from the wreck of the Nuestra Senora De Atocha, 1985. Christie’s, Treasure Gold and Silver of the Atocha and Margarita Auction, New York, 1988, Lot #19. Acquired from the above sale by Richard Kelton. Literature: The Mariner’s Astrolabe: A Survey of Known Surviving Sea Astrolabes by Alan Stimpson (Utrecht: The National Maritime Museum, HES Publishers, September 1988). This astrolabe has been assigned no. 61 in the “Census of Mariner’s Astrolabes”.

186

Condition note: The following 17th Century modifications were made: The instrument has been converted to a suspended quadrant. In this configuration it is unique. Since the new scale faces toward the top of the instrument, it is obvious the instrument was to be used suspended below eye level of the observer. Therefore, it was to be used for sun sights; the alidade has been repositioned to the top of the instrument as described in a 16th Century Spanish manuscript and reproduced in a number of contemporary treatises on navigation (Garcia Franco, 1947). Although distorted, the sights and financial arm probably were fixed at an angle of 450, permitting correct orientation of the sights with the graduated 90 degree sector. This modification permits readings of greater precision on the enlarged scale along the lower circumference. This was probably done subsequent to the manufacture as suggested by the overlapping scribe marks on the altitude scales, the use of two distinct number punches on the scales and the apparent modification of the original alidade. While well executed, and using the same circular scribe marks as the scales in the upper quadrants, the work appears to be by a different hand.

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590

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187

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T H E K E LT O N C O L L E C T I O N

591

591.

Nocturnals were used from the Late 15th through the Early 18th Centuries to tell time by the stars during hours of darkness. With the addition of a compass rose, it could also be used to obtain course directions from the position of the North Star. The majority were used in the northern hemisphere and oriented to the pole star Polaris. A simple instrument, the nocturnal’s chief benefits were ease of use and compactness.

188

MID-16TH CENTURY BOXWOOD NOCTURNAL Circa 1550 Probably British. Unsigned. The main disk carved from a single piece of boxwood, the handle cut and pierced with heart-shaped decoration and incised stars. Outer edge of the disk marked with a calendar scale showing months and days, and the signs of the Zodiac. Smaller disc divided into twenty-four hours using two twelve-hour scales with two projecting pointers stamped “LB” (for Little Bear) and “GB” (for Great Bear). Adjustable index arm fitted to the two disks using a brass nut and bolt pierced by a hole in the center. Reverse stamped with a compass rose and table with the bearing of certain stars located in the Little Bear (Ursa Minor) and Great Bear (Ursa Major) relative to the North Star. Length 10.25”. Scale diameters 4.5”. 3,000/5,000 Provenance: Tesseract, Hastings-on-Hudson, New York. Purchased by Richard Kelton, 1985. Literature: Elizabethan Instrument Makers: The Origins of the London Trade in Precision Instrument Making by Gerard Turner (Oxford University Press, 2000), p.66.

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592, two views

592.

AZIMUTH AND STEERING COMPASS BY GEORGE ADAMS Britain, Circa 1770 Signed, with the original label and on the underside of the compass card “Geo Adams”. Printed label on the underside of the lid marked “I hereby certify that I have examined this Compass and that it appears to be rightly Constructed” and signed “Geo. Adams”. A second label states “Azimuth and Steering Compass Invented By Gowan Knight F.R.S. Made by George Adams, Mathematical Instrument Maker to His Majesty at Tycho Brahes Head in Fleet Street, London. N.B. Drawing Instruments, Telescopes and Hadley’s Quadrants of the best Construction”. Printed dry card compass rose, marked “Made by G. Adams Fleet Strt. London Instt. Makr. to His Majesty”, mounted within a scribed metal degree ring, suspended in a brass rotating drum case with gimbal mounts and brass sights, within the original oak box. “East” and “North” compass points are decorated. Compass card diameter 6.5”. Box height 9.5”. Width 12”. Depth 12”. 4,000/6,000 Provenance: R. Frank Collection of Scientific Instruments, until 1986. Sotheby’s, London, The R. Frank Collection of Scientific Instruments, March 1986. Acquired at the above sale by Richard Kelton. Literature: Captain Cook, R.N. The Resolute Mariner by Thomas Vaughan and C.M. Murray-Oliver (Oregon Historical Society, 1974). Exhibited: Oregon Historical Society, 1974.

In the early days of map making, Jerusalem was placed in the center of the map because it was considered the most holy city in Christendom. Subsequently, in addition to the north point on the compass rose card, many of the early compasses had the east point embellished in recognition of the fact that Jerusalem lay to the east of most of the Western commercial centers. In this early compass, the card contains traces of this tradition, with the east point having minor embellishments. This was to evidence the compass maker’s faith and/or invoke the protection of the Christian God’s grace and protection for the ship on which the compass was used. In addition to its use for steering the ship, the azimuth compass was used to determine compass deviation from true north using the direction of the sun and to determine the bearing of distant objects sighted through the vanes. This type of steering compass was the first to be patented. The first sighting compass was invented around 1600 by William Barlow (Compass by A. Gurney (2004), p. 63-64). This design uses a permanently magnetized steel needle invented by Gowan Knight. George Adams (1704-1773) was an inventor and author as well as instrument maker to both the King and the Honorable East India Co. He was the most prominent maker of Hadley’s quadrants during the 18th Century. An instrument of this type was used by Captain James Cook on his voyages of discovery.

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189

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T H E K E LT O N C O L L E C T I O N

593

594

593.

ATTRIBUTED TO RICHARD WRIGHT 594. ATTRIBUTED TO THOMAS WHITCOMBE United Kingdom, 1735-1774 United Kingdom, c. 1760-1824 British Squadron and Dutch ships in a squall, circa 1760. Oil The battle between the U.S.S Chesapeake and H.M.S. on canvas, relined, 16.5” x 25.25”. Framed 19.25” x 28.25”. Shannon, circa 1813. Oil on canvas, 25” x 30.25”. Framed 3,000/5,000 30.75” x 36”. 3,000/5,000 Provenance: West Sea Company, Old Town San Diego, California, 1992.

190

Provenance: Sotheby’s, New York, April 1986.

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595.

ANTOINE (ANGE-JOSEPH) ROUX I France, 1765-1835 The French brig Eclair at anchor. Circa 1825. A finely drawn and colored rendering, with a second rendering in pencil in the distance. Inscribed faintly along the bottom “Eclair”. Pen, ink and watercolor on paper, 12” x 16.75” sight. Framed 19.5” x 24.25”. 2,500/3,500 Provenance: The collection of J.W. Henderson. Northeast Auctions, Portsmouth, New Hampshire, August 1994.

595

596.

ANTOINE (ANGE-JOSEPH) ROUX I France, 1765-1835 Three-masted ship at anchor. Pen, ink and watercolor on paper, 12.25” x 16.75” sight. Framed 19.5” x 24.25”. 2,000/3,000 Provenance: The collection of J.W. Henderson. Northeast Auctions, Portsmouth, New Hampshire, August 1994.

596

597.

BRITISH SCHOOL 18th Century East Indiaman in two positions. Finely detailed and precisely drawn, with the mid-course of sails luffing and flying the red duster. Watercolor and gouache on paper, sheet size 8” x 11.25”. Framed 17” x 20”. 800/1,200

597

Provenance: Tad Dales, Santa Fe, New Mexico, 1987.

598.

ATTRIBUTED TO GIUSEPPE FEDI Italy, 1792-1819 Ship Palladium of Boston in two positions. Inscribed in lower margin “Palladium of Boston -- Henry Larcom Commander”. Watercolor and gouache on paper, 19.25” x 27”. Framed 21.75” x 29.5”. 2,500/3,500 Provenance: Christie’s, London, March 1985.

598

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191

selections from

T H E K E LT O N C O L L E C T I O N 599.

ANTIQUE SHIP MODEL OF THE GRAND TURK OF 1791 America, 19th Century Hull built up in wood, with a painted green bottom, black topsides, a white waistband and faux gunports. Simple deck detailed with anchors, pin & fife rails, ladders, deck hatches, deck house, ship’s wheel, etc. Rigged with bowsprit, three masts, and standing and running rigging. Displayed on a simple wood cradle. Height on cradle 45.25”. Length 49.5”. Width 17”. 600/800 Provenance: Skinner, Inc., Boston, June 2006.

Built by Enos Briggs, on land adjacent to Derby Wharf in Salem, this was the first vessel built by Briggs at Salem. Modeled after the second of four vessels named Grand Turk, and to replace an earlier 300-ton vessel, she was laid down March 27, 1790. Launched sideways (with difficulty) from Derby Wharf on March 10, 1791, the three-decker known as “Mr. Derby’s Great Ship” proved too big for Salem Harbor and had difficulty finding sufficient cargoes. She was subsequently sold to Boston interests in 1795 after only two voyages for Elias Derby, and then made passages to India, China and Russia. She was wrecked in a gale off Portland, Maine on January 4, 1798.

599

600.

ATTRIBUTED TO WILLIAM CLARK United Kingdom, 1803-1883 Hermaphrodite brigs Topaz and Amethest. The background is Ailsa Craig rock, a small island in the North Channel between Ireland and Scotland on the Belfast to Glasgow route. Appears to be some illegible writing lower left corner. Oil on canvas, 24” x 36”. Framed 31” x 42”. 3,000/5,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1995.

600

Topaz was built at Prince Edward Island in 1859. She was 159 tons and owned by J.S. Wright of Belfast. The hermaphrodite brig rig is a two-masted vessel that could be sailed either as a snow, carrying a square mainsail and square topsails, or as a brig, with a boomed fore and aft mainsail and either square or gaff topsails. By the Late 19th Century, this rig type came to be known as a brigantine.

192

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601.

CHRISTIAN CARL TRONIER Denmark, Early 19th Century “Det Danske Asiatiske Compagniets Skib Norge. Ved Udsegling Til China. 1804.” (The Danish Asiatic Company Ship Norge. By Sailing for China. 1804.”. Signed lower right “C:C: Tronier.”. Watercolor and gouache on paper, 18.25” x 27.5” sight. Framed 21” x 30.5”. 800/1,200 Provenance: Martyn Gregory, London. Robert Sawyer, London, 1989.

601

602.

ANTON MELBYE Denmark, 1818-1875 Ship passing Kronberg Castle at Elsinore Signed and dated lower left “Anton Melbye 1850”. Oil on canvas, 18.25” x 15”. Framed 24.25” x 21.5”. 2,500/3,500 Provenance: Christie’s, South Kensington, London, May 1998.

602

603.

BRITISH SCHOOL Circa 1830 East Indiaman Farquharson in two positions. Watercolor on paper, 18” x 29.5” sight. Framed 22.25” x 34.25”. 800/1,200 Provenance: Robert G. Sawers, London, October 1988. The ship Farquharson was built at Deptford Shipyard for the East India Company and was captained by William Cruickshank.

603

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193

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T H E K E LT O N C O L L E C T I O N

604

604.

WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 The American ship Caravan assisting the ship Casilda. Circa 1866. Oil on canvas, 26” x 42”. Framed 34” x 50.5”. 6,000/8,000 Provenance: Christie’s, New York, July 2003.

194

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605

605. Dreadnought was built for the Red Line’s Atlantic packet service and became one of the most famous ships of her age. In her nine years on this run she made thirty-one voyages between New York and Liverpool, and she still holds the transatlantic merchant sailing record from Sandy Hook to Queenstown. Much of Dreadnought’s fame derives from a remarkable passage in 1863 when she lost her rudder in a gale. After two jury-rigged rudders were also lost, Captain Samuels ordered his second officer to sail the clipper stern first to Fayal in the Azores, some 350 miles away. Sailing backwards, the ship covered 183 miles in two days before the seas calmed and a third jury-rigged rudder was hung successfully. In 1864 Dreadnought left the Atlantic run and made her first voyage to San Francisco. She completed three voyages in the Cape Horn trade, calling at Honolulu and Callao on the return passages. On her fourth voyage to San Francisco in 1869, she went aground at Cape Penas on the northeast coast of Terra del Fuego. Although the crew survived, Dreadnought broke up on the rocks and was lost.

WILLIAM GAY AND MARY E. YORKE New York/Canada/England, 1817-c. 1888 and c. 1854-1893 Clipper ship Dreadnought. Indistinctly signed and dated lower left “M.E. W.G. [?] Yorke, 1897”. Oil on canvas, 24” x 30”. Framed 33.75” x 40”. 4,000/6,000 Provenance: Vallejo Gallery, Newport Beach, California, 2003. Note: This painting is a copy of an 1853 Currier & Ives print by noted marine lithographer Charles Parsons, after Duncan McFarlane’s “Dreadnought Off Tuskar Light”. The painting style is in keeping with other works attributed to William G. Yorke’s young wife and assistant, Mary. The original signature on this work is a variation of “W.G. Yorke” that can be read as “M.E. York(e)”. This signature is recognized by several experts, including Sam Davidson, and is considered the collaborative work of William G. and Mary. A number of paintings attributed to Mary Yorke in the Kelton Collection are based on printed illustrations, leading to the conclusion that after William G. Yorke was blinded by an accident in 1882, she created paintings based on known prints.

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195

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T H E K E LT O N C O L L E C T I O N

606

607

606.

WILLIAM HOWARD YORKE Canada/United Kingdom, 1847-1921 The American downeaster Florence off Skerries Light. Signed and dated lower left “W.H. Yorke 1895”. Oil on canvas, 20.5” x 30”. Framed 26.75” x 37”. 4,000/6,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1996. Florence was one of the fastest and most important of the Mainebuilt ships known as “downeasters”. She was mostly active in the California grain trade.

607.

WILLIAM HOWARD YORKE Canada/United Kingdom, 1847-1921 The barque Lurlei of Liverpool off Fastnet Rock, Ireland. Signed and dated lower left “W.H. Yorke - 1893” and further inscribed bottom center “Lurlei of Liverpool - T.J. Gill Master”. Oil on canvas, 19.75” x 30”. Framed 30.25” x 39.5”. 5,000/7,000 Provenance: Property of a Glasgow dealer. Christie’s East, New York, Maritime Sale, February 1999. The barque Lurlei was an iron-hulled ship, built in Liverpool in 1875 by Thomas Royden & Sons.

196

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608

Kenilworth was the last of five ships built for Williamson and Milligan’s “Waverly” Line. Launched March 1887, Kenilworth set a record on her maiden voyage of 41 days from San Francisco to Newcastle. On her second voyage, in 1889, she sailed from Liverpool to San Francisco in only 128 days, but then caught fire and burned while lying at Port Costa waiting to take on cargo. She was declared a complete structural loss. Purchased at auction by

608.

WILLIAM HOWARD YORKE Canada/United Kingdom, 1847-1921 The four-masted barque Kenilworth off Fastnet Rock, Ireland. Signed and dated lower right “W.H. Yorke - 1890”. Oil on canvas, 24” x 36”. Framed 31” x 43”. 6,000/8,000 Provenance: A private collection, Florida. Hyland Granby Antiques, Hyannis Port, Massachusetts, 2004.

Arthur Sewall and Company, the hulk was repaired at the Union Iron Works in San Francisco at a cost of $45,000, making Kenilworth the first steel-hulled U.S. flag merchant sailing ship. After several changes in ownership she was purchased near the end of the Prohibition Era, by the notorious Las Vegas mobster, bootlegger and gambler Tony Cornero and his partners, including Benjamin “Bugsy” Siegel. They roofed over her decks to create a spacious gambling hall. Cornero renamed the ship “Rex” and anchored her 3.1 miles off the Santa Monica pier, just beyond the legal 3 mile limit and a quick tenminute boat ride from shore. After a nine day stand-off known to the press as “The Battle of Santa Monica Bay”, the law eventually prevailed and Rex was shut down in 1940. She returned to service in 1942 in the lumber trade as the Star of Scotland. On a trip bound for Brazil from South Africa, she was torpedoed by U-159, ending her long career.

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197

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T H E K E LT O N C O L L E C T I O N

609.

STEPHAN D. SKILLETT United Kingdom, 1835-1860 Bark Claymore of Leith off Bass Rock. Signed and inscribed lower left “Skillett London”. Oil on canvas, 20.25” x 30”. Framed 26.5” x 34.25”. 3,000/5,000 Provenance: Sotheby’s, London, May 1985.

609

610.

CHARLES TAYLOR United Kingdom, fl. 1836-1871 Thames Barges off the Nore Lightship. Signed and dated lower left “Charles Taylor 1883”. Watercolor and gouache on paper, 9” x 15.75” sight. Framed 19.5” x 25.75”. 300/500 Provenance: Christie’s, New York, February 1986.

610

611.

JOSE PINEDA Spain, 1837-1907 “Bark Palestina Captn A.B. Ford.”. Signed lower left “Jose Pineda”. Titled in lower margin. Watercolor and gouache on paper, 20” x 27” sight. Framed 23” x 31”. 800/1,200 Provenance: Eldred’s, Marine Art & Americana, March 1994. The Palestina was built in Walton, Nova Scotia in 1866 and in 1877 was still registered there. In 1879 she was registered in Windsor, Ontario. She was owned by Loud Claridge Co. of Baltimore. Captain Ford was born in Searsport in 1842 and died at sea when this vessel was lost in 1878.

611

198

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612.

NICOLA FONDO (FUNNO) Italy, fl. 1846-1860 "Melledgan Scilly" off Naples. Signed lower left “Nicola Fondo pinsi” and titled lower center. Watercolor and gouache on paper, 20.5” x 30” sight. Framed 24.5” x 34”. 1,000/1,500 Provenance: Christie’s, London, 1985.

612

613.

ANTONIO DE SIMONE Italy, fl. 1851-1907 “Brig ‘Ephratah’ P Madoc Griffith Jones Master”, depicted in a storm. Circa 1875. Titled lower center. Oil on canvas, 19.5” x 30”. Framed 24” x 34.5”. 2,000/3,000 Provenance: Sotheby’s, New Bond Street, London, March 1986.

613

614.

JOHN P. BENSON Maine/Massachusetts, 1865-1947 “Westward”, a Spanish galleon at sea. Signed and dated lower left “John P. Benson 1941”. Titled verso. Oil on canvas, 20.25” x 24.25”. Framed 24” x 28”. 2,000/3,000 Provenance: Christie’s East, Sale #8539, July 2001.

614

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199

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T H E K E LT O N C O L L E C T I O N

615

615.

FREDERICK J. TUDGAY United Kingdom, 1841-1921 Centurion was built at Alex Stephen’s Kelvin Baugh Yard #15 in Ship Centurion off Eddystone Light. Signed Glasgow for R. Richardson, who was in the tea trade. She was still and dated lower right “F.J. Tudgay 1872”. Oil on canvas, 20” x 29.75”. Framed 27.25” x 37”. in service in 1881 under Captain Widdicombe and still rated Lloyds 4,000/6,000 AA1 as she had been built with heavier plating than was required Provenance: Christie’s East, New York, February 1998.

200

to meet the current standards.

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616

County of Peebles was an iron-hulled, four-masted ship built in 1875 by Barclay, Curie & Co., Glasgow, for Robert Craig. Having seen many tall three-masted ships lose their rig, Craig made the decision to have his County Line ships spread their 30,610 square feet of sail over four very strongly rigged shorter masts. Between 1880 and 1898 the County of Peebles had a busy schedule, making seventeen round-trip voyages from Europe to India or China without accident. Her 83-day passage form Cardiff to Bombay in 1880 was a record at the time. She was sold to Chile in 1898. Her hulk remains at Punta Arenas.

616.

ATTRIBUTED TO FREDERICK J. TUDGAY United Kingdom, 1841-1921 The four-masted ship County of Peebles under full sail, inbound, circa 1875. Oil on canvas, 30” x 48”. Framed 38” x 56”. 5,000/7,000 Provenance: Malcolm Parry, Barclay, Curie & Co., Glasgow, Scotland, until 1985. Jack Partridge, North Edgecomb, Maine. Purchased from the above at the 1986 Winter Antiques Show, New York.

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201

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T H E K E LT O N C O L L E C T I O N

617

618

617.

WARREN SHEPPARD New Jersey, 1858-1937 Ship Europa in a storm. Circa 1873. Signed lower right “W. Sheppard”. Oil on canvas, 24.25” x 36.25”. Framed 29.5” x 41.5”. 2,500/3,500 Provenance: The family of Capt. Nathaniel Kinsman (1747-1807), Salem, Massachusetts, and thence by descent until 2003. Skinner, Inc., Boston, February 2003. Built by Houghton Brothers in Bath, Maine, Europa was destroyed

618.

GEORGE MEARS United Kingdom, 1865-1910 A British steam packet departing Calais. Signed and dated lower right “G. Mears 1872”. Oil on canvas, 20.25” x 30.25”. Framed 26.25” x 42.25”. 1,500/2,500 Provenance: Sotheby’s, London, The Marine Sale, March 1986. George Mears was the official artist for the London, Brighton, and South Coast Railway Company and painted all the cross-channel steamships in their service.

by a fire at sea in the Gulf of Mexico in March 1873. This is an early work by Warren Sheppard, whose prominent signature is obscured beneath the frame. As a young student of Maurice F.H. de Haas, Sheppard was exhibiting at the Brooklyn Art Association by 1874, a year after the loss of Europa.

202

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619

620

619.

WILLIAM EDGAR 620. BRITISH SCHOOL California/Australia, 1870-c. 1925 Circa 1885 The schooner Herman. Signed lower right “W. Edgar”. The four-masted barque Gleneright hailing a pilot. Oil on Oil on canvas, 16” x 24”. Framed 19.75” x 27.75”. canvas, 23.25” x 36”. Framed 27.75” x 41”. 1,500/2,500 1,500/2,500 Provenance: Provenance: Sotheby’s, London, Marine Sale, March 1986. A private collection, Southern California. The West Sea Company, Old Town, San Diego, California. The Gleneright was built by J. Roydon & Sons, Liverpool for Matthew Turner (1825-1909), who built the Herman, was an

L.H. McIntyre & Co. in 1885.

American sea captain, shipbuilder and designer. He constructed 228 vessels, of which 154 were built in the Matthew Turner shipyard in Benicia. He built more sailing vessels than any other single shipbuilder in America and can be considered the “granddaddy” of big-time wooden shipbuilding on the Pacific Coast.

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203

selections from

T H E K E LT O N C O L L E C T I O N

621.

MOUNTED HALF HULL MODEL OF AN ENGLISH LAUNCH Painted backboard depicts a church in an English countryside. Backboard 9.75” x 20”. 250/350

621

622.

BRITISH SCHOOL Late 19th Century “Minnie Flossie of Bideford. Capt. T. Harris”. Circa 1880. Watercolor and gouache on paper, 22.25” x 28.25” sight. Framed 27.75” x 34”. 800/1,200 Provenance: Purchased by Richard Kelton in London.

622

204

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623.

WILLIAM HAMILTON & CO. BUILDER’S HALF HULL MODEL OF THE BRITISH SCREW STEAMER IQUIQUE Scotland, Circa 1892 Hull built up from the solid, with a pink painted bottom, and gray, white and black topsides with portholes and faux gunports. Stem fitted with a carved and painted figurehead. Deck detailed with whaleback, capstan, deck houses, stump masts, cargo hatches, pin & fife rails, skylights, bollards, ship’s wheel, etc. Displayed on a mahogany backboard with fitted brass edging. Backboard 17” x 75”. 2,500/3,500 Provenance: Eldred’s, Summer Auction of Marine Art, July 1994. The Iquique was built in 1892 by William Hamilton and Company, a British shipyard in Port Glasgow, Scotland. She sailed from London

624.

BUILDER’S PLATING HALF HULL MODEL OF THE JOHN CARSWELL BY CHARLES CONNELL & CO., SHIPBUILDERS Glasgow, Scotland, Circa 1891 Built up in ten maple lifts with the station lines drawn on the back and the plating plan drawn in India ink on the hull. 10.5” x 61.5”. 2,500/3,500 Provenance: Charles Connell & Co., Glasgow, Scotland. Sotheby’s, Gleneagles Hotel, Scotland, August 1973. The ship was built and named for John Carswell of Greenock in 1891. She was sold in 1895 to the Calluna Ship Co. Ltd., then again in 1906, and again several more times. In 1910 she had several Danish owners before being torpedoed by a U-boat in 1917.

to Sydney via Cape Town, May to October 1898, and Sydney to London, December 1898 to April 1899. The Iquique became the Celtic Glen in 1907 and then the Riverford in 1915, before being sold to a Canadian firm. She hit an iceberg in the South Atlantic in 1921 and became a storage hulk in Durban before being towed out to sea and sunk in 1927.

623

624

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205

selections from

T H E K E LT O N C O L L E C T I O N

625.

EXHIBITION STANDARD SCALE MODEL OF THE AMERICAN CLIPPER SHIP LIGHTNING Late 19th Century Hull built up from the solid with a coppered bottom and black painted topsides with sheer strakes. Carved and painted white figurehead of an angel. Decks with the planking scored and blackened on varnished veneer, and detailed with anchors, bit post, capstan, bell and belfry, ladders, boats on deck house, deck hatches, skylights, boat on davits, companionway, etc. Rigged with bowsprit, three masts, cross spars, and standing and running rigging. Displayed on a pair of turned brass pedestals within a custom mahogany and glass display case. Case height 31.5”. Length 53.25”. Width 21.25”. 3,000/4,000 Provenance: The National Maritime Museum, Greenwich, United Kingdom, until 1953. San Francisco Maritime Museum, San Francisco. Eugene O’Neill National Historic Site, Danville, California. The West Sea Company, Old Town, San Diego, California, 1997. Built in Boston in 1854, Lightning was the first of four extreme clippers built at East Boston by Donald McKay to the order of James Baines & Company of Liverpool, for operation in their Black Ball Line of Australian passenger packets. In 1869, under the command of Captain Henry Jones, she caught fire during the night in Melbourne Harbor. She was towed into the stream and sunk in 24 feet of water. Although much of her cargo was saved, the ship had to be destroyed.

625

206

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626

626.

Bingo I was designed by Alfred Luders Jr. and the model was built by Lou Banks, pattern maker and loftsman of the Luders Construction Company of Stamford, Connecticut.

LOU BANKS TANK TEST MODEL FOR THE 5.5-METER YACHT BINGO I America, Circa 1959 Built up in wood, the interior hollowed, and the exterior of the hull shaped, faired and finished to a race finish. On the leading edge of the bow, down to the bottom edge of the keel, sand has been glued in place. This sand was used to create a disturbance to the laminar flow, so the flow below the waterline and around the keel could be more easily documented. Exterior of the hull marked #2164, which is the identification number for the Davidson Lab at the Stephens Institute where the model was tested. In addition, the exterior of the hull is marked on the starboard side with station frames and a dotted line that represents an alternative, longer, waterline. The interior of the hull is marked “Bingo I - Feb. 27 1959 - LLB Jr”. Also marked with two dates in the hull: February 27, 1959 and December 28, 1964”. Inscribed “New type keel, Dec. 28, 1964”; keel modification is visible on model. Height 14.5”. Length 61.25”. Beam 12.25”. 2,500/3,500 Provenance: Bill Luders, Luders Yachts. Benjamin D. Gilbert, Darien, Connecticut. Maine Maritime Academy, Castine, Maine. Don Mallow & Bob Wallstrom, Blue Hill, Maine. Christie’s East, Maritime Art Auction #8347, August 2000.

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207

Joseph B. Smith New York/New Jersey, 1798-1876 Lots 627-629

627

627.

208

Portrait of the ship Adelaide. Unsigned. Oil on canvas, 26” x 42”. Framed 29.5” x 45.5”. 15,000/20,000

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Joseph B. Smith New York/New Jersey, 1798-1876 Lots 627-629

628

628.

“The Yacht Restless Off Staten Island”. Unsigned. Titled on gallery label verso. Oil on canvas, 24” x 36”. Framed 28” x 40”. 20,000/30,000 Provenance: Kennedy Galleries, New York, 1964. Quester Galleries, Connecticut (for conservation). Private Collection, Connecticut.

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209

Joseph B. Smith New York/New Jersey, 1798-1876 Lots 627-629

629

In 1857 James Gordon Bennett, Jr. received the 77-ton, 72-foot centerboard sloop Rebecca for his sixteenth birthday. Rebecca was designed by William Tooker and was built by Westervelt & Co., New York. Bennett, Jr. raced that year in the Annual Cruise of the New York Yacht Club, during which he was elected to membership, at age 16, making him the youngest member ever admitted.

629.

The sloop yacht Rebecca off New York. Rebecca is recorded at or near the top of the racing results on many Oil on canvas, 30” x 44”. Framed 39.5” x 53.5”. occasions up until 1861. As sole owner and publisher of the most 25,000/35,000 powerful newspaper in America, the New York Herald, and with Provenance: Oliphant & Co., New York. A Private Collection, New York. Bonhams, New York, January 2016, Lot #81. A Private Collection, Maine.

the largest assured income at the time, Bennett, Jr. was involved in numerous sports-related accomplishments, from the first polo and tennis matches in the United States, to major yachting races, including the first transatlantic oceanic race, which he won. Rebecca was offered to the United States government for use by the Treasury Department during the Civil War in 1862, and in turn, President Lincoln offered the young Bennett a place as lieutenant in the Revenue Service. Bennett, Jr. served until May 11, 1862, when he resigned. It is unclear what happened to Rebecca after the Civil War, however James Gordon Bennett, Jr. continued to be an avid competitor and yachtsman.

210

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211

James Edward Buttersworth New Jersey/New York/United Kingdom, 1817-1894 Lots 630-633

630

630.

212

A U.S. frigate off Sicily. Signed lower right “J.E. Buttersworth”. Oil on board, 8” x 10”. Framed 15” x 17”. 12,000/15,000

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James Edward Buttersworth New Jersey/New York/United Kingdom, 1817-1894 Lots 630-633

631

631.

During the winter of 1866 a great gale struck the Mersey River and Liverpool, leaving the port inaccessible to all shipping including the Mersey pilots. Finally, one pilot made it out and led all the vessels waiting to enter the harbour up the river. Based on reports from the scene, this painting is very similar to one painted by Samuel Walters, which hangs in the Liverpool Marine Museum.

“Convoy with Pilot Boat No. 8”. Circa 1867. Signed lower right “J.E. Buttersworth”. Oil on canvas, 22” x 32”. Framed 29.5” x 37.5”. 25,000/35,000 Provenance: Private Collection, Massachusetts Literature: Reproduced in black and white in J.E. Buttersworth. 19th Century Marine Painter by Rudolph J. Schaefer (Mystic, Ct.: Mystic Seaport, 1975), p. 155.

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213

James Edward Buttersworth New Jersey/New York/United Kingdom, 1817-1894 Lots 630-633

James Edward Buttersworth depicted the schooner yacht Palmer, owned by Rutherford Stuyvesant as identified by her house flag, on the two sides of the Atlantic. In the first, Palmer is shown immediately after the start off Staten Island. This dramatic image shows the flare of the starting cannon and the crew on deck, struggling to bring in the mainsail as it fills with wind and the bow cuts through the sea. In the second, Palmer is depicted off Dover with Dover Castle in the distance. The darkened sky creates a striking backdrop for the schooner and her arrival off the Strait of Dover.

632.

Schooner yacht Palmer, the start off Staten Island. Circa 1870. Signed lower right “J.E. Buttersworth”. Oil on board, 8” x 12”. Framed 12.5” x 16.5”. 60,000/90,000 Provenance: Private Collection, Basking Ridge, New Jersey, 1999. Private Collection, New Jersey.

Palmer was an American centerboard schooner, designed by and for Richard Fanning Loper, and modeled after other successful schooners including the America’s Cup defender Magic. Palmer was built in Philadelphia in 1865 by T. Byerly & Sons and named after Nathaniel Palmer, the storied clipper ship captain and a friend of Richard Fanning Loper. Palmer proved very fast in light winds and was particularly fast downwind. She was a good sea boat, being formidable on the wind and both pointed and footed well. Loper sold Palmer to Rutherfurd Stuyvesant in 1869, and Stuyvesant would race her

633.

Schooner yacht Palmer, the finish off the Cliffs of Dover. Circa 1870-1875. Signed lower right “J.E. Buttersworth”. Oil on board, 8” x 12”. Framed 12.5” x 16.5”. 50,000/70,000

hard for 31 years, keeping her in top condition and updating her with the latest trends in yachting technology. Stuyvesant sold Palmer in 1900 to F. K. Sturgis. Richard Fanning Loper (America, 1800-1880) was a successful

Provenance: Private Collection, Basking Ridge, New Jersey, 1999. Private Collection, New Jersey.

yacht designer and shipbuilder. He moved to Philadelphia in 1831, where he founded a shipbuilding company that would grow into one of the largest in the country, including building ships for the U.S. Navy. Rutherfurd Stuyvesant (America, 1843-1909) graduated from Columbia College in 1863. He was a sportsman and yachtsman, and a member of the New York Yacht Club, the Atlantic Yacht Club, and the Seawanhaka Corinthian Yacht Club. He was also a member of the Downtown Association, the Columbia College Alumni Association, the New York Historical Society and the American Geographical Society. He was a fellow at the American Museum of Natural History and the National Academy of Design, and a patron, trustee, and second vice president of the Metropolitan Museum of Art.

214

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James Edward Buttersworth New Jersey/New York/United Kingdom, 1817-1894 Lots 630-633

632

633

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215

Antonio Nicolo Gasparo Jacobsen New York/New Jersey/Denmark, 1850-1921 Lots 634-638

634

635

634.

216

“Black Ball Liner Columbia”. 635. United Fruit Co. clipper ship, 1911. Signed and dated lower right “Antonio Jacobsen 1917”. Signed and dated verso “A. Jacobsen 1911”. Oil on board, Titled lower left. Oil on board, 14 x 20”. Framed 20” x 26”. 22” x 36”. Framed 28” x 42”. 7,000/10,000 6,000/9,000 Provenance: Provenance: By descent in the family of the United Fruit Company. Roger King Fine Art, Newport, Rhode Island.

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Antonio Nicolo Gasparo Jacobsen New York/New Jersey/Denmark, 1850-1921 Lots 634-638

637

636.

VOLUME ANTONIO JACOBSEN - THE CHECKLIST WITH ADDENDA By Harold S. Sniffen. Newport News, Va: The Mariners’ Museum, 1984. Oblong Q. Cloth. Shrink-wrapped and unopened. Includes copy of Addenda List Number 2. 200/250

637.

Auxiliary steamship Somerset. Signed and dated lower right “Antonio Jacobsen New York 1877”. Labels verso for Frost and Reed, London. Oil on canvas, 22” x 36”. Framed 31” x 45”. 18,000/22,000 Provenance: MBNA Collection Of Maritime Art And Ship Models. Heritage Auction, Oct 27, 2012, Lot #88260. Private Collection, California.

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217

Antonio Nicolo Gasparo Jacobsen New York/New Jersey/Denmark, 1850-1921 Lots 634-638

638

638.

218

America’s Cup, Volunteer vs. Thistle, 1887. Signed lower right “A. Jacobsen”. Oil on canvas, 22” x 36”. Framed 32” x 46”. 30,000/50,000

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219

639.

ARTHUR WELLINGTON FOWLES United Kingdom, c. 1815-1883 Pair of yachting scenes. One depicts a yacht off the Royal Yacht Squadron‘s headquarters, Cowes Castle on the Isle of Wight, and the other depicts a yacht off the cliffs of Dover. Each signed lower left “Sketch A.W. Fowles 1876[?]”. Oils on canvas laid over board, 8.25” x 12”. Framed 12” x 16”. 3,000/5,000 Provenance: Private Collection, Cape Cod, Massachusetts.

639, pair

640.

LEONARD JOHN PEARCE United Kingdom, b. 1932 “‘Magic’ - Victor in the 1st defense of the America’s Cup, 1870”. Signed lower left “LJ Pearce”. Titled on frame plaque. Oil on board, 11” x 15”. Framed 16.5” x 20.5”. 2,500/3,500 640

Provenance: Private Collection, Connecticut.

641.

THOMAS WILLIS New York/Denmark, 1850-1925 A schooner yacht of the New York Yacht Club. Signed lower right with mongram “TW”. Oil on canvas with applied silk sails and hull, cotton rigging and stitched details, 16” x 22”. Framed 21” x 27”. 1,200/1,800

641

220

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642

642.

TIMOTHY THOMPSON England, b. 1951 “Yacht America Victor in the £100 Cup, Isle of Wight, 1851”. Signed lower right “T Thompson”. Titled on frame plaque. Oil on canvas, 22” x 30”. Framed 28” x 36”. 15,000/20,000 Provenance: Private Collection, Connecticut.

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221

643.

DETAILED MOUNTED HALF HULL MODEL OF THE SCHOONER YACHT AMERICA Hull carved and painted, with a copper bottom, white waterline and black topsides. Deck detailed with companionway, windlass, skylight and cockpit. Rigged with masts and carved wood sails. Brass name plaque marked “’America’” Winner America’s Cup 1851”. Signed verso “By Malcolm Bryant, Monroe, CT”. Backboard 15” x 18”. 400/600

644.

MOUNTED HALF HULL MODEL OF THE SCHOONER YACHT AMERICA Late 19th Century Model with black hull with medium brown bottom. Hardwood backboard marked lower right “Compliments of F.W. Devoe & C.T. Raynolds Co. New York. Paints, Varnishes and Marine Specialties”. Painted burgee lower left labeled “Philadelphia”. “America” on metal trailboard attached under bowsprit. Backboard 15” x 25”. 800/1,200

645.

CASED MODEL OF THE YACHT AMERICA Circa 1970 Fine model of the yacht, which flies a pennant and an American flag. Displayed on brass pedestals within a brass-trimmed glass and mahogany case. Case height 32.5”. Length 41”. Width 11”. 1,500/2,000

643

644

645

222

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646

646.

CURRIER & IVES HAND-COLORED LITHOGRAPH "YACHT ‘PURITAN’ OF BOSTON." Dated 1885 After Charles Richard Parsons (America, 1844–1918). Signed and dated lower right within image “C.R. Parsons 85”. Inscribed in margin with lists detailing the principal dimensions of the yacht and of the mast and spars, as well as “New York Published by Currier & Ives, 115 Nassau St.” and “Copyright 1885 By Currier & Ives”. Peters No.1462; Conningham No. 6810. On paper, 16.5” x 21.5”. Framed 24.5” x 29.5”. 800/1,200 Provenance: Bob Bascom Prints, Burlington, Vermont, October 1995, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. Literature: Currier & Ives : A Catalogue Raisonné (Detroit: Gale Research, Publisher, 1983), No. 7366. Puritan was the defender in the 1885 America’s Cup. Designed by Edward Burgess, she was built at George Lawley & Son’s yard

647

647.

CURRIER & IVES HAND-COLORED LITHOGRAPH OF THE 1887 AMERICA’S CUP DEFENDER VOLUNTEER Dated 1887 Fully titled in margin “’Volunteer’ Modelled by Edward Burgess of Boston for Genl. C.J. Paine Steel Hull Built by Pusey & Jones, Wilmington, Del. Spars by Geo. Lawley & Son, South Boston. Sails by Wilson & Griffin, New York.”. Inscribed in margins with lists detailing the principal dimensions of the yacht and of the mast and spars, as well as “Printed in Oil Colors, By Currier & Ives, 115 Nassau St. N.Y.” and “Copyright 1887 by Currier & Ives, N.Y.”. On paper, 22.25” x 28.25” sight. Framed 31” x 37”. 800/1,200 Provenance: Bob Bascom Prints, Burlington, Vermont, October 1996, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. Literature: Currier & Ives : A Catalogue Raisonné (Detroit: Gale Research, Publisher, 1983), No. 7004.

in South Boston, Massachusetts and was launched May 26, 1885.

Volunteer easily beat the 1886 America’s Cup defender Mayflower

Puritan was an early combination of American and English designs,

during the defender trials for the 1887 America’s Cup and won both

with some of the depth of a cutter but beam and power of a sloop.

Cup races on September 27 and 30, 1887, against Thistle.

She was built for John Malcolm Forbes, who also skippered her. She defeated the New York Yacht Club’s Priscilla in the defender trials,

Soon after the Cup races, Volunteer was bought by John Malcolm

and then went on to defend the America’s Cup against the British

Forbes (who also owned Puritan) and was re-rigged as a schooner

yacht Genesta.

in 1891. On August 21,1893 she went onto the rocks at Hadley’s Harbor, Naushon Island, off the coast of Massachusetts. In 1894, in anticipation of racing with the British challenger Valkyrie, she was returned to her original sloop rig. She was broken up at a New York junkyard in 1910.

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223

648

648.

ROY CROSS United Kingdom, b. 1924 “The America’s Cup - 1920 Resolute versus Shamrock IV”. Signed and dated lower right “Roy Cross 1992”. Titled verso. Oil on canvas, 16” x 20”. Framed 23” x 27”. 7,000/9,000 Provenance: Marine Arts Gallery, Salem, Massachusetts. Private Collection, Cape Cod, Massachusetts.

649

649.

224

LOG OF THE AMERICA’S CUP YACHT RESOLUTE; MAY 9-JULY 29, 1920 Rare copy of the privately published volume, distributed to Resolute’s ownership syndicate and select members of the New York Yacht Club. Titled on cover “Log of the Resolute from May 9, 1920 to July 29, 1920”, with syndicate member and 1920 America’s Cup committee member Richard T. Crane, Jr.’s name in the lower left corner. Contains a detailed log and insightful commentary and analysis by Robert W. Emmons, manager of the Resolute, of the successful 1920 America’s Cup campaign, in which Resolute beat Sir Thomas Lipton’s Shamrock IV. The type of critical examination seen in this volume gave the N.Y.Y.C. a competitive advantage over challengers in ensuing races. Leatherbound. 8” x 6”. 600/800

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650.

LOG OF THE AMERICA’S CUP YACHT RESOLUTE; MAY 2- AUGUST 5, 1914 Rare and exceptional, the only known original America’s Cup log book in private hands. Entries from May 2 to August 5, 1914, many pertaining to the elimination races leading up to the America’s Cup defender selection trials with Resolute racing against Vanitie and Defiance. Contains 204 pre-printed pages with mostly penciled handwritten entries, though some are typed. Newspaper clippings of results are affixed to some pages of race descriptions. Pages 202 and 204 have a typed listing of “’Resolute’ Sails and When Used”, describing nine types of sails and the specific date each sail was used. Also contains loose pages of “Secretary New York Yacht Club” letterhead with pencil notations of each race for 1914, 1915 and 1920, all three providing the Windward, Reach and Run times. The log’s August 5 entry notes “Bob came onboard 11 p.m. & told us racing was off for the year”. The first battle of World War I began that day when the German army launched an assault on Liege, Belgium. Because of the war, Cup races didn’t recommence until 1920. Beautiful contemporary red leather binding and custom clamshell slipcase with red leather labels. 6,000/8,000 Provenance: Purchased directly from a Wharton family descendant. The Whartons were a Philadelphia family with longtime ties to Jamestown, Rhode Island. Illustrated: The Holy Grail of Yachting: The Art of the America’s Cup by Alan Granby and Janice Hyland (West Palm Beach, Fl: America 3 Foundation, 2013-2017). The Resolute was the last America’s Cup defender designed and built by Nathanael Greene Herreshoff. Owned by a syndicate of New York Yacht Club members, she was christened by Grace Vanderbilt and launched April 25, 1914. In Cup defender selection trials that spring and summer she beat both Vanitie and Defiance and set a course record off Sandy Hook. When racing recommenced in 1920, the Resolute prevailed in the trials and successfully defended the Cup in July against the Shamrock IV.

650

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225

651.

CASED MODEL OF THE TWO-MASTED SCHOONER COLUMBIA Late 19th/Early 20th Century Set on a wood panel that simulates water and is surrounded by rope. Case height 18”. Length 25”. Width 12”. 500/1,000

652.

BLACK AND WHITE PHOTOGRAPH "THE ‘YANKEE’ SLIDES DOWN THE WAYS" Framed with an Underwood and Underwood label marked “The ‘Yankee’ Slides Down the Ways -- Last of Four America’s Cup Defense Candidates is Launched in Presence of 1,000 at Neponset, Mass. ...”. Label also indicates the yacht had just been christened by Isabel Lawrence and was owned by a Boston syndicate. Image 7” x 9” sight. Framed 17.5” x 16”. 150/250

653.

RARE YACHTING VOLUME AMERICA’S CUP YACHT DESIGNS 1851-1986 By Francois Chevalier and Jacques Taglang. Paris: Chevalier & Taglang, 1987. Numbered 2,159 of a limited edition of 2,574 copies signed by the authors. In English and French. Illus. with color plate and black and white yacht plans. Oblong folio. Gray cloth with silver lettering. Pictorial Dj. 500/1,000

654.

PAIR OF PHOTOGRAPHS OF AMERICA’S CUP 12-METER YACHTS BY JOHN T. HOPF Both signed. One inscribed “1958 America’s Cup Gleam and Scepter” and the other “1958 America’s Cup - Columbia and Northern Light”. 10.75” x 13.25” sight. Framed 18.5” x 21”. 200/300

655.

PAIR OF PHOTOGRAPHS OF AMERICA’S CUP DEFENDERS WEATHERLY AND CONSTELLATION BY JOHN T. HOPF Each depict a 12-meter yacht from an aerial perspective, the Weatherly from 1962 and Constellation from 1964. Silver gelatin prints, 10.25” x 13” sight. Framed 18” x 22”. 800/1,200

651

652

John T. Hopf (1920-2011) was an American photographer who pioneered aerial photography. Hopf documented America’s Cup racing off Newport, Rhode Island from 1958 to 1983.

654, pair

226

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656.

DELANO STUDIOS COMMEMORATIVE PLATE FOR THE 12-METER YACHT CONSTELLATION New York, Circa 1960 Commissioned as a commemorative piece for the 1964 defender of the America’s Cup. Central handcolored depiction of the yacht under sail, inscribed “Constellation” at the bottom of the image. Painted gold rim. Marked on back “Delano Studios Setauket, LI, NY Hand Colored”. Also marked with 1960 copyright. Diameter 10.75”. 300/500

657.

RARE PERIOD RIGGED MODEL OF THE 1934 AMERICA’S CUP DEFENDER RAINBOW 1930s Diorama-style model complete with sails and set into a carved and painted sea. Case height 24.5”. Length 24”. Width 12”. 3,000/5,000

656

In Race 4 of the 1934 America’s Cup, Rainbow won by 1:15 after a protest from Endeavour. The controversial protest arose when Rainbow failed to respond to a luff from Endeavour, but Sir T.O.M. Sopwith, the British owner and skipper of the yacht, failed to immediately raise a protest flag and instead hoisted it as he passed the committee boat stationed at the finish line. Although the New York Yacht Club representative aboard Endeavour had advised it would be acceptable to wait to the finish line to raise the protest flag, the Club’s protest committee stood by its rules about raising a flag at the earliest possible moment and thus declined to hear Endeavour’s protest. While Sopwith’s public response was restrained, the incident riled the British team and press.

658.

SIX VOLUMES FROM THE HOLY GRAIL OF YACHTING The Holy Grail of Yachting: The Art of the America’s Cup 1858-1970 by Alan Granby and Janice Hyland. West Palm Beach, Fl: America 3 Foundation, 20132017. Limited edition. Seven-volume set; this lot does not include Vol. VII. The ultimate history of the America’s Cup, told through art and artifacts with parallel historical narrative. Embossed fullcolor frontispieces. Color and black and white plates throughout. Illustrated with masterworks from the 19th and 20th Centuries by painters such as Fitz Henry Lane and James Edward Buttersworth, and photographers such as Beken of Cowes. Each volume with extensive bibliography and indices sourcing the visual materials. Oblong folio, 13.5” x 12.5”. Printed on extra-heavy coated stock. All in fine (new) condition with illustrated dust jackets as issued. 3,000/4,000

657

658, set

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227

Richard K. Loud Massachusetts, b. 1942 Lots 659, 661

659

659.

228

Portrait of the Columbia. Signed lower left “R.K. Loud”. Oil on canvas, 24” x 36”. Framed 31” x 43”. 5,000/7,000

660.

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No lot.

Richard K. Loud Massachusetts, b. 1942 Lots 659, 661

661

The 1886 America’s Cup challenge was accepted a few months after the 1885 match. The competition pitted Lt. William Henn’s Beavor-Webb designed cutter Galatea against Charles J. Paine’s Genesta. Because Galatea was six feet longer than the previous defender Genesta, Edward Burgess was commissioned to design a new defense candidate for Paine. Paine named the new boat Mayflower, inspired by colonial history. The 1886 match was interesting because of the startlingly contrasting styles of the two principles: William Henn, who with his wife

661.

“'Galatea’ vs. ‘Mayflower’ America’s Cup 1886”. Signed lower left “R. Loud”. Titled on frame plaque. Oil on canvas, 14” x 23”. Framed 21.5” x 30.5”. 6,000/8,000 Provenance: Private Collection, Connecticut.

pursued a life of pleasure sailing, and Col. Charles J. Paine, a firm and brilliant military leader and avid yachtsman.

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229

662

662.

PETER LAYNE ARGUIMBAU New York/Connecticut/Italy, b. 1951 The yacht White Heather. Signed lower right “Layne”. Vessel identified verso. Oil on board, 12.5” x 11”. Framed 17” x 16”. 1,500/2,000

663.

PETER LAYNE ARGUIMBAU New York/Connecticut/Italy, b. 1951 “America’s Cup ‘Vigilant’ 1893”. Signed lower left “Layne”. Titled on frame plaque. Oil on board, 9” x 12”. Framed 14” x 16”. 1,500/2,000

663

664.

SANDOR BERNATH New York/Maine, 1892-1984 Pair of yacht portraits. One signed lower right “Sandor Bernath”. The other unsigned. Watercolors on paper, 16” x 20” sight. Framed 25.5” x 30”. 1,000/1,500

664, two

230

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665

665.

According to British Yachts and Yachtsmen, “Peter Donaldson was one of the most enthusiastic yachtsmen of the Clyde. In 1895, he built and raced Isolde, 65-footer, a phenomenally successful boat, which brought him into the front rank of racing owners”. William Fife, Jr. was one of the world’s most celebrated yacht designers, notably designing the first of Sir Thomas Lipton’s Shamrocks, which raced in the 1898 America’s Cup.

IMPORTANT MOUNTED HALF HULL MODEL OF THE BRITISH YACHT ISOLDE AND TWO PHOTOGRAPHS OF HER RACING England, 1895 Photographs by William U. Kirk & Sons, Cowes, one captioned “’Isolde’ 66.02 linear rating” and the other “’Isolde’ 52 ft linear rating”. Both blind-stamped lower left “Copyright Wm. U. Kirk & Sons Photo, Cowes, I.W.”. Model painted copper below the waterline and white above, with a pair of thin gold bootstripes running just below the top rail, transitioning to a vine design near the stern. Applied snub mast and bowsprit. Mounted on a beautifully grained mahogany moldededge backboard, retaining its original brass hangers and ivorine plaque marked “’Isolde’ 40 Rating Cutter Designed for Peter Donaldson Esq. by William Fife Junr 1895”. Beautiful age patina. Backboard 11.25” x 38”, including hangers. Photos 8.75” x 10.75” sight. Framed 15.5” x 16.75”. 4,000/6,000 Literature: British Yachts and Yachtsmen (London: Yachtsmen Publishing Company, 1907), p. 390.

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231

666

666.

MOUNTED HALF HULL MODEL OF THE RACING YACHT AMERICAN Circa 1920 Beautiful shaped racing yacht with extreme overhang and deep keel. Tiger-grain mahogany surface above the waterline and painted green below. Applied rudder also painted green. Keel with an old gold leaf surface, save for the bottom, which is painted gray to simulate lead. White painted backboard with molded edge. Backboard 12” x 48” including mounting eyes. 2,000/3,000

667

667.

232

CURRIER & IVES LITHOGRAPH "THE GREAT OCEAN YACHT RACE ..." 19th Century “Between the Henrietta, Fleetwing & Vesta –The ‘Good Bye’ to the Yacht Club Steamer ‘River Queen,’ 4 miles East of Sandy Hook Light Ship, Dec. 11th, 1866”. After Charles Parsons. Conningham No. 2634. On paper, plate line 17.5” x 27.75”. Framed 29.5” x 37.5”. 1,000/1,500

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668

668.

CHARLES J. LUNDGREN New York/Connecticut, 1911-1988 Yacht race at Brenton Reef, Newport, Rhode Island. Signed lower right “Charles Lundgren”. Oil on board, 24” x 48”. Framed 32” x 56”. 7,000/10,000

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233

669.

JACK RICHARD WEMP America, b. 1925 “Schooner Yacht ‘Atlantic’”. Signed lower right “Wemp”. Titled verso and inscribed “Fastest crossing of Atlantic ever made by a sailing vessel” and “1984 Jack Wemp Clinton Corners, NY”. Watercolor and gouache on wove paper, 18” x 24” sight. Framed 25.75” x 31.75”. 700/1,000

670.

AMERICAN SCHOOL Early 20th Century Yachts reaching for the mark. Watercolor on paper, 9” x 13” sight. Framed 13” x 22”. 700/1,000

669

Provenance: Quester Gallery, Stonington, Connecticut.

670

671.

ALAN J. EDDY Massachusetts, b. 1940 Yachting scene. Signed lower right “Alan J. Eddy”. Oil on canvas, 21” x 27”. Framed 28.25” x 24.25”. 1,500/2,500

671

234

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672.

FINE PAIR OF BRASS YACHTING SIGNAL CANNONS America, Circa 1870-1890 A remarkably complete and very rare signed pair in excellent condition. Both signed “Gregory” on the right trunnion and “Cannon St NY” on the left. One cannon engraved “Walter Ray” forward of the touchhole and the other “George Upham”, likely the names of the owners or club officials. Beautifully shaped barrels with touchholes near the back. Complete with breeching rope cascabel similar to Dahlgren type and other muzzle-loading U.S. Navy cannon of the Civil War and post-Civil War eras. Original mahogany naval carriages with original through-bolts, tie-down brackets, trunnion caps with locking hardware, threaded rod and wheel elevator mechanism, and lignum vitae wheels retaining their original brass axle caps, pins and washers. The maker intended these to be used onboard a sailing vessel, with the breeching rope fastened to the gunnels, passed through the carriage and the breeching rope provision on the cascabel, and then back to the vessel’s side. Total height 24”. Total length 37”. Width 17”. Length of barrel 31.5”. Bore 1.75”. 20,000/30,000

672, pair, with detail of signature

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235

673

674

673.

674.

MOUNTED BUILDER’S HALF HULL MODEL OF SCHOONER YACHT Mid-19th Century Built up in seven alternating light and dark wood lifts, pinned with wooden pegs. Backboard 5.75” x 28.5”. 800/1,200

675.

MOUNTED BUILDER’S HALF HULL MODEL OF THE VESSEL ORIOLE 19th Century Built up in seven alternating light and dark wood lifts. Nice foliate carving at bowsprit. Pine backboard mounted with plaques providing the ship’s name and “G. Cleak Builder”. Backboard 10” x 46.5”. 1,000/1,500

676.

CAST IRON SIGNAL CANNON Late 19th Century On wooden truck. Height 5”. Total length 16”.

TROPHY MADE FROM BRONZE FROM THE AMERICA’S CUP YACHT COLUMBIA Inscribed on front “Gold Tournament Duxbury, 1902 Won by W.F. Glidden”. Labeled on underside “Bronze from Columbia Defender of America’s Cup 1899.”. Height 3.5”. 150/250

Provenance: The Collection of James P. Marenakos.

236

300/500

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677

678

677.

CAST IRON SIGNAL CANNON Late 19th Century Painted silver and black. Includes rammer. Bore diameter 2.75”. Length 26”. 1,000/2,000

678.

CAST IRON SIGNAL CANNON Early 20th Century Painted black and red. Bore diameter .75”. Length 28”. 1,000/2,000

679.

ANTIQUE TWELVE METER ASSOCIATION BOOK Probably Mid-20th Century No author, publisher or date listed. Possibly a one-off copy. Includes pages of article clippings and photographs pertaining to 12-meter yachts. Folio. With slipcase. 250/350

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237

Thomas Hoyne Illinois/Massachusetts, 1924-1989 Lot 680

680

680.

“Steel to Starboard”. A dramatic scene of the Grand Banks schooner Admiral Dewey of Gloucester. Signed and dated lower right “Tom Hoyne 1986”. Titled verso. Oil on canvas, 26” x 38”. Framed 36” x 48”. 25,000/35,000 Provenance: Mystic Maritime Gallery, Mystic, Connecticut. Private Collection, Texas.

238

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239

681.

TANK TEST MODEL FOR A PROPOSED YACHT DESIGN America, 1964 Made by Lou L. Banks, Jr. (America, 20th Century). Built up in white pine, the interior hollowed, and the exterior of the hull shaped, faired and finished to a race finish. Exterior of the hull is marked #2963, which is the identification number for the Davidson Lab at the Stephens Institute where the model was tested. Interior marked “Dec. 1964, LLB, Jr.”. There is a later brass plaque attached to the stern “Model Hull Design Towing Tank Test December 4, 1964”. The tank model was produced under Davidson Lab director John Breslin and Stevens professor Daniel Savitsky. Draft 8.5”. Length 58”. Beam 12.5”. 2,500/3,500

681

240

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682.

CASED MODEL OF A CHEOY LEE OFFSHORE 47 KETCH Circa 1975 Hull built up from the solid, painted with a blue bottom, dark blue waterline and white topsides, and fitted with a keel and rudder. Detailed with planked decks, cabin top, ventilators, cleats, hand rails, deck railings, winches, etc. Rigged with two masts, booms, and standing and running rigging. Displayed on a pair of rod stanchions within a simple plexiglass case. Case height 36”. Length 36”. Width 30”. 700/1,000

682

683.

CASED MODEL OF A STAR CLASS ONE-DESIGN BY PAT CUMMINGS 1998 In ½” to 1-foot scale. Hull built up in wood, with applied keel, skeg and rudder, and the bottom and topsides painted white, with a bright finished rub rail. Simple deck painted pale blue and detailed with stem fitting, splash rail, jib tracks and cars, jib winch and cleats, cockpit coaming, etc. Interior of the cockpit painted a bright blue and detailed with hull frames, floor boards, mainsheet post, coils of line, and on the aft deck the tiller and mainsheet traveler. Rigged as a Marconi sloop with standing and running rigging, main with the Star Class logo and jib. Displayed on a keel block within a glazed case with brass trim, black base and brass builder’s plaque. Case height 21.25”. Length 14.25”. Width 6.75”. 800/1,200 One of the earliest and largest one-design classes in the world, the Star was designed by William Gardner in 1906 for his friend and fellow sailor, George Corry, “Father of the Stars”.

683

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241

684.

CASED HALF HULL MODEL OF A LUDERS CLIPPER 36 Circa 1969 Carved wood hull, painted with red bottom, white topsides and blue sheer stripe. Cabin top with windows, binnacle, railings, companionway and other details. Rigged as a ketch with a bowsprit and two masts, with a carved suit of sails. Mounted on a wood backboard and enclosed in Plexiglass. Case height 30”. Width 27”. Depth 6”. 600/800

684

685.

MOUNTED HALF HULL MODEL OF A LUDERS 30 Circa 1970 Carved wood hull painted with red bottom, white topsides and red sheer stripe. Cabin top with windows, railings, companionway and other details. Rigged as a sloop with mast and a carved suit of sails. Backboard 26.25” x 22.25”. 300/500

685

686.

HALF HULL MODEL OF A J/22 ONE-DESIGN BY MARSOM PRATT I 1999 In ½” to 1-foot scale. Hull built up in lifts, with applied rudder and keel faired into the hull, and painted white. Mahogany backboard 6.75” x 17”. 300/500 The J/22 was designed by Rod Johnstone and first built

686

242

in 1983. They are a popular one-design class around the world.

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688

687

689

687.

WILFRED O. WHITE BINNACLE America, Early 20th Century Brass hood with central oval glass panel. Gimballed compass. Wood base with brass maker’s plate and brass arms to support black painted compensating balls. Height 51.5”. 2,000/3,000

688.

BRASS HELM America, First Half of the 20th Century Faintly marked at top “Elizabeth”. Eight-spoke wheel. Total height 51”. Wheel diameter 42”. 1,500/2,500

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689.

BRASS SHIP’S TELEGRAPH Staten Island, New York, Late 19th/Early 20th Century Face marked “Durkee Marine Products Corporation Staten Island, NY”. Height 47.5”. 2,000/3,000

243

690

691

690.

691.

692.

244

RARE LINE THROWING GUN Late 19th Century Length of barrel 29”.

693.

PAIR OF ROPE BECKETS ON CARVED WOODEN CLEATS 20th Century Beckets with leather spacers. Cleats carved with five-pointed stars. Lengths 13”. 250/350

694.

FIVE MARINE LANTERNS 19th/20th Century Tin and brass. One electrified. Heights from 10” to 16”. 400/800

695.

STARBOARD RUNNING LIGHT ON A QUATERBOARD-STYLE MOUNT Late 19th Century Red-painted board with “Clythie III” in gold and black lettering. Height 8”. Length 30”. Width 6”. 300/400

2,500/3,500

RARE STEWARD DAVIT EQUIPMENT COMPANY LINE THROWING GUN New York, Late 19th Century Oval brass stamp for Steward Davit, patent number B491. Base stamped “17 Battery Place”. Length of barrel 32”. 2,500/3,500

LOTHROP’S PATENT FOG HORN Early 20th Century Painted red. Marked in black lettering. Height 11.5”. Length 16”. Width 8.5”. 300/500

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696

696.

CARVED WOODEN STERNBOARD FOR THE NEPTUNE Late 19th/Early 20th Century Traces of old blue painted decoration. Height 11.5”. Length 128”. 2,500/3,500

697.

MILTON JAMES BURNS New York/Ohio, 1853-1933 Illustration from the book The Mate and the Maiden. Inscribed on top edge “The Mate and the Maiden Pg - 15 She was interrupted by a report - from the pistol, ...”. Signed lower left “Burns”. Retains receipt from The Metropolitan Magazine dated September 29, 1905. Mixed media on heavy paper, 18” x 19.5”. Framed 20.25” x 21.25”. 400/600

697

698.

BRASS SHIP’S BINNACLE Early 20th Century Conical hood with double glass apertures. Gimballed compass. Wooden base with brass arms to support compensating balls. Height 55”. 1,500/2,500

698

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245

699.

SAILOR’S LIBRARY BOX Late 19th Century In pine, with six-board construction. Exterior of door stenciled “Boston Baptist Bethel 832 Hanover St Sailor’s Library No. 7”. Paper advertisements affixed to interior of door. Fitted with a single shelf. Height 20”. Width 14”. Depth 8.75”. 500/700

699

700.

SHIP’S BRASS STICK BAROMETER Early 20th Century Maker’s mark for J.J. & B.L.M., Lisbon. Gimballed mount. Height 37.5”. 1,000/1,500

701.

KNOT BOARD Circa 1884 Display of several different types of knots, all with identification labels. Inscribed on back “Gay’s Nautical College East River New York 1884”. Board with alligatored finish. 14” x 16.25”. 400/600

700

701

246

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702.

SHIPYARD OFFICE CABINET Late 19th/Early 20th Century From the Thames Tow Boat Yard, New London, Connecticut. Two paneled doors. Marked in gilt lettering “Amberg’s Patent Cabinet For Letter Files”. Height 30”. Width 31”. Depth 14”. 400/600 Provenance: Descended from the original yard owners.

702

703.

HOOKED WOOL RUG DEPICTING A WHITE-HULLED SHIP Signed “AT” lower right corner. 30” x 51”. 400/600

703

704

704.

PAIR OF TEAK HATCH COVERS MOUNTED AS A TABLE Late 19th Century Contemporary legs and glass top. Height 29.25”. Diameter 54”. 700/1,000

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247

705.

EDOUARD ADAM I France, 1847-1929 Portrait of the “Knight of the Garter”. Signed and dated lower right “Ed. Adam 1903 Havre”. Ship identified on bow. Oil on canvas, 23” x 36”. Framed 29” x 42”. 3,000/5,000

706.

PORTRAIT OF A BRITISH THREE-MASTED STEAM-SAIL FRIGATE Late 19th Century Depicted off the white cliffs of Dover. Unsigned. Oil on canvas, 17” x 24”. Framed 20.5” x 27.5”. 800/1,200

707.

CARL JOHAN GRANBERG Sweden, 1853-1916 Norwegian steam/sail ships at sunset. Signed and dated lower left “C.J. Granberg 1886”. Oil on canvas, 21” x 30”. Framed 24.5” x 33.5”. 1,500/2,500

705

706

707

248

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708.

PAIR OF UNIQUE IRON CANDELABRA, PROBABLY BUILT BY THE GLOBE IRON WORKS SHIPBUILDING COMPANY Cleveland, Circa 1891 Commemorate the christening of ships built by the Globe Iron Works Company between November 1, 1888 and October 15, 1890, including the Northern Queen, North Star, Cayuga, Northern Wave, Seneca, Vulcan, Castalia, Saranac, Maruba, Matoa, Manola and Saxon. Five twisted arms surrounding a central holder, all with leaf decoration around the perimeter. Each holds an inverted neck of a bottle of champagne, some still with wrapper for G.H. Mumm and all with corks intact. Each bottle mounted with a silver bobeche and plaque engraved with the name of a ship and the date of its christening; presumably these were the champagne bottles used at the actual christenings. Tripod C- and S-shaped base with applied metal curlicues. Heights 18.875”. 3,000/5,000

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708, above and details

249

709

709.

RARE LITHOGRAPH "PROVIDENCE AND STONINGTON STEAMSHIP CO’S STEAMER CONNECTICUT." New York, Late 19th Century Hatch Lithographer. Fine copy of a rare print. On paper, 30” x 39.5” sight. Framed 39” x 49”. 1,000/2,000

710.

CASED MODEL OF THE STEAMSHIP TACOMA 20th Century Black hull with silver bottom. Case height 8.5”. Length 19.25”. Width 6.5”. 800/1,200

710

Provenance: Der Scutt.

711.

CASED MODEL OF THE STEAMSHIP FLYER 20th Century White hull with red bottom. Case height 9.75”. Length 19.5”. Width 6.5”. 800/1,200 Provenance: Der Scutt.

711

250

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712

712.

SIX RARE PIECES OF CUNARD LINE BLUE TRANSFERWARE “BOSTON MAILS” CHINA BY J. & T. EDWARDS Burslem, England, Circa 1841 Central “Ladies Cabin” scenes portray women socializing onboard. Border vignettes depict the four steamships of the Cunard Line: Arcadia, Caledonia, Columbia and Britannia. Includes a platter, two 10.25” plates, and two octagonal footed dishes, one with lid, widths 10.25”. 1,000/2,000

713.

STEAM-SAIL YACHT WASHSTAND Late 19th Century In oak. Three oval tiers with brass banding and supports. Upper tier with later custom modification of an inset insulated ice bucket with brass liner and brass-bound lid/tray. Height 33.5”. Width 27.75”. Depth 20.25”. 1,000/2,000

714.

DECK CHAIR FROM THE AMERICAN MAIL LINE First Half of the 20th Century Height 36”. Total length 55”. 400/600

713

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251

716

715.

252

WILLIAM H. EWEN, JR. New York, Contemporary Pair of sidewheeler drawings. One depicts the Hingham leaving the dock and the other depicts Nantasket under way. Both signed lower right “Wm. H. Ewen Jr.”. Pencils on paper, 8.75” x 20”. Framed 17.25” x 29”. 300/500

716.

WILLIAM G. MULLER New York, b. 1937 “Bound for Fall River Steamer ‘Providence’ in 1885”. Signed and dated lower right “W.G. Muller A.S.M.A. ‘80”. Titled verso. Oil on canvas, 26” x 38”. Framed 31” x 43”. 8,000/12,000

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717.

BRIAN COOLE America/United Kingdom, b. 1939 The sidewheeler Milwaukie. Signed lower left “Brian Coole”. Oil on canvas, 14” x 24”. Framed 24.75” x 35.75”. 2,500/3,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 18-19, 2001, Lot #461. Private Collection, Kansas City.

717

718.

THE NEMETHY FAMILY OF PAINTERS America, 20th Century Portrait of the paddlewheeler Highlander. Signed lower left “Nemethy”. There were numerous members of the Nemethy family, including George, Albert and Georgina, who worked in a similar style. The signature is most similar to Georgina’s. Oil on board, 6.5” x 12”. Framed 10” x 15.5”. 800/1,200

718

719.

THEODORE VICTOR CARL VALENKAMPH Massachusetts/Sweden, 1864-1924 Square-rigged ship passing a steam-sail ship. Signed lower right “TVC Valenkamph”. Oil on canvas, 25” x 30”. Framed 32” x 37.5”. 1,000/1,200

719

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253

Frederic Schiller Cozzens New York, 1846-1928 Lots 720-725

720

720.

“Ice Boats Racing”. Signed and dated lower left “Fred. S. Cozzens. ‘14”. Titled on gallery label verso. Watercolor on paper, 9” x 14” sight. Framed 17” x 23”. 1,000/2,000 Provenance: Quester Gallery, Stonington, Connecticut.

254

721.

TWO FREDERIC SCHILLER COZZENS BOOKS 1) Acadia; or a Month with the Blue Noses by Frederic S. Cozzens. N.Y.: Derby & Jackson, 1859. 2) Frederic Cozzens, Marine Painter by Anita Jacobsen. N.Y.: Alpine Books, 1982. 400/600

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Frederic Schiller Cozzens New York, 1846-1928 Lots 720-725

722.

“Robbins Reef Light, N.Y. Harbor”. Signed and dated lower left “Fred S. Cozzens. 13”. Titled on frame plaque. Watercolor on paper, 13.25” x 11”. Framed 19.25” x 17”. 500/1,000

723.

“A Breezy Day Outside”, Plate 17, 1884. From Cozzens’ series of twenty-six lithographs “American Yachts, Their Clubs and Races” published by Charles Scribner’s and Sons, New York. Signed in pencil in center of mat “Fred. S. Cozzens”. Chromolithograph on paper, 13.5” x 20” sight. Framed 20” x 24”. 1,000/1,500

722

723 724

724.

“Running by the Lightship”. Signed and dated lower left “Fred. S. Cozzens. 10”. Titled on frame plaque. Watercolor on paper, 10.25” x 8.5”. Framed 18” x 12.25”. 400/600

725.

“Around the Cape-Marblehead”, Plate 11, 1884. From Cozzens’ series of twenty-six lithographs “American Yachts, Their Clubs and Races” published by Charles Scribner’s and Sons, New York. Signed and dated in print lower left “Fred. S. Cozzens ‘84”. Chromolithograph, 13.5” x 20”. Framed 24.5” x 30”. 1,000/1,500 Provenance: Quester Gallery, Stonington, Connecticut.

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725

255

726.

FORE-EDGE PAINTED BOOK Journal of Researches Into the Natural History and Geology of the Countries Visited during the Voyage of H. M.S. Beagle round the World under the command of Captain Fitz Roy by Charles Darwin. London: Charles T. Nelson & Sons, 1890. Reprint of the 1888 Nelson edition. Octavo. Half burgundy morocco leather binding. Spine with raised bands and gilt tooling. Marbled endpapers. Foreedge masterfully painted with a split scene of Darwin and a campsite, and Captain Roy and a beached Beagle. 800/1,200

726

727.

FORE-EDGE PAINTED BOOK The Poetical Works of Mrs. Hemans. London: Frederick Warne and Company, n.d. Octavo. Double fore-edge painted scenes featuring Boston and Philadelphia Harbors. 800/1,200 727

728.

FORE-EDGE PAINTED BOOK The Book of Common Prayer. Oxford: The University Press, 1844 . Fore-edge painting depicts a sidewheeler. 250/350

728

729.

AFTER JOHN WILLIAM HILL America, 1812-1897 “Boston”. Engraved by C. Mottram after the original by Hill. Published by Smith Bros. & Co., New York and Sowle & Wards, Boston. Dated 1857. Hand-colored engraving on paper, 27.5” x 40”. Framed 34.5” x 47”. 800/1,200

729

256

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730

731

730.

W.S. JOHNSTON America, 19th Century Nocturnal martime scene with numerous vessels off a working lighthouse. In the style of Edward Moran. Signed lower right “W.S. Johnston”. Oil on canvas, 29.5” x 50”. Framed 36” x 56”. 6,000/9,000 Note: This painting hung in the Captain Linnell House in Orleans, Massachusetts for at least the last 75 years.

731.

WARREN SHEPPARD New Jersey, 1858-1937 “Boon Lighthouse, Isles of Shoals, New Hampshire”. Signed lower right “Warren Sheppard”. Titled on gallery label verso. Oil on canvas, 16” x 24”. Framed 24.5” x 30.5”. 6,000/8,000 Provenance: Godel & Co., New York.

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257

732.

NANTUCKET LIGHTSHIP BASKET ATTRIBUTED TO WILLIAM D. APPLETON Nantucket, Massachusetts, Late 19th/Early 20th Century Round, with swing handle. The inner part of handle where it meets the rim is roughly carved into an elongated, pointed teardrop, a characteristic of Appleton baskets. Base inscribed with two concentric circles. Unmarked. Basket height 3”. Diameter 6.25”. 400/600

733.

WILLIAM D. APPLETON NANTUCKET LIGHTSHIP BASKET Nantucket, Massachusetts, Late 19th/Early 20th Century Round, with swing handle. As typical in Appleton baskets, the inner part of handle where it meets the rim is carved into an elongated, pointed teardrop, and the outer part is chamfered. Base inscribed with four concentric circles, spaced in a bull’s-eye pattern. Printed label on underside “Lightship Basket Made by William D. Appleton, Nantucket, Mass.”. Dark patina. Basket height 3”. Diameter 6.5”. 800/1,200

734.

DAVIS HALL NANTUCKET LIGHTSHIP BASKET Nantucket, Massachusetts, Late 19th/Early 20th Century Oval, with shaped oak swing handle ending in “lollipop” forms. Printed label on underside “Made by Davis Hall, Nantucket Mass”. Basket height 5”. Length 12”. 1,800/2,400

732

733

William “Billy” D. Appleton (1851-1918) served on at least one whaling voyage, aboard the Martha Wrightington of Nantucket, before becoming a crewman aboard the New South Shoal lightship, where he began weaving baskets. Continuing to produce baskets even after his lightship post ended, he made his last one sometime around 1910.

Davis Hall (1828-1906) was born in Hanson, Massachusetts and moved with his family to Nantucket sometime in the 1840s. He sailed aboard clipper ships and worked the lifeboats in the late 1840s and 1850s, and joined the Union Army in 1862. Following the war he joined the crew of the South Shoal Lightship and cultivated his basket weaving. He is credited with developing the oval form for Nantucket baskets and also the double-ended “Davis Lifeboat”.

734

258

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735.

FERDINAND SYLVARO NANTUCKET BASKET Nantucket, Massachusetts, Circa 1920 Round, with swing handle. Base inscribed with three concentric circles, typical of Sylvaro. Handwritten label on underside “Made by Ferdinand Sylvaro 97 Orange St. Nantucket Mass”. Basket height 5”. Diameter 8.25”. 1,500/2,500

736.

737.

NANTUCKET BASKET ATTRIBUTED TO FERDINAND SYLVARO Nantucket, Massachusetts, Early 20th Century Round, with swing handle. Base inscribed with three concentric circles, indicative of Sylvaro. Basket height 9”. Diameter 12”. 1,200/1,500

738.

FERDINAND SYLVARO NANTUCKET BASKET Nantucket, Massachusetts, Circa 1920 Round, with swing handle. Handwritten label on underside “Made by Ferdinand Sylvaro 97 Orange St. Nantucket Mass”. Basket height 4.75”. Diameter 10.25”. 1,500/2,500

739.

FERDINAND SYLVARO "ONE EGGER" NANTUCKET BASKET Nantucket, Massachusetts, Circa 1920 Round, with swing handle. Handwritten label on underside “Made by F. Sylvaro 97 Orange St. Nantucket Mass”. Basket height 3.5”. Diameter 3.5”. 1,000/1,500

735

736

737

It is believed Ferdinand Sylvaro (1868-1952) learned to weave Nantucket baskets from A.D. Williams, who had learned from William D. Appleton. Sylvaro owned the molds that had belonged to Davis Hall, the New South Shoal lightship keeper and noted basket maker in the late 1800s.

738 739

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259

740

740.

260

PAINTED WOODEN NANTUCKET MILEAGE SIGN Early 20th Century Direction arrows above and below “Nantucket Town. 1M Madaket Beach. 7M Siasconset. 7M Great Point. 9M” in black lettering on a milk paint ground. 18" x 28". 400/600

741.

MERIDEN SILVER PLATE CO./INTERNATIONAL SILVER CO. SILVER PLATED LIGHTHOUSE-FORM TROPHY COCKTAIL SHAKER Circa 1935 Engraved “Flamingo Hotel Trophy 1935 Committee of One Hundred Co-Co-Lo-Bo Chance Race Won by”. Impressed marks on underside. Height 13.75”. 1,200/1,800

742.

EVERETT SIMONEAU Canada, 1922-1989 Lifesaving station at Wood Island in York County, Maine. Signed lower right “E Simoneau”. Watercolor on paper, 14” x 19.75”. Unframed. 250/350

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743

743.

SHERWIN BOYER NANTUCKET BASKET Nantucket, Massachusetts, First Half of the 20th Century Round, with swing handle. Base plate’s interior with incised concentric rings. Paper label on underside “I Was Made On Nantucket Island I Am Strong And Stout Don’t Lose Or Burn Me I’ll Never Wear Out Made By S.P. Boyer”. Rich patina. Basket height 3.25”. Diameter 5.25”. 800/1,200 Sherwin Boyer (1907-1964) was a contemporary of basketmakers Jose Reyes and Steven Gibbs. His shop was

744

on Federal Street.

744.

GERALD L. BROWN NANTUCKET BASKET Nantucket, Massachusetts, Contemporary Swallow’s-nest form, with swing handle. Signed on underside “GL Brown”. Height 12.5”. 400/600

745.

RARE SAILOR-MADE MODEL OF THE LIGHTSHIP LV-23 Connecticut, Early 20th Century Believed to be the Ram’s Island lightship. Red hull. Set on a raised platform, the top simulating water. Displayed in a glass case. Accompanied by a photograph and a postcard depicting the Ram’s Island lightship. Case height 14”. Length 24.75”. Width 6”. 1,200/1,800

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745

261

746.

AMERICAN SCHOOL Late 19th Century The rescue. Signed lower right “R. M...in”. Oil on canvas, 30” x 40”. Framed 35” x 46”. 1,000/1,500

746

747.

748.

262

RARE LIFESAVING STATION FAKING BOX Late 19th/Early 20th Century From the U.S.C.G.C. Campbell. Box under old black and red paint. Removing lid reveals rope wrapped around wooden posts, wrapped in a manner so as not to foul when fired to a ship in need of rescue. On contemporary stand. Box height 13.75”. Width 37.5”. Depth 20.5”. Height on stand 48”. 2,000/3,000

747

PAIR OF U.S. LIFE SAVING STATION OARS Early 20th Century Natural hardwood oars, one branded “USLSS” and faintly marked “130”. Lengths 108.5”. 300/500

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749.

RARE BRONZE OR BRASS GANGWAY BOARD WITH PATRIOTIC MOTIFS Circa 1895 Outstanding construction, heavy and nearly a quarter-inch thick, and exceptional design. Probably used on one of the American Great White Fleet ships that participated in an around-the-world cruise to demonstrate U.S. goodwill and the nation’s growing military and naval power. May be a unique casting done specifically for a single vessel, and most likely one of a pair. Shaped as a dome-top rectangle, with motifs including sun rays studded with thirteen stars, a crossed pair of American flags, an American shield, crossed cannons, an “E Pluribus Unum” banner, and a rope border with loops at the lower corners. Mounting holes at corners and along the sides. Deep verdigris patina. Displayed in a custom wood stand. Board height 40.25”. Width 15.75”. Total height 61”. Width 29.5”. Depth 16.5”. 8,000/12,000

749

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263

750.

A.F. OLSON America, Early 20th Century A Great White Fleet ship in Portland Harbor, possibly the U.S.S. Maine. Signed lower right “A.F. Olson”. Oil on canvas, 17” x 14”. Framed 23” x 19”. 1,000/2,000

750

751.

RARE PAIR OF U.S. NAVY "WING STYLE" SHIP’S BRIDGE LANTERNS America, Circa 1910 Attributed to Perko. Fitted with wing baffles and ruby red lenses. Highly polished. Heights 18”. 1,200/1,800

751, pair

752.

SEA CHEST 19th Century Dovetail and canted construction. Under old green paint. Top with sail cloth covering. Interior of lid painted with numerous international flags. Nicely carved cleats with ropework beckets. Height 17”. Width 37.5”. Depth 17.5”. 1,000/1,500

752

264

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753

753.

NAVAL ELECTRIC CO. BRASS U.S. NAVY SIGNAL CANNON WITH TRIPOD New York, Circa 1895 Rare example built specifically as a signal cannon as it was made to fire blank shells. Deeply engraved near loading breech “U.S.N. OR 251 C 5.18”. Brass barrel with raised band at trunnions and a sight mounted at the top. Rotating brass handle used to slide the breach into the block and lock it in place. Retains original trunnion caps, bots, and a brass and black-painted steel collapsible tripod. Cannon is fired by pulling a cord that activates a hammer to strike a firing pin that in turn strikes the back of the shell. Modified with a new 10-ga. shell reducer so that it can fire commercially available shells, making it far more usable. Height on tripod 27.5”. Cannon length 39.75”. Total length on tripod 65”. 7,500/10,000 Provenance: From the collection of Jack Warner. Warner (d. 2017), a businessman and philanthropist, was renowned for assembling one of the greatest private collections of American art, which included hundreds of paintings, sculpture, furniture and decorative art representing masterpieces from the 18th Century through the early 20th Century, notably works by Thomas Cole, Frederic Church, Albert Bierstadt, Asher B. Durand, John Singer Sargent, Mary Cassatt, William Merritt Chase, Edward Hopper, Winslow Homer and Andrew Wyeth. He was also an avid collector of nautical antiques and established the North River Yacht Club in 1978, where he displayed many of his fine marine antiques at the club house. In recognition of his collection, Warner was awarded the Frederic Edwin Church Award in 2010. Warner’s collecting achievement was also recognized in 2011 by the naming of the newly-opened Jack and Susan Warner Hudson River Gallery in the Metropolitan Museum of American Art in New York. Warner’s remarkable collection was displayed and operated by his foundation in the Westervelt-Warner Museum of American Art from 2002 until 2011, attracting thousands of visitors to Tuscaloosa, Alabama each year.

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265

754

Takasago, literally “High Sand”, the antiquated Japanese name for Formosa, was a protected cruiser of the Imperial Japanese Navy, designed and built for the Armstrong Whitworth shipyards in Elswick, United Kingdom. Takasago was laid down in April 1896, as Elswick hull number 660, a private venture by Armstrong Whitworth. She was sold to Japan in July 1896. Launch occurred May 18, 1897 and she was completed April 6, 1898. She was a typical Elswick cruiser design, with a steel hull, divided into 109 waterproof compartments, a low forecastle, two smokestacks,

754.

BUILDER’S PLATING HALF HULL MODEL OF THE JAPANESE "RAM-BOW" CRUISER TAKASAGO Britain, Circa 1896 Hull built up in lifts, shaped and faired to the design, the hull painted white and the plating layout drawn in India ink. Mounted on a painted black backboard marked with the hull number(s). Backboard 13.5” x 105.75”. 5,000/7,000

and two masts. She made use of Harvey armor, which was intended to be able to protect against the impact of even an 8-inch armor-piercing shell. The prow was reinforced for ramming. The power plant was a triple expansion reciprocating steam engine with four cylindrical boilers, driving two screws. In this aspect, the design was almost identical of that of sister ship Yoshino, however, in terms of armament, Takasago was more heavily armed. Takasago saw action during the Boxer Rebellion and the Russo-Japanese War. Takasago struck a naval mine 37 nautical miles (69 kilometers; 43 miles) south of Port Arthur, which triggered a massive explosion in her ammunition magazine. The flooding could not be controlled and Takasago sank with the loss of 273 officers and crew. Some 162 survivors were rescued by the accompanying cruiser Otowa. Takasago was the last major Japanese warship lost in the Russo-Japanese War.

266

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755.

FINE BUILDER’S MODEL OF THE “SPOON-BOW” FREIGHTER S.S. DALEHAM Britain, Circa 1913 Hull built up in lifts, with a painted pink bottom and gray topsides marked at the bow and stern with draft markings, and at the center of the topsides with the plimsoll mark. The The Daleham was built by Richardson Duck & Co., Ltd in 1913 for fore and aft decks are painted a faux ivory with the planking London & Northern S.S. Co. Ltd. (Pyman Bros. Ltd.), London. She lines drawn in black. The mid-deck sections are painted was sold in 1917 to Sir William Reardon Smith & Sons, Ltd, Cardiff gray. The details, mostly in German silver, include anchors, anchor windlass and chain, hawse pipes, bollards, chocks and and renamed in 1919 to S.S. Leeds City. She sank in September 1925 ventilators, railings, cargo hatches with faux ivory planked after striking an uncharted reef ten miles southeast of Bawean covers, open bridge with binnacle, wheel, running lights, Island in the Java Sea, on passage from Tjilatjap for Kobe and double funnel with vents, boats on davits secured to the Yokohama with sugar. center cabin top, two masts with cargo booms, many deck structures varnished maple, a secondary ship’s wheel with quadrant at the stern, etc. Displayed on four German silver pedestals on a raised plinth within a wood-framed case. Case height 18.5”. Length 58.75”. Width 12”. 10,000/15,000

755

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267

756

756.

BELLAMY-STYLE GILT WOODEN EAGLE First Half of the 20th Century With a red, white and blue shield. Height 7.75”. Width 27”. 400/600

757.

ROGER DESOUTTER England, b. 1923 “The ‘Queen Margaret’ Preparing for Departure”. Signed lower right “Roger Desoutter”. Titled on label verso. Oil on canvas, 24” x 36”. Framed 29” x 41”. 800/1,200 Provenance: The Collection of the late George Makris.

757

758.

SHADOW BOX MODEL OF THE U.S.S. BROOKLYN BY KENNETH BRITTEN 1998 Hull built up from the solid, with painted gray topsides, drilled portholes, applied gun turrets, boats on davits, anchor, etc. Deck painted tan and detailed with deck railings, jack staff, bridge with bridge wings, raised tower, masts, funnels with standing rigging, ventilators, gun turrets, boats on racks and davits, search lights, etc. Displayed as a waterline model in a shadow box, set in a molded and painted sea and with a painted background of clouds and blue sky. Shadow box height 9.25”. Width 21”. Depth 5.25”. 700/1,000

758

The famous armored cruiser Brooklyn was launched February 10, 1895 at the yards of William A. Cramp & Sons, Ship & Engine Building Company, Philadelphia. Her maiden voyage was to Great Britain to attend the Navel Review at Spithead celebrating the Diamond Jubilee of Queen Victoria in June 1897.

268

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759.

BRITISH WOOLWORK 19th Century Depicts a three-masted ship surrounded by British and other flags, a royal crown and a floral design. 13” x 16.5” sight. Framed 19.5” x 23.5”. 800/1,200

759

760.

SAILOR’S KNOT BOARD Late 19th/Early 20th Century Display of many sailor’s knots and block use. 24” x 33.5”. 500/800

760

761.

BELLAMY-STYLE CARVED AND PAINTED WOODEN EAGLE Painted red, white and blue. “Don’t Give Up the Ship!” banner above eagle. Signed and dated verso, possibly “CW Pilcher 2007”. Height 8”. Width 26.5”. 500/800

761

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269

762.

CHELSEA SHIP’S BELL CLOCK RETAILED BY RIGGS & BRO., PHILADELPHIA Circa 1909 Mounted on a custom mahogany figure-8 backboard with a French aneroid barometer, the standard type paired with Chelsea clocks. Brass-cased clock numbered 59069. Engraved waxed-filled Arabic numeral dial marked “Ship’s Bell” and “Riggs & Bro. Philada”. Movement with patent date May 31, 1900. Retains original Chelsea eight-day time and strike movement. Includes key. Brass-cased barometer with an alcohol centigrade barometer on the left and a mercury thermometer on the right. Backboard height 24”. Width 12”. Clock diameter 10.125”. Barometer diameter 8”. 3,000/4,000

762

763.

RARE TIFFANY & CO.-MARKED 8-DAY SHIP’S BELL CLOCK Attributed to J.C. Jennens & Sons, London. Marked on dial “Tiffany & Co.”. Double fusee time and strike movement. Brass case with three wall-mount brackets. Fancy floriform cutouts at sides of case allow the sound to amplify. Keyhole on left side of case locks the bezel. Silvered dial with engraved wax-filled Roman numerals, a recessed subsidiary seconds dial, and two winding posts, one for time and the other for strike. Retains original winding and bezel keys. Set on a contemporary walnut table stand with key holder hook on back. Total height on stand 14.5”. Case diameter 9.5”. Dial diameter 8”. 6,000/8,000

763

270

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764.

CHELSEA “COMMANDER” MODEL SHIP’S BELL CLOCK Circa 1913 Brass-cased clock on an oak presentation mantel bracket. Serial #102106. Metal face with raised Arabic numerals. Retains original Chelsea key. Height 12.75”. Crystal diameter 8”. Bezel diameter 10.25”. 1,500/2,500

764

765.

LARGE CHELSEA SHIP’S CLOCK Eight-day time-only movement. Brass case with hinged door. Silvered dial with Arabic numerals and subsidiary seconds dial. Marked “Chelsea Clock Co., Boston, U.S.A.”. Numbered 154573 on back of case. Case diameter 14.5”. Dial diameter 11”. 3,000/5,000

765

766.

CHELSEA HOLOSTERIC BAROMETER 20th Century Brass case with hinged bezel. Silvered dial with “Stormy”, “Rain”, “Change”, “Fair” and “Very Dry” readings. Marked on dial “Chelsea”. Marked on reverse “5 76 8”. Total diameter 10”. Dial diameter 8”. 800/1,200

766

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271

767

771

769

767.

768.

272

CHELSEA SHIP’S CLOCK Circa 1915-1919 Chrome-finished case on wood stand. Dial with Arabic numerals and subsidiary seconds dial. Height 8.75”. Case diameter 7.25”. 400/600

CHELSEA CLOCK CO. FOR TIFFANY & CO. SHIP’S WHEEL 8-DAY MANTEL CLOCK 20th Century Brass case with ship’s wheel surround and wooden base. Dial with Arabic numerals. Total height 10.25”. Width 8.25”. Depth 4”. Crystal diameter 3.5”. 400/600

769.

CHELSEA U.S. MARITIME COMMISSION SHIP’S CLOCK Circa 1930 Face stamped “Chelsea Clock Co. Boston” and “U.S. Maritime Commission Ser. No. 4290”. Diameter 7.25”. 600/900 The U.S. Maritime Commission was established in 1936 to devise a merchant shipbuilding program to equip the United States with a fleet of 500 modern cargo ships. It was abolished in 1950.

770.

CHELSEA SHIP’S CLOCK 20th Century On mahogany stand. Height 9.25”. Diameter 7.25”. 400/700

771.

BOXED AND CASED MARINE CHRONOMETER Early 20th Century Made by V. Kullberg of London for Kelvin, Bottomley & Baird. Model #9568. Gimballed clock contained within a mahogany case mounted with an unengraved nameplate. Exterior felt-lined fitted mahogany box. Retains a paper “Rate Certificate”. Box height 9.5”. Width 9.25”. Depth 9.5”. Clock face diameter 3.75”. 1,500/2,500

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772

772.

GEORGE ELDRIDGE CHART H OF BOSTON HARBOR Early 20th Century Published by Wilfrid O. White, Boston. 28.5” x 38.5” sight. Framed 31.5” x 42”. 700/1,000

773.

TWO BRASS YACHT WINCHES Early 20th Century Heights 5” and 6.5”. 500/800

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774.

PAIR OF STERLING BURGESS SHIP PLANS Early 20th Century Hull and deck plans for a cruising sloop. 22.5” x 35.5” and 17.75” x 42.5” sight. Framed 30” x 43.5” and 25.5” x 50”. 500/800

273

775.

CASED MODEL OF THE TUGBOAT CORNELL 20th Century Stack marked “Lackawanna Railroad”. Case height 21”. Length 33”. Width 13”. 1,200/1,800

775

776.

SETH THOMAS SHIP’S BELL CLOCK America, Late 19th Century Nickel-plated case with exposed bell. Dial unmarked. Height 11”. 200/300

776

777.

CASED MODEL OF THE TUGBOAT EDMOND J. MORAN 20th Century Of the Moran New York City tugboat line. Nicely detailed. Case height 21”. Length 33”. Width 13”. 1,200/1,800

777

274

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778.

ART DECO ELECTRIFIED "HAMBURG AMERICAN LINE" SIGN Second Quarter of the 20th Century Glass panel etched “Hamburg - American Line North German Lloyd” set into a pot metal base. Height 10”. Width 13”. Depth 3.5”. 400/600

778

779.

BRASS YACHT BINNACLE BY NEGUS OF NEW YORK Circa 1930 Mounted on a wooden base. “Negus New York” plaque affixed to front. Contains a gimballed compass. Height 12.5”. 800/1,200

779

780.

CASED MODEL OF THE STEAM YACHT NIAGARA Contemporary Fine scale model with extensive rigging and deck details. White painted hull and varnished wood deck. Displayed on brass pedestals within a glass and wood free-standing case. Height 61”. Length 62”. Width 18”. 3,000/5,000

780

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275

781.

RARE AND IMPORTANT CASED MODEL OF THE YACHT ARROW BY H.E. BOUCHER New York, Circa 1900 Probably built for the original owner of the yacht, C.R. Flint. Hull with original paint, white above and green below the waterline, and with a gold painted arrow that runs along the hull on both sides. Port and starboard "Arrow" nameboards mounted to the top of the paneled deckhouse. Simulated planked deck done in the typical Boucher style. Detailed with a stack with steam whistle in front of fire The 132-foot Arrow was built at Samuel Ayers buckets, skylights, lifeboats with metal davits, metal Yard in Nyack, New York and was launched in stanchions with wire handrails, etc. Retains original 1900. Her steam engines produced as much propeller shafts, propellers and rudder. Displayed as 10,000 horsepower, and in 1902, in a public on the original metal pillars within a mahogany and glass case. Case height 16”. Length 58”. Width 14”. speed trial, she was clocked at 45 miles per hour. Model height 8”. Length 49”. Width 6”. Until 1911, Arrow held a world-record speed. 5,000/8,000 She had five owners up through the year 1920. Literature: Yachts in a Hurry - An Illustrated History of the Great Commuter Yachts by C. Philip Moore (N.Y.: W.W. Norton & Company), p. 39-40. The Steam Yachts - An Era of Elegance by Erik Hofman (N.Y.: John De Graf, Inc.), p. 134-135. Speedboat by D.W. Fostle (Mystic, Ct.: Mystic Seaport), p. 58-60.

781

276

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782

782.

783.

MODEL OF A HIGH-SPEED LAUNCH HULL America, 19th Century Hull built up in lifts, shaped, sanded and faired to a long narrow hull with knuckle bow, and painted a washed gray. Twin three-blade propellers and a single rudder in brass. Open interior, unfinished, with fore and aft deck plates. Height 5.25”. Length 54”. 2,500/3,500

H.E. BOUCHER SPEEDBOAT Early 20th Century Steam-operated with engine and boiler. Black hull with red bottom. With wooden cradle. Height on cradle 17.5”. Length 48”. Width 11”. 2,500/3,500

783

784.

SCALE MODEL OF THE GOLD CUP SPEEDBOAT DIXIE II Contemporary Planked hull. Fitted with exhaust cowls, controls, cleats, steering wheel, benches, ventilator cowl and flagstaff with flag. Displayed on brass pedestals within a mahogany and glass case with conforming stand. Total height 51.25”. Length 79.5”. Width 15.75”. 4,000/6,000

784

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277

785

785.

FINE BUILDER’S PRESENTATION MODEL OF THE MOTOR YACHT NIRVANA IV America, Circa 1920 Hull built up from the solid, the bottom painted a pale green and the topsides painted white, with applied sheer strake and inset gold-plated portholes with mirror inserts. Fitted with rudder and twin propellers. Coaming with a mahogany cap rail and mounted railings. Deck in veneer with the planking drawn in India ink and with numerous fittings, most goldplated, including jackstaff with ensign, anchors, anchor windlass, hawse pipes, mahogany companionway, forward bench, deck light, mahogany main cabin with inset windows with gold frames and mirrored glass, ventilators, running lights, forward and aft masts with standing rigging, nameboards, search light, horn, funnel painted buff and black, two boats mounted atop the aft cabin, on cradles and rigged with davits, the aft cabin with windows as detailed before, canopy covering the aft deck, flagstaff flying the American flag, etc. Displayed on a pair of trumpet-form silver pedestals on a book-matched maple veneer base within the original glass and mahogany display case with a silver plaque engraved “TW. SC. Cruiser Nirvana IV Owner H. Struckmann New York”. Case height 20.25”. Length 36.25”. Width 14.75”. 4,000/6,000 Provenance: Holger Struckmann, and thence by descent through his family. Sotheby’s, New York, Important Americana, January 2017, Lot #4062. A private collection, Maine.

278

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786.

SILVER HUMIDOR AND OTHER SERVICE FOR THE YACHT NIRVANA IV Circa 1922-29 Silver humidor by William B. Kerr & Co., Newark, New Jersey. Etched with flowers, birds and scrolls within bellflower borders, the cover engraved “Yacht Nirvana Holger Struckmann From Frederick C. Fletcher” and applied with two enameled burgees. Two-compartment interior fitted with a removable wood tray and a humidor fitting. Also includes six silver napkin rings by Evald Nielsen, Copenhagen, engraved “Nirvana III”, and ten glasses enameled with the same burgees and “Nirvana” on a ribbon. Humidor height 6”. Width 12”. Depth 6”. 3,000/5,000 Provenance: Holger Struckmann, and thence by descent through his family. Sotheby’s, New York, Important Americana, January 2017, Lot #4062. A private collection, Maine.

786

Holger Struckmann was president of International Cement Co. and lived in Rye, New York. He was a member of the Larchmont Yacht Club in Larchmont, New York.

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279

787.

HANDMADE MODEL OF A FISHING WHARF First Half of the 20th Century Mounted to driftwood. Used approx. 700 pieces of wood. Paper label on side marked “Booth Bay Harbor...”. Height 6.5”. Length 25”. Width 10”. 400/800

787

788.

GEORGE M. HATHAWAY Maine/United Kingdom, 1852-1903 Rocky coastal scene. Signed lower left “G.M. Hathaway”. Oil on board, 6.25” x 10”. Framed 11.25” x 15.75”. 1,000/1,500 Provenance: Private Collection, Kansas City.

788

789.

CASED MODEL OF A THAMES RIVER WHERRY ROWING DORY 20th Century Plank on frame construction. Green hull with red bottom. Includes six oars. Case height 7.5”. Length 26”. Width 9.5”. 300/400

790.

HARRY RUSSELL BALLINGER Connecticut, 1892-1993 Fishing boats in a foggy harbor. Signed lower right “H.R. Ballinger”. Oil on canvas, 29.5” x 35.25” sight. Framed 38” x 42”. 1,200/1,500

790

280

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791

791. The 22-foot “Friendship” sloop design was used by the inshore lobster fishery starting in the 1920s. These seaworthy sloops originated in Friendship, Maine, a small harbor village on Muscongus Bay, and built by Wilbur Morse. They became so successful at plying their trade they were copied and found along most New England coastal inlets and ports from Boston to Bar Harbor.

DIORAMA “HOMEBOUND TO THE MARKET” 2013 By William E. Hitchcock (America, 1928-2006) in collaboration with Nader Taheri (b. 1962). Depicts the weathered clipper-bowed sloop Stella calmly heading home to sell off its daily catch of lobster. Hull built up from the solid and painted black, set in a molded and painted sea. Detailed with scuffing boards, toe rail and stem with acanthus decoration. Deck painted a buff color and detailed with a cabin top, companionway, hatch, oar, coaming and a lone figure at the helm. In the cockpit are lobster traps, lobsters, and other gear. Rigged as a double headsail “Friendship” sloop with bowsprit, mast, boom and gaff, standing and running rigging, main and jib. Displayed within a mahogany and glass brass-trimmed case. Case height 15.25”. Length 21.75”. Width 10”. 1,000/1,500

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281

793

792.

793.

794.

282

WORLD WAR I-ERA CHIEF PETTY OFFICER, 2ND CLASS UNIFORM Includes two pairs of white canvas pants, one pair of navy blue wool pants, one pair of white wool pants, two crackerjack navy wool jumpers, a flat hat, a pair of gaiters, a black silk scarf and a pair of olive wool puttees. Eleven pieces total. 800/1,200

FOUR U.S. NAVY STAINLESS STEEL ENGRAVED FLAG LABELS Made for identifying signal flag racks aboard ship. Possibly World War II vintage. Heights 2.5”. Lengths 36.25”. 500/800

U.S. NAVY ENSIGN Mare Island, Circa 1944 No. 11. 26” x 56”.

795.

U.S. NAVY SENIOR OFFICER’S PENNANT Mare Island, Circa 1944 77” x 73”.

250/350

796.

WORLD WAR II-ERA U.S. NAVY SON IN SERVICE DOUBLE-SIDED FLAG 36” x 60”. 300/500

797.

WORLD WAR II-ERA JAPANESE NAVAL SCOPE Made from a pair of binoculars. Gray-colored metal tube and fixtures. Retains lens cap. Marked with assorted serial numbers and Japanese characters. Mounted on a newer wooden stand. Maximum height on stand 10”. Length 18”. 300/500

300/400

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798.

PAIR OF WORLD WAR II JAPANESE NAVAL BINOCULARS CAPTURED BY H.M.S. EURYALUS 1943-1945 With three-inch diameter objective lenses, folding targeting sight, adjustable eyepieces with individual focusing knobs and the mount with elevation quadrant and handle. Finished in original gray paint. Contained within a fitted wooden box, the top inscribed “The Superintendent Admiralty Research Laboratory, Teddington, Middlesex. Via. S.N.S.O. at Ports concerned. Case No. E.C. 4624 155 from Capt., R. O-B. H.M.S. Euryalus.”. Case 9.75” x 22.25” x 16”. 6,000/8,000 Provenance: Capt. Richard Oliver-Bellasis (1900-1964), Commander of H.M.S. Euryalus, 1943-1945, and thence by descent. Charles Miller Ltd., London, October 2012, Lot #31. Purchased at that sale by the current owner. Per the catalogue note from Charles Miller, Ltd.: “According to family history, having captured this pair of binoculars and sent them for examination, the Admiralty had no further use for them and returned them to his care. They have languished in the painted and partially padded box he sent them in ever since and remain in highly original condition.” The following is extracted from the note in Charles Miller, Ltd. catalogue: Oliver-Bellasis was a specialist in underwater defenses and in charge of experimental mine sweeping before the war. He joined Euryalus on August 15, 1943. After extensive action in the Mediterranean, H.M.S. Euryalus took Admiral Sir Andrew Cunningham, the Allied Naval Commander-in-Chief, to Taranto on September 23, 1943 for a meeting with the Italian Minister of Marine to settle the surrender of the Italian Fleet. After her service in the Mediterranean, H.M.S. Euryalus transferred to the Pacific Theater and from July through August 1945, she was patrolling in the Pacific looking for the Japanese. Although she did not encounter the enemy, it is likely the binoculars were captured and brought aboard by another (smaller) ship of the Royal Navy. Capt. Oliver-Bellasis left the ship in November 1945 and, upon his return to the Admiralty, became Director of Underwater Weapons from 1947 until his retirement in 1950.

798

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283

799.

WORLD WAR II-ERA JAPANESE NAVAL BINOCULARS Metal tubes and fixtures. Rubber eyepiece cup. Marked with assorted serial numbers and Japanese characters. Silver-tone plaque with several lines of characters, believed to be usage instructions, flanked by an anchor and an unidentifiable emblem. Mounted on a newer wooden stand. Height on stand 7”. Length 20.5”. 1,500/2,500

800.

WORLD WAR II-ERA U.S. NAVY SUBMARINE BINOCULARS Circa 1944 Believed to be from a Gato-class submarine bridge. Retains plaque marked “BU. ORD. USN Binocular Mark 38 MOD Ser. No. 261 1944 INSP. H.T.M.Bausch & Lomb Optical Co. Rochester, N.Y. U.S.A.”. Gray-colored metal tubes and fixtures. Rubber eyepiece cup. Copper flip-up lens caps. Mounting bracket with molded serial numbers. Mounted on a newer wooden stand. Maximum height on stand approx. 8.5”. Length 11”. 1,500/2,500

799

800

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803

801

804

801.

CASED PAIR OF JAPANESE BINOCULARS WITH TRIPOD BASE 20th Century Multiple lens settings. Length of binoculars 24”. Length of tripod collapsed 38”. 1,000/1,500

802.

SEVEN WORLD WAR II-ERA U.S. NAVY RECOGNITION / TEACHER MODELS Made by Comet Metal Products Company. Die cast metal and wood. Lengths from 14.5” to 19.75”. 500/700

803.

WORLD WAR II-ERA U.S. NAVY SCOPE WITH TRIPOD Circa 1940 Believed to be an MK I by Bausch & Lomb. Eyepiece labeled “21X” but otherwise unmarked. Brass tube. Copper mount and tripod. Maximum height on stand approx. 25”. Length 25.5”. Tube diameter 4.75”. 1,000/1,500

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804.

WORLD WAR II-ERA U.S. NAVY LIFEBOAT BINNACLE Copper and brass. Swing carrying handle at top and mounting bracket at rear. Side-mounted lighting box with pierced chimney, a chained screw-on cap, and a hinged door enclosing a fluid burner and reflector. Houses a gimballed wet compass marked on outer ring “U.S. Navy BU. Ships 4-Inch Boat Compass Mark 1 N 6550 1940 The Lionel Corporation, N.Y.”. Height 10”. Width 9”. 300/500

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805.

WILLIAM R. DAVIS Massachusetts, b. 1952 “Boston Lightship Circa 1915”. Signed lower left “William R. Davis”. Titled verso. Oil on board, 7” x 12”. Framed 13” x 18”. 4,000/6,000

805

806.

WILLIAM R. DAVIS Massachusetts, b. 1952 “Bishop’s + Clerks Light 1860 Cape Cod, MA”. Signed lower left “W. Davis”. Titled verso. Oil on board, 9” x 7”. Framed 13” x 11”. 2,000/3,000

806

807.

WILLIAM R. DAVIS Massachusetts, b. 1952 “Barkentine and Full Moon”. Signed lower left “W. Davis”. Titled verso. Oil on board, 5” x 7”. Framed 9” x 11”. 1,500/2,500

807

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808

808.

JOSEPH MCGURL Massachusetts, b. 1958 “Afternoon Light”. Signed lower right “Joseph McGurl.” Oil on board, 18” x 24”. Framed 27” x 33”. 9,000/12,000

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809.

SANDY MORAN Cape Cod, Massachusetts, 1944-2020 Sailor’s valentine with marine motif. Central medallion with a serpent wrapped around an anchor. Outer bands of multicolored shells in geometric designs. Housed in an octagonal tiger maple case. Signed verso. Case 12” x 12”. 800/1,200 Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

809

810.

DOUBLE SAILOR’S VALENTINE Early 20th Century Composed of multicolored shells. Left side with “Forget Me Not” surrounded by concentric rings. Right side with a floral and heart design. Hinged octagonal wooden case, the front marked “St. Lucia”. Each side 9” x 9”. 1,000/1,500 Provenance: The Estate of Sandra L. Moran of Yarmouth Port, Massachusetts.

810

811.

JOE HUNT America, 20th Century Ship Helena at the Hongs at Canton. After a Chinese artist’s version at the Peabody Essex Museum, Salem, Massachusetts. Signed and dated lower right “Joseph Hunt ‘67”. Label verso with extensive information about the scene and the ship. Oil on board, 14” x 36”. Framed 18.5” x 40.5”. 700/1,000

811

812.

JOE HUNT America, 20th Century End of the Battle of Trafalgar, a storm approaching. Signed lower right “Hunt”. Oil on board,12” x 48”. Framed 15.25” x 51.5”. 600/800 812

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813.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Portrait of the American tug India, with a three-masted schooner off her stern and a lighthouse off her bow. India with white hull and brightwork cabin. Signed lower right “Jerome Howes”. Oil on masonite, 28” x 36”. Framed 32.75” x 40.25”. 1,000/1,500

813

814.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 The steamship Nantucket. Signed lower right “Jerome Howes”. Oil on masonite, 24” x 40”. Framed 29.5” x 45.5”. 2,000/3,000

814

815.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Portrait of the black-hulled Ariosa, with pilot boat 8 off her stern. Signed lower right “Jerome Howes”. Oil on canvas, 20” x 30”. Framed 25.5” x 36.5”. 1,000/1,500

815

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GLOSSARY OF TERMINOLOGY AND ADVICE TO BIDDERS Authorship of Paintings and Works of Art

Advice to Bidders

1. Carefully read the Conditions of Sale.

LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, this is a work by the artist. ATTRIBUTED TO LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, probably a work by the artist based on the style of the piece, however, the work lacks a signature, marking or adequate provenance to fully ascribe it. MANNER OF LEMUEL D. ELDRED Massachusetts, 1848-1921 In our opinion, a work made in the style of the artist listed, most likely by a follower or student.

D. SCHOOL OF LEMUEL D. ELDRED

Late 19th Century In our opinion, a work executed at the time and in the style of the artist listed.

AFTER LEMUEL D. ELDRED 20th Century In our opinion, a work made in the style of the artist listed, but not by the artist. Often used to describe a direct reproduction of an original work of art.

Ascribing Date of Origin If a date and location are included in a heading, it is our opinion the piece is essentially of the period and was made in the area indicated. The inclusion of the world “style” in the heading indicates the piece was made at a later date as an intentional reproduction of the earlier style.

3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff. 4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form. 5. A buyer’s premium will be added to the hammer price of all property sold, to be paid as part of the purchase price. The buyer’s premium is 25% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. 6. Online bidding is available at www.eldreds.com and with a 25% buyer’s premium. Prospective bidders must register and be approved prior to placing bids or bidding live online. 7. Eldred’s reserves the right to refuse to issue, or to revoke, bidding credentials, or to reject any bid, if deemed necessary and proper in its sole discretion, for the conduct of the auction process, and to insure fairness to consignors and other bidders.

Shipping Information We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale. If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready.

Dimensions Unless otherwise specified, dimensions are formatted Height x Width. Dimensions are approximate as they are often rounded to the nearest quarter inch. Furniture and other objects are measured to the tallest and widest points. Paintings are measured by the dimensions of the stretcher or supports. A “sight” measurement is the visible size of an artwork if the piece is obscured by its frame or matting.

Condition Reports Condition reports can be viewed at www.eldreds.com. The absence of a condition report does not imply an object is free of defects or restoration. If provided, a Condition Report may only detail flaws or restorations, and may not take into account wear, fading or other issues consistent with an object’s age. Please contact Eldred’s before bidding with any questions as to condition.

The property listed in this catalog will be offered and sold subject to the terms and conditions listed in this catalog.

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2. Pre-sale estimates are provided by the auctioneers for the convenience of our customers. They are not meant to be taken as a guide to the value of an item, but as a guide to its expected selling price. Estimates are prepared well in advance of a sale and are subject to revision.

We provide limited shipping services directly from our gallery; our staff can assist determining if your items qualify for in-house shipping. Shipments from our gallery may take 4-6 weeks from receipt of payment. You will be charged for carrier fees, packing and handling, and required insurance. There is a minimum handling charge for all shipments. If we are unable to ship your items we will provide you a list of alternative shipping agents. Upon your approval we will transfer your items to your chosen shipping agent once your payment has cleared. Shipping estimates can be provided only AFTER we receive payment for your invoice.

Bidding Increments $0-$99: $10 I $100-$499: $25 I $500-$999: $50 $1,000-$2,999: $100 I $3,000-$4,999: $250 $5,000-$9,999: $500 I $10,000-$29,999: $1,000 $30,000-$49,999: $2,500 I $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion

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CONDITIONS OF SALE 1. CORRECTNESS OF DESCRIPTION: Robert C. Eldred Co., Inc. (hereinafter referred to as Eldred’s) has exercised reasonable care to catalog and describe correctly the property to be sold, but neither Eldred’s nor its consignors warrant the correctness of description, attribution, authenticity, or condition of said property. No statements shall be deemed such a warranty or representation or an assumption of liability with respect thereto, but are to be construed as opinions only. Bidders are encouraged to personally examine all property to be sold prior to the beginning of the auction. 2. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered. 3. Eldred’s reserves the right to withdraw any property before the sale. 4. DETERMINATION OF HIGHEST BIDDER: The highest bidder accepted by the auctioneer shall be the buyer. In the event of any dispute between bidders, the auctioneer may determine who is the successful bidder or the auctioneer may re-offer the article in dispute and his decision shall be final. 5. REJECTION OF BIDS: The auctioneer reserves the right to reject any nominal raise or any bid or raise which, in his opinion, is not commensurate with the value of the article being offered. At his discretion, he may also reject any nominal raise or any bid that he may determine as having a detrimental effect on the item in question or the sale as a whole. Eldred’s may refuse to issue bidding privileges to any person not in good credit standing with Eldred’s, or to any person who is deemed by Eldred’s in its sole discretion, to be disruptive of or harmful to established auction practices, either before or after the acceptance of bids or the fall of the hammer. 6. TITLE: Except as herein otherwise provided, title will pass to the highest bidder as determined by the auctioneer, and the property is thereafter at the purchaser’s sole risk and responsibility. 7. PAYMENT: On title passing to the highest bidder acknowledged by the auctioneer, and subject to all the conditions set forth herein, such bidder will thereupon pay the full purchase price. Payment in full is due at the time of sale. Any bills not paid in full within 25 days of the date of the sale will accrue interest at a rate of 1.5% per month. In addition, the purchaser may be subject to one or more of the following actions: a) Any and all legal remedies available to Eldred’s and its consignors by law including without limitation the right to hold the purchaser liable for the total purchase price; b) Immediate cancellation of the sale, with Eldred’s retaining as liquidated damages all payments made by the purchaser; c) Resale of the property at public auction, wherein the original purchaser shall be liable for any deficiency, costs, and Eldred’s commission on both sales. At Eldred’s option, payment will not be deemed to have been made in full until Eldred’s has collected funds represented by checks, or in the case of bank or cashier’s checks, their authenticity has been confirmed. A buyer’s premium will be added to the hammer price to be paid by the buyer as part of the purchase price. 8. ORDER BIDS: Subject to these Conditions of Sale and to such terms and conditions as it may prescribe, but at no charge to the customer, Eldred’s will undertake to execute all order bids submitted to it by a customer who has established credit with said company. Requests for such bidding must be given in writing with such clearness as to leave no room for misunderstanding as to the amount to be bid and must state the catalog number and the name or title of the article to be bid on. Telephone bids must be confirmed in writing or by cable. All bids are kept in strict confidence. In the event of identical bids, the earliest received by Eldred’s will take precedence. Eldred’s shall not be held responsible for errors or failure to execute bids. A deposit of 10% of the total amount bid is required. TELEPHONE BIDS: While the sale is in progress, bidding by telephone may be allowed by the auctioneer at his discretion. A deposit of 10% of the anticipated top bid is required. Eldred’s shall not be held responsible for any failure to properly execute

such a bid whether it be due to equipment failure, loss of connection, or failure to hear or understand the bidder’s directions. Any advice or opinions provided by Eldred’s or its employees are given strictly as a courtesy and are not a warrant of condition, attribution, authenticity, or description of said property. All bidding by telephone is solely at the risk of the bidder. ONLINE BIDS: Eldred’s shall not be held responsible for any failure to properly execute bids placed online. All online bidding is solely at the risk of the bidder. 9. CONDITION: If for any cause whatsoever any article sold cannot be delivered, or cannot be delivered in as good condition as the same may have been at the time of sale, due to a failure or damage on the company’s part, the sale will be cancelled, and any amount that may have been paid on account of the sale will be returned to the purchaser. EXCEPTION: Eldred’s will not be held responsible for damage to picture frames or lampshades. 10. SALES TAX: All purchases are subject to the Massachusetts sales tax (currently 6.25%) unless the purchaser: A) possesses a Massachusetts sales tax exemption or resale number and registers that number with the company, B) is an out-of-state vendor who meets all the requirements of Massachusetts Department of Revenue GLC 64H 1(5) and Directive 89-10 and registers with the company prior to each purchase, or C) has purchases shipped out of state (with the exception of Connecticut and New York) directly from Eldred’s by a bona fide shipping agent. Connecticut residents picking items up in our Mystic branch or having purchases shipped to their Connecticut address are responsible for CT state sales tax (currently 6.35%). New York residents having purchases shipped to their New York address are responsible for NY state sales tax (currently 4.0%). Due to the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair, residents of other states may be required to pay their state sales tax on purchases as we meet each state’s nexus requirements. Dealers, museums, etc. can apply for a Massachusetts number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, MA 02204. 11. RESERVES: Unless advertised as an “Unreserved Auction”, all sales may have items subject to reserve (an agreed upon price between the auctioneer and the consignor, below which the article will not be sold). 12. COLLECTION OF PURCHASES: Delivery or shipping arrangements must be made within seven (7) days from the close of the auction for all purchases. All items must be removed from Eldred’s facilities within fourteen (14) days of the end of the auction. All items remaining after fourteen days may be subject to a $5/per item/perday storage fee. No items will be released unless storage fees are paid in full. Items remaining over thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees. 13. PACKING: Purchasers are advised that packing and/or handling by Eldred’s employees is undertaken solely as a courtesy for the convenience of customers. In the case of fragile articles, it will be undertaken at the sole discretion of the company. Handling and packing by Eldred’s is at the risk of the purchaser. SHIPPING: When requested, Eldred’s may arrange shipment of paid purchases. Eldred’s will not be responsible for damage or loss once the item has been received by the shipper. In the case of fragile articles, shipping will be undertaken at the sole discretion of the shipper. Please refer to our Advice to Bidders for details. 14. These Conditions of Sale cannot be altered except in writing by Eldred’s or by public announcement by the auctioneer at the time of the sale. 15. Bidding on any article(s) indicates acceptance of the terms set forth above. 16. These Conditions of Sale and any suits arising thereunder shall be construed and governed by the laws of Massachusetts.

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BIDDER PRE-REGISTRATION Thank you for your interest in bidding in our auction. If you have not been a successful bidder with Eldred’s in the past, please help us establish your bidding credentials by completing this form and selecting one of the options that follow.

CLIENT INFORMATION Name:

Phone:

Company:

Alternate Phone:

Address:

Email:

City:

All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate or a copy thereof when registering. Failure to do so will subject the bidder to paying 6.25% Massachusetts sales tax on purchases.

MA Resale #: State:

ZIP:

FINANCIAL REFERENCES Please select one of the following options: 1. DEPOSIT Submit a deposit representing 10% of the total order, either by mailing a check to the address below or providing a credit card number. We accept Visa, MasterCard, American Express and Discover with domestic billing addresses in amounts up to $5,000.00. 2. LETTER OF CREDIT FROM YOUR BANK Please have your bank fax us at 508-385-7201. Letter must be on bank letterhead. 3. AUCTION HOUSE REFERENCE Complete the information requested below. Advance notice is required for this option as it is often difficult to reach the appropriate contact. You may have to authorize release of information. Please be aware Christie’s and Sotheby’s will not divulge any credit information. Auction House:

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

SIGNATURE (required): Date: Bids will not be accepted without your signature on this form. By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc.

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ABSENTEE/TELEPHONE BID FORM

2. Carefully review your bid form for accuracy of lot numbers, phone numbers, shipping information, etc. Although we attempt to conﬁrm descriptions against lot number, bids are posted by lot number.

6. At the conclusion of the sale you will be notiﬁed if you were the successful bidder. All invoices must be paid in full within ten (10) days of the close of the auction. We accept checks, cash, money orders, wire transfers and major credit cards for payment. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. We reserve the right to hold goods until payment has cleared.

3. Please submit your bids in a timely manner, to avoid the chance of posting error. We request all bids be received by 3 p.m. the day before the auction. In the event of identical Absentee bids, the earliest received takes precedence.

7. All purchases are subject to state and local sales tax unless you possess a Massachusetts or out-of-state sales tax exemption or resale number and register that number with us.

4. A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount will be returned promptly to you.

The Robert C. Eldred Co., Inc. offers this service as a convenience to its clients and will not be held responsible for errors or failure to execute bids.

1. Clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow our standard bidding increments.

5. A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 25% of the ﬁnal bid price up to and including $500,000, and 10% of the ﬁnal bid price over $500,000.

Are you a new bidder with Eldred’s?

Yes:

No:

If so, please also complete our Buyer Pre-Registration form.

SALE TITLE: SALE DATE:

NAME:

Lot #

Item Description

Maximum Bid or “phone” for Telephone Bid

ADDRESS: check if change in address

PHONE: ALTERNATE PHONE: EMAIL: Signature (required): By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc. All bids are kept in strict conﬁdence.

Date: SHIPPING Do you have a tax resale #? Yes: Will pick up:

No:

Ship to address above:

Or ship to:

25% buyer’s premium will be added to the hammer price. See Item 5 above.

Total 10% Deposit

Have you examined the items listed above?

Yes:

No:

All property must be removed from our facility within 28 days of the close of the auction or be subject to a $5 per item/per day storage fee.

PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 www.eldreds.com info@eldreds.com Phone: 508-385-3116 Fax: 508-385-7201 see photos of all lots and view condition reports at www.eldreds.com

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Now Accepting Consignments Fall 2021 Auctions Women in the Arts October 28

Fine & Decorative Art November 11

The Fall Sale

November 17-19

The Holiday Sale November 29

ENQUIRIES: consign@eldreds.com 508-508-385-3116

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Pauline Lennards Palmer, Part of the Women in the Arts Auction

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Illustrations Cover Lot 730 Page 3 Lot 614 Page 5 Lot 591 Page 6-7 Lot 244 Page 8 Lot 212 Page 140 Lot 528 This Page Lot 630

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2021 Marine Sale Catalog

Articles inside

TWO WHALEBONE CAULKING TOOLS 19th Century