Winter Marine Sale by Eldred's Auction

Winter Marine Sale FEBRUARY 24, 2022

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THE MARINE SALE Thursday, February 24, 2022 Starting at 9:30 a.m. Eastern Location:

Headquarters: 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com I MA Lic. #155

Preview:

Wednesday, February 23 from 10 a.m. to 4:30 p.m., the sale day starting at 8:45 a.m., and by appointment

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IMPORTANT NOTICES Bidding Options Online, phone and absentee bidding available. In-person bidding to be determined, pending COVID-19 guidance. To register for absentee and telephone bidding, please visit our website or call 508-385-3116. Online bidding available through www.eldreds.com. Terms 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. 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. Condition Reports 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 are approximate.

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S TA F F D I R E C T O R Y 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

Nora Ingram Administrative Assistant ningram@eldreds.com Katie Lingoes Shipping klingoes@eldreds.com

Christine Berlane Prints and Multiples cberlane@eldreds.com

Angela R. McParland Executive Assistant amcparland@eldreds.com

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

Madison Morris Head of Photography mmorris@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Kathleen Morse Auction Coordinator kmorse@eldreds.com

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

Megan Nichols Shipping Coordinator mnichols@eldreds.com Cristalyn Searles Assistant to the Photographer csearles@eldreds.com

Gregg Dietrich Senior Consultant and Specialist

Cheryl Stewart Head of Marketing Catalog Layout and Design cheryl@eldreds.com

Jennifer Lacker Mystic Representative Mary M. Kuhrtz and Christine Leofanti Gallery Assistants

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

Al Gray Shipping and Inventory Assistant

OFFICES Headquarters I 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com I MA Lic. #155 Connecticut Gallery I 5 Roosevelt Ave., Mystic, Ct. I 860-912-8169 I info@eldreds.com

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INDEX Index of Artists Page 5 Scrimshaw & Whaling Lots 1-113 The Gill Collection of Whaling Irons Lots 76-106 Prisoner-of-War Artifacts Lots 114-141 America's Cup & Yachting Lots 246-273 The Kelton Collection of Marine Art & Artifacts Lots 316-342 As Well As Paintings, Prints, Models, Instruments and More Bidder Information Page 134 Conditions of Sale Page 135 Absentee and Phone Bid Form Page 136

Illustrations Cover: Lot 302 This page: Lot 123 Pg. 4: Lot 319, 91 Pg. 5: Lot 222 Pg. 6: Lot 58

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PROPERTY FROM The Collection of Michael Gill A Private Collection Private Collection, Connecticut Collection of Dr. Donald W. Sample of Annapolis, Maryland New Jersey Collection Maine Collection Kansas Collection Maryland Collection And Numerous Other Estates and Collections

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INDEX OF ARTISTS ASHLEY, CLIFFORD

MELLING, HENRY

220B

ATHAS, DIMETRIOUS

264

MILLER, JAMES

252

BOUCHER, WARREN

298

MOHRMANN, JOHN HENRY

193

BRADFORD, WILLIAM

183

NEWTON, PARKER

254

BROE, VERNON

265

PEARCE, LEONARD JOHN

249

BUTTERSWORTH, JAMES EDWARD

247

PICAULT, EMILE LOUIS (after)

112

BUTTERSWORTH, THOMAS

148

POCOCK, NICHOLAS (in the manner of)

145

222

RUSSELL, BENJAMIN

CHARMAN, RODNEY COLACICCO, SALVATORE

274-276

SCHERREWITZ, JOHANN FREDERIK CORNELIS

205

COLLINS, EARL

SERRES, DOMINIC

142

COOLE, BRIAN

308-312

SERRITELLI, GIOVANNI

178

DREW, CLEMENT

196

SMITH, FRANK VINING

221

ELLIS, RAY GEORGE

266

SMITH, JOSEPH B.

168

195

SPENCER, RICHARD BALL

192

STOKES, STAN

279

GALLARD-LEPINAY, PAUL CHARLES EMMANUEL GARDINER, FRANK JOSEPH HENRY

225, 226

GARDNER, DEREK GEORGE MONTAGUE

303

THIMGAN, DAVID

302

HAMILTON, MARGARET

237

THOMPSON, STEARS

224

THOMPSON, TIMOTHY

246

HOWES, JEROME

288,289,290

JACOBSEN, ANTONIO NICOLO GASPARO JORDAN, ROBERT KENNEY, CHARLES "FRAN"

206-214 23A 73

TORDOFF, FREDERICK TYLER, JAMES GALE

203, 204

VAN DER PLAS, NIEK

313-315

LOOS, JOHN FREDERICK

194

VOORHEES, JR., CLARK G.

MANGHIS, CHARLES

113

WHITCOMBE, THOMAS

MARIJNISSEN, ADRIANOS

202

WILLIS, THOMAS

MASON, BARRY

223

WOOD, WORDEN G.

MCMINN, WILLIAM KIMMINS MEADOWS, JAMES W.

189-191 149

WRIGHT, RICHARD (attr.) YORKE, WILLIAM GAY YORKE, WILLIAM H.

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63-67 323 262, 263 277 316 331, 332 188

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SCRIMSHAW WHALE IVORY HORSE-FORM CRIMPER Mid-19th Century Fluted wheel supported by the horse’s head, which is engraved with eyes on both sides and a mane on one side. Original pointy ears still intact. Both sides of chest engraved with a cluster of flowers, the blossoms colored red with sealing wax. Metal pique inlay around handhold on both sides. Small metal hanging loop at tail end. Charmingly crafted and rich in-use patina. Length 6.5”. 700/1,000

POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE STAR ENGRAVER Mid-19th Century Two flowering vines arch above two facing birds perched on a branch. A five-pointed star above a shield emblazoned with five-pointed stars and red stripes below. The stars have shaded blades and open pentagonal centers, characteristic of the Star Engraver. Warm patina. Length 4.5”. 3,000/5,000 As discussed in Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 269, very little is known about the Star Engraver, who acquired the moniker because of the distinctive five-pointed stars seen on the artist’s known work. Five Star Engraver teeth are part of the Nantucket Historical Association collection, seen in Scrimshaw on Nantucket: The Collection of the Nantucket Historical Association by Stuart M. Frank (Nantucket, Mass.: The Nantucket Historical Association, 2019), p. 60-61, 94-95, 100-101 and 110-111. Other teeth attributed to the Star Engraver have sold at Eldred’s, July 19, 2013, Lot #623, from a private Australian collection, and July 25, 2019, Lots #113 and #114, from the collection of Paul Vardeman. In addition to the star motif, the pieces tend to be patriotic in nature and have leafy flowering vines similar to those seen here.

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WOODEN WATCH TOWER WITH BONE EMBELLISHMENTS 19th Century In the form of an Empire-style secretary. Entablature with scrolled cornice faced with bone. Central panel with aperture for clock face, a sunburst design in alternating woods and bone, and a rope-carved surround. Case fronted by lighter-colored full-turned columns with bone capitals and bases. One drawer below simulates two. Bun feet. Hinged, latched door at rear to access watch holder. Height 11.25”. Width 6.5”. Depth 3.25”. 700/1,000

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH Mid-19th Century One tooth depicts a whaling scene with an an American-flagged whaleship, a whaleboat and a harpooned whale, contained within a rope-like scalloped arch. Other tooth depicts a brig with a red bootstripe flying an America flag off the stern and a long pennant off the mainmast, contained within a red, green and black geometric arch. On both teeth, above the ships, are red and green floriform medallions containing five-pointed stars with shaded blades and a small dot in the open pentagonal centers. Lengths 3.25”. 1,000/1,500

4, pair

WHALEBONE ALPHABET TILES 19th Century Contains 51 tiles engraved with capital letters, two for each letter of the alphabet except for M. Housed in a wooden box with sliding lid. Tiles approx. .75” x .5”. Box height 1.5”. Length 4.25”. 250/350

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SEWING BOX SURMOUNTED BY A SWIFT Mid-19th Century Three-tier walnut box with turned bone finials at corners, line inlay along perimeters, a pull-out mirror, and ball feet. Lift-off top surmounted by a swift with wood shaft, whalebone staves, a turned ivory adjustment knob, and a turned ivory two-tier yarn cup highlighted by red banding. Box’s upper tier with interior spool holders and eight whale ivory-trimmed holes for dispensing thread. Lower two tiers with drawers. Mirror slide with small bone or ivory knob. Drawers with turned wooden knobs. Height 17.75”. Width 8.75”. Depth 6.25”. Swift cage diameter approx. 17”. 1,000/2,000

COCONUT SHELL DIPPER 19th Century Balustroid handle with carved whale ivory end and attachment, and alternating segments of island wood and turned whale ivory. Length 12”. 300/500

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PAIR OF EXCEPTIONAL POLYCHROME SCRIMSHAW WHALE’S TEETH WITH PORTRAITS OF GEORGE AND MARTHA WASHINGTON Mid-19th Century Finely executed three-quarter length portraits exhibiting outstanding color and contrast. “Lady Washington” tooth image probably sourced from a plate in The Life of George Washington by Jared Sparks (Boston: Tappen & Dennet, 1843) engraved by J. Cheney & J.G. Kellogg, after the original 1757 painting by John Wollaston. At the time of the portrait, Martha Dandridge, who would have been about age 25, was still married to her first husband, Daniel Parke Custis, who died in 1757. She is wearing a low-cut puffy-sleeve gown with a red bow on the bodice. It is a notably fashionable and svelte portrait, in stark contrast to the more commonplace dowdy likenesses. Portrait enclosed within a red and blue swag border containing white hearts bisected by red stripes and with leaves at each point. Rose garland below title cartouche. “Washington” tooth image probably sourced from a J.B. Forrest engraving published by G.P. Putnam around 1855, after the original 1772 painting by Charles Wilson Peale. Washington, about age 40, is wearing his uniform of colonel of the Virginia Regiment, which he commanded from 1755 to 1758 during the French and Indian Wars, including a feathered cockade, a long scarf, a vest and jacket, and a sword at his side. He has a musket at his back, which would not have been military-issued but possibly references Washington’s sport hunting in his retirement years. Portrait enclosed by a red and blue crownlike swag border containing Union shields and with crosses at each point. Patriotic garland of crossed cannons and furled American flags below title cartouche. Martha Washington had commissioned the Peale portrait of her husband as a companion to the 1757 Wollaston portrait of her, and the pair of paintings hung in the front parlor of Mount Vernon. They are now part of the Washington & Lee University collection. Lengths 6.25”. 40,000/60,000 Provenance: Family history attributes the pair to the collection of Mary Sears Hough, acquired from her great-uncle Nathan Hathaway (1851-1922). On the DeNeuville-Hough side of the family was whaling master Nathan Smith, who commanded the New Bedford whaleship Java on an 1864-1868 voyage to the Indian Ocean.

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8, pair

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SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAIT AND MEMORIAL SCENE Circa 1850 Obverse depicts a starboard portrait of an American brig under reduced sail, flying pennants and flags off the masts and an American flag off the stern. Reverse depicts a mourning dove perched atop a weeping willow that arches over a conical monument set on a double pedestal engraved with an urn. Both scenes set within geometric borders, the mourning scene with stylized fan designs at the upper corners. Deeply stippled accents in both scenes, including reef points on the brig and branches on the willow tree. Mellow patina. Length 5.75”. 2,000/3,500 Provenance: Acquired from May Sanford, daughter of Leroy Sanford of Friendly Road, Cranston, Rhode Island. This branch of the Sanford family had moved from Warren, Rhode Island to Cranston.

9, obverse and reverse

10.

SCRIMSHAW WHALE’S TOOTH WITH FIGURAL PORTRAIT 19th Century Obverse with a full-length portrait of a woman tucking a flower behind her ear with one hand and holding a long-stemmed rose in the other. Reverse is only partially polished and depicts a bird, possibly a dove, perched on a branch and clutching a small “Liberty” banner in its beak. Interesting geometric composition of the bird’s feathers. Bird is framed within a delicate floral arch that incorporates a small half sun face. Foliate border at base. Length 5.5”. 250/500

10, obverse and reverse

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11.

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. 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.

12.

13.

IVORY PIE CRIMPER WITH PIERCED STAR DESIGN Mid-19th Century Whale or walrus ivory. Beautifully carved twin panel handle, pierced with five-pointed stars within a circle. Swing hanging loop at top. Scrolled wheel support. Openwork wheel with serrated edge and central fylfot. Length 5.25”. 2,500/3,500

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

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Crimpers with similar piercings and construction to Lot 13 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.

14.

CHILD’S CHEST First Half of the 19th Century In mahogany, with whalebone and ivory embellishments. Recessed single-drawer deck top with attached mirror. Case with three fullwidth drawers and turned feet. Whalebone tag on top etched “M Folger”. Height 26.25”. Width 17”. Depth 8”. 1,000/2,000

15.

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

16.

WHALE IVORY AND ISLAND WOOD PIE CRIMPER 19th Century Handle with wood terminal and medial band. C-shaped wheel and fork mount on a stepped plinth. Fluted wheel. Three-tine crimping fork; one tine missing. Pearling throughout. Length 7.75”. 150/250

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17.

WHALEMAN-MADE THREE-TIER SEWING BOX 19th Century In mahogany with whale ivory mounts. Height 9.25”. Width 9”. Depth 6.5”. 250/350

18.

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 tower 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 of busk. Length 12”. 3,000/5,000 Provenance: The Collection of Michael Gill.

19.

POLYCHROME SCRIMSHAW WHALEBONE BUSK Mid-19th Century Modified heart-shaped 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”. 1,500/2,000 Provenance: The Collection of Michael Gill.

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20, obverse and reverse

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20, accompanying note

20.

POLYCHROME SCRIMSHAW WHALE’S TOOTH BY THE BANKNOTE ENGRAVER, DESCENDED IN THE FAMILY OF WHALEMAN WILLARD BROWN Mid-19th Century Accompanied by an old typewritten note, folded up and contained in the hollow of the tooth during the consignor’s entire childhood, “Scrimshaw - A Sperm whale tooth over 80 years old decorated with scrimshaw. Debby’s great, great grandfather sailed on a three year whaling expedition as ships carpenter and did this work to pass the time.”. Based on genealogical research, Willard M. Brown (1821-1900), who served as ship’s carpenter aboard the New Bedford whaling bark Canton Packet from December 1841 to February 1845, is the ancestor referenced in the tooth and could be the identity of the hitherto anonymous Banknote Engraver. Obverse depicts an active whaling scene of three six-man whaleboats in pursuit of a pod of seven whales, one of which is waifed and one of which is “hooked up” and spurting blood. A whaleship under sail in the background is flying a rectangular blue pennant from the mainmast. Reverse with a starboard view of a full-rigged ship under full sail being approached by a two-masted schooner pilot boat. The ship is flying a long red and blue pennant from the mainmast, an American flag off the stern, a rectangular flag diagonally bisected in dark and light triangles off the mizzenmast, and a rectangular flag quartered in opposing dark and light triangles off the foremast. The schooner is flying a rectangular white pennant with black ball center off the foremast. Delicate rope, sawtooth, pique and foliate borders encircle tip and base. The ship masts, whaleboat oars and other elements are very deeply engraved.The filigree borders, meticulous engraving and jet black pigment exemplified here are all hallmarks of the Banknote Engraver’s work. Length 5.75”. 50,000/70,000

This tooth is discussed in depth and illustrated in “Was He The Banknote Engraver? Scrimshaw Shipmates aboard the Canton Packet, 1841-45” by Stuart M. Frank, published in the Spring/ Summer 2021 Scrimshaw Observer, Vol. 5, No. 2, p. 1. According to the article, Willard Brown was born in Litchfield, Maine, the eldest son of shipcarver Andrew Jackson Brown III. After his one whaling voyage, he worked in ship joinery in Kittery, Maine, ran a boardinghouse and operated restaurants. His shipmates on the Canton Packet included Albert Blake Trowbridge and Enard Coan, both noted scrimshanders.

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21, obverse, reverse and edges

21.

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”. 7,000/10,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, September 11, 1998. Includes a copy of the original sales receipt. The Collection of Michael Gill.

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22, obverse and reverse

22.

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”. 6,000/9,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, December 8, 2004. Includes a copy of the original sales receipt. The Collection of Michael Gill.

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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.

23.

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”. 6,000/9,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, October 13, 2014. Includes a copy of the original sales receipt. The Collection of Michael Gill.

23A.

ROBERT JORDAN America, 20th Century Arctic whaling scene of the American-flagged whaleship Janus, numerous whales and four whaleboats. Signed and dated lower right “Robert Jordan April 13, 1989”. Oil on canvas, 20” x 36”. Framed 24” x 40”. 1,000/1,500

23A

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24.

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 structures. 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”. 1,500/2,500

24, obverse, reverse and edge

25.

25, obverse and reverse

26.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING HOUSES 19th Century Obverse depicts a very modest home, while a much grander one is depicted on the reverse. The larger house is viewed within a rudimentary landscape, with a large tree at left and a garden at front. Length 4.5”. 400/700

SCRIMSHAW WHALE’S TOOTH WITH RICH PATINA Mid-19th Century Obverse depicts a contemplative woman reclining beneath a willow tree on the banks of a shoreline, with a mountain and a castle or fort in the distance. She is resting her head in her left hand and holds open a book with her right hand. At the lower right corner of the scene is a rectangular panel containing abstract designs and a spiky plant. Reverse depicts a couple holding hands, the woman standing and the man seated. She is wearing a cap with a long tail tucked into the waist of her dress, and he is holding a hat and a cane in his left hand. “J E W” in faint lettering above scene. Length 6.25”. 2,000/3,000

26, obverse and reverse

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27, obverse above and reverse below

27.

SCRIMSHAW WHALE’S TOOTH WITH WHALING MOTIFS Mid-19th Century Obverse with an expansive coastal whaling scene, titled below in serifed lettering “Sperm Whaling”. In the foreground a whaleboat is fast to a surfaced sperm whale, which is spouting blood. Detailed rendering of the six whalemen in the whaleboat, one of whom is standing at the bow and poised with an iron. In the background are two whaleships, one whaleboat under sail and two whaleboats closing in on a pod of whales. In the distance a whaleship is rounding a mountainous coastline. Reverse depicts an empty whaleboat, a spouting sperm whale with its mouth open, and two irons. Some polychroming. Length 6.5”. Mounted on a wood and metal stand. Height on stand 6”. Length 8.75”. 25,000/35,000

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28, obverse and reverse

28.

SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO CERES ARTISAN WILLIAM A. GILPIN Circa 1835 Subtlety inscribed “Elizabeth”, the name of Gilpin’s wife, within a delicate vine that forms the proscenium arch on the obverse, in an identical fashion to the historically significant tooth signed “W A Gilpin” that connected a name to the formerly anonymous scrimshander “Ceres Artisan A”. Obverse depicts a full-length figure of Hope standing on a rock amidst swelling waves, below a “Honor Justice And Sailor’s Rights” banner. An eagle at her right shoulder drinks from a chalice she holds in her left hand, and behind her left shoulder is an American flag on a staff topped by a Phrygian cap. Her patriotic dress has a star shield at the bust and star border at the hem. The scene is framed within a floriform and geometric border topped with the proscenium arch, typical characteristics of Gilpin and other Ceres Artisans. The arch contains a portside portrait of a ship flying a flag, probably an American flag, at the stern. Reverse with a large bow-view portrait of a merchant ship with false gunports and a long pennant flying from the mainmast. A sawtooth and scalloped border encircles the base of the tooth. Length 6”. 50,000/100,000

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), pp. 121-124, William A. Gilpin, born in 1805, came from a prominent Wilmington, Delaware family. He is known to have made at least two whaling voyages, including an 1834-1837 voyage aboard the whaleship Ceres. The tooth signed by Gilpin within the proscenium arch was sold at Eldred’s, The Marine Sale, July 25, 2019, Lot #7.

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

30 29

29.

* ENGRAVED WHALE’S TOOTH BY FRANK BARCELOS 20th Century Fine bow-view portrait of a whaleship, identified as “Wanderer 1878-1924” below scene. Signed lower left “Frank B.”. Length 6.75”. 600/900

30.

* ENGRAVED WHALE’S TOOTH 20th Century “Manuel Morgan” in a banner above clasped hands, “1880”, two anchors and a starboard portrait of an American-flagged three-masted vessel. Length 4.5”. 250/350

31.

* CARVED AND ENGRAVED WHALE’S TOOTH "NEW BEDFORD 1810" 20th Century Depicts a street scene with horse and buggy, several figures and numerous buildings, after the work “New Bedford, Fifty Years Ago” by William Allen Wall. Titled lower right. Scene framed by carved and engraved rope borders. Length 7”. 300/400

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32.

RELIEF-CARVED WHALE’S TOOTH DEPICTING PICTISH WARRIORS 18th to Early 19th Century Tooth split in half, both halves with full-length portraits of Picts, ancient tribespeople of northern Scotland. One depicts a female holding a spear in her left hand. The other depicts a tattooed male holding a spear in his right hand and a shield in his left, titled below “M Pict”. Scarce, with few similar examples in public collections. Heights approx. 7.25”. Mounted together on a contemporary wooden base. Total height 8.5”. 2,000/3,000 Provenance: The Thomas Mittler Scrimshaw Collection. Illustrated: Figure 92 in Through the Eyes of a Collector by Nina Hellman (2015).

33.

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 full-length 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”. 3,500/5,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 20, 2006, Lot #872. The Collection of Michael Gill.

33, obverses and reverses

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34.

WHALE IVORY SNAKE-FORM PIE CRIMPER Mid-19th Century Handle formed as a looped snake. Fluted fan-style wheel. Nice pearling to one side of handle. Length 7.75”. 2,000/3,000

35.

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

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36.

SCRIMSHAW WHALEBONE SWIFT Mid-19th Century Simple block clamp finely engraved on three sides and signed “Cyrus” on underside. One side depicts a spread-wing eagle above a whaleship with a spouting whale off the bow. Eagle with a shield at its breast and olive branches and arrows in its beak and talons. Opposite side depicts a stately home, a pot of ferns and five leafy plants. End depicts an eagle with a banner in its beak and a shield at its breast. Cylindrial shaft with turned and incised finial, base and adjustment collars. Similarly turned and incised whale ivory adjustment knobs. Length 23”. Cage diameter approx. 22.5”. 500/800

37.

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

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38.

39.

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

40.

WALKING STICK WITH WALRUS-FORM HANDLE Early 20th Century Handle carved from walrus ivory and with incised details. Shark vertebrae throat. Pine shaft fitted with a brass ferrule. Length 36”. 600/800

41.

WALKING STICK WITH WALRUS-FORM HANDLE AND MAHOGANY SHAFT America, Late 19th Century Handle carved from whale or walrus ivory. Shark vertebrae throat. Tapered shaft fitted with a brass ferule. Length 37”. 800/1,200

WHALE IVORY AND WHALEBONE CANE 19th Century Whale ivory knob handle carved as a Turk’s-head knot. Contrasting spacer, possibly baleen. Whalebone shaft with sections of ribbed, quilted diamond and rope twist carving. Length 37”. 2,000/3,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, September 13, 2010. Includes a copy of the original sales receipt. The Collection of Michael Gill.

39 38

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42.

SAILOR-MADE INLAID SEWING BOX Mid-19th Century In figured mahogany and rosewood with mother-of-pearl and whale ivory inlay. Top lifts to reveal a fitted removable tray accented with diamond-shaped inlay. Two half drawers below. Four ivory ball feet. Height 8.25”. Width 12”. Depth 9.25”. 1,500/2,000

43.

WOODEN CUTLERY BOX WITH WHALEBONE INLAY, ASSOCIATED WITH WHALING MASTER CHARLES LITTLE 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

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. This is one of three pieces 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.

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44, obverse and reverse and accompanying ephemera

44.

WAR OF 1812 MEMORIAL SCRIMSHAW WHALE’S TOOTH Early 19th Century Born in South Carolina in 1788, John Templar Shubrick served Deep and rich patina. Obverse with bust portrait of illustrious naval aboard the Chesapeake under Decatur, the Constitution during officer Lieut. John Templar Shubrick (1788-1815) flanked by leafy the capture of Guerriere and Java, the Hornet during the capture branches and framed within a checkered surround. Reverse depicts of Peacock, and the President, when he was captured by the the full-rigged brig Epervier, of which Shubrick was commander. British. He was released at the end of the war, then joined Tooth accompanied by documents and research material including Decatur to sail to Algiers in 1815 as an executive officer. He was an original engraving of Shubrick from which the scrimshaw commander of Epervier in July 1815 when the brig and all souls portrait is based, a September 1816 issue of The Analectic Magazine aboard were lost at sea. & Naval Chronicle that contains a memorial to Shubrick by Moses Thomas, p. 248-251, a photocopy of a biographical sketch on The sloop of war Epervier, 447 feet in length, was captured by Shubrick by noted author James Fennimore Cooper, published in Peacock off Florida in 1814. She was sent to Savannah for repairs the December 1844 issue of Graham’s Magazine, etc. Length 5.5”. and following the war she sailed in the Mediterranean Squadron 10,000/15,000 with a mission of stopping the harassment of American shipping 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.

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.

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45.

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”. 3,000/5,000 Provenance: The Collection of Michael Gill. 45, obverse and reverse

46.

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. 4,000/6,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, June 1, 2004. Includes a copy of the original sales receipt. The Collection of Michael Gill.

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47.

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”. 5,000/8,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, January 3, 2007. Includes a copy of the original sales receipt. The Collection of Michael Gill.

48.

COLORED ENGRAVING “SPERMACETI WHALE” 19th Century By D.W. Moody. Depicts two whaling scenes, one with a stoved boat. Framed 10.75” x 7.75”. 300/500

49.

WHALEBONE AND WHALE IVORY SWIFT Mid-19th Century Whale ivory yarn cup, turned adjustment collars and a beautiful key-shaped adjustment screw with pierced heart and cross design and metal pique inlay. Turned and stepped whale ivory clamp mounted with an unengraved silvered metal plaque. Whalebone shaft and staves. As-is, needs restoration. Length approx. 15”. Cage diameter approx. 17”. 1,000/2,000 A similar swift, with intact coin silver bands and metal pique inlay, was part of the Collection of Paul Vardeman, sold at Eldred’s, The Marine Sale, July 25, 2019, Lot #50. The Vardeman swift was nearly identical to one attributed to Capt. James M. Clark of Rochester, Massachusetts that is part of the New Bedford Whaling Museum collection and illustrated in Scrimshaw Artists by Dr. Stuart M. Frank.

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50.

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. 500/1,000 Provenance: A Private Collection, New York.

51.

WHALING SCENE PAINTING 19th Century Unsigned. Housed in a carved whalebone frame. Framed 5.5” x 7”. 1,000/2,000

51A.

AZOREAN BONE MODEL OF A RIGGED WHALEBOAT Early 20th Century Hull built up in plank-on-frame construction, with hull strakes, stem, keel, rudder post and rudder. Boat outfitted with floorboards, thwarts, oars, harpoon, oarlocks, buckets of rope, mast, boom and gaff, all in bone, and fitted with linen sails, standing and running rigging, and other details. Case height 17.25”. Length 21”. 1,500/2,500

51A

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52.

* PAIR OF LARGE UNENGRAVED WALRUS TUSKS ON LUCITE STANDS Early 20th Century * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. Height on stand 25.5”. 800/1,200

53.

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 shieldshaped 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”. 1,200/1,800 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, May 17, 2015. Includes a copy of the original sales receipt. The Collection of Michael Gill.

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54.

WHALEBONE OBJECT 19th Century Possibly one half of a yacht’s bell mount. Square tapered shaft with chamfered corners. Faceted knob. Length 17.75”. 1,000/2,000

55.

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”. 1,800/2,500

Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 20, 2005, Lot #600. The Collection of Michael Gill.

Provenance: The Green Family. Nina Hellman Antiques, Nantucket, Massachusetts, October 1, 2013. Includes a copy of the original sales receipt. The Collection of Michael Gill.

56.

RARE WHALEBOAT OAR LOCK Late 19th/Early 20th Century Cast iron with canvas and leather wrap. Height 8.25”. Width 5.75”. 300/500 Provenance: The Collection of Michael Gill.

57.

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”. 3,000/5,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts. Includes receipt. The Collection of Michael Gill.

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58, four

58.

SET OF FOUR PRINTS "ABANDONMENT OF THE WHALERS IN THE ARCTIC OCEAN SEPT. 1871" Circa 1872 Published by Benjamin Russell, New Bedford, Massachusetts, J.H. Bufford, lithographer, Boston. Includes plates 1, 2, 4 and 5. Depicts scenes from the 1871 whaling disaster, in which 40 whaleships were caught by an early freeze, trapping 33 ships in the ice pack. Crew were transferred to the seven free ships, saving all 1,219 men, but the 33 ships were lost, a devastating blow to the already declining whaling industry. All marked “Proof ” in lower margins and with identifying captions. Housed in their original mahogany frames with gold liners. 14.75” x 21” sight. Framed 18.5” x 24.5”. 1,200/1,800 Illustrated in “Kendall Whaling Museum Prints” by M.V. and Dorothy Brewington (Sharon, Mass.: Kendall Whaling Museum, 1969), p. 11-13.

59.

MODEL OF A WHALEBOAT 20th Century Plank-on-frame construction. Painted off-white with black banding at gunnel. Includes mast, sail, oars and whaling implements. Total height approx. 57.5”. Length 61.5”. Width 13.5”. 1,200/1,800 59

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60.

61.

* ALTHEA MACY WHALE PLAQUE Nantucket, Massachusetts, 20th Century Carved whalebone blue, sperm and right whales mounted on walnut. Signed and dated verso “A. Macy 1959”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 5.75” x 14.25”. 500/800

RICHARD ORR WHALE PLAQUE 20th Century Six species of half-body whales mounted on a pine backboard. Signed verso. 33.5” x 15.5”. 500/700

62. 61

FREDERICK TORDOFF New Jersey/England, b. 1939 “Yankee Whalers in the Northern Fishery”. Signed lower right “Frederick Tordoff”. Oil on canvas, 12” x 36”. Framed 18” x 42”. 1,200/1,800

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CLARK G. VOORHEES, JR. Connecticut/Vermont, 1911-1980

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63.

Carved and painted wooden bottlenose dolphin. Blue-black body with yellow underbelly and red eyes and mouth. Stamped verso “C. Voorhees” and incised with maker’s mark. Length 18”. 1,000/1,500

64.

Carved and painted wooden sperm whale plaque. Painted blue-black with pale yellow bottom and red mouth. Stamped verso “C. Voorhees”. Length 16.5”. 800/1,200

65.

Carved and painted wooden sperm whale plaque. Painted gray-black. Open mouth showing teeth. Stamped verso “C. Voorhees” and with maker’s mark. Length 17.5”. 800/1,200

66.

Carved and painted wooden orca. Stamped verso “C. Voorhees”. Length 18”. 800/1,200

67.

Carved and painted wooden humpback whale. Stamped verso “C. Voorhees”. Length 36”. 1,500/2,000

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68.

Provenance: Estate of Errol Rudman of Rudman Capital.

69.

70.

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”. 1,500/2,000

PAIR OF INUIT WALRUS TUSKS Alaska, Circa 1925 Unengraved. Mounted on a white marble base with a silver plaque marked “Alaska 1925”. Height on base 20”. Width 10”. Depth 5”. 800/1,200

ESKIMO WALRUS TUSK SEAL SPEAR WITH ENGRAVED DECORATION Late 19th/Early 20th Century Carved and pierced with a hole at one end to receive other components. Engraved down the length with seals, whales, birds, turtles, mythological dragon-like creatures, geometric designs, and figures in kayaks, on shore and in a village. Some elements colored red. Tip engraved with a toothed snake-like creature. Geometric designs surround three small inset metal disks, possibly nails used to stabilize the tusk. Length 23”. 4,000/6,000

70, two views

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71.

ROGER MITCHELL CARVED AND PAINTED SPERM WHALE Kingston, Massachusetts, Contemporary Antiqued finish. Length 38”. 500/800

72.

CLIFFORD ASHLEY Massachusetts, 1881-1947 Three whaling illustrations: “Ship Young Phoenix Cutting and Boiling 1830”, “Ship Young Phoenix Hove to off Cape Horn 1831”, and “Fighting Sperm Whale 1831”. Monogrammed lower left with a “C” in a circle and dated 1916. Watercolors and inks on paper, 11” x 13.75”. Framed 21” x 24”. 1,500/2,500

72, three

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73.

CHARLES "FRAN" KENNEY Massachusetts, 1919-2014 “Wanderer”, depicting the last of the whaleships heading out of Fairhaven Harbor. Signed lower left “Charles F. Kenney A.S.M.A.”. Titled on frame plaque. Oil on canvas, 22” x 30”. Framed 29” x 37”. 3,000/5,000

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74.

PERSONALLY INSCRIBED COPY OF SCRIMSHAW AND SCRIMSHANDERS, WHALES AND WHALEMEN By E. Norman Flayderman. New Milford, Ct.: N. Flayderman & Co., Inc., 1972. Inscribed on fly to “To Linda Schaich Hope this book will bring back a few fond memories of New Milford, as you were involved with the very beginnings of this book! With best personal regards Norm Flayderman Sept 1972”. Also includes a typed letter addressed to Schaich, signed in pen “Susan & Norm”, on N. Flayderman & Co., Inc. Military & Nautical Antiques pictorial letterhead, with pictorial envelope. Schaich worked for Flayderman in the 1960s and typed portions of the book. Quarto. Gray cloth. Dj. 500/1,000

75.

EARL COLLINS Connecticut/New York, 1925-1992 Wandering whaler. Signed lower right “Earl Collins”. Oil on canvas, 20” x 30”. Framed 25.5” x 36”. 1,000/1,500

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the

Gi l l Wh alin g I ro n C o lle ctio n Lots 76-106

76. 78

DOUBLE-FLUE HARPOON Mid-19th Century Length 45.5”.

1,000/1,500

Provenance: Eliza Werner, Sag Harbor, New York.

77.

DOUBLE-FLUE HARPOON Mid-19th Century Marked at the beginning of the shaft “TEN”. Identified by Bob Hellman as belonging to Tenedos of New London. Length 39.5”. 1,000/1,500 Provenance: D. Merrill Auction, October 25, 2015.

78.

JAMES DURFEE DOUBLE-FLUE HARPOON New Bedford, Massachusetts, Mid-19th Century Marked on head “J.D.”. Traces of red paint. Length 36.5”. 1,800/2,200 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt.

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79.

SINGLE-FLUE PORPOISE IRON HARPOON 19th Century Faint illegible lettering near the head. Length 19.5”. 500/700

81.

Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of check and additional information written by Bob Hellman.

80.

TOGGLE-HEAD DARTING GUN IRON Early 20th Century Boat mark on head. Identified by Bob Hellman as Peters, New Bedford. Length 37.5”. 700/1,000 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt.

DOUBLE-FLUE HARPOON WITH HINGED BARBS Last Quarter of the 19th Century Detachable socket. Unmarked. Length 32.25”. 700/1,000 Literature: Near-identical harpoon illustrated in Whaling Harpoons, Whaling Guns and Related Weapons and Tools by Arthur Credland, second supplementary volume, p. 20.

82.

TEMPLE-TYPE TOGGLE HARPOON FOR A SHOULDER GUN, PROBABLY EXPERIMENTAL Second Half of the 19th Century Unmarked. Length 26”. 800/1,200 Provenance: Purchased from Paul Vardeman, 2016. Does not retain original receipt but has copies of email records.

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The Gill Wh a li n g I ro n Co l l ec t io n

83.

CAST STEEL BLUBBER SPADE 19th Century Retains section of wood pole, which is marked “C.L. Faunce”. Length 56”. 400/600

84.

EXCEEDINGLY RARE TOGGLE HARPOON FROM DUNDEE, SCOTLAND Third Quarter of the 19th Century Barely visible trace of a maker’s mark on the head. Unusual small stop wither below the rear of the head. Length 35.5”. 1,800/2,500

87.

Provenance: Sydnas Sloot, Westport, Massachusetts. Includes copy of original receipt and additional information.

88.

TOGGLE-HEAD DARTING HARPOON Second Half of the 19th Century Stamped “Macy”. Indecipherable scratch marks, one letter being an “M”. Length 39.25”. 500/1,000

89.

HARPOON FOR A SHOULDER WHALING GUN Circa 1867 By Robert Smith of Provincetown, Massachusetts. Smith referred to these as a Smith’s shooting iron. Length 25.5”. 1,200/1,800

Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt. Illustrated: Whaling Harpoons by Arthur Credland, supplementary volume 2010, p. 18.

85.

TOGGLE HARPOON IN IMPROVED STYLE FROM THE Provenance: NEW BEDFORD WHALESHIP Bob and Nina Hellman, Nantucket, HORATIO Massachusetts. Includes copy of original Last Quarter of the 19th Century receipt and additional information. Marked on one side of head “LB” for larboard boat and on the opposite Literature: side “Ship HOR” with four dots to Similar to #219 in Harpoons and represent letters “atio” in “Horatio”. Other Whalecraft by T.G. Lytle. Bob Hellman notates traces from Macy and the letters “EB&F”. Length 33.5”. 1,400/1,800 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt and additional information.

86.

SAG HARBOR-STYLE HARPOON Second Half of the 19th Century Marked in dots “ND” for the ship Nimrod, according to Bob Hellman. Length 33.25”. 400/600 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt.

AZOREAN TOGGLE-HEAD HARPOON Late 19th/Early 20th Century Toggle marked “U.A.B.” for Uniao das Armacoes Baleeiras. Length 31”. 400/600

90.

WHALING HARPOON, POSSIBLY EXPERIMENTAL Last Half of the 19th Century Hinged spring-loaded flues and two metal rings. Length 25.75”. 500/1,000

91.

AZOREAN TOGGLE-HEAD HARPOON Late 19th/Early 20th Century Head marked “UAB” for the Uniao das Armacoes Baleeiras, according to Bob Hellman. Period marlin line around cone. Length 30”. 400/600 Provenance: Sydnas Sloot, Westport, Massachusetts. Includes copy of original receipt.

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The Gill Wh a li n g I ro n Co l l ec t io n

92.

TOGGLE-HEAD HARPOON BY AMBROSE J. PETERS New Bedford, Massachusetts, Early 20th Century Head marked “AJP”. Possibly illegible ship marks. Retains some traces of red paint. Length 32”. 1,000/1,400 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt.

93.

TOGGLE-HEAD HARPOON Last Half of the 19th Century Stamped “JDD” for James D. Driggs of New Bedford, Massachusetts. Marked “BK Rous” for the whaling bark Rousseau of New Bedford. Old period marlin line around cone. Length 32.75”. 1,200/1,800 Provenance: John Rinaldi, Kennebunkport, Maine. Includes copy of original receipt.

94.

TOGGLE HARPOON BY MACY Mid-19th Century Head stamped “Macy”. Attachment to head marked “B.K.S.M.B.” for the bark Stamboul. Also marked “LB” for larboard boat. Length 30.5”. 2,000/2,500 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt.

95.

TOGGLE-HEAD DARTING HARPOON Mid-19th Century Stamped “COLE” for Luther R. Cole. Length 39”. 700/1,000

96.

TEMPLE-TYPE TOGGLE HARPOON Mid-19th Century Marked on head “Bk. Union” and with a pound sign. The bark Union was a New Bedford whaler from 1855 to 1865. Bob Hellman notes the construction of this harpoon is very similar to that of J. and T. Durfee of New Bedford. Length 35.5”. 1,800/2,500 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt and additional information.

97.

96 97 95

TEMPLE-STYLE TOGGLE-HEAD HARPOON Mid-19th Century Head marked “JT. & Co.” for James and Thomas Durfee. Head marked “S Martha” for the whaler Martha of Fairhaven, 18571858. Length 37.25”. 1,400/1,800 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt.

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98.

TOGGLE-HEAD HARPOON FROM THE SCHOONER HATTIE E. SMITH OF EDGARTOWN Circa 1880 Head marked “HES”. According to Bob Hellman, it is also marked “Fairhaven”, the mark of blacksmith Luther Cole, but we were unable to find this mark. Length 32.25”. 1,700/2,000 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt.

99.

TOGGLE-HEAD TEMPLE-TYPE IRON New Bedford, Massachusetts, Mid-19th Century Head marked “SEM” for the ship Emily Morgan of New Bedford. Also marked with three pound marks for waist boat. 98 Bob Hellman notes it is also marked “JD” for James Durfee, but we were unable to find that mark. Length 36”. 99 1,000/1,500 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt.

100.

DOUBLE-FLUE GREENER GUN HARPOON England, Third Quarter of the 19th Century Stop withers. Retains original slide ring and manila rope. Length 50.5”. 900/1,200 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt.

101.

WHALING LANCE Second Quarter of the 19th Century Unmarked. Length 53.5”.

700/1,000

Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt.

101 100

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The Gil l Wh a li n g I ro n Co l l ec t io n

102

103

106 104 105

102.

ENGLISH DOUBLE-FLUE HARPOON Mid-19th Century Diamond mark on the head and several indecipherable letters. Stop withers. Retains some manila wrap. Length 33.75”. 500/1,000

103.

DOUBLE-FLUE HARPOON Second Half of the 19th Century Faintly marked, possibly “HIFBY”. Stop withers. Length 29.75”. 1,000/1,400

104.

CAST STEEL CUTTING SPADE 19th Century On original pole. Blade stamped “Driggs…” and “Cast Steel”. Length 83.75”. 400/600

105.

TOGGLE-HEAD HARPOON MADE FOR USE IN A SHOULDER GUN Early 20th Century Head marked in punch marks “GOTAMA” for the San Francisco schooner Gotama. Stamped on the same side of head “J.A.S.” for the blacksmith John A. Sawyer of New Bedford. Length 22.25”. 1,400/1,600

106.

CAST IRON WHALING BOMBSHELL FOR A HARPOON GUN BY E. BROWN Fourth Quarter of the 19th Century Marked on shaft “E. Brown Patd 1880”. Length 33.25”. 500/700

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107

107.

108.

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 Thomas G. Lytle, p. 236. Length 38”. 6,000/9,000

WROUGHT STEEL KILLING LANCE 19th Century Length 54”.

500/800

109.

WROUGHT STEEL BLUBBER SPADE 19th Century On a partial wooden pole. Faint maker’s stamp. Total length 53”. 300/400

110.

WROUGHT IRON LANCE 19th Century Unmarked. Possibly Azorean. On original hardwood pole. Retains length of old manila rope. Length 82”. 400/600

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111.

FINE PORTRAIT MINIATURE OF WESTON HOWLAND SR. OF NEW BEDFORD 19th Century Unsigned. Housed in a brass case with a braid of hair. Watercolor, 2.5” x 2” sight. 800/1,200

111

112.

AFTER EMILE LOUIS PICAULT France, 1833-1915 “The Whaler”. Signed on base “E. Picault”. Bronze, height 24”. 1,000/1,500 Provenance: Capo Auctions, New York. A Nantucket Collection.

112

113.

CHARLES MANGHIS America, b. 1956 “Whales of the World”, a collection of eight carved whales. Mounted on a display board and titled on a bone plaque. Species include bowhead, sperm, beluga, narwhal, humpback, grey, finback and right. Marked on back “Charles A. Manghis Scrimshander S. Wakefield”. Whale lengths approx. 4”. Board 25.5” x 5.5”. 1,200/1,800

113

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114

114.

NAPOLEONIC PRISONER-OF-WAR-STYLE MODEL OF THE 90-GUN SHIP OF THE LINE H.M.S. OCEAN England, 20th Century Attributed to Daniel Matthews. Hull built up from the solid and planked in bone with faux trunnels and mahogany bands between the gun decks. Keel running up to the stem and supporting a polychrome figurehead of Neptune at the bow. Stern fitted with quarter galleries and transom detailed with windows and balcony. Decks also planked in bone and detailed with head rails, pin and fife rails, coils of line, deck grating, stove pipe, cannons lashed to deck, an open waist supporting three rigged and detailed ship’s boats, water casks, capstan, raised poop deck, etc. Rigged with a bowsprit, three masts with trees and tops, standing and running rigging, deadeyes, turning blocks, etc. Displayed on a bone base on a pair of bone stanchions, and tied down with anchor and other lines. Model height 19”. Length 24”. Width 8.5”. 3,000/4,000

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115.

BONE AND SHELL SEWING BOX 19th Century Possibly prisoner-of-war. Wood body with shell veneer and bone trim applied with metal rivets. Hinged mansard lid with central shell panel surrounded by two bone borders, the inner engraved with a floral design and the outer in a pierced filigree pattern interrupted by oval medallions engraved with differing birds. Matching pierced filigree bone panels on all four sides of box. Engraved components show some traces of polychroming. Locking mechanism with escutcheon; key not present. Carved bone paw-form feet. Interior lined in fan-patterned paper. Height 3.25”. Width 6.5”. Depth 5.25”. 500/1,000

115

116.

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

116

117.

NAPOLEONIC PRISONER-OF-WAR BONE GAME BOX Early 19th Century Sliding top and side panels with painted inserts depicting ladies and landscapes. Cribbage board along perimeter. Contains dominoes. Height 2.75”. Length 7”. Width 3”. 1,500/2,000

117

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A P r i vat e C o l l e c t i o n

Lots 118-134

118

118.

NAPOLEONIC PRISONER-OF-WAR CARVED COQUILLA NUT “MARENGO” SHIP-FORM SNUFF BOX Early 19th Century In the form of a French ship of the line. Hinged cover carved in high relief with a standing figure of Napoleon. Figurehead carved as a Roman soldier. “Marengo” carved into the underside of the stern. On a petrified wood stand. Length 5”. 2,000/2,500 Provenance: Lloyd Collection of Prisoner-of-War Artifacts. The Collection of Benno Brenninkmeyer. Eldred’s, Fall Auction 2014, Lot #266. Illustrated: The Arts and Crafts of Napoleonic and American Prisoners of War 1756-1816 by Clive L. Lloyd (Woodbridge, UK: The Antique Collectors’ Club, 2007), p. 85.

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A P r i vat e C o l l e c t i o n

119.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE MINIATURE SPINNING JENNY Early 19th Century Of typical form, with functional spinning wheel. Height 3.75”. 1,200/1,800

119

120.

NAPOLEONIC PRISONER-OF-WAR CARVED AND PAINTED BONE GAME BOX Early 19th Century Sliding cover inset with watercolor portraits of standing figures. Contains bone dominoes and dice. Length 6”. 500/600

120

121.

NAPOLEONIC PRISONER-OF-WAR BOXED SET OF BONE PLAYING CARDS Early 19th Century Includes 52 painted cards. Box length 2.5”. 400/600

121

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sts

122

122.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE GAME BOX Early 19th Century Sliding cover relief-carved with an image of a classical woman and a putto gathering wheat. Sides with blindfret carving backed by gilt foil. Fitted interior contains 24 dominoes and three dice. Length 6”. 600/800 Literature: For a similar example see The Arts and Crafts of Napoleonic and American Prisoners of War 1756-1816 by Clive L. Lloyd (Woodbridge, UK: The Antique Collectors’ Club, 2007), p. 206.

123.

NAPOLEONIC PRISONER-OF-WAR CARVED AND PAINTED BONE GAME BOX Early 19th Century Sliding cover and sides inset with watercolor paintings. Contains 55 dominoes, 52 miniature playing cards and two dice. Length 9.25”. 2,500/3,000

124.

NAPOLEONIC PRISONER-OF-WAR CARVED WOODEN BOOK-FORM GAME BOX Early 19th Century Sliding cover with bone inlay. Contains 36 bone dominoes and three dice. Length 4.75”. 300/600

125.

TWO NAPOLEONIC PRISONER-OF-WAR CARVED AND PAINTED BONE TEETOTUMS Early 19th Century One six-sided, the other twelve-sided. Lengths 2”. 150/200

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123, box with lid

A P r i vat e C o l l e c t i o n

126

126.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE BOX Early 19th Century Blind-fret carving of baskets, urns, drapery swags and scrolling foliage against gilt foil. Green-painted fitted interior. Length 8.75”. 1,200/1,800

127

127.

NAPOLEONIC PRISONER-OF-WAR BONE GAME BOX Sliding cover and sides with fine blind-fret carving featuring a crown, double hearts and flowers. Traces of red and green paint. Contains 36 miniature dominoes. Length 7.25”. 500/800

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sts

128, two views

128.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE GAME BOX Early 19th Century Blind-fret carving with parcel-painted gilt foil backing. Three-section box with sliding covers, the central cover domed and depicting a crowned eagle. Contains 51 dominoes, two dice, nine game pieces and 51 miniature playing cards. Length 6”. 2,000/2,500

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A P r i vat e C o l l e c t i o n

129

129.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE BOX Early 19th Century Blind-fret carving with gilt foil backing. Hinged cover depicts a deer hunt. Velvet-lined interior. Length 8”. 900/1,200 Provenance: Lloyd Collection of Prisoner-of-War Artifacts (retains two Lloyd Collection labels with different inventory numbers). The Collection of Benno Brenninkmeyer. Eldred’s, Fall Auction 2014, Lot #265. Literature: For a similar example see The Arts and Crafts of Napoleonic and American Prisoners of War 1756-1816 by Clive L. Lloyd (Woodbridge, UK: The Antique Collectors’ Club, 2007), p. 122.

130.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE CRIBBAGE BOARD Early 19th Century Ends with pierced floriform designs. Underside with rotating box containing four pegs. Length 9.5”. 500/700 Literature: For a similar example see The Arts and Crafts of Napoleonic and American Prisoners of War 1756-1816 by Clive L. Lloyd (Woodbridge, UK: The Antique Collectors’ Club, 2007), p. 219.

130

131.

NAPOLEONIC PRISONER-OF-WAR BONE BOXED SET OF SPILLIKINS Early 19th Century Box’s sliding cover with fine floral carving backed by red ribbon. Includes ten pairs of spillikins and five singles. Box length 4.75”. 300/500

132.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE GAME BOX Early 19th Century Pierced sliding cover. Contains 29 miniature dominoes and three miniature dice. Length 4”. 200/300

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sts

133.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE GAME BOX Early 19th Century Pierced double-dome top with sliding covers carved with male and female figures above soldiers on horseback, backed by black velvet. Polychrome accents. Contains 51 miniature playing cards, 55 dominoes and three dice. Length 6.75”. 2,500/3,000 Provenance: Lloyd Collection of Prisoner-of-War Artifacts (includes two Lloyd collection labels with different inventory numbers). The Collection of Benno Brenninkmeyer. Eldred’s, Fall Auction 2014, Lot #267. Illustrated: The Arts and Crafts of Napoleonic and American Prisoners of War 1756-1816 by Clive L. Lloyd (Woodbridge, UK: The Antique Collectors’ Club, 2007), p. 198.

133

134

134.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE JEWELRY BOX Early 19th Century Blind-fret carving with gilt foil backing. Hinged cover depicts a deer hunt. Fitted interior. Length 8.25”. 800/1,200 Literature: For a similar example see The Arts and Crafts of Napoleonic and American Prisoners of War 1756-1816 by Clive L. Lloyd (Woodbridge, UK: The Antique Collectors’ Club, 2007), p. 122.

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135.

NAPOLEONIC PRISONER-OF-WAR BONE GAME BOX Early 19th Century Tall narrow box with polychrome diamond, star, concentric circle and other geometric engravings on sides. Sliding lid with cribbage board, concentric circle decoration and a large thumb tab. Contains 26 nonmatching bone dominoes. Height 2.25”. Length 6.5”. Width 1.25”. 800/1,200

137.

TWO BONE SPILLIKINS SETS 19th Century Possibly prisoner-of-war. Both contained in wooden boxes with sliding lids. One contains approx. 85 game “straws”, most with shaped terminals or other carvings, some with polychroming. Other contains approx. 25 straws. Smaller box with pencil inscriptions. Box lengths 4.25” and 9.5”. 250/350

136.

TWO PRISONER-OF-WAR SISSINGHURST CASTLE "WOODEN SHOE" GAME BOXES Early 19th Century 1) Sliding lid with applied bone panel in a domino design. Other areas of shoe with carved and other decoration. Faint inscription on underside of lid. Contains approx. 16 polychrome bone dominoes. Retains Lloyd Collection sticker #241 on underside. Length 8.25”. An identical shoe, quite probably this exact example, is illustrated in The Arts and Crafts of Napoleonic and American Prisoners of War 17561816 by Clive L. Lloyd (Suffolk, U.K.: Antique Collectors’ Club, 2007), p. 209. 2) Bone top and sliding lid with pierced clovers and carved dots and bull’s-eyes, with some traces of polychroming. Similarly carved bone panel inset on the toe. Contains approx. 12 bone dominoes, also with some traces of polychroming. Length 8”. 300/500

138.

CARVED AND ENGRAVED BONE MATCHBOX, POSSIBLY PRISONER-OF-WAR Early 19th Century Engraved domino design on sides. Sliding wood top opens to release matches. Strike on bottom. Height 2.25”. 200/300

139.

TWO STRAW WORK BOXES, PROBABLY PRISONER-OF-WAR 19th Century 1) Lift-off top with geometric borders surrounding a scene of a sailing vessel off a town. Sides with scrolling acanthus leaves. Fitted interior with mirror on lid. Turned bone feet. Height 2.25”. Width 6.5”. Depth 4.25”. 2) Book-form box, the top with a French village scene and the bottom with a stylized flower blossom. Geometric patterned sides. Paper-lined interior with mirror mounted on lid. Height 1.75”. Width 6.75”. Depth 4”. 300/500

135

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140

140.

NAPOLEONIC PRISONER-OF-WAR BOXWOOD MODEL OF A 110-GUN SHIP OF THE LINE Circa 1800 Hull planked and pinned over a wood plug, the bottom planked in mahogany to the waterline and in horn to the waist, and the gun decks separated by bands of horn. Mahogany keel leading up to the stem and supporting a figurehead of a Roman warrior. Hull cut and pierced for 102 guns, with additional gun ports at the bow and stern. Decorated head rails support the fore peak, which is cut and pierced. Quarter galleries and transom each pierced, cut and decorated, the transom with two balconies and decorated surround. Decks planked in alternating mahogany and yellow pine veneer, and detailed with pin and fife rails, capstan, belfry, deck eyes, open waist, companionway and raised poop deck. Rigged with a bowsprit and three masts, trees and tops, cross spars and stun’sail booms, and standing and running rigging. Displayed as a waterline model on a cutout wood base with undulating border and four turned legs. Height on base 14.5”. Length 16.5”. Width 5.5”. 1,000/1,500

141.

SEVEN GAME BOXES 19th Century 1-3) Three wooden boxes with sliding lids. Two contain bone dominoes and one contains a spillikins set. 4) Polychrome bone box with cribbage board perimeter, sliding lid and turned legs. Signed on underside of lid “Made by David Dunbar[?]”. Contains miniature bone and ebony dominoes. 5) Polychrome bone box with sliding lid depicting two figures. Contains polychrome bone dominoes. 6) Bone box with sliding lid with pique and pierced heart and club design. Contains polychrome bone dominoes. 7) Bone box with double sliding lids and red banding along the perimeter. Does not contain game pieces. Lengths from 2.125” to 6”. 500/800

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142.

DOMINIC SERRES United Kingdom, 1719-1793 Four scenes of British warships and other vessels. Two signed and dated “D Serres R.A. 1781”. Other two initialed and dated lower left “DS 1780”. Watercolors, 5.25” x 7.25” sight. Framed 9” x 11”. 1,800/2,500

142, four

143.

TWO NAVIGATIONAL SETS Late 18th/Early 19th Century In sharkskin cases. One appears to be complete. The other missing two items. One rule marked “Shuttle Worth London”, and the other “R. Bakewell Maker”. Lengths 6.75”. 500/800

143, two

144.

RARE LODESTONE Continental, Possibly 15th or 16th Century A piece of magnetite bound in silver. Includes a carved wooden fish with a small amount of iron inset in head, which is used with the lodestone to find magnetic north. Lodestone length 2.25”. Fish length 3.5”. 1,000/1,500

144

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145

145.

IN THE MANNER OF NICHOLAS POCOCK United Kingdom, 1740-1821 The Battle of Cape St. Vincent, February 14, 1797. Frame inscribed “Battle of St. Vincent 1797 J. M. W. Turner R.A.”. This work is not by J.W.M. Turner and is not listed in his catalogue raisonné. It is unclear why the frame is marked as such, other than the obvious attempt to add value to the work. However, the work is skillfully painted and the attribution is based on the sea, sky and atmosphere executed in the work. Oil on canvas, 24” x 42”. Framed 27” x 45.25”. 3,000/5,000 The Battle of Cape St. Vincent was one of the opening battles of the Anglo-Spanish War (1796–1808), as part of the French Revolutionary Wars, where a British fleet under Admiral Sir John Jervis defeated a greatly superior Spanish fleet under Admiral Don José de Córdoba y Ramos near Cape St. Vincent, Portugal.

146.

TWO BOARDING PIKES Probably England, 19th Century Steel pikes on hardwood poles. One marked on steel “R 66” and the other “R 19”. Lengths 79” and 81”. 500/700

147.

HORN SNUFF BOX First Half of the 19th Century Cover engraved with a British three-masted ship. Length 3.75”. Depth 2.25”. 250/350

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148

149

148.

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”. 6,000/9,000 Provenance: Wunderlich Galleries, New York. Kennedy Galleries, New York, 1964. Private Collection, Connecticut.

149.

JAMES W. MEADOWS England, 1768-1864 Ships off Dover. Signed faintly lower left. Oil on canvas, 12.5” x 22”. Framed 15” x 25”. 1,500/2,500 Provenance: Kennedy Gallery, New York, 1964. Private Collection, Connecticut.

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150.

PAIR OF ENGLISH NAVAL SHIP BELLOWS 19th Century Walnut boards, one depicting King George’s crest. Length 28.5”. Width 11”. 400/800

150

151.

ENGLISH NAVAL POWDER BUCKET Early 19th Century Leather-covered wood. Swing handle. King George’s crest painted on front. Height 20.5”. 500/800

151

152.

CASED LIQUOR SET Probably England, Early 19th Century Contains ten blown glass gilt-decorated bottles and one port wineglass. Case height 11”. Width 17”. Depth 12”. 500/1,000

152

153.

BRONZE CANNON 19th Century Unmarked. Mounted on a 20th Century iron carriage. Bore diameter 1.25”. Cannon length 18”. Total length 24”. 2,000/3,000

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153

154

154.

AMERICAN SCHOOL 19th Century Naval battle between three American and two British vessels. Housed in an elaborate gilt frame featuring maritime motifs including rope, cannonballs, anchors and an eagle. Oil on canvas, 20” x 24”. Framed 26.75” x 29.5”. 3,000/5,000

155.

ENGLISH TWO-PART CAMPAIGN CHEST 19th Century Brass-bound mahogany. Height 37”. Width 35.5”. Depth 14.5”. 2,000/3,000

156.

CARVED OAK "BEAT TO QUARTERS" ALARM 19th Century Probably British. Painted on one side “B, W.” and “Si 1V”. Length 15.75”. Width 7.75”. Depth 15”. 300/500

157.

SIGNAL CANNON ON AN IRON TRUCK 19th Century Height 7.75”. Total length 14”. Width 8”. 500/800

158.

ENGLISH TWO-PART CAMPAIGN CHEST 19th Century In mahogany, with two half drawers over three full-width drawers and turned legs. Height 41.5”. Width 39”. Depth 18”. 1,600/1,900

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159.

JOSEPH RICHARDS OCTANT London, First Half of the 19th Century Dark hardwood frame, possibly ebony, with brass radium arm and screw clamp, and an inset ivory degree scale. Ivory nameplate engraved "Joseph Richards D. Seatliff London". Missing one lens. Length 19.25”. Width 16.75”. 500/800

159

160.

HEATH & WING OCTANT London, 18th Century Walnut frame with boxwood degree scale. Brass arm marked “Heath & Wing London”. Heath & Wing were active from 1751 to 1773. Length 19”. Width 16.5”. 400/600

160

161.

I. GILBERT OCTANT London, First Half of the 19th Century Walnut frame with ivory degree scale. Ivory nameplate engraved “I. Gilbert ... London” and crudely engraved with a large “I” and “F”. Length 18”. Width 14.5”. 300/500

162.

S.A. CAIL OCTANT England, 19th Century Ebony frame with brass index arm and sighting scope, and an ivory degree scale, vernier and nameplate. Nameplate engraved “S.A. Cail. Newcastle on Tyne.”. Length 11.75”. Width 9.75”. 300/500

161

162

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163.

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 would extend when gangway was in use and fit into slots on the vessel. Mounted on a contemporary base. Total height 55”. Gangway height 27.75”. Width 16.5”. Depth 2.5”. 1,500/2,000

164.

SET OF FOUR NAVAL BATTLE SCENE ENGRAVINGS 19th Century Depict the battle between the Java and Constitution. Drawn and etched by Nicholas Pocock and engraved by R. & D. Havell. Each with Old Print Shop labels verso. Each framed 21.5” x 25.25”. 800/1,200

165.

FIVES BRASS TELESCOPES 19th Century Each marked, including “Hagger Brothers Baltimore”, “Hager & Bro”, “John Bliss Co.”, “Blunt New York” and “Messer London”. Lengths closed from 15” to 20.75”. 400/600

166.

FINE ENGLISH WOOLWORK PICTURE Mid-19th Century Depicts a gunboat surrounded by flags. “F.W. Fawns” above vessel. 16” x 21” sight. Framed 18.75” x 23.5”. 400/600

167.

BRASS SKELETONIZED SEXTANT 19th Century Marked “Barry London”. Lattice frame. Length 11.5”. 250/350

163

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168

168.

JOSEPH B. SMITH New York/New Jersey, 1798-1876 Portrait of the ship Adelaide. Unsigned. Oil on canvas, 26” x 42”. Framed 29.5” x 45.5”. 10,000/15,000

169.

MARINE ART BOOK FLYING THE COLORS Flying the Colors: The Unseen Treasures of NineteenthCentury American Marine Art by Alan Granby and Janice Hyland. Hudson Hills Press, 2009. Blue cloth. Large quarto. Brand new condition, still in shrink wrap. 50/100

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170.

MARITIME ENGRAVING 19th Century Portrait of Capt. Isaac Hull of the U.S. Navy and an illustration of a battle between the Constituation and the Guerriere below. Framed 25.25” x 19”. 500/1,000

171.

ENGRAVING “PERRY’S VICTORY ON LAKE ERIE” 19th Century Engraved by A. Lanson. Printed by B. Rogers. Taken from a painting by Thomas Birch. Old Print Shop label verso. 19.75” x 25.75”. Framed 22.5” x 28.5”. 400/600

170

172.

EXHIBITION STANDARD MODEL OF A BALTIMORE CLIPPER - PRIVATEER OF 1812 America, Late 19th Century In ¼” scale. Hull built up in wood and with applied copper bottom, painted black topsides, a white waist strake and mahogany cap rail. Mahogany veneer deck with scored planking. Detailed with stem and figurehead, pin and fife rails, anchors, windlass, rigged deck cannons on carriages, companionways, 12-pound cannon mounted on a pivot base, ship’s boat lashed amidships, deck houses, wheel box with spoked ship’s wheel, dory hung off the stern on davits, etc. Rigged with a bowsprit and two masts, cross spars, boom and gaffs, standing and running rigging, etc. Displayed on a mahogany cradle within a glass case with mahogany base. Case height 30.25”. Length 41”. Width 16”. 1,500/2,500 172

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173.

AMERICAN SCHOOL 19th Century Portrait of a sea captain. Unsigned. Oil on canvas, 29” x 24”. Framed 34” x 29”. 1,000/2,000

173

174.

BONE, MAHOGANY AND SILVER FOLDING KNIFE WITH PATRIOTIC DECORATION America or England, Mid-19th Century Bone grip inlaid with mahogany disks on one side. Silver bolsters, one tapered and one in the form of a sword’s hilt, both with relief patriotic decoration on both sides. Hilt with a “Liberty and Union” banner centered by an oak leaf. Tapered bolster with a Liberty cap, a sword, a spread-wing eagle, olive branches and an American shield. Pivoting steel blade with nail nick. Length closed 5.63”. 800/1,200

175, two views 174

175.

COPPER ENGRAVING PLATE FOR JOSEPH WINSLOW 18th Century Joseph Winslow (1724-1777) was a Boston brazier and ship chandler. Plate engraved with alphabet, figure and verse on one side and a lighthouse and “Jos:Winslow Brazier & ship Chandler near the heart & gronme[?]in Cornhill Boston” on opposite side. Includes records from the Boston Public Library regarding Winslow’s life and death. 3” x 3”. 300/500

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177

177.

176.

SEA CHEST 19th Century Under old deep green paint. Slightly canted front. Carved beckets with sailor ropework handles. Interior with till. Height 17.75”. Width 39.75”. Depth 17.75”. 400/600

EARLY AMERICAN COMPASS 18th Century Drycard compass marked for Benjamin King, Newport, Rhode Island. Hardwood case with arms for sites and an oak cover that attaches to case with a leather strap. Handwritten paper label with grid of site measurements affixed to cover. Incised on underside of case “Lemuel Crane 1756”. Accompanied by an 18th Century 12mo. leather-bound navigational volume, which includes calendars dating as early as 1728, a “Table of Difference”, instructions on how to use various navigational instruments, etc. Volume missing first eight pages and has period ink inscriptions throughout. Compass length 15”. 5,000/10,000 Provenance: According to the consignor, a typewritten note from Francis W. Peterson dated November 2, 1933, indicates the compass had descended in the Crane family since the 1700s before Peterson purchased it in 1923 from a Miss Waltham of Marblehead, Massachusetts, a Crane relative. Peterson then gave it to Nathaniel Rubinkham circa 1933.

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178.

GIOVANNI SERRITELLI Italy, 1810-c.1880 American ship in the Harbor of Naples with Vesuvius in the background. Signed lower left “Serritelli Napoli”. Oil on canvas, 20” x 30.25”. Framed 25” x 36”. 7,000/10,000

178

179.

AMERICAN SCHOOL 19th Century “Clipper Ship Syren - Passing Boston Lower Light.”. Initialed lower right “A.C.E.”. Titled in lower margin. Labels for H&R Sandor and the Old Print Shop verso. Watercolor, 17” x 23” sight. Framed 21.75” x 27.75”. 1,500/2,000

179

180.

PORTRAIT OF THE TWO-MASTED SCHOONER S.V.W. SIMMONS 19th Century Signed lower right “Chas. Lawrence Del’t”. Watercolor, 22.25” x 31.5”. Framed 32” x 42”. 800/1,200

180

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181.

EXCEEDINGLY RARE QUADRANT LABELED FOR T.A. GARDNER, NANTUCKET Nantucket, Circa 1830 Ebonized wood frame with inset ivory 0-95 degree scale. Brass index arm, sights, etc. Marked on inset ivory nameplate “T A Gardner Nantucket”. 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”. 5,000/8,000 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. Pflock of Cape Cod, who claimed it was found in a Newport, Rhode Island collection. The Collection of Michael Gill.

According to Paul 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.

181

182.

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”. 2,000/3,000

182

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183

183.

WILLIAM BRADFORD Massachusetts/California, 1823-1892 The coast of Labrador. Signed lower right “W. Bradford”. En grisaille oil on canvas, 18” x 30”. Framed 23” x 35”. 4,000/6,000

184.

PARIS PORCELAIN SHAVING CUP Second Half of the 19th Century Central decoration of American flags, shields, a spread-wing eagle and a “Frank Kern” banner. Height 3.5”. 300/500

185.

CREAMWARE SOFT-PASTE MUG England, 19th Century Black transfers of an American eagle, “James Leech” within an open panel and poem “The Sailor’s Tear”. Height 5.25”. 200/300

186.

PAINTED PARIS PORCELAIN BOWL Second Half of the 19th Century Decoration of floral sprigs and two oval vignettes of British ships. Height 5.75”. Diameter 11”. 300/500

187.

THREE SUNDERLAND LUSTRE PIECES England, 19th Century A molded-edge plate, diameter 8.25”, a double-handle mug, height 4”, and a bowl, diameter 6.75”. All with various transfers. 300/500

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W I L L I A M H . YO R K E New York/Canada/England, 1817-1908

188

188.

Duchess of Breyle outward bound. Signed and dated lower left “W.H. Yorke 1875”. Oil on canvas, 26” x 40”. Framed 32.75” x 46.75”. 5,000/7,000 Provenance: Rehs Galleries, New York.

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WILLIAM KIMMINS MCMINN California/United Kingdom, 1820-1898

189.

A ship of the Blackball Line off Liverpool. Signed lower left “W.R. McMinn”. Oil on canvas, 30” x 48”. Framed 36” x 55”. 7,500/9,500 Provenance: Ted Thomas, Concord, Massachusetts. Hirschl & Adler, New York. Private Collection, Massachusetts.

189

190.

The Pickwick in two positions off Liverpool. Unsigned. Identified and titled on frame plaque. Oil on canvas, 24” x 37”. Framed 30.5” x 43.5”. 3,500/4,500 Provenance: Omell Galleries, London. Private Collection, Massachusetts.

190

191.

The Zelica under sail. Signed faintly lower left “McMinn”. Oil on canvas, 20” x 30”. Framed 25” x 35”. 3,500/4,500 Provenance: Omell Galleries, London. Manuge Galleries Limited, Nova Scotia. Private Collection, Massachusetts.

191

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192

193

192.

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

193.

JOHN HENRY MOHRMANN California/Germany/Canada/Belgium, 1857-1916 Portrait of the Victoria Bay. Signed and dated lower left “H. Mohrmann 1891”. Oil on canvas, 23.5” x 35”. Framed 28” x 39.5”. 3,000/5,000

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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194.

JOHN FREDERICK LOOS Belgium, c. 1861-1895 Pair of ship portraits. One signed and dated lower left “J.F. Loos. Rutten Antwerp 1866”. The other unsigned and attributed to Loos. Oils on canvas, 21.5” x 29.5” and 19.5” x 28.5”. Framed 26.5” x 34.5” and 24” x 33”. 1,500/2,500

194, pair

195.

PAUL CHARLES EMMANUEL GALLARD-LEPINAY France, 1842-1885 Fishing off a coastal village. Signed lower left “E. GallardLepinay”. Oil on board, 28” x 39.75”. Framed 33” x 44.5”. 1,500/2,500

196.

CLEMENT DREW Massachusetts, 1806-1889 Ship in a storm off a rocky coast. Unsigned. Oil on canvas, 14” x 20”. Framed 21.25” x 27.75”. 1,200/1,800

195

196

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197.

CASED BRASS SEXTANT BY BLAIR OF CARDIFF, WALES Last Half of the 19th Century Skeletonized frame. Arm engraved “Blair Cardiff”. Three attachable lenses. Beautiful dovetail mahogany case with label on interior for retailer James Morton. Sextant length 9.5”. Width 10.25”. 1,500/2,500

198.

BRASS 3-INCH REFRACTING TELESCOPE ON TRIPOD BY NEWTON & CO. England, Circa 1860 Signed on the main tube “Newton and Co. Opticians to the Queen, 3 Fleet Street, London” and on the back plate “Newton & Co. London”. With brass tubes, rack and pinion focus and elevation adjusters, fine focus, star finder mounted in parallel, eyepiece and objective lens with cover. Mounted on a folding mahogany tripod. Tube length 51.5”. Height at level position 62”. 3,000/5,000

199.

TROUGHTON & SIMMS SEXTANT London, Second Half of the 19th Century Double metal frame. Marked “1469” on frame and “Silver” and “Troughton & Simms, London” on degree scale. Length 9.5”. Width 10.5”. 300/500

200.

SPENCER BROWNING & RUST OCTANT London, Mid-19th Century Ebony frame with ivory degree scale and nameplate. Length 13.75”. Width 11.75”. 200/300

201.

SHIP’S APOTHECARY CHEST Mid-19th Century Mahogany chest with inset campaign-style brass hardware. Interior fitted with bottle slots, two drawers and secret compartment. Contains fourteen bottles, a scale, a mortar and pestle, etc. Chest height 11”. Width 9.75”. Depth 7.25”. 1,500/2,500

202.

ADRIANOS MARIJNISSEN The Netherlands, 1899-1979 Several sailing vessels on the ocean. Signed lower left “Marijnissen”. Oil on board, 19.75” x 27.75”. Framed 26.5” x 34.5”. 1,000/2,000

197

198

199

200

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203

203.

JAMES GALE TYLER Connecticut/New York, 1855-1931 Ship under moonlight. Signed lower right “James G. Tyler”. Oil on canvas, 20” x 16”. Framed 32” x 28”. 1,500/2,500

204.

JAMES GALE TYLER Connecticut/New York, 1855-1931 Ship at sea. Signed lower right “James G. Tyler”. Oil on canvas, 26” x 20”. Framed 35” x 29”. 800/1,200

205.

JOHANN FREDERIK CORNELIS SCHERREWITZ The Netherlands, 1868-1951 Vessel ashore. Signed lower right “J. Scherrewitz”. Oil on board, 21.75” x 19.75”. Framed 29.5” x 27.5”. 2,000/4,000

204

205

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A N T O N I O N I C O L O G A S PA R O J A C O B S E N New York/New Jersey/Denmark, 1850-1921

206

206.

The S.S. France. Signed and dated lower right “A. Jacobsen 1878”. Oil on canvas, 22” x 36”. Framed 29” x 43”. 6,000/9,000

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207.

Sail/steam ship Alaska of the Guion Line. Signed and dated lower right “A. Jacobsen 1882 N.Y.”. Oil on canvas, 12” x 20”. Framed 16.5” x 24.5”. 7,000/10,000 Provenance: Rehs Galleries, New York. Literature: See Antonio Jacobsen - The Checklist by Harold S. Sniffen (Smith Gallery, 1984), p. 24-25, no. 12 for a listing of this painting.

207

The S.S. Alaska, built by John Elder & Company of Glasgow, was a record-breaking British passenger liner that won the Blue Riband for the Guion Line as the fastest liner on the Atlantic, and in 1883 she became the first liner to make the crossing to New York in under a week. She arrived in New York on her maiden voyage in December 1881. Alaska had completed 100 voyages when Guion suspended sailings in 1894 and was sold to the Barrow shipyard where she was used as an accommodation hulk until she was broken up in 1902.

208.

Starboard view of the American clipper ship Rainbow. Inscribed lower left “Rainbow Built in Boston in 1845”. Signed and dated lower right “Antonio Jacobsen 1916”. Oil on artist board, 16” x 23.25”. Framed 18.5” x 26”. 1,500/2,500 Illustrated: Antonio Jacobsen - The Checklist by Harold S. Sniffen (Newport News, Va.: The Mariners’ Museum, 1984), p. 255, no. 10.

209.

208

An American ship at sea. Signed and dated lower right “Antonio Jacobsen 1912”. Oil on board, 21.5” x 35.75”. Framed 27” x 41”. 3,500/5,000

209

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A N T O N I O N I C O L O G A S PA R O J A C O B S E N New York/New Jersey/Denmark, 1850-1921

210

210.

The 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”. 15,000/20,000 Provenance: MBNA Collection Of Maritime Art And Ship Models. Heritage Auction, Oct 27, 2012, Lot #88260. Private Collection, California.

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211

212

211.

Sail/steam ship Salerno. Signed lower right “A. Jacobsen 31 Palisade Ave West Hoboken N.J.”. Oil on canvas, 22” x 36”. Framed 26” x 40”. 8,000/12,000

212.

The steamer Vederland. Signed and dated lower right “A. Jacobsen 1910”. Oil on board, 22” x 36”. Framed 30” x 44”. 7,000/10,000

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A N T O N I O N I C O L O G A S PA R O J A C O B S E N New York/New Jersey/Denmark, 1850-1921

213

214

213.

The steamer Zeeland. Signed lower left “A. Jacobsen”. Oil on board, 22” x 36”. Framed 30” x 44”. 7,000/10,000

214.

“Black Ball Liner Columbia”. Signed and dated lower right “Antonio Jacobsen 1917”. Titled lower left. Oil on board, 14 x 20”. Framed 20” x 26”. 6,000/9,000 Provenance: Roger King Fine Art, Newport, Rhode Island.

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215.

COPPER AND BRASS WATER PUMP, PROBABLY OFF A STEAMSHIP Late 19th/Early 20th Century Mounted on a carved walnut panel. Total height 44.5”. Width 8.25”. 400/600

216.

SHIP’S BELL OFF THE STATEN ISLAND FERRY MARY MURRAY Dated 1937 Mounted on a mahogany base. Total height 15.5”. Base 22” x 11.25”. 500/800

215

217.

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”. 2,000/3,000

218.

MOUNTED BUILDER’S HALF HULL MODEL OF A LOBSTER BOAT Early 20th Century Hull built up in six lifts. White wash topsides and rust bottom. Walnut backboard 9” x 28”. 300/500

217

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220A

219.

BRASS MARITIME LIGHT First Half of the 20th Century Unusual iron mounting device. Height 37”. Total width 15”. 300/500

220.

EIGHT-SPOKE SHIP’S WHEEL Early 20th Century Cast iron hub. Exterior ring with brass trim. Diameter 50”. 500/800

220A. MOUNTED BUILDER’S HALF HULL MODEL OF THE DOWNEASTER ST. JOHN America, 19th Century Built up in eleven alternating pine and mahogany lifts. Small carved billethead below bowsprit. Dark green backboard 15.5” x 76”. 2,000/3,000 Provenance: A private collection. Eldred’s, The Winter Marine Sale, 2021, Lot #271.

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HENRY MELLING United Kingdom, 1808-1879

220B

Ocean Monarch, an American emigrant ship, was outward bound from Liverpool with more than 300 passengers on board when fire broke out in the stern and spread rapidly. This painting depicts the arrival of Thomas Littledale’s cutter-yacht Queen of the Ocean, returning from the Beaumaris Regatta. In conjunction with the steam-frigate Alfonsa, more than 200 passengers were rescued.

220B. Passengers being rescued from the burning Ocean Monarch. Signed and dated lower left “Henry Melling 1848”. Two old labels verso, the oldest one marked “From Richard Jeffreys Carver Gilder & ... 8 ct ...”, and the more recent “William D. Jones Phone Royal 520[?] Carver Gilder Picture Frame Maker Etc. 100 Seel Street Liverpool Gilding done for the Trade ... only used mirro ... rd ... pap ...”. Oil on canvas, 17” x 29.5”. Framed 21.75” x 34.5”. 5,000/7,000 Provenance: Paul Mason Gallery, Sloane Street, London. Purchased from the above by Richard Kelton on the advice of Sam Davidson, May 1998. Eldred’s, The Marine Sale, August 2020, Lot #253.

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221

222

221.

FRANK VINING SMITH Massachusetts, 1879-1967 “Sailing at Morning”. Signed faintly lower left “Frank Vining Smith”. Titled verso. Oil on canvas, 24” x 36”. Framed 28.5” x 40.5”. 3,000/5,000

222.

RODNEY CHARMAN America/United Kingdom, b. 1944 The American clippers Lightning and Red Jacket on a moonlit night during their historic trans-Atlantic race of 1854. Signed and dated lower right “Rodney Charman ‘94”. Oil on canvas, 28” x 36”. Framed 37.25” x 45”. 3,000/5,000 Provenance: Wally Findlay Galleries, New York. Marine Arts Gallery, Salem, Massachusetts.

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223

224

225

223.

BARRY MASON United Kingdom, b. 1947 “Port rail awash, the ‘Kaisow’”. Signed lower left “Barry Mason” and inscribed verso “Barry Mason ‘75”. Titled on frame plaque. Oil on canvas, 20” x 30”. Framed 23.75” x 34”. 1,200/1,800 Provenance: Omell Galleries, London.

224.

STEARS THOMPSON America, 20th Century Two clippers underway. Signed lower left “Stears Thompson”. Oil on canvas, 30” x 40”. Framed 36” x 46”. 800/1,200

226

225.

FRANK JOSEPH HENRY GARDINER United Kingdom, b. 1942 “The Californian Clipper Storm King ...”. Signed and dated lower left “F.J.H. Gardiner 78”. Titled on mat. Mixed media on paper, 14” x 21” sight. Framed 23” x 29.75”. 700/1,000

226.

FRANK JOSEPH HENRY GARDINER United Kingdom, b. 1942 “The American Clipper A.J. Fuller ...”. Tightly executed Puget Sound dock scene with the Fuller and other vessels. Signed and dated lower left “F.J.H. Gardiner 77”. Titled on mat. Mixed media on paper, 14.5” x 20.75” sight. Framed 23” x 29.75”. 700/1,000

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227.

228.

RARE PAIR OF JOSLIN 12-INCH TERRESTRIAL AND CELESTIAL GLOBES Boston, Circa 1890-1900 Terrestrial globe marked “Joslin’s Terrestrial Globe containing all the Late Discoveres and Geographical Improvements ... Manufactured by Gilman Joslin, Boston.”. Celestial globe marked “Joslin’s Celestial Glove Containing all the Star Nebulae &c ... Manufactured by Gilman Joslin & Son, Boston.”. Both with turned mahogany stands and semicircular brass circumference rings marked with degree scale. Heights 21.5”. Diameters approx. 11.5”. 5,000/7,000

229.

T. BASSNETT CASED ATMOSPHERIC PATENT SOUNDER Liverpool, England, Late 19th Century Top of case stenciled “Bassnett’s Patent Sounder Made By T. Bassnett Liverpool. ...”. Original paper labels on interior of lid. Case height 2.75”. Length 28.75”. Width 4.5”. 300/500

230.

CARVED WOODEN THREE-MASTED SHIP WEATHER VANE 19th Century Rigged and with painted metal sails. On stand. Height 20”. Length 26”. Width 5”. 400/600

CASED BRASS ROLLING RULE BY THE HUGHES OWENS CO. LTD. England, Late 19th/Early 20th Century Case height 2”. Length 25.25”. Width 4”. 150/250

227, pair

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231

232

234

235

231.

MOUNTED BUILDER’S HALF HULL MODEL OF A STEAM LAUNCH Late 19th/Early 20th Century Backboard marked in gilt lettering “Steam Launch No. 350”. Solid hull, the topsides painted black, and with builder’s marking visible on bottom half. Backboard 7.25” x 31.25”. 300/500

232.

233.

BUILDER’S PLATING HALF HULL MODEL OF A THREE ISLAND FREIGHTER America, Early 20th Century Built up in five lifts of varying woods, shaped, faired and finished bright, with the plating diagram in India ink drawn on the surface, scored frame stations, propeller, rudder and the exterior hawse pipe. Height at bridge deck 4.75”. Total length 40.75”. 500/700

MOUNTED BUILDER’S HALF HULL MODEL OF THE STEAMER LAKEY Late 19th Century Built up in eight lifts. Pine backboard painted black with red trim. Vessel identified on plaque mounted to backboard. Backboard 11.5” x 48”. 400/600

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234.

MOUNTED BUILDER’S HALF HULL MODEL OF THE STEAMSHIP CREOLE Late 19th/Early 20th Century Built up in three lifts. Walnut molded-edge backboard marked in gilt and black lettering “S.S. Creole”. Backboard 10” x 52.5”. 500/700

235.

MOUNTED BUILDER’S HALF HULL MODEL OF THE SHIP AURORA OF SALEM America, Circa 1850 Wood hull built up in eleven lifts, the bottom painted green and the topsides in black. Name painted on the stern quarter. 800/1,200

236.

CHELSEA U.S. MARITIME COMMISSION SHIP’S CLOCK Circa 1930 Face marked “Chelsea Clock Co. Boston” and “U.S. Maritime Commission Ser. No. 4290”. Serial number on back of case matches number on movement: #308089. Diameter 7.25”. 400/600 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.

236

237.

MARGARET HAMILTON Great Britain, fl. 1870-1910 British Merchant Marine officer. A competent head study of possibly a Cunard Line officer. Unsigned. Extensive description of the work on the back paper. Gouache on brown paper, 12.5” x 10”. Framed 19.5” x 16.5”. 700/1,000

237

238.

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”. 1,200/1,800

238

239.

"CAPE ANN COPPER PAINT" ADVERTISEMENT Albumen photograph of the fishing schooner Minerva at center of text “Cape Ann Copper Paint Warranted Best in the Market. For the Bottoms of Vessels and Boats. To Preserve them from Worms, Barnacles, Grass, &c. Manufactured by James H. Tarr, Gloucester, Mass., U.S.A.”. 19.5” x 24.5” sight. Framed 22.5” x 27.75”. 500/1,000 239

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240.

CARVED TRAILBOARD IN THE FORM OF A WOMAN First Quarter of the 20th Century Approx. 67” x 26.5”. 3,000/5,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire.

241.

STERNBOARD-STYLE CARVING OF AN EAGLE 20th Century Signed on reverse “HB Simmons”. Approx. 20” x 83.5”. 2,000/3,000

242.

PAIR OF RELIEF-CARVED TRAILBOARDS 19th/Early 20th Century Under old white paint. Foliate carvings. Approx. 14.75” x 143”. 1,000/1,500

243.

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

244.

PAINTED PLAQUE DEPICTING NANTUCKET 20th Century Image of the island as well as a compass rose and wave edge. Diameter 57”. 300/500

245.

NICELY CARVED AND PAINTED WOODEN EAGLE 20th Century Gold-painted eagle clutching a red, white and blue shield in its talons. Height 15”. Width 42.25”. 500/1,000

240

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T I M OT H Y T H O M P S O N England, b. 1951

246

246.

“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”. 10,000/15,000 Provenance: Private Collection, Connecticut.

100

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J A M E S E D WA R D B U T T E R S W O R T H New Jersey/New York/United Kingdom, 1817-1894

247

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. Seen here, 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 other, Palmer is depicted off Dover with Dover Castle in the distance. This painting was sold at Eldred’s, The Marine Sale, August 19, 2001, Lot #633. 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 hard for 31 years, keeping her in top condition and updating her with the latest trends in yachting technology.

247.

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”. 50,000/70,000 Provenance: Private Collection, Basking Ridge, New Jersey, 1999. Private Collection, New Jersey.

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101

248.

248

249.

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”. 2,000/4,000 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.

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”. 1,500/2,500 Provenance: Private Collection, Connecticut.

249

250.

250

102

MOUNTED HALF HULL MODEL OF THE RACING YACHT AMERICAN Circa 1920 Beautifully shaped 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. 1,000/1,500

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251.

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 blindstamped 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 molded-edge 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”. 2,500/3,500 Literature: British Yachts and Yachtsmen (London: Yachtsmen Publishing Company, 1907), p. 390.

251 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.

252.

JAMES MILLER United Kingdom, b. 1926 “Rainbow vs. Endeavor II America’s Cup 1937”. Signed lower left “James Miller”. Titled verso. Oil on canvas, 24” x 40”. Framed 30” x 45”. 2,500/3,500

252

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103

253.

CASED MODEL OF THE GRAND BANKS SCHOONER BLUENOSE 20th Century Black hull with red bottom. Nicely detailed deck. Beautifully toned cotton sails. Case height 23”. Width 27.5”. Depth 11.75”. 1,500/2,500

254.

PARKER NEWTON New York/Canada, d. 1928 Pair of America’s Cup illustrations. “Race Between Galatta and Mayflower ... 1886” and “Foul Between Valkyrie III and Defender ... 1895”. Titled on labels verso. One signed lower left “Parker Newton”. The other unsigned. Watercolors and gouaches on paper, 13” x 18” sight. Framed 23” x 27”. 500/1,000

256.

257. 255.

RARE AMERICA’S CUP VOLUME The Lawson History of the America’s Cup by Winfield M. Thompson and Thomas W. Lawson. Boston: 1902. Published for private distribution only by Thomas Lawson. Numbered 2036 of 3000 copies and signed. Illustrated with color and black and white plates with tissue guards. Decorative initials and ornaments throughout. Thick Q. Gilt pictorial white cloth. Black Morocco spine also with gilt lettering. One of the first histories of the America’s Cup races. 400/600

FINE CASED MODEL OF J. PIERPONT MORGAN’S YACHT CORSAIR II Contemporary Hull built up and with black-painted topsides, green bottom and gold waterline. Deck is planked and fitted with jackstaff, anchor davits, anchors, anchor windlass, bollards, deck plates, skylights, cabin structures, search lights, deck railings, ship’s wheel, binnacle, engine telegraphs, ladders, ventilators, funnel, signal cannons, five ship’s boats on davits, docking wheel, flagstaff, propeller, and numerous other details. Displayed on two brass pedestals within a glass case with mahogany base and trim. Total height 58.25”. Length 52”. Width 15.25”. 4,000/6,000

MOUNTED BUILDER’S HALF HULL MODEL OF A SAILING YACHT Late 19th/Early 20th Century Built up in ten lifts. Old tag verso with notation “Model of Yacht ‘Nebula’ made by Clarence W. Jones”. Backboard 9” x 24”. 250/350

258.

SCRAPBOOK PERTAINING TO THE YACHT COTTON BLOSSOM III 20th Century Includes photographs and documents. Album 12.5” x 10.5”. 500/800

259.

HERRESHOFF BRONZE FOLDING ANCHOR First Half of the 20th Century Unmarked. Length 26”. 300/500

260.

PLAYER’S NAVY CUT CIGARETTES ADVERTISING POSTER "A STIFF BREEZE" Britain, Early 20th Century Depicts two yachts racing in a “Stiff Breeze”. Silkscreen on board, 33” x 69.5” sight. Framed 36.5” x 72.75”. 700/1,000

261.

EXTREMELY RARE BUILDER’S FULL HULL MODEL OF A YACHT BY THOMAS D. BOWES Painted white above and green below the waterline. Thomas D. Bowes (1883-1965) founded his naval architecture firm in 1905, located in Philadelphia’s Delaware River district. He designed more than 80 tugboats and several Philadelphia fire boats as well as commuter and houseboat yachts. He also notably designed the Lenore II, which was refurbished and renamed Barbara Ann by Dwight Eisenhower and used as the presidential yacht. It was later renamed Honey Fitz by President John F. Kennedy during his administration. Height 11”. Length 52”. Width 10”. 5,000/7,000 Provenance: Removed many years ago from Thomas D. Bowes’ office on Chestnut Street, Philadelphia. Hyland Granby Antiques, Hyannis Port, Massachusetts, 2002.

253

104

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260

261

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105

THOMAS WILLIS New York, 1850-1925

262

263

262.

106

The schooner Columbia off the coast. Richly detailed background with coast and lighthouse. Signed and dated lower right “T. Willis 1906”. Oil on canvas with applied silkwork, 16” x 24”. Framed 20” x 28”. 1,000/2,000

263.

The steam yacht Nada off the Sandy Hook lightship. Signed lower right “T. Willis”. Original Thomas Willis label verso. Oil on canvas with applied silkwork, 18” x 32”. Framed 20.5” x 34.5”. 1,500/2,500

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264.

DIMETRIOUS ATHAS Massachusetts, Contemporary “Thomas E. Lannon Chasing Atlanta - Mayor Cup Gloucester”. Signed and dated lower left “Athas”. Oil on board, 18” x 24”. Framed 24” x 30”. 2,000/3,000

264

265.

VERNON BROE Maine/Illinois, 1930-2011 Friendship sloop. Signed lower left. Oil on canvas, 13” x 17”. Framed 17.5” x 21.5”. 1,000/1,500

265

266.

RAY GEORGE ELLIS South Carolina/Massachusetts, 1921-2013 Full sail off the coast. Signed lower right “Ray G. Ellis”. Watercolor on paper, 17” x 22.25” sight. Framed 25” x 30”. 900/1,200

266

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107

267, pair

108

267.

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”. 1,000/1,500

269.

MOUNTED HALF HULL MODEL OF A SPEEDBOAT First Half of the 20th Century Solid-body mahogany hull with green bottom. Applied brass prop rudder, searchlight, etc. Backboard 7.75” x 34.25”. 300/500

271.

TWO ALBERT COOK CHURCH PHOTOGRAPHS Early 20th Century Both depicting the two-masted schooner Elizabeth Howard. Both signed in lower corners. 18.5” x 13.75” sight. Framed 26.25” x 22”. 400/600

268.

MOUNTED BUILDER’S HALF HULL MODEL OF A MOTOR YACHT Early 20th Century Hull built up in six lifts, painted black above and green below the waterline. Applied brass propeller and rudder. Walnut backboard with brass plaque marked “Built by Milton Point Ship Yard. Rye, N.Y.”. Backboard 8” x 34.75”. 300/500

270.

MOUNTED BUILDER’S HALF HULL MODEL OF A POWER VESSEL Early 20th Century Built up in five lifts. Mounted skeg. Oak backboard 9” x 41.75”. 300/500

272.

SHADOW BOX MODEL OF THE THREE-MASTED SCHOONER VICTORY Early 20th Century Set in a molded sea. Total height 14.25”. Width 21”. Depth 4.5”. 300/400

273.

MOUNTED BUILDER’S HALF HULL MODEL OF A SAILING VESSEL Last Quarter of the 19th Century Built up in 14 lifts. Backboard 11.5” x 25.5”. 300/500

Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 15, 2008, Lot #1529.

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S A LVAT O R E C O L A C I C C O Canada/United Kingdom/Italy, b. 1935

274.

A three-master clipper ship at sea. Signed lower left “Salvatore Colacicco”. Oil on board, 24” x 36”. Framed 28” x 40”. 1,500/2,500

274

275.

Starboard portrait of a whaleship, with figures visible on deck and land off her bow. Signed lower left “Salvatore Colacicco”. Oil on canvas, 18” x 24”. Framed 21.5” x 27.5”. 800/1,200

275

276.

The schooner racing yacht America with land and other vessels in the distance. Signed lower left “Salvatore Colacicco”. Oil on panel, 20” x 30”. Framed 23.5” x 33.5”. 1,500/2,500

276

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109

277.

WORDEN G. WOOD New York, 1880-1943 Sketchbook containing approx. 24 pencil sketches depicting the U.S.S. Yankee and its engagements during the Spanish-American War in 1898. Wood served aboard the ship as an ordinary seaman. Some sketches dated and/or annotated. Many were later used to produce oil paintings. Sketches unsigned but cover of the sketchbook marked in pencil “W G Wood USS Yankee”. Pencils on paper, sheet sizes 3.75” x 6.75”. Contained in a cloth-bound “Sketches” book. 400/600

277

278.

279.

HAND-PAINTED BOX WITH DECORATION OF THE U.S.S. SAN FRANCISCO America, Late 19th Century Top with portrait of the ship, titled in banner “Aboard the U.S.S. San Francisco Mediterranean 1897”. The San Francisco served in the Mediterranean during the Spanish-American War. Height 4”. Width 12”. Depth 8.5”. 300/600

STAN STOKES America, 20th Century “U.S.S. Princeton at New York”. Depicts the vessel in New York Harbor by the Brooklyn Bridge, surrounded by a tugboat, sidewheeler and other vessels. Signed lower right “Stokes”. Titled on plaque. Includes two vintage photographs, one of the Princeton and the other of her crew. Oil on canvas, 36” x 48”. Framed 42.75” x 54.75”. 6,000/8,000

279

110

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281

280.

SAILOR-MADE KNOT BOARD First Half of the 20th Century Braided sides and corners. Plywood board. Height 32.5”. Width 39.5”. 200/300

281.

CARVED AND PAINTED WOODEN SPREAD-WING EAGLE 20th Century Gold-painted eagle clutching a red, white and blue shield in its talons. Height 14”. Width 49”. 1,000/1,500

282.

MOUNTED DECORATIVE PLATING HALF HULL MODEL OF U.S. LIGHT VESSEL NO. 57 20th Century Hull built up in three lifts, cut, sanded and faired to shape with keel, rudder and propeller hull plug. Finished bright with India ink details of bulkheads, plating and port holes. Green-painted backboard with painted border, mahogany trim and painted “U.S. Light Vessel No. 57”. Backboard 18” x 48”. 400/600

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283.

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. 400/800

284.

CASED U.S. NAVY TELESCOPE/ GUN MOUNT Circa 1944 Made by Honeywell. Case height 9.5”. Width 13.75”. Depth 10”. 200/300

111

285.

BRASS CHELSEA SHIP’S CLOCK FROM THE SUBMARINE U.S.S. BLUEBACK Mid-20th Century Face marked “Chelsea Clock Co. Boston”. Mounted on circular wood board affixed with a brass label marked “USS Blueback SS581 Commemoration Dive 2000 - 10 January 80 Launched May 16, 1959”. Bezel diameter 11”. 1,000/1,500 Blueback was laid down by Ingalls Shipbuilding Corporation of Pascagoula, Mississippi on April 15, 1957. She was launched May 16, 1959, sponsored by Virginia McManes, wife of Rear Admiral Kenmore McManes, and commissioned October 15, 1959, Lieutenant Commander Robert H. Gautier in command. She was the last nonnuclear submarine to join the U.S. Navy and was the final conventionally powered combat-capable submarine to be decommissioned, leaving the Navy with a fully nuclear submarine fleet except for the research submarine U.S.S. Dolphin.

285

286.

CASED RUSSIAN CHRONOMETER 20th Century Possibly made for the Lend-Lease program. Case height 8”. Width 7.5”. Depth 7.5”. 600/900

286

287

287.

112

EXHIBITION STANDARD MODEL OF THE HIGGINS PT-BOAT, PENNANT #834 America, 20th Century Hull built up from the solid and painted with a red bottom and gray topsides, deck and most of the fittings. Well-detailed and to scale including anchors, deck boxes, bow gun, deck house radar, anti-aircraft turrets, raft, torpedoes, stern guns, etc. Displayed in a glass case with a mahogany base. Case height 11”. Length 29.25”. Width 10”. 2,000/3,000

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288.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Catboats, both flying American flags, racing off Hyannis Light. Signed lower right “Jerome Howes”. Oil on canvas, 22” x 28”. Framed 27.5” x 34”. 1,000/1,500

288

289.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Green-hulled tugboat May McGuirl of the Shamrock Towing Line, flying various flags, in a rough sea under darkened sky. In the style of Antonio Jacobsen. Signed lower right “J. Howes”. Oil on board, 16” x 22”. Framed 20.75” x 28.5”. 700/1,000

289

290.

JEROME HOWES New York/Massachusetts/Vermont, b. 1955 Catboats crossing tacks. Signed lower right “Jerome Howes”. Oil on panel, 14” x 16”. Framed 19.75” x 24”. 1,000/1,500

290

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113

291

291.

114

COLLECTION OF MINIATURE MOTORIZED MODELS DEPICTING Models include: THE EVOLUTION OF THE POWERED MAINE LOBSTER BOAT 190718-foot Peapod, a double-ended boat By Bob Tomsett (England, b. 1952). Twelve lobster boat models depict the 1910 29-foot Swan Island with a ram stern evolution from about 1907. Each model scratch-built in 1/96 scale with 1924 25-foot Redwing with a torpedo stern detailed construction notes on each, including research material and types 1925 22.5-foot Hampton with a ranking stern of wood and paints used in construction. Displayed on brass pins within a 1930 32-foot Mt. Desert Island with a dustpan stern two-tiered mahogany turntable case with blue fabric base, identifying brass 1930 35.5-foot Jonesport with a razor case stern name plaques for each model, and a brass-bound glass cover. Along with the 1950 33.9-foot Portland with a plain stern collection is a treatise on the Evolution of the Powered Maine Lobster Boat by 1960’s 34-foot U.S. Coast Guard-type with a plain stern the model builder, Bob Tomsett. Case height 12.5”. Length 24”. Width 16.5”. 1969 36-foot Swan Island with a flat stern 4,000/6,000 1970, Beal Island 1970-1980 Eastport Lobster boat Provenance: 1980 38-foot Holland 38 American Marine Model Gallery, Salem, Massachusetts, purchased by the current owner.

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292.

CASED MINIATURE MODEL OF THE MANX NOBBY GLADYS By Bob Tomsett (England, b. 1952). Built in 1:96 scale. Information pertaining to the building of the vessel on plaque affixed to case. Case height 9.5”. Length 10.25”. Width 4”. 800/1,200 Provenance: Purchased at the Maritime Gallery at Mystic Seaport.

292

293

293.

CASED EXHIBITION STANDARD MODEL OF A DELAWARE DUCKER By Charles G. Horne (America, 20th Century). Delaware Ducker is a 15-foot duck hunting skiff from Delaware Bay, circa 1880. Model built in ½” scale, the hull built up in plank-on-frame construction, the planking trunneled to the frames. Oval cockpit fitted with a mahogany coaming, open to show the interior frames, centerboard trunk, rudder, lines, masts and other details. Displayed on a pair of raised turned pedestals within a cherry case with ribbon inlay, blackpainted trim and glass cover with brass molding. Case height 10”. Length 22”. Width 7.25”. 800/1,200 Provenance: American Marine Model Gallery, Salem, Massachusetts.

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115

294

295

297

116

294.

MOUNTED HALF HULL MODEL OF THE GRAND BANKS SCHOONER ADVENTURE By Pat Cummings (America, b. 1931). Hull, in 3/16” scale, carved and faired to shape with a bright finished cherry bottom, painted black topsides with gold cove stripe, the name “Adventure” hand-lettered at the bow and stern, painted whitecap rail and stump masts. Mahogany backboard with brass name plaque listing details of the ship. Backboard 8” x 27”. 800/1,200

296.

MOUNTED HALF HULL MODEL OF THE GRAND BANKS SCHOONER NIMBUS By T.G. Conlon (America, 20th Century). Hull, in 3/8” scale, built up in eight lifts, the bottom finished bright and the topsides painted black with applied cap rail, name board with lettered “Nimbus”, stump masts and bowsprit. Stained pine backboard with name plaque, “T.G. Conlon” stamped lower right corner, and inscription on reverse with model and ship details. Backboard 9” x 39”. 400/600

295.

MOUNTED HALF HULL MODEL OF THE GRAND BANKS SCHOONER PURITAN By Pat Cummings (America, b. 1931). Hull, in 3/16” scale, carved and faired to shape with a bright finished cherry bottom, painted black topsides with gold cove stripe, the name “Puritan” hand-lettered at the bow, painted white cap rail and stump masts. Mahogany backboard with brass name plaque listing details of the ship. Backboard 8.5” x 31”. 800/1,200

297.

MOUNTED HALF HULL MODEL OF THE STERN WHEELER W.H. BANCROFT 20th Century Built up in four lifts, the two bottom lifts to the waterline in maple, the upper lifts in spruce. Detailed with deck house, stump masts and sternwheel. Plaque marked “W.H. Bancroft 1912 Copper River Alaska”. Mahogany backboard 11.25” x 38.25”. 1,000/1,500

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298

298.

299.

WARREN BOUCHER Rhode Island, 1922-1999 Lobsterman rowing a Grand Banks dory, outrunning a storm. Two-masted sailing vessel off her bow. Signed and dated lower left “Warren Boucher 80”. Boucher’s business card verso. Oil on masonite, 30.5” x 48”. Framed 39” x 55”. 5,000/8,000

WHIRLIGIG IN THE FORM OF A MAN ROWING A DORY 20th Century Directional formed as a fish jumping out of the water. Total height 23.5”. Approx. length 29”. 300/500

300.

CARVED WALNUT SHIP’S WHEEL PICTURE FRAME First Half of the 20th Century Total height 15.75”. Width 14.5”. 200/300

301.

SIX PHOTOGRAPHS DEPICTING THE AUSTRALIAN SOUTHERN CROSS ROWING CLUB Circa 1880 Smallest 3” x 4”. Largest 8” x 11”. Unframed. 300/500

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117

302

303

302.

118

DAVID THIMGAN California, 1955-2003 “Schooner Sacramento at Albion, California”. Signed lower left “D. Thimgan”. Titled on frame plaque. Oil on canvas, 20” x 30”. Framed 28” x 38”. 5,000/8,000

303.

DEREK GEORGE MONTAGUE GARDNER Scotland/England, 1914-2007 British vessel off the coast. Signed and dated lower left “Derek G.M. Gardner 1984”. Watercolor on paper, 9” x 13” sight. Framed 16” x 20”. 3,000/4,000

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304.

305.

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. Silvered dial with engraved wax-filled Roman numerals, a recessed subsidiary seconds dial below the XII, and two winding posts, one for time and the other for strike, flanking the center of the hands. Brass case with three wallmount brackets at the XII, III and IX, and fancy floriform cutouts at sides, which allow the sound to amplify. Keyhole on left side of case locks the bezel. 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”. 5,000/7,000

304

CHELSEA MILLENNIUM 8-INCH SHIP’S BELL CLOCK Boston, 1999 Signed below the center “Chelsea”. Eight-day lever-escapement and ship’s bell striking movement. Silvered dial with applied raised Arabic gilt numerals and Double-M millennium symbol and incised chapter ring. Hinged bezel. Gilt brass casement with American walnut base engraved with the names of famous artists and scientists. In original fitted presentation box. Total height on base 12.5”. Width 14”. Bezel diameter 8.5”. 1,500/2,500 The “New Millennium” was introduced by Chelsea in 1999 to celebrate the millennium.

306.

BRASS CHELSEA SHIP’S CLOCK Boston, 20th Century 8-day time and strike movement. Burnished Arabic numeral dial marked “Chelsea Ship’s Bell”. Screw-on bezel. Mounted to a mahogany stand. Height 9.25”. Bezel diameter 7.25”. 600/800

307.

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”. 600/800

305

306

307

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119

BRIAN COOLE England/America, b. 1939

308

309

308.

120

Portsmouth Harbour. Signed lower right “Brian Coole”. Oil on panel, 23” x 47”. Framed 29” x 53”. 2,000/3,000

309.

“Boston Harbor 1850”. Signed lower right “Brian Coole” and titled lower center. Oil on panel, 22” x 35.5”. Framed 28.5” x 42.25”. 2,500/3,500

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310. Ship in Boston Harbor. Signed lower right “Brian Coole”. Oil on board, 16” x 20”. Framed 23” x 27”. 3,000/5,000

310

311.

Whaling scene with two whaleboats, one of which is stoved, and a distant whaleship. Signed lower left “Brian Coole”. Oil on panel, 5.5” x 11.5”. Framed 10” x 16”. 1,000/1,500

311

312.

Portrait of an American brigantine. Signed lower right “Brian Coole”. Oil on board, 13” x 16.25”. Framed 22” x 25”. 1,200/1,800

312

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121

N I E K VA N D E R P L A S The Netherlands, b. 1954

313.

Beach scene with colorful umbrellas. Signed lower right “Van Der Plas”. Oil on board, 18” x 24”. Framed 25” x 31”. 2,000/4,000

314.

A regatta. Signed lower right “Van Der Plas”. Oil on board, 16” x 26”. Framed 23” x 33”. 2,000/3,000

315.

A day at the beach. Signed lower right “Van Der Plas”. Oil on board, 12” x 16”. Framed 17” x 21”. 1,500/2,500

313

314

315

122

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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 following lots of paintings and rare instruments.

316

316.

ATTRIBUTED TO RICHARD WRIGHT United Kingdom, 1735-1774 British Squadron and Dutch ships in a squall, circa 1760. Oil on canvas, relined, 16.5” x 25.25”. Framed 19.25” x 28.25”. 2,000/3,000 Provenance: West Sea Company, Old Town San Diego, 1992. The Kelton Collection of Marine Art & Artifacts.

317.

18TH CENTURY ITALIAN POCKET UNIVERSAL EQUINOCTIAL DIAL Circa 1768 By Giorgio Savoi, Florence. Signed “Gio: Savoi F: in Firenze”. Hinged equinoctial dial ring with Roman numbers III - XII - IX and a folding latitude support arc engraved with 10-75 degrees latitude scale. Ring has a reversible needle gnomon (north and south for winter and summer use) and an inset glazed compass with the principal points indicated. Diameter 3”. 700/1,000

317

Provenance Christie’s, South Kensington, December 1986.

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123

selections from

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

318.

318, two views

18TH CENTURY DUTCH LOG IN THE FORM OF A TOBACCO BOX Circa 1769 By Pieter Holm (Swedish, fl. 1700-1776). Brass and copper oval box with hinged lid, the outside surface engraved with Pieter Holm’s “Zee Meeter”. Also engraved on the front with the name of Pieter Holm’s navigation school in Amsterdam “Regt Door Zee” (straight-forward). Inside lid bears either the etched number “3”, or possibly the letter “E”, depending on how it is viewed. Bottom of box with engraved inscription in Dutch, roughly translated to “No riches of knowledge can one lose, Therefore before riches should one choose”. Box also engraved with a perpetual calendar on the lid with data to calculate the lunar cycle from the calendar date. The date of the box’s manufacture, 1769, appears at lower right. Also inscribed are two roundels bearing likenesses of calendar reformers “Julius Caesar Voor Christi 45” (45 B.C.) and “Pope Gregory 1582”. Box length 7”. Width 2”. 700/1,000 Provenance: Tesseract, Hastings-on-Hudson, New York, March 2001.

319.

18TH CENTURY EBONY QUADRANT Circa 1781 Unsigned. Ebony frame with reverse sight and inset ivory scales to 100 degrees. Inscribed “John Holdsworth 1791”, probably the original owner. Length 15.75”. Width 13”. 700/1,000 Provenance: West Sea Company, Old Towne, San Diego. Exhibited: Pacific Asia Museum at U.S.C., Trade and Treasure Exhibition, 1987.

319

124

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320

This instrument represents the bridge between the watch timer and the modern ship’s clock and was designed to be mounted on the binnacle in front of the helmsman. Tobias states in his patent: “My invention is intended to supersede the use of sand glasses used on board ships, and is described as follows, viz:__ In so calculating the train of the movement and motion and so contriving, graduating and numbering the dial as to divide time in the same manner as seamen and mariners usually do at sea by means of a half-hour sand glass and bell, for the purpose of regulating their several watches on deck and in the manner in which I have contrived the case, and fitted the said timekeeper into it, to answer several purposes in regard to winding up and securing it from injury by wet, and for conveniently and securely attaching it or fixing it to the binnacle ... My said binnacle time keeper therefore answers the several purposes of a watch, a half-hour sand glass, and a bell, with less trouble and more truth.” About 500 of these time keepers were constructed in the period between 1812 and 1824. Of these, fewer than 20 are known to still exist.

320.

BINNACLE TIMEKEEPER BY MORRIS TOBIAS England, 1800-Circa 1814 Signed on backplate of movement “Patent No. 321 Morris Tobias London”. White enamel face with three concentric dials, the inner being the hours dial with Roman numerals, XII-IIIIII et seque, the outer indicating a period of 30 minutes with Arabic numerals, 30-5-10 et seque to 25, and between these two a dial graduated in three 120-degree sectors, each marked in Arabic numerals, 0.1.2.3.4.5.6.7.8. et seque, to indicate the number of “bells” to be struck at a given time. Yellow metal hour and minute hands. Movement with verge escapement (brass movement and ornately pierced jeweled balance cock), which is engraved “PATENT No.321 Morris Tobias London” and has a “slow-fast” adjustment. Dial marked 1-8 in Arabic numerals indicating each half-hour bell of a four-hour watch. The numbers are further subdivided into six units representing five minute intervals as the short hand moves through eight units. The longer hand rotates once each hour with each of the eight units representing 7½ minutes. Hinged locking bezel and spring-loaded winding dust cover. Solid brass case mounted in an ornately carved mahogany mantel-type case. Height 10.5”. Width 18”. 1,500/2,500 Provenance: West Sea Company, Old Towne, San Diego, September 2000.

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125

selections from

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321.

BRITISH TELL-TALE COMPASS Circa 1800 By Thomas Parnell (British, fl. 1795-1846). Signed at the center of the printed card “Thos. Parnell 2 near Hermitage Bridge London”. Fleur-de-lis north indicator. Brass drum case is gimbaled. Magnetized needle. Height 4”. Width 10”. Diameter 5”. 600/800 Provenance: Sotheby’s, London, June 1986. Thomas Parnell made all types of marine instruments, including quadrants. In 1814 his business was taken over by William Parnell.

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MINIATURE BRASS SEXTANT London, Circa 1800 By W. & S. Jones (London, 1763-1861). Signed on the arc “W. & S. Jones Holborn London”. Brass “X” frame with inset silver scale divided in 5-0-160 degrees, vernier and tangent screw, two sets of colored filters, magnifier and shaped mahogany handle. Original shaped mahogany case with two eyepieces. Height 5”. Width 4.5”. 1,000/1,500 Provenance: Arthur Frank Collection of Scientific Instruments. Sotheby’s, London, March 1986.

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The Medina was a fine example of an East Indiaman constructed after the turn of the 19th Century. Painting a ship from more than one perspective, as seen here, was a common practice in ship portraiture. Whitcombe accomplishes this while presenting a detailed composition of a ship leaving its pilot and with its crew busily engaged in setting sails for her voyage. Thomas Whitcombe was one of the important maritime chroniclers during the French Revolutionary War period, and he made paintings for at least 150 wartime engravings, in addition to his peaceful subjects and other war pictures. He exhibited 56 paintings at the Royal Academy between 1783 and 1824. Thirty-five of his paintings are in the National Maritime Museum at Greenwich.

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THOMAS WHITCOMBE United Kingdom, 1752-1824 The 44-gun frigate Medina in two positions, circa 1810. Oil on canvas, 39” x 60.25”. Framed 45.75” x 67”. 7,000/10,000 Provenance: Jack Partridge, Edgecombe, Maine. Purchased from the above at the Winter Antiques Show, New York, January 26, 1986.

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AMERICAN DECK WATCH LOG SLATE Circa 1810 Double-faced black slate in a pine frame. This is unique, and most likely for recording tables of compass deviation, the angular difference, or error, between magnetic north and compass north. Left side of slate engraved with columns headed “H” (hour), “K” (knots), “F” (fathoms), “Course”, “Winds”, “L” (Lee), “W”(way) and one blank. The “H” column has a vertical row of numbers 1-12 and 1-12. At the bottom is another set of columns marked “C” (course), “D” (deviation), “N” (north), “S” (south), “E” (east) and “W” (west). Height 13.75”. Width 9.75”. 800/1,200 Provenance: West Sea Company, Old Town, San Diego, October 2000.

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EAST INDIA COMPANY ARTIFICIAL HORIZON Circa 1820 By Troughton & Simms (British, fl. 1826-1922). Unsigned. Oxidized brass artificial horizon with East India Company monogram. Burnished iron mercury bottle and trough. Fitted mahogany case with brass carrying handle. Height of dome 4.25”. Width 6.5”. 300/500 Provenance: Christie’s, London, September 1988.

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Thomas Jones studied with,Jesse Ramsden, the preeminent English instrument maker of his time, and married his daughter. The reflecting circle was devised in the 1750s by German astronomer Tobias Mayer in order to measure wider angles through the use of a circle of 360 degrees instead of the arc of 120 degrees as in the sextant.

BRITISH REFLECTING CIRCLE Circa 1820 By Thomas Jones (British, fl. 1806-1861). Signed on frame “Thomas Jones 62 Charing Cross London”. Lattice framed brass reflecting circle with inset silver scale, triple arms with silvered verniers, adjustable with tangential screw, magnifier, sighting scope with two lenses, colored glass filters and mahogany grip. Original mahogany case. Height 10”. Diameter 10”. 2,000/3,000 Provenance: Sotheby’s, London, February 1986. Exhibited: Pacific Asia Museum at U.S.C., Trade and Treasure Exhibition, 1987.

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327.

PATENT BRASS BINNACLE COMPASS Circa 1850 By Edward Dent & Co. (British, 1790-1853). Signed on the card “Dent No. 1479 Pat. 20”. Kelvin Bottomley & Baird Ltd. floating compass card, under thick gauge, pyramid shaped brass hood with a triangular viewing panel, supported by a mahogany base. On the right is a brass side light with hinged door for access to an automatic feeding candle. The base has several innovative features such as locking compass card, and a tube for spare candles. Brass and mahogany carrying handle. Height 15”. Width 9”. Depth 9”. 700/1,000 Provenance: Harriet Wynter Collection, South Kensington, London. Sotheby’s, London, October 1994. Literature: Marine Navigation Instruments by Randier, p. 34.

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Edward Dent was innovative and awarded several patents, as well as a prize from the Admiralty for the accuracy of one of his chronometers. After his death the firm became E. Dent & Co. In 1850 he patented a compass used by the Royal Navy. This example is quite likely from that patent, given the marking on the cap, engraving “Dent No. 1479 Pat. 20” and etched Admiralty Broad Arrow, signifying naval service.

BURT’S EQUATORIAL SEXTANT Circa 1856 By William Jones Young (American, 1800-1870). Inscribed “Patent applied for by Wm.A.Burt #5”. Based on a design by William Burt (American, 1792-1858), this complex navigational instrument is known as a “reflecting” equatorial sextant, with a brass 10½” diameter vertical meridian circle supporting the “solar sextant” mechanism within. A latitude circle rides within the meridian circle, adjusted by clamp and tangent screw, and carries the hour angle ring with its canted silver scale and vernier, clamp and fine motion, and linkage to the sextant. The sextant itself is mounted on a horizontal azimuth circle, and is equipped with two mirrors, two filters, peep sight, auxiliary telescope, and solar declination adjustment to the horizon mirror. There are inlaid silver scales and one-arc-minute silver verniers, plus two removable index arms for calibration. Complete with adjustable stand with rotation clamp and tangent screw and original mahogany carrying case. Height 14”. Width 11.5”. Diameter of circle 10.5”. 1,500/2,500 Provenance: Tesseract, Hastings-on-Hudson, New York, 1994.

Only seven equatorial sextants are believed to have been made, and three of these, all made by Young, are the “reflecting” style. William Burt provided them to Lt. Matthew Fontaine Maury of the U.S. Navy for evaluation in 1856. Maury purchased them April 21, 1856 for $200 each. One was given to the U.S. Naval Academy and two to the Naval Observatory in 1893. The Naval Observatory states their records indicate they disposed of the instruments in 1898, but one is still recorded at the Naval Academy. This instrument is believed to be the last of the three William Young examples.

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EBONY OCTANT Circa 1860 By John Crichton (Glasgow, fl. 1831-1865). Signed “Made for A. Dobbie by Crichton, London and Glasgow”. Frame with inlaid ivory scale, which measures an arc of 105 degrees, and a smaller vernier scale on the index arm, making very accurate measurements possible. Also with clamping and a tangent screw for fine adjustments, two sets of filters, a viewing tube for sighting and a handle. Shaped mahogany box with trade label of J.R. Cameron, Liverpool. Octant length 12”. Width 9.5”. Box height 5”. Width 12”. Depth 13”. 300/500 Provenance: Sotheby’s, London, October 1986. John Crichton was instrument maker to the East India Company.

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AMERICAN BOXED COMPASS Circa 1862 By Edward Samuel Ritchie (fl. 1839-1870). Signed “Ritchie Boston”, hand-painted on one of the cross bars of the card. Early liquid-filled compass with a tubular “doughnut”-style card with signature in characteristic backhand block letters. On the periphery of the float tubes is the circular card, also handpainted, with the cardinal points sub-divided into 32 points of the compass rose. On the interior bowl is a penciled inscription “HLR 7/07”, which has been determined to be a repair mark by one of Ritchie’s sons in 1907. Mahogany box with brass fittings. Brass work on the compass, rounds and arcs and the heft of the fittings is exemplary. Height 6.5”. Width 11”. Compass diameter 8”. 400/600 Provenance: West Sea Company, Old Town, San Diego, 2001. Edward Samuel Ritchie began business in Boston in 1839. In 1850, with partner Nathan Chamberlain, he set up a firm that produced compasses, thermometers and other instruments. It is known that Ritchie manufactured compasses before he patented his first liquidfilled (wet) compass in 1862. His first wet compasses were modeled after London maker Grant Preston’s design, which Ritchie had seen in England, and went on to produce for the U.S. Navy during the Civil War. He is credited with inventing and manufacturing the first practical liquid-filled compass in 1862. Compasses manufactured by Ritchie after his patent typically bore the patent date and a sequential serial number on the flange. This compass bears no such marks, leading to the speculation that this is one of his earliest examples, dating 1862 or earlier, with the signature being that of Ritchie himself.

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WILLIAM GAY YORKE 332. WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 New York/Canada/England, 1817-c. 1888 The American ship Caravan assisting the ship Casilda. Circa America’s Cup 1885, Puritan vs. Genesta. Signed and dated 1866. Oil on canvas, 26” x 42”. Framed 34” x 50.5”. lower left “W.G. Yorke 1885”. Oil on canvas, 22” x 34”. 6,000/8,000 Framed 32.5” x 42.5”. 7,000/10,000 Provenance: Christie’s, New York, July 2003.

Provenance: Vallejo Gallery, Newport Beach, California, June 1998. The 1885 America’s Cup race between Puritan and Genesta was the first in which the cutter design dictated the shape of the competitors. Cutters were primarily raced in England and their design described as “plank-on-edge”, with deep hulls and towering rigs that were fast in the strong winds in England. Boston designer Edward Burgess was the master of the “compromise sloop”, which were lightweight, with a wide beam and a shallow hull with centerboard. This design paradigm proved ideal for the lighter winds in America during the summer. The American yacht Puritan defeated the English Genesta in two races to win the America’s Cup.

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333.

AMERICAN PENDULUM ARTIFICIAL HORIZON SEXTANT Circa 1880 By Hall Colby. Signed on the arc plate “Hall Colby Altimiter - No. 6 Patent Applied For xxxx”. A semicircular scale, divided 90-090 in units of 30 arc-minutes so as to indicate either altitude or zenith distance. An arc-shaped pendulum, pivoted at the center of the circle, is used to establish a horizontal line of reference. The pendulum arc carries two verniers that read to 1 arc-minute. Sights are mounted along the top of the frame. A trigger mechanism releases the pendulum to swing freely while the object is sighted and then locks the pendulum in position so that the sextant can be read. Height 7.5”. Length of tube 10”. 700/1,000 Provenance: West Sea Company, Old Town, San Diego, 1999.

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The only other known example of this instrument is at the Mariner’s Museum in Newport News, Virginia.

BRITISH HYDROGRAPHIC SURVEY QUINTANT WITH PEDESTAL MOUNT Circa 1885 By Henry Porter (Wm. Carey & Co). Signed on the index arm “Platina & Gold Cary London 980”. Cross arm engraved “Captain A. Mostyn Field RN H.M. Ships ‘Dart’ ‘Egerie’[sic] ‘Penguin’ ‘Research’ 1885-1904 Presented to H.O.[Hydrographic Office] 1934” with Admiralty broad arrow mark. Quintant with a 12” radius arm, a platinum inset index that reads to 145 degrees of arc, and the vernier index on a pink gold inset. There are three horizon and four sun filters and the index arm features an unusual mounted adjustable bubble level. Along with a sighting tube are two telescopes (one with adjusting knob) and a spare lens. Original box label identifies the quintant as being made by Henry Porter, “Apprentice and successor to the late W. [William] Cary”, the pedestal inscribed with the maker’s name and location. Inside the box lid are two labels: “Henry Porter, apprentice and successor to the late W. Cary Optician & Mathematical Instrument Maker ...” and a certificate of examination for a class A instrument from the Kew Observatory, Richmond, Surrey, dated March 1885. Height on stand 18”. Width of arc 10”. 2,000/3,000

Literature: Taking to the Stars by Peter Ifland (Kreiger Publishing Co., 1988), p.108 for a discussion of this instrument.

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Provenance: Capt. A. Mostyn Field, RN. West Sea Company, Old Towne, San Diego, June 2002.

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335.

DOUBLE REFLECTING CIRCLE Created 1888 By Charles Townsend (British, 1833-1904). Signed “C.H. Townsend Patd. January 31,1888”. In brass, with inset silver scale divided to 20 arc-minutes and twin silver 20 arc-second verniers. Two mirrors are independently mounted at the center of rotation, each with vernier arm and magnifier. The mirror arms can be adjusted manually or with tagent screws. Original pine box with additional lenses and accessories. Circle diameter 10”. 800/1,200 Provenance: Bill Wheeler, the Oar House, Portsmouth, New Hampshire.

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Exhibited: Pacific Asia Museum at U.S.C., Trade and Treasure Exhibition, 1987.

20TH CENTURY REPLICA OF THE KRONBORG ASTROLABE Circa 1935 Attributed to Iver C. Wielbach & Co. (Danish, 1755-present). A brass replica of the 1639 semi-circle astrolabe, made in approx. two-thirds scale of the original, in the collection of the Danish Maritime Museum in Helsingor, Denmark. Aside from one recovered from the wreck of the Batavia, circa 1639, the Kronborg astrolabe is the only known surviving semi-circle design. The original Kronborg instrument is Dutch and dates to the 1600s. The four fleur-de-lis marks in the form of a diamond are known to appear on other Dutch astrolabes. Original mahogany box. Height 10”. Width 9.5”. 1,500/2,500 Provenance: Unknown French dealer. Hyland Granby Antiques, Hyannis Port, Massachusetts, 2001. Literature: The Mariner’s Astrolabe by Alan Stimson (Coimbra, 1985) with references about the original, this specific copy and others as noted.

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At least three copies are listed by Stimson: one at the Norwegian Maritime Museum, Oslo, made in 1935 by Iver C. Wielbach & Co., another at the Polish Maritime Museum, Gdansk, by an unknown maker circa 1980, and a third at the Naval Memorial Museum, Washington D.C., also made by Wielbach & Co. in Copenhagen under the supervision of Carl Solver. This instrument was donated to the Navy Museum in 1968 by Herbert R. “Spike” Spencer. The date of manufacture is unknown.

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PAGET PILLAR FRAME ANGLE SEXTANT Circa 1910 By Henry Hughes & Son (British, fl. 1903-1947). Signed on face “The Paget Angle Sextant #850 H. Hughes & Son 59 Fenchurch St., London”. “Pillar frame” sextant, in wood, metal and glass, invented by Paget, is constructed with parallel metal disks supporting a peep sight, half-silvered horizon mirror with fine calibration adjustments, and a large geared index mirror. The latter is driven by an external index arm moving against an ivorine circular scale divided every half-degree from 0-90 degrees. Fitted with a hardwood handle. Height 5.5”. Diameter 4.5”. 300/500 Provenance: Tesseract, Hastings-on-Hudson, New York, 2002.

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CHERUB TAFFRAIL LOG 339. LARGE CARVED AND PAINTED EAGLE PLAQUE Circa 1900 "LIVE AND LET LIVE” A pair of brass ship’s “Cherub” log spinners, one with Boston, Mid-20th Century rope attachment, a nautical mile taffrail mounted By the Artistic Carving Company. Gold spreadcounter by T. Walker & Son Ltd. (British, 1805-1873), wing eagle with curved head, a blue “Live and Let and a three-bladed bronze propeller. Length 14”. Live” banner in its beak, and a red, white and blue 400/600 cornucopia-shaped shield in its talons. Pictured in the Artistic Carving Company catalog as model Provenance: “Chesapeake No. E-72G”. Height 16.5”. Width 47.5”. Christie’s, London, September 1988. 800/1,200

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340.

MODERN RUSSIAN MARINE COMPASS 1979 Unsigned. Cyrillic label affixed to inside of lid. Gimballed liquid-filled marine compass with brass bearing/azimuth circle, sun shades, prism and a 7.5” diameter dial. Wooden carrying case. Compass inscribed “No.1972”, azimuth circle inscribed “No.1265” and the case dated 1979 on a mounted plaque. Case height 9”. Width 10”. Depth 10”. 300/500 Provenance: Sovietski Collection, San Diego, April 1999.

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MODERN RUSSIAN STAR GLOBE Circa 1980 Signed in Cyrillic. Yellow-brown sphere with steel meridians and horizon rings, set within a hinged pine box with securing clamps, pencil and label in lid, catch, handle and ID plates. Box height 10”. Width 10”. Depth 10”. 800/1,200 Provenance: Christie’s, London, November 1997.

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MODERN RUSSIAN NAVIGATION SEXTANT 1987 Unsigned. Die-cast aluminum frame with corrosion-resistant gray finish. With inset steel radius scale, magnifier on arm to read fractions, and several accessories including an additional 4 x 40 sighting scope, two wrenches to adjust mirrors and arm, a vial of lubricating oil and a cleaning brush. Sextant length 8.5”. Width 9”. Box 10.5” x 10.5” x 7”. 300/500 Provenance: Sovietski Collection, San Diego, April 1999.

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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.

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. 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.

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

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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$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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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:

25% buyer’s premium will be added to the hammer price. See Item 5 above.

Or ship to:

Total 10% Deposit

Have you examined the items listed above?

Yes:

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 138

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

No: