Eldred's 2020 Marine Sale

THE MARINE SALE AUGUST 13, 2020

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

Thursday, August 13, 2020

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. There is a 2 percent buyer’s premium discount for payment made in full via cash, check, money order or wire transfer within ten (10) days of the invoice date. 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. Mixed payment methods are not eligible for the buyer’s premium discount.

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.

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

Auction

Beginning at 10 a.m. Eastern at our East Dennis Headquarters.

Exhibit

Wednesday, August 12 from 10 a.m. to 5 p.m., and by appointment.

Important notices

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.

Absentee and Telephone Bidding

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

Online Bidding

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

All dimensions and weights are approximate.

Per Federal and international regulations, items made with whale bone, ivory or other protected species will not be shipped internationally without CITES and other necessary permits.

Obtaining these permits is the exclusive obligation of the buyer.

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

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Staff Directory Antiques & Fine Art Specialists

Production & Administrative Staff

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

Mary Ann Giddings Eldred Chairwoman of the Board maeldred@eldreds.com Wendy A. Dunford Treasurer wendy@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

Devyn Henry Administrative Assistant dhenry@eldreds.com Kristin Kiley Client Services Manager/Shipping kkiley@eldreds.com

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

Angela R. McParland Executive Assistant amcparland@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Kristyn Mills Head of Photography kmills@eldreds.com

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

Madison Morris Assistant Head of Photography mmorris@eldreds.com Kathleen Morse Auction Coordinator kmorse@eldreds.com

Gregg Dietrich Senior Consultant and Specialist

Tanya Sargent Assistant to the Treasurer tsargent@eldreds.com

John H. Schofield Consultant Susan M. Schofield Consultant Jennifer Lacker Mystic Representative

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

Mary M. Kuhrtz, Barbara H. Cleary and Christine Leofanti Gallery Assistants

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

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Caleb G. Seaver Shipping cseaver@eldreds.com

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pinterest.com/eldredsauction

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eldredsauction

Navigating 2020 could easily be compared with a captain weathering a fierce storm. Like how a captain would be proud of how his ship and its crew fared in tumultuous seas, I’m so proud of how my staff weathered shutting down our offices, working remotely and “socially distanced”, and yet still managing to run successful auctions this spring and put together an exceptional series of auctions for the summer season.

We are especially proud to present this year’s Marine Sale, featuring the Kelton Collection of Marine Art and Artifacts, an important Newport, Rhode Island Collection, and numerous other significant and historic pieces.

As always, we thank you, our clients, for your trust and patronage.

We look forward to seeing you, but in the meantime, we wish you fair winds and following seas.

Joshua Eldred President

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Properties From

The Kelton Collection of Marine Art and Artifacts An Important Private Newport, Rhode Island Collection A Private Collection, New York The Collection of Sam and Donna McDowell A Long Island Collection The Estate of a Massachusetts Collector The Estate of a Rhode Island Gentleman The Collection of J. Revell Carr The Collection of Paul Vardeman A New Hampshire Collection of Paintings A Private Collector, New York A Private Collection, Cape Cod, Massachusetts And numerous other estates and collections

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index Auction Information Page 1 Staff Directory Page 2 Index of Artists Page 6-7 Scrimshaw & Whaling Lots 1-196 Scrimshaw & Whaling Lots 1-196 Napoleonic Prisoner-of-War Lots 197-210 An Important Newport Rhode Island, Collection Lots 211-217 The Kelton Collection Lots 234-314 Instruments & Clocks Lots 315-329 Also Paintings, Ship Models, Yachting Memorabilia and Much More Bidder Information Page 205 Conditions of Sale Page 206 Absentee and Phone Bid Form Page 207 Illustrations Page 208

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Index of artists

Badger, Samuel Finley Morse

299

Heard, Isaac

248

Bassford, Franklyn

211

Hoie, Claus

196

Bennett, Andrew

430

Hustwick, Francis

244

Blake, Anthony D.

338

Jacobsen, Antonio Nicolo Gasparo

Bradford, William

276

Johnson, Marshall

423

Buttersworth, James Edward

346

Kenney, Charles "Fran"

424

Coulter, William Alexander

304

Krupp, Louis

431

Courter, Franklin

349

Le Gendre, Eugene Charles

247

Cozzens, Frederic Schiller

384

Leavitt, John Faunce

230

Cross, Roy

232

Levick, Edwin

389

Davidson, Julian O.

236

Levier, Charles

381

Dawson, Montague J.

337

Lewis, Edmund Darch

Dodd, Louis

298, 385

Loos, John

297

Dodd, Robert

252

Loud, Richard K.

339

Eldred, Lemuel D.

195

Luny, Thomas (attr.)

242

Fong, Lai

274

Lynn, John

245

Mays, Victor, Jr.

426

Gleason, Joe Duncan

305, 307, 310

Grant, Gordon Hope

309

McFarlane, Duncan

254

Greene, Walter L.

306

McNarr, Donald

398

Mears, George

251

Hardin, Adlai Stevenson

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212, 213

233, 266-270

221, 222

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Index of artists

Mecray, John

214-216

Smith, Joseph B. and Son

286

Melling, Henry

253

Spencer, Richard Barnett

379

Moran, Edward

378

Torgerson, William

383

Murday, John (attr.)

347

Tudgay, Frederick J.

246

Nakano, Alan

428

Van Emmerik, Govert

345

Pansing, Frederick

303

Waldron, Charles J.

249

Pearce, Leonard John

228

Walkley, David B.

427

Pearce, Leondard John

425

Walters, Miles and Samuel

255

Pellegrin, Honore

229

Walters, Samuel

Pellegrin, Joseph Honore Maxime

300

Whitcombe, Thomas

250

Quartley, Arthur

380

Whitcombe, Thomas (attr.)

343

Richards, William Trost

386

Wilkinson, Norman

308

Rosenfeld, Morris

226, 256-259

387, 388

Willis, Thomas

217-220

Roux, Francois Joseph Frederic

241

Yorke, Mary E.

279

Roux, Francois Joseph Frederic (attr.)

240

Yorke, William Gay

Sailmaker, Isaac (attr.)

243

Yorke, William Gay and Mary E.

Salmon, Robert

227, 340-342

Sanborn, Percy

296

Scott, Henry Sheppard, Warren W.

262, 263, 277, 282, 283

Yorke, William Gay and William H.

278, 280, 284 281

301, 302 422

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

Any item made with ivory and bone is not available for international delivery without CITES and other necessary permits.

Obtaining these permits is the obligation of the buyer.

Please be aware of current international and domestic regulations and bid accordingly.

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see photos of all lots and view condition reports at www.eldreds.com

1, obverse and reverse

1.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH AMERICAN-FLAGGED SHIP

Mid-19th Century Obverse depicts a three-masted ship flying a red, white and blue American flag off the stern and a long pennant from the central mast. Off her stern is a smaller vessel flying a red pennant.

Off her bow is a spit of land with a lighthouse, a figure and two trees. Hulls and the halfmoon waves are deeply engraved. Reverse depicts three whaleboats, one in chase of a pod of whales, and two engaged in an active kill, with the whale surfaced and spouting blood. Illegible monogram at lower edge. Length 7.25�.

1,200/1,800

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2.

SCRIMSHAW WHALE’S TOOTH WITH WHALESHIP AND SAILOR

Mid-19th Century Obverse depicts a port view of a ship at sea, flying an American flag off the stern and a long pennant from the central mast. Pennant with an unusual row of dots along its length. The ship’s bow wraps around the edge of the tooth to the reverse. Foliate boughs at base. Reverse depicts a bearded sailor holding his hat in his left hand and pointing his outstretched right arm at a flagpole flying a large American flag. Length 6.5”.

3,000/5,000

2, obverse and reverse

3.

* ENGRAVED WHALE’S TOOTH

BY WILLIAM PERRY

New Bedford, 20th Century Depicts a bow-view portrait of the whaleship Wanderer, with the ship’s name incorporated into the water. Signed “WP” lower left and with a “W” and a “P” incorporated into the left and right sides of scene. Length 6”. Mounted to a chip-carved wooden stand. Total height 7.75”.

800/1,200

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4.

ELABORATELY ENGRAVED BONE PANEL TITLED “THE FAREWELL” 19th Century Depicts a man in a top hat comforting a lady, while his American-flagged ship is at anchor in the distance. Scene is centered below a geometric-patterned Rococo arch, with a foliate vine above, dolphins flanking scene, and a fruiting vine below. Titled in script lettering within a rectangular panel on reverse. Natural formation of the bone, probably a scalpula bone, allows the arched panel to stand on its own.

Height 6”. Width 5.75”.

1,000/3,000 This piece is probably by the same hand as a tooth sold at Eldred’s, The Marine Sale, July 25, 2019, Lot #5, which has a nearly identical Rococo arch and very similar foliate and fruiting vines. That tooth was from the collection of Meylert Armstrong and was illustrated in Scrimshaw and Scrimshanders, Whale and Whalemen by E. Norman Flayderman, p. 64 and 66.

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4, reverse

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ADDENDA LOT

4A.

SCRIMSHAW WHALE’S TOOTH SIGNED BY WILLIAM SIZER AND DATED 1834 Collection of mostly patriotic motifs covers nearly the entire surface of the tooth. One side with “Eng. By W. Sizer”, a small weeping willow tree, and a full-length portrait of a long-haired Lady Liberty wearing a sash, holding a staff topped with a Phrygian cap, and standing next to a rope-entwined anchor that rests on a foliate-decorated rectangle.

Marked on one edge of tooth “Pacific Ocean. July 4. 1834”. Opposite edge with image of a whale. Other side of tooth with a foliate sprig, a spread-wing eagle clutching an “E. Pluribus Unum” banner in its beak and hovering over a shield, crossed American flags, a cannon and cannonballs, and a warship with two decks of guns, pennants flying from the masts and a large American flag flying off the stern. Many of the elements, including the gunports, the cannonballs and Liberty’s sash, are very deeply stippled, and the water around the ship’s hull is deeply engraved. Length 6.5”. Includes wooden stand. Height on stand approx. 8.5”.

50,000/100,000 In Stuart M. Frank’s Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists (Mystic, Ct.: Mystic Seaport, 2013), p. 258-259, William Sizer is described as a Franco-Azorean whaleman from New England, who was believed to have been onboard an 1834-1837 voyage of the whaleship L.C. Richmond of Bristol, Rhode Island, presumably when this tooth was produced.

His output included a number of outstanding teeth, some of which are signed.

Sizer, born in 1801 in Chester, Massachusetts, died at sea in 1840 and was buried in Tahiti.

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ADDENDA LOT

4A, obverse, reverse and edges

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5, obverse and reverse

5.

In Stuart Frank’s Scrimshaw and Provenance: A

SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO WILLIAM SIZER

Circa 1835 Obverse depicts a full-length portrait of a woman in Renaissance-like attire, including a large festooned hat, a long scarf and patterned dress with an exaggerated collar. Reverse depicts flowers in a footed compote. Attributed to Sizer by Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling Museum, as indicated in an April 19, 2016 email to the consignor.

Length 7.25”.

3,000/5,000

Third Dictionary of Scrimshaw Artists (Mystic, Ct.:

A tooth by William Sizer with a similar portrait of a woman is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 3.1b.

signed, and some of which bear similar portraits

Mystic Seaport, 2013), p. 258-259, William Sizer is described as a Franco-Azorean whaleman from New England, who was believed to have been onboard an 1834-1837 voyage of the whaleship L.C. Richmond of Bristol, Rhode Island. He produced a number of outstanding teeth, some of which had portraits of the L.C. Richmond, some of which are of women to this example. Sizer, born in 1801 in Chester, Massachusetts, died at sea in 1840 and was buried in Tahiti.

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6.

SCRIMSHAW WHALE’S TOOTH 19th Century Depicts a two-masted brig at sea, flying a large American flag off the stern and a long pennant from the mast. Length 4”.

400/600

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7.

* ENGRAVED WHALE’S TOOTH 20th Century Obverse depicts Lady Liberty holding a Liberty shield and an American flag on a pole topped with a Phrygian cap.

Cannons, bayonets and a drum at her feet. Reverse depicts a three-masted ship above four images of different whales, identified as “P”, “BF”, “WW” and “SW”. Signed on edge “JP”. Length 3.75”.

300/500

7, obverse and reverse

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8.

SCRIMSHAW WHALE’S TOOTH BY EDWARD BURDETT

Circa 1830-1833 Inscribed on edge “William.Tell.”, the name of Burdett’s whaleship, and signed on base “Engraved by Edward Burdett”, both in the same script lettering. Obverse depicts a whaling scene with the American whaleship William Tell flying a large American flag off her stern, three whaleboats in the water and another whaleship in the distance. The flag shows some remnants of red coloring. Reverse depicts a whaling scene with a large whaleship cutting in and two whaleboats in pursuit of a surfaced sperm whale. As typical of Burdett’s work, a berry vine wraps around the circumference of the base. The tooth exhibits exceptional details, particularly in the rigging of the whaleships, and the ships’ hulls and the whale are deeply carved. Length 8”. 140,000/180,000 This tooth bears a number of similarities to a signed Edward Burdett tooth sold at Eldred’s Marine Sale, July 20, 2017, Lot #1, for the world-record price of $456,000. Both teeth mention the William Tell and the depiction and placement of the ships on the teeth is nearly identical.

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We presume this tooth was created while Edward Burdett was onboard the ship William Tell, which left New York in November 1829 and returned to port in February 1833.

Edward Burdett was a pioneer of American scrimshaw, and in his short but prolific career he produced what are widely considered masterpieces of the genre. He was born on Nantucket in October 1805, the son of a merchant sea captain. His first whaling voyage was aboard the Foster from 1822 to 1824. In successive voyages he sailed aboard the William Tell and the Montano. In November 1833, while serving as first mate onboard the Montano, Burdett was entangled in line, dragged by a whale overboard, and drowned.

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8, obverse, edge and reverse

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19

9

10

11

12

13

20

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9.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

19th Century Depicts a ship at sea flying a long pennant from the central mast and an American flag off the stern. Flag and pennants with subtle red and blue coloring. Length 4”.

300/500

10.

SCRIMSHAW WHALE’S TOOTH DEPICTING A CHURCH

Mid-19th Century Believed to be a scene in Portsmouth, New Hampshire.

Some pinpoint elements. Length 4.5”.

300/500

11.

WHALE IVORY AND BALEEN PIE CRIMPER

Mid-19th Century Upper portion of handle carved as a clenched right fist.

Central portion comprised of bands of ivory and baleen.

Fluted wheel supported by a yoke carved as lady’s legs and boots. Length 7”.

1,500/2,000

12.

WHALEMAN-MADE CARVED AND INLAID WHALE IVORY PIPE Mid-19th Century Bowl with metal, abalone and red sealing wax inlay in the shapes of triangles, diamonds, crescents, dots, a lauburu and a four-pointed star. Fluted stem with similar inlay. Although a significant amount of the inlay is missing, the shapes are deeply carved so the design is still distinct. Interior of bowl lined in metal. Length 4.25”.

500/1,000

13.

WHALEBONE AND WOOD DITTY BOX

Mid-19th Century Lid with a wooden top, a whalebone lip, and a whale ivory knob and diamond-shaped escutcheon. Knob/ escutcheon is threaded through the lid and secured from the underside with a whale ivory nut. Box with remarkably thin whalebone sides and a wooden base plate. Lid and box secured with beautifully shaped metal-pinned fingers, two on the lid and six on the box. Height 5.5”. Length 7”.

2,000/3,000

14.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Both sides with whaling scenes. Obverse depicts an American-flagged whaleship, three whaleboats in the water and a large sperm whale. Two of the whaleboats are under sail and two are positioned so that the crew members are visible, including harpooners poised with harpoons at the bow of the boats. Reverse depicts a harpooned whale, a whaleboat with six crew members, and a bow view of a distant whaleship. Red ink used to color blood at the whale’s blowhole and around where the two harpoons have entered the whale’s side. Faint image of a whale’s tail and a harpoon on one edge. Length 5.5”.

1,500/2,000 Provenance: Eldred’s, The Marine Sale, November 15, 2018, Lot #118.

Private Collection.

14, obverse and reverse

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15.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse titled “Mocha” depicts coastal buildings, mountains and wavy water. Reverse titled “Kenyon, College, Ohio,” depicts a large building flanked at left by green leafy trees. Length 7.25”.

4,000/6,000 Provenance: The Kobacker Collection.

Eldred’s, The Marine Sale, July 19, 2018, Lot #21.

Private Collection.

15, obverse and reverse

16.

WHALEBONE SAILBOAT TOY

Third Quarter of the 19th Century Manned sailboat set into a box with handle at side that rocks the boat. Finely detailed with long bowsprit, barrels, a twine-wrapped box, movable sail, waves, etc. Sailor is a composite replacement.

Height 4”. Length 4.5”.

3,000/5,000 A nearly identical example was sold at Eldred’s, The Marine Sale, July 19-20, 2018, Lot #170.

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17, obverse and reverse

17.

POLYCHROME SCRIMSHAW WHALE’S TOOTH BY THE BANKNOTE ENGRAVER

Second Quarter of the 19th Century Obverse depicts a three-masted vessel flying a red, white and blue American flag entering a French port, with red, white and blue French flags flying from towers on each side of the port’s mouth. A large building with a tower, several smaller buildings and stone walls line the port’s shore. Reverse depicts a half-length portrait of a woman with her hands clasped in front of her in prayer. A decorative border surrounds the portrait and similar decorative borders surround the circumference of the tooth at tip and base, typical of the Banknote Engraver’s work. Length 5.25”.

10,000/15,000

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18.

PAIR OF SCRIMSHAW WALRUS TUSKS WITH HAWAIIAN, AMERICAN AND BRITISH MOTIFS 19th Century An intriguing compilation of images, including Poseidon, a helmeted Greek warrior holding an arrow, a domed lighthouse with distant ship, a patriotic spread-wing eagle below a wreath of stars containing “In God We Trust”, a couple bowing to each other, a bust portrait of a man, two differing “HRMF” monograms, the United Kingdom’s Royal coat of arms, and the Kingdom of Hawaii’s coat of arms with an “Aloha” banner. Signed on reverse of both “Richardson U.S.N. Del.”. It is purported the tusks commemorate the wedding of an English gentleman who worked for the British government to a Hawaiian lady, with their combined initials being the HRMF monogram.

Lengths approx. 25”.

3,000/5,000 Provenance: According to the consignor, the tusks descended in the John S. McGrew and Charles B. Cooper families of Hawaii.

McGrew was referred to as the “Father of Annexation” for his efforts to annex the islands to the U.S., and Cooper was an American health official researching a cure for leprosy on Hawaii.

18, pair, with signature on reverse

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19.

LARGE SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAITS 19th Century Obverse depicts a bow-view portrait and reverse depicts a stern-view portrait of the same ship, identified as “Mary Boston” on sternboard. Stern-view portrait shows three signal flags and a pennant flying from the masts and an American flag flying off the stern. Length 8”. Includes wooden cradle.

6,000/10,000

19, obverse and reverse

20.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING GEORGE WASHINGTON

19th Century Obverse depicts George Washington standing while resting his hand on a plinth. Portrait surrounded by leafy tendrils. Reverse depicts three ships -- two sidewheel steam/sail vessels and a sailing vessel -- all flying American flags, one flag colored red. Both sides with pinpoint elements and some traces of other polychroming. Length 5.75”.

1,200/1,500

20, obverse and reverse

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25

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21.

SMALL WHALEBONE FID WITH CLENCHED FIST TERMINAL

Mid-19th Century Shaft with spiral ribbing above a simple taper.

Length 7.5”.

300/400

22.

WHALEBONE WAX SEAL Mid-19th Century Architectural form with stepped carvings and an openwork four-column shaft. Some remnants of red sealing wax on crosshatched stamp.

Length 3.75”.

200/300

23.

WHALEBONE LETTER OPENER

Mid-19th Century Handle with contrasting tapered inlay, probably exotic wood. Length 9.5”.

150/250

24.

WHALEMAN-MADE ROLLING PIN

19th Century With turned handles, wide baleen banding and hardwood roller. Length 15.75”.

400/600

25.

WHALEMAN-MADE ROLLING PIN

19th Century With turned whale ivory handles and hardwood roller. Length 16”.

400/600

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25

26

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26.

26, stand not included

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. Appears some bands, probably silvered metal, are missing from yarn cup and clamp, as some residue and pins/ pinholes remain where they would have been.

Length approx. 15”. Cage diameter approx. 17”.

2,500/3,500 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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27.

WOODEN SEWING BOX SURMOUNTED BY A DOUBLE SWIFT Mid-19th Century Mahogany chest-style box with two drawers and flattened ball feet. Top and front inlaid with abalone wedges, arcs, diamonds, quarter-moons, stars, rectangles, etc. Drawers with baleen trim about perimeter. Top with small inlaid panbone cartouche, possibly intended as a nameplate but is unengraved.

Top surmounted by a pincushion centering the swift’s whalebone shaft. Finely ribbed whalebone knop where swift attaches to pincushion/box, and a similarly carved whale ivory yarn cup at top of shaft. Staves and fittings also made from whale ivory. Overall height including box and swift approx. 11.5”.

Box width 10”. Depth 5.75”.

1,800/2,500 Provenance: West Sea Company, San Diego, 2001.

The Collection of Sam and Donna McDowell.

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28.

* ENGRAVED WHALE’S TOOTH BY FRANK BARCELOS 20th Century Depicts two whalemen in a stoved boat, with the whale’s tail still visible. Signed lower right “Frank B.”. Length 6.5”.

1,000/1,500

29.

* ENGRAVED WHALE’S TOOTH BY FRANK BARCELOS 20th Century Finely rendered scene of a ship off a cliffside lighthouse, with numerous birds in flight. Signed lower left “Frank B.” and possibly “(F)” or “(7)”. Reverse mostly unpolished. Length 6”.

1,200/1,500

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.

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28

29

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31, obverse and reverse

30, obverse and reverse

32

30.

* POLYCHROME ENGRAVED WHALE’S TOOTH WITH MARITIME IMAGERY 20th Century Obverse depicts a warship flying a large American flag off the stern, a long pennant from the central mast, a checkered flag from the foremast and possibly another American flag at the bow. Numerous figures visible in the rigging, setting the sails. Stern flag with subtle red stripes. Floral sprig within a decorative border at tip. Reverse depicts an eagle clasping a “Free Trade Sailors Rights” banner in its beak above an arched rope-bordered reserve containing a memorial scene of a woman sitting on a bench beneath a tree and next to an urn-topped memorial within a bucolic landscape. Scrolling foliate vine wraps around circumference at the base of the tooth. Length 6.75”.

1,200/1,500

31.

* ENGRAVED WHALE’S TOOTH WITH WHALING SCENE AND LADY LIBERTY 20th Century Obverse depicts a whaling scene with a large whaleship flying a large American flag off the stern, and three whaleboats in pursuit of three visible whales. Water within a decorative frame, with “Capt. T. Lee” at panel near tip and a berry vine border and “1852” at panels near base. Reverse depicts a spread-wing eagle above an arch of stars above Lady Liberty walking up a cloud-like motif.

Length 7.75”.

1,000/1,500

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32.

* ENGRAVED WHALE’S TOOTH WITH MARITIME MOTIFS 20th Century Depicts a harpoon above a portrait of a ship contained within a decorative rectangular frame. Length 4.5”.

Includes wooden stand. Total height 5.25”.

300/500

29

33.

* POLYCHROME ENGRAVED WHALE’S TOOTH BY MANUEL CUNHA

20th Century Depicts an offshore whaling scene with two whaleships, a whale stoving a whaleboat, a whaleboat under sail in pursuit of a whale, a waifed whale, etc. Ships flying American flags and pennants. Cliff-lined shoreline in distance. Inscribed on tip “To Captn. John J. Cook from His affectionate nephew Laurence July 10th 1876”. Reverse mostly unpolished.

Length 6.5”.

700/1,000

34.

* ENGRAVED WHALE’S TOOTH DEPICTING THE “BATTLE OF PLATTSBURG” 20th Century Oval reserve with busy scene of hand-to-hand combat, probably aboard a ship. Reverse mostly unpolished. Length 7”. 1,000/1,500

35.

* ENGRAVED WHALE’S TOOTH Contemporary Oval reserve depicts an active whaling scene with a whaleboat and whale in foreground and a whaleship and additional whaleboats and whales in the distance. Executed in sepia and black ink, with many stippled elements.

Length 6.25”.

500/700

36.

* ENGRAVED WHALE TOOTH

BY GIL DOLMAN, JR.

New Bedford, 20th Century Titled “New Bedford 1848”, depicts the New Bedford shoreline as seen from the water, with a whaleship in the foreground. Signed lower right “Dolman”. Length 8”.

400/600

33

34

35

36

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

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37

37.

* POLYCHROME ENGRAVED WHALE’S TOOTH

BY CHARLES A. MANGHIS OF NANTUCKET

Dated 1997 Oval reserve depicts a stern-view portrait of the whaling bark Wanderer flying an American flag off the stern and a red pennant from the aft mast. Remainder of tooth is unpolished, save for a small reserve on reverse containing signature “Charles A. Manghis - 1997 - Nantucket”.

Length 6.25”. Includes wooden stand with plaque identifying ship. Total height 9”.

500/700

38

38.

WHALE’S TOOTH CARVED AS AN EAGLE’S HEAD

Mid-19th Century Clutching an “E Pluribus Unum” banner in its beak.

Length 4.5”. Includes wooden stand. Total height 4.5”.

Length 5.25”.

300/400

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31

39, obverse and reverse

39.

* POLYCHROME ENGRAVED WHALE’S TOOTH PERTAINING TO THE SHIP JULIAN OF DUXBURY

20th Century Obverse with an oval reserve depicting an active whaling scene of two whaleships and two manned whaleboats in pursuit of two whales. Both ships are flying American flags off the stern and assorted pennants from other masts. One is suspending a sheet of blubber and the other has a plume of smoke from the tryworks. Marked at right of reserve “AR” above foliate branches. Reverse with an oval reserve depicting a whaling scene, interrupted by a cartouche marked “The Whaling Ship Julian of New Bedford 336 Tons Built at Duxbury 1828”. Spread-wing eagle clutching a furled American flag above cartouche and crossed harpoons below. Polychrome elements in flag, water and foliate adornments. Length 6”.

700/1,000

40.

* ENGRAVED WHALE’S TOOTH 20th Century Rudimentary engraving on both sides; obverse depicts a ship flying an American flag and reverse depicts a whaleboat in pursuit of a whale and the spurious date of 1872. Length 6”.

300/500

40, obverse and reverse

32

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41

41.

EXCEPTIONAL WHALEBONE, WHALE IVORY AND EXOTIC WOOD INLAID DRESSER BOX

Late 19th Century Stepped top with whalebone and exotic woods creating a geometric design. Top tier with contrasting wood in a checkerboard pattern and a central whale ivory heart on an ebony plaque. Box sides in a checkerboard pattern. Whalebone carrying handles at sides of box. Front with two doors with whalebone knobs. Doors open to reveal interior drawers with whalebone and whale ivory knobs.

Height 13.25”. Width 24”. Depth 12.75”.

4,000/6,000

41, additional views

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33

42

42.

WOODEN BOX WITH WHALE IVORY AND PAINTED EMBELLISHMENTS

19th Century Believed to be whaleman-made. Lid with assorted whale ivory shapes, including hearts, diamonds, arrows, etc., surrounding a central raised panel with whale ivory stars at each corner and a lyre form at center. Front of lid with two whale ivory lovebirds. Whale ivory escutcheon and lock plates. Sides with painted floral and bird decoration. Painted red and gold-colored trim. Height 4.25”. Width 13”. Depth 8”.

1,500/2,500

43

43.

34

FIJIAN TABUA 19th Century Sperm whale tooth, possibly with some faint engraving, suspended from a length of braided fiber that is attached with wire through pierced holes at tip and base of tooth.

Lot also includes a 1980 Fijian 20 Cents coin featuring a tabua on reverse and a portrait of Queen Elizabeth II on obverse. Tooth length approx. 6.5”.

2,000/2,500

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45

46

44 47

44.

45.

CARVED WHALE IVORY AND TROPICAL WOOD FIGURE OF A MAN 19th Century A bearded man in a top hat, suit and tie, seated with his hands crossed over his stomach and his legs crossed at his ankles. Whale ivory head and heads. Remainder carved from tropical wood with a striated grain pattern that makes it appear the man’s suit is striped. Length 6”. Sits on a simple wood block stand. Total height 8.25”.

1,000/1,500

WHALEBONE CLENCHED FIST DOUBLE-WHEEL PIE CRIMPER 19th Century Clenched right fist grips a metal axle that supports two fluted wheels. Turned and incised shaft ends in a nicely curved three-tine fork. Length 6.25”.

500/700

46.

SNUFF BOX MADE FROM A WHALE’S TOOTH

Circa 1870 Whale ivory lid carved as a sharp-beaked bird with welldetailed feathers and crest. Metal mounts, possibly silver.

Length 6.5”.

900/1,200

47.

WHALEBONE DOUBLE-WHEEL PIE CRIMPER

First Half of the 19th Century Openwork architectural shaft with two fluted wheels at one end, and an openwork heart and three-tine fork at opposite end. Fine old patina. Length 7.75”.

800/1,200

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35

48.

SCRIMSHAW WHALE’S TOOTH

BY A CERES ARTISAN 19th Century Depicts a sailor and his lady on the shore, with a ship sailing in the distance. Scene framed within a decorative rectangular border, with a proscenium arch of vines above, containing a ship portrait.

Length 5.5”.

3,000/5,000

49.

SCRIMSHAW WHALE’S TOOTH DEPICTING THE CIRCUS PERFORMER “ZAZEL” Circa 1880 “Zazel”, dressed in a low-cut gown, poses inside a barrel decorated as an American shield. She has a feather in her hair and is wearing a pendant necklace and bracelets. Tooth mounted on an oval wooden base with silver metal plaque engraved “Found At Sheikh Budin N.W.F.P. India 1909” (N.W.F.P. stands for North-West Frontier Province, located on the border of Kashmir and Afghanistan), though there is no further record of this provenance. Overall height including base 6.5”.

3,000/5,000

48

Provenance: Laurence Langford, London.

The Collection of Sam and Donna McDowell.

The English-born “Zazel”, whose real name was Rossa Matilda Richter, was the first female human cannonball. She performed at the Royal Aquarium

49

in London in 1877, then toured in the United Kingdom and the United States until 1891.

50, pair

36

50.

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH DEPICTING FASHION PLATE LADIES Mid-19th Century Both teeth with finely rendered portraits of elaborately dressed women on both obverse and reverse. Portraits taken from fashion plate magazine illustrations. Some elements very deeply engraved. Lengths 5.75” and 6”. 5,000/7,000

Provenance: William Tripp Collection.

Private Collection, Massachusetts.

Eldred’s, The Marine Sale, July 29, 2005, Lot #515.

The Collection of Sam and Donna McDowell.

Exhibited at the New Bedford Whaling Museum, New Bedford, Massachusetts.

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51.

WHALEMAN-MADE SWIFT 19th Century Hardwood clamp with geometric whale ivory, bone and shell inlay. Whalebone shaft topped with a whale ivory yarn cup. Wood cage. Height 24”.

Cage diameter 14”.

800/1,200

51

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37

52 53

54

55

38

52.

CHILD’S CANE WITH FACETED WHALE IVORY HANDLE 19th Century Tapered cylindrical wood shaft with silver metal collar and silver metal ring at tip. Length 20.5”.

300/400

53.

KNIFE WITH WHALEBONE AND WOOD HANDLE

19th Century Tapered wood handle with engraved concentric lines and a large whalebone cap also engraved at end with concentric lines. Blade and guard probably steel. Length 11.25”.

500/800

54.

SCRIMSHAW WHALEBONE BUSK 19th Century Depicts a shore scene with a large twin-domed building, a sea-washed lighthouse, a large three-masted vessel and a small paddle steamer. At lobed end is a cross within a heart.

Length 13”.

2,000/2,500

55.

SCRIMSHAW WHALEBONE BUSK

Second Half of the 19th Century Depicts a stern view portrait of a ship, a sperm whale, “New Bedford 1841”, a full-length portrait of a woman in a striped dress, and crossed foliate sprigs. Date of 1841 believed to not indicate the year the busk was engraved.

Busk lobed at top and curved at base. Length 14”.

2,000/2,500

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56.

SCRIMSHAW WHALE’S TOOTH DEPICTING LADIES

19th Century One side depicts a woman in a bonnet and patterned dress holding a fan in her right hand. Other side depicts a woman in a long headpiece holding her left hand near her heart.

Length 8.25”.

1,500/2,000

56, obverse and reverse

57.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH ALLEGORICAL FIGURE 19th Century Figure with red cap holds a chalice in one hand and rests the other hand on a structure, possibly a fountain.

Length 6.5”.

900/1,200

57

58.

SCRIMSHAW WHALE’S TOOTH WITH IMAGES OF SCOTSMEN 19th Century Obverse depicts a Scotsman holding his sword over his shoulder and a round shield in his left arm while kneeling his left leg on a rock that is draped in a tartan cloth. Reverse depicts a half-length portrait of a gentleman in a round medallion with foliate surround, inscribed “Righ Nan Gaidheal” below. Two crossing swords and a round shield at tip and a thistle at base.

Length 8”.

2,000/3,000

58, obverse and reverse

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39

59.

CANE WITH WHALE IVORY HANDLE CARVED AS A FIST CLENCHING A SNAKE Mid-19th Century Fat snake with black inset eyes is coiled around the fist and wrist. Cylindrical throat with medial exotic wood band.

Ebony shaft. Length 35”.

2,000/3,000

62.

WHALEBONE CANE 19th Century Made from a single piece of whalebone, with a semi-crooked handle and a tapered cylindrical shaft. Fitted with a metal collar in a braided design and a metal ferrule. Length 38”.

2,000/3,000

60.

CANE WITH WHALE IVORY HANDLE IN THE FORM OF A FIST CLENCHING A SNAKE

19th Century Snake with inlaid eyes, visible forked tongue and engraved scales wraps around the clenched right hand. Decorative metal collar. Tapered cylindrical wooden shaft. Length 33”.

1,500/2,500

63.

WHALEMAN-MADE CANE 19th Century Handle in the form of a finely detailed horse’s head.

Whalebone shaft. Length 34.25”.

250/350

64.

CHILD’S CANE Mid-19th Century Whale ivory knob handle with incised and stepped carvings. Whalebone shaft with incised and stepped carving separating the octagonal upper third from the cylindrical lower two-thirds. Length 30”.

500/700

61.

WHALEBONE, IVORY AND BALEEN CANE WITH CLENCHED FIST HANDLE 19th Century Whale ivory handle carved as a clenched right fist. Unusual cylindrical and barrel-form throat with spiral carving and baleen inlay. Cylindrical whalebone shaft fitted with a baleen ferrule. Length 35”.

1,000/1,500

Provenance: A Long Island Collection.

60 62

59 61

40

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65.

66.

67.

ELEPHANT IVORY AND WHALEBONE CANE WHALE IVORY AND WHALEBONE CANE WITH TURK’S-HEAD KNOT HANDLE Mid-19th Century

Mid-19th Century Large ivory cue ball handle. Metal collar. Whalebone shaft Whale ivory handle. Throat with bands of baleen, exotic wood and whale ivory. Tapered whalebone shaft with spiral with sections of deep fluting and ring and spiral carvings tapering to a simple cylinder. Length 34.75”. 1,000/1,500 carving on upper two-thirds. Brass ferrule. Length 34.25”.

2,000/3,000

Provenance: Proveannce: A Private Collection, New York.

A Private Collection, New York.

68.

CANE WITH WHALE IVORY CLENCHED FIST HANDLE INLAID WHALE IVORY AND WHALEBONE CANE

19th Century

Mid-19th Century Handle carved as a right fist clenching a stick or a scroll, Whale ivory ball handle with parallel incised bands and a with nicely carved fingers and shirt cuff. Whale ivory and tall turned stem. Elongated throat comprised of contrasting baleen banded collar. Whalebone shaft with a 9” deeply bands, possibly shell or baleen, separating whale ivory reeded segment and a rope-carved band above a tapering segments. Upper segment inlaid with opposing abalone cylinder. Length 34.5”.

2,000/3,000 triangles centering exotic wood dots. Lower segment in a Provenance: similar pattern, with shell and exotic wood triangles and A Private Collection, New York. abalone dots. Deeply fluted whalebone shaft with inlaid dots at top and a simple tapered cylinder at tip. Length 33.5”.

2,000/3,000 Provenance: A Private Collection, New York.

64

65

66

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67

68

41

69.

69

WHALE IVORY AND BALEEN-BANDED UNICORN PIE CRIMPER Mid-19th Century A full-bodied running unicorn with pointy ears and inlaid eyes and nostrils. Front legs support a fluted wheel with openwork five-pointed star. A rare and desirable example. Length 8.25”.

Includes metal stand.

10,000/15,000

Provenance: A Private Collection, New York.

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.

A similar but lesser example was sold as part of the Folk Art & Americana Collection of Carl and Sonia Schmitt at Eldred’s, The Marine Sale, July 19, 2018, Lot #131.

70.

70

WHALE IVORY PIE CRIMPER WITH SNAKE HANDLE

Mid-19th Century Snake with carved and inset eyes, a wide carved grin and a looped tail. Shaft with contrasting banding, probably baleen, and an unusual rope-carved arch. Fluted wheel with openwork spiral. Three-tine fork. Marked “NH60”, indicating it was from the collection of Meylert Armstrong of Greenwich, Connecticut and New Hope, Pennsylvania. Length 5.75”.

Includes metal stand.

5,000/7,000

Provenance: A Private Collection, New York.

Illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 186. According to scrimshaw historian John Rinaldi, Flayderman purchased much of Meylert Armstrong’s collection out of his New Hope, Pennsylvania, home, marking the items “NH”, standing for “New Hope”, followed by a series of numbers. The Armstrong Collection formed the nucleus of Flayderman’s collection, and a substantial number of items illustrated in Flayderman’s book are from Armstrong’s collection.

42

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71.

WHALE IVORY SNAKE-FORM BODKIN

Mid-19th Century With inset eyes, probably baleen. Length 4.5”. Includes metal stand.

800/1,200 Provenance: A Private Collection, New York.

71

72.

WHALE IVORY BODKIN WHIMSY 19th Century An unusual, and possibly unique, example. A pair of curved bodkins with stepped and faceted finials and free-swinging bails are joined by a chain link. Length of bodkins 4”. Includes metal stand.

1,200/1,800 Provenance: A Private Collection, New York.

72

73.

WHALE IVORY “RING-IN-HAND” PIE CRIMPER

Mid-19th Century Terminal carved in the form of a hand grasping a freely moving ring. Stepped and elliptical shaft. Scrolled yoke supports a fluted wheel with openwork spiral.

Length 6.25”. Includes metal stand.

4,000/6,000 Provenance: A Private Collection, New York

73 see photos of all lots and view condition reports at www.eldreds.com

43

74

74.

75

76

RETICULATED WHALE IVORY CRIMPER 75.

RETICULATED WHALE IVORY CRIMPER

Mid-19th Century

Mid-19th Century Handle and shaft with openwork geometric and scrolled Handle and shaft with openwork designs including designs. Handle with diamonds, crosses and opposing diamonds, crosses and opposing hearts arranged into hearts. Shaft constructed of twin pierced panels pinned to blossoms. Shaft constructed of twin pierced panels pinned the handle. Panels with carved columnar design at edges to the handle. Fluted wheel. Marked “NH160”, indicating it and a central band pierced with an opposing heart and cross was from the collection of Meylert Armstrong of Greenwich, design. Fluted wheel. Length 7.75”. Includes a metal stand.

Connecticut and New Hope, Pennsylvania. Length 6.75”.

2,500/3,500 Includes a metal stand.

2,000/3,000

Provenance: Provenance: A Private Collection, New York.

A Private Collection, New York.

Illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 178.

Similar examples to these three crimpers, possibly by the same hand, were sold as part of the Kobacker Scrimshaw Collection and the Thomas Mittler Scrimshaw Collection at Eldred’s, The Marine Sale, July 19, 2018, Lot #6 and The Marine Sale, July 20, 2017, Lot #28. Other similar examples 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.

44

76.

RETICULATED WHALE IVORY CRIMPER

Mid-19th Century Handle and shaft with openwork design of diamonds, crosses and opposing hearts, and a carved scroll design along the edges. Shaft constructed of twin pierced panels pinned to the handle. Fluted wheel with remnants of piecrust. Deep rich patina. Length 5.75”. Includes a metal stand.

2,000/3,000

Provenance: A Private Collection, New York.

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77, obverse, edge and reverse

77.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING FIGURES BY “THE ROYAL HOTEL”

Mid-19th Century A well-detailed scene wraps entirely around the circumference of the tooth. At center of obverse is a horse and carriage driving past the two-story brick “Royal Hotel”, which has curtains hanging in each window and smoke emanating from the two chimneys. To the left of the hotel is a towering cherry tree, with tiny red fruit and a canopy that wraps around the tooth. Beside the tree are two men in long coats. At center of reverse is a strolling couple, the man carrying a bird perched on a small branch and the woman wearing a large hat, a red beaded necklace and a dress with red trim. A flock of large birds flies in the sky above. Half-moon and serrated border encircles tooth at base. Some elements, particularly the cherry fruit, the buttons on the man’s coat and trim on the building, are deeply stippled. Length 6.75”.

5,000/7,000

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45

78.

SCRIMSHAW WHALE’S TOOTH Mid-19th Century Depicts two doves holding an olive branch at tip and a potted plant near base. At center, wrapping nearly around the circumference of the tooth, is a spread-wing American eagle clutching branches and arrows in its talons. Geometric bands separate each image. Length 5.5”.

800/1,200

78 79

79.

80.

46

SCRIMSHAW WHALEBONE BUSK Mid-19th Century Central panel depicts a flower blossom set on a stepped base.

Panel flanked by verses in script lettering: “Accept dear girl the best from me Carved by my humble hand I took it form a sperm whales jaw One thousand miles from land” and “In many a gale has been the whale In which this bone did rest His time is past his bone at last Must now support thy brest [sic]”. Panels separated by fine geometric bands. Foliate elements at each end and below text in left panel. Engraved “MA” on reverse. Busk lobed at one end and curved at other. Length 14”.

1,000/1,500

FINELY TURNED AND CARVED WHALEBONE BODKIN

Circa 1862 Faceted terminal with presentation inscription in red sealing wax “J.N.F. To L.A.F. Ft. Schuyler N.Y. Nov. 11 1862”. Length 3.75”.

500/1,000

80

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81, obverse at left and reverse above

81.

82.

POLYCHROME SCRIMSHAW DOUBLE-SIDED BUSK

Mid-19th Century Obverse depicts a potted plant, a house, four hex signs, a large tree and two small trees. Images separated by differing geometric and foliate bands. Sawtooth border around perimeter. Reverse depicts eleven identical and evenly spaced row-houses with central chimneys. Busk lobed at one end and curved at other. Length 12.13”.

1,000/1,500

SCRIMSHAW WHALE’S TOOTH Mid-19th Century Depicts a woman standing with her right hand on a stone structure, possibly a well or a monument. She is dressed in a feathered hat, short jacket and a belt at the waist of her long dress, and she holds a small purse in her left hand. Length 4.5”.

800/1,000

82

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47

87.

* ENGRAVED WHALE’S TOOTH WITH PORTRAIT OF THE C.S.S. ALABAMA 20th Century Depicts the Confederate screw sloop-of-war within a cut-corner cartouche embellished with foliate vines. Ship identified in banner above cartouche. Length 5”. 500/700 The Alabama was built in 1862 for the Confederate Navy near Liverpool, England. A commerce raider, she attacked Union merchant and naval ships over the course of her two-year career.

She was sunk in June 1864 by the U.S.S. Kearsarge at the Battle of Cherbourg, France.

83, obverse and reverse

83.

84.

85.

86.

48

POLYCHROME SCRIMSHAW WHALE’S TOOTH

19th Century Obverse depicts a small dog at the heels of a solemn young girl wearing a red checkered dress with blue ribbons at the shoulders and a blue underskirt. Reverse depicts a male figure, possibly an actor, wearing a floppy hat and holding a bindle topped with a pinwheel. To his right is a five-pointed star with red interior. Length 5.5”.

1,000/1,500

POLYCHROME SCRIMSHAW WHALE’S TOOTH FEATURING TWO PORTRAITS OF LADIES

19th Century Both women in hats with red embellishments. One lady has a red and black scarf tied around her neck. The other portrait is contained within a rectangular frame.

Length 4.25”.

500/700

POLYCHROME SCRIMSHAW WHALE’S TOOTH

19th Century Obverse depicts a port-side portrait of a three-masted vessel at sea, flying a red burgee from the foremast, an “RW” banner from the central mast, a red striped flag from the aft mast, and a flag with an acorn on a black and white field from the stern. Elements of the ship, particularly the sails and rigging, with distinct pinpoints. Bow of ship wraps around the edge of the tooth to reverse. Reverse depicts a pinpoint bust profile portrait of a woman framed with drapery. Inscribed in pinpoint below portrait, possibly “Kate Hen...sy”. Length 6”.

1,200/1,800

SCRIMSHAW WHALE’S TOOTH DEPICTING BIRDS AND A FISH 19th Century Shore scene with two large birds, probably gulls, flying over a fish, possibly a tuna, jumping out of the water. Large rock at the water’s edge and a dock behind the fish. Bird’s feathers are very finely detailed. Length 4”.

400/700

88.

SIGNED SCRIMSHAW WHALE’S TOOTH WITH PORTRAITS OF LADIES 19th Century One side with a half-length portrait of a lady in a harlequinpatterned dress, executed in pinpoint and shading. Other side with a bust profile portrait, executed entirely in pinpoint. Signed in pinpoint on edge “Frank” and also marked in pinpoint, possibly “Hoods Hole”. Length 3”.

300/500

89.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PINPOINT PORTRAIT 19th Century Depicts a girl with long hair, blue eyes, a blue earring and red lips, taking a large stride while holding her hands up.

Fine arched border surround with a scalloped and red pique design at base; surround is possibly a proscenium arch and could indicate the girl is an actress. Length 5.25”. 500/700

90.

SCRIMSHAW WHALE’S TOOTH WITH ROMANTIC DECORATION 19th Century Depicts a potted plant above entwined hearts containing “R.C.” above an anchor. Mounted in a white metal base with a molded wave-type design. Total height 6.25”.

500/800

91.

POLYCHROME SCRIMSHAW WHALE’S TOOTH “NUTS TO CRACK” 19th Century Depicts a squirrel perched on a branch and eating a nut within an oval medallion, with faint “Nuts to Crack” at lower portion. Medallion with a red and green leafy floral border, a bowl of nuts at left and an empty plate and a nutcracker at right. Length 4.5”.

500/700

92.

SCRIMSHAW WHALE’S TOOTH WITH A FULL-LENGTH PORTRAIT OF A WOMAN

Mid-19th Century Standing with her right arm outstretched and pulling up the hem of her dress with her left hand. Length 4.75”. Includes a custom wood stand.

500/700

Provenance: A Long Island Collection.

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84, obverse and reverse

85, obverse and reverse

86

87

89

90

91

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92

49

93.

WHALEBONE FID 19th Century Simple tapered form with two incised lines at top.

Length 12.5”.

300/400

94.

WHALEBONE SEAM RUBBER 19th Century Handle with faceted terminal and ring turnings.

Wedge-shaped blade. Length 5”.

1,200/1,500

95.

WHALEBONE FID 19th Century Rich patina. Two faint incised lines at top.

Length 11”.

300/500

96.

SCRIMSHAW VICE Last Half of the 19th Century Wooden base and wedges with leather straps.

Retains handwritten label “A Scrimshaw Vice From ... Ship”. Length 8.75”.

500/1,000

97.

PAIR OF POLYCHROME SCRIMSHAW WALRUS TUSKS WITH CARVED AND ENGRAVED DECORATION Mid-19th Century Tips of tusks carved in the form of a flower blossom, circled by an engraved foliate band. Both tusks with three patriotic vignettes, the central of which are both oval bust portraits of men in uniform, possibly Civil War commanders. Upper vignette of one tusk depicts a spread-wing eagle, a “Pluribus Unum” banner, an American shield, a shield-shaped cartouche containing a sunlit landscape, an anchor, an “Excelsior” banner and a landscape design. Lower vignette depicts Lady Liberty holding a Phrygian cap-topped staff in her left hand and an American shield in her right hand. She is draped in an American flag and sits upon a monumental plinth. Upper vignette of other tusk depicts Columbia holding an American flag on pole in her right hand and pointing her left hand. Lower vignette depicts Lady Justice, holding the scales of justice in her right hand and a sword in her left hand. She is seated on a monumental plinth with a small American shield on one face.

Tusks mounted on stone bases. Total heights approx. 15.25”.

8,000/10,000

94

95

93

96

Provenance: A Long Island Collection.

50

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97, pair

98.

WHALE IVORY AND WHALEBONE SWIFT Mid-19th Century Turned whale ivory yarn cup, adjustment knobs and clamp, all with red and blue incised lines. Whalebone shaft and staves. Clamp attached to a three-legged whalebone stand.

Total height 17.75�. Cage diameter approx. 18.5�.

1,500/2,500

98

Provenance: A Long Island Collection.

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51

99.

INLAID WHALE IVORY SEAM RUBBER

Mid-19th Century Shaped handle with pique inlay along the perimeter and center of both faces.

Additional pique inlay on edges. Rich patina.

Length 4.5”.

500/700 Provenance: A Long Island Collection.

99

100

100.

WHALE IVORY PIE CRIMPER WITH LOOPED HANDLE

Mid-19th Century Carved from a single piece of ivory, with stepped carvings near three-tine fork and wheel mount. Whale ivory fluted wheel.

Length 6”.

1,000/1,500

Provenance: A Long Island Collection.

101

101.

SCRIMSHAW WHALE’S TOOTH VASE

Mid-19th Century Carved with serrated rim, incised grooves and footed base.

Engraved decoration on one side of a dog holding a bundle of branches in its mouth. Other side with a hex design flanked by sheaves of wheat. Foliate and star bands and a simple line border encircle the tooth above and below the primary images. Height 4”.

2,000/3,000 102. BONE SERVING MALLET Provenance: WITH WOODEN HANDLE A Long Island Collection.

19th Century Length 8.25”.

400/600 Provenance: A Long Island Collection.

102

52

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103

103.

COCONUT SHELL DIPPER WITH PEWTER OVERLAY AND WHALEBONE INLAY Mid-19th Century Coconut shell bowl with pewter overlay in a concentric swag pattern. Scrolled island wood handle with whalebone dot and line inlay. Handle attached to pewter bowl mount with a whalebone collar. Length 14.5”.

400/600

Provenance: A Long Island Collection.

104

104.

COCONUT SHELL DIPPER WITH WHALE IVORY MOUNTS

Dated 1878 Turned island wood handle with whale ivory terminal and bowl mount. Mount engraved “H.I.V. 1878”. Length 14.5”. 700/1,000 Provenance: A Long Island Collection.

105.

ENGRAVED POWDER HORN Dated 1837 Carved bone cap at narrow end engraved with a foliate design. Horn with multiple engraved vignettes and a foliate garland that wraps around the circumference. Vignettes include an assortment of sailing vessels, a foliate wreath containing an anchor, crossed British flags, “Wm. McKeath” and “1837”, a foliate wreath containing “Wm. McKeath.” in bold lettering, a dog, two fishermen, an interior scene with figures surrounding a table, a fraternal lodge, and a farmhouse with outbuildings. Length 17”.

500/800 Provenance: A Long Island Collection.

105

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53

108 106

106.

107.

108.

INLAID WHALE IVORY PIE CRIMPER

Mid-19th Century Two-part squared architectural shaft with stepped carvings, and inlaid shell and mother-of-pearl hearts, diamonds and rectangles on all four faces. Beautifully scrolled four-tine crimping fork at one end and a fluted wheel at opposite end.

One tine broken off and one diamond-shaped piece of inlay missing. Length 7”.

700/1,000

IVORY SNAKE-FORM PARASOL HANDLE

19th Century Wide-headed snake with red-colored carved mouth and inset green eye loops twice and coils around a cylindrical shaft. Hexagonal collar with contrasting bands, probably baleen and exotic wood. Length 7.5”.

1,200/1,800

109.

SCRIMSHAW WHALE’S TOOTH 19th Century Depicts a young girl wearing a hat and formal attire.

Length 4.75”.

500/800

110.

SEVEN POLYCHROME WHALE IVORY BODKINS

Mid-19th Century All with geometric turnings. Lengths from 3.25” to 4.5”.

500/1,000

111.

TWO INLAID WHALEBONE AND WHALE IVORY BODKINS 19th Century One with faceted terminal inlaid with baleen dots and American silver diamonds. Other with whale ivory clenched fist terminal with inlaid baleen button on sleeve. Lengths 4”.

400/600

WHALEBONE SEAM RUBBER

Mid-19th Century Length 4.75”.

500/1,000 Provenance: Rafael Osona, Nantucket, Massachusetts, August 8, 1996, Lot #204.

Family of Captain Benjamin Cartwright.

Frank Sylvia Antiques.

Mid-Atlantic Private Collection.

54

109

107

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112

112.

UNUSUAL SCRIMSHAW WATCH TOWER

19th Century An oval whalebone base panel supports two arched whalebone panels that are conjoined by wire and suspend a pocket watch. Two whale’s teeth mounted to base panel with pins, allowing them to pivot. Base panel depicts a whaling scene with whaleship, whaleboat, a large whale at center and numerous other whales. Arched panels depict multiple figures rowing long double-ended boats. Both teeth depict ships, one in stormy seas off the coast and the other a starboard portrait. Silver pocket watch. Height 5”.

Length approx. 10.5”.

2,500/3,500

113.

TWO CARVED WHALEBONE AND WHALE IVORY ITEMS 19th Century 1) Small whalebone and ebony double block. Length 1.25”.

2) Whale ivory seal with terminal carved as a clenched right fist clutching a rod, possibly intended to resemble a roll of papers. Ruffled cuff at base of fist. Turned shaft mounted with a mother-of-pearl cap carved with a coat-of-arms.

Length 3.25”.

250/400

114.

115.

* UNPOLISHED WHALE’S TOOTH Length 7”.

400/600

115

FIVE TURNED AND CARVED IVORY BODKINS

19th Century Four whale ivory and one walrus. Two with geometric carvings, one with concentric ring turnings and one with terminal carved as a looping snake. Lengths from 2.75” to 4.75”.

500/700

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55

116.

* ENGRAVED WHALE’S TOOTH WITH TRYWORKS SCENE Contemporary Obverse depicts five whalemen, two feeding the tryworks and the others engaged in other nearby activities.

Reverse depicts a stern-view portrait of a whaleship with smoke coming from the tryworks. Sunburst surround. Length 5.5”.

300/400

116, obverse and reverse

117.

* POLYCHROME ENGRAVED WHALE’S TOOTH

BY CHARLES A. MANGHIS OF NANTUCKET

Dated 2001 Depicts a map of Block Island within a sepia-colored rope-like surround. Ponds and harbors on the map colored light blue. Signed lower right “Charles A. Manghis 2001. Nantucket”. Length 6”.

500/700

117

118.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

19th Century Obverse depicts a young girl in mid-19th Century dress, including a blue blouse and a ruffled skirt.

Reverse depicts a full-length portrait of a nude woman with a scarf wrapped around her hips, a bird perched on her raised elbow, and a bouquet of flowers in her hand. Length 6”.

1,000/1,500

118, obverse and reverse

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.

56

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119

119.

WHALE IVORY PIE CRIMPER Mid-19th Century Pistol grip handle constructed from five pieces of whale ivory separated by four shell bands. Handle terminates in a gracefully curved mount for fluted whale ivory wheel.

Length 7”.

700/1,000 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts.

The Collection of Sam and Donna McDowell.

120

120.

WHALE IVORY AND BALEEN PAGE TURNER

19th Century Whale ivory handle carved in the form of a lady’s leg and boot, with engraved black buttons, red sealing wax trim, and black nail heads on soles. Thigh engraved “T” on one side and with a heart pierced by an arrow on the other side. Baleen blade attached to handle with wooden mount. Length 10.5”.

500/800

121

Provenance: Finch & Co., London, 2007.

The Collection of Sam and Donna McDowell.

121.

WHALE IVORY PIE CRIMPER

Mid-19th Century Two-part geometric and architectural carved handle with faceted terminal. Fluted wheel.

Some pearling. Length 7.25”.

1,500/2,000 Provenance: The Collection of Sam and Donna McDowell.

122.

WHALEBONE PIE CRIMPER WITH OPENWORK HANDLE

Mid-19th Century Handle comprised of four sections of whalebone in varying pillar, pierced heart and architectural designs. One end of handle with a shield-form mount supporting two side-by-side fluted wheels.

Other end with a three-tine fork. Length 8.75”.

2,500/3,500 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts.

The Collection of Sam and Donna McDowell.

122

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57

123.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING ENGLISH-AMERICAN AMITY First Half of the 19th Century Obverse depicts a British and an American man, both holding their nation’s flag, shaking hands. The Brit, dressed in a red swallowtail coat, is also holding a laurel wreath above their heads. The American is wearing a long blue coat. The two men are surrounded by a dove, a lion and an eagle, as well as a unicorn in a rectangular cartouche. Reverse depicts an angel in flight over a female circus performer standing one-footed on the back of a running horse. The angel is holding papers or a book in one hand, and the circus performer is holding a scepter. Some elements on both obverse and reverse executed in pinpoint. Length 5.75”.

2,000/3,000

123, obverse and reverse

Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts.

Heller Washam Antiques, Portland, Maine and Woodbury, Connecticut.

The Collection of Sam and Donna McDowell.

124.

124

58

WOODEN SEWING BOX MOUNTED WITH A PAIR OF SCRIMSHAW WHALE’S TEETH Mid-19th Century Three-tier wooden box, probably commercially produced, with steeple finials at each corner. Two lower tiers each with a single drawer. Lift-top upper tier with eight apertures for thread and a surmounted pincushion. A pair of scrimshaw whale’s teeth, a later addition to the box, flank the pincushion. Both teeth depict a potted flowering plant on one side and a homestead on the other side; the images on the teeth are nearly identical.

Both houses have two chimneys, are surrounded by different species of trees and have a flock of birds flying above. Length of teeth approx. 4.25”.

Overall height inclusive of teeth and box 11.5”.

Width 8.75”. Depth 6.25”.

1,000/1,500 Provenance: The Collection of Sam and Donna McDowell.

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125.

SCRIMSHAW BLACKFISH JAWBONE 19th Century Obverse depicts an officer on horseback, in dress uniform including a plumed helmet. Reverse depicts a whaling scene of a the whaleship “Alexander”, flying a pennant with the ship name, and two whaleboats in pursuit of whales. The inside of the jaw, visible from the reverse, depicts a map of the “Arctic Ocean” with assorted locations labeled, including “Banks Isl”, “Amundsen Gulf ”, etc. Includes a copy of an agreement from when the piece was loaned to the Kendall Whaling Museum in 1997. Length 20”.

1,000/1,500

126.

WHALE IVORY GAVEL AND SOUND BLOCK 19th Century Gavel length 8.5”.

200/400

125, obverse and reverse

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59

127.

WOODEN SEAM RUBBER WITH WHALE IVORY CAP 19th Century Knob handle inlaid with a whale ivory cap at top. Cylindrical shaft. Wedge-shaped blade.

Length 4”.

100/150

128.

127

WHALE IVORY WAX SEAL WITH CLENCHED FIST TERMINAL

19th Century Terminal carved as a clenched left fist. Turned stem. Removable seal attached to stem with threaded coupling. Length 3”.

200/300

128

129.

WHALEBONE FID 19th Century Octagonal tapering to a cylinder. Pierced at top, probably for a hanging loop. Length 10”. Includes metal stand.

250/350

130.

WHALE IVORY PIE CRIMPER WITH INLAID HANDLE

Mid-19th Century Architectural handle with ball finial, a segment of open columns, a central faceted knop, a segment of closed columns, a seed-form segment and a baluster-form yoke. Knop with diamond-shaped abalone inlay. Fluted wheel. Deep patina.

Length 5.5”. Includes metal stand.

4,000/6,000

Provenance: A Private Collection, New York.

129

60

130

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131

131.

POLYCHROME SCRIMSHAW PANBONE BUSK Mid-19th Century Finely decorated with three vignettes, separated by thin parallel lines.

Upper vignette depicts a full-rigged ship with false gunports at anchor.

Central vignette depicts a basket of fruit. Lower vignette, oriented horizontally, depicts a whaling scene with a whaleship cutting in, three whaleboats, one of which is stoved, a surfaced whale, and another ship approaching from the distance. Busk is arched at top and straight at bottom. Length 13.5”. Includes metal stand.

3,000/5,000 Provenance: A Private Collection, New York.

132.

WHALE IVORY AND SHELL PIE CRIMPER Mid-19th Century Leaf-shaped handle with whale ivory frame and shell panel. Shaft with a dark metal leaf-shaped inlay. Same metal used for wheel mount. Wheel comprised of a shell disk and a fluted metal ring. Rivet decoration throughout. Length 6”. Includes stand.

2,000/3,000 Provenance: Barbara Johnson Whaling Collection (retains collection sticker on underside of stand).

Hyland Granby Antiques, Hyannis Port, Massachusetts.

A Private Collection, New York.

132

133.

WHALE IVORY BELL-FORM PICKWICK

Mid-19th Century Height 2”.

200/300 Provenance: A Private Collection, New York.

133

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61

134, nine

134.

COLLECTION OF NINE ELABORATELY CARVED WHALE IVORY AND WHALEBONE BODKINS

Mid-19th Century Three with terminals carved as a clenched fist, one with faceted knop and open cage, two with shaped openwork terminals, one with ball terminal and polychrome decoration on shaft, one with a heart-shaped terminal raised on stepped plinths, and one with ring turnings.

Some with abalone inlay or baleen bands. Lengths from 3� to 4�. Includes metal stand to display all nine.

3,000/5,000 Provenance: A Private Collection, New York.

62

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135

135.

COLLECTION OF EIGHT ELABORATELY CARVED WHALE IVORY BODKINS Mid-19th Century Two with terminals carved as a clenched fist, two as a hand clasping the shaft, one as a hand clasping a small book, one with a scored geometric design, one with a ball and spiral carving, and one in the form of a yoke, with relief-carved geometric designs on shaft. Some with inlaid, banded or carved shafts. Lengths from 3.5� to 4.25�.

Includes metal stand to display all eight, though the stand has space for nine.

2,000/3,000

Provenance: A Private Collection, New York.

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63

136.

SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse depicts a starboard view of a threemasted vessel with furled sails flying flags off the fore and mizzen masts, a long pennant from the central mast and an American flag off the stern.

Foliate garland at tip and base. Reverse depicts four climbing vines with delicate tendrils and blossoms. Base carved in a scalloped pattern.

Length 4.5”.

1,500/2,500

137.

POLYCHROME SCRIMSHAW WHALE’S TOOTH Mid-19th Century Depicts Lady Liberty seated on a plinth holding an American shield in her right hand and a staff topped with a Phrygian cap in her left hand.

A red, white and blue American flag is draped from her shoulder, across her bodice and down her skirt. Some elements executed in pinpoint.

Length 4”.

2,000/3,000

136, obverse and reverse

137

64

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138.

CHILD’S-SIZE WHALE IVORY PIE CRIMPER

Mid-19th Century Teardrop-shaped handle with stepped carvings and a pierced diamond. Fluted whalebone wheel.

Length 4”.

500/700 Provenance: 138 A Long Island Collection.

139.

POLYCHROME SCRIMSHAW WHALEBONE BUSK

Mid-19th Century Depicts a flowering potted plant, a climbing tendril emanating from a pergola, and two side-by-side weeping willows, all surrounded by sawtooth borders. Busk with heart-shaped lobed top. Length 13.25”.

500/800 Provenance: A Long Island Collection.

140.

WHALEBONE AND WHALE IVORY KNITTING NEEDLE

19th Century Whale ivory terminal carved as a cuffed clenched fist. Whalebone shaft with whale ivory and ebony banding. Length 10.25”.

200/300

139

141.

WHALE IVORY AND WALRUS IVORY DOUBLE-WHEEL PIE CRIMPER

Mid-19th Century Tapered shaft with knob terminal, a free-spinning ring, a static ring and contrasting bands, possibly baleen or exotic wood. Simple yoke supports a fluted wheel and a plain disc wheel. Length 6”. Includes metal stand.

1,400/1,800

Provenance: A Private Collection, New York.

141 see photos of all lots and view condition reports at www.eldreds.com

65

142

142.

143.

EXCEPTIONAL WHALE IVORY DOUBLE-WHEEL PIE CRIMPER WITH SNAKE-FORM HANDLE

Mid-19th Century Finely executed snake with shaped head, carved and inked eyes and mouth, and stippled scales that terminate on shaft in a scalloped design. Contrasting band, probably baleen, conjoins the shaft and the sinuous mount that supports the two wheels and a two-tine fork. The fluting on the two wheels differs; one is more sharply serrated. Balanced construction that fits nicely in the hand. Rich patina.

Length 7.25”.

10,000/15,000

IMPRESSIVELY LARGE WHALE IVORY PIE CRIMPER IN THE FORM OF AN ALBATROSS 19th Century Albatross with two baleen bands and a baleen and metal eye. Bird’s beak supports a nicely carved ruffled wheel with openwork pinwheel and circle. An unusual form in a folksy style. Length 8”. Includes metal stand.

3,000/5,000

145.

SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC DECORATION AND WHALING SCENE

Mid-19th Century Obverse depicts a variant of the Great Seal of the United States, with a star banner above a spread-wing eagle holding an “E Pluribus Unum” banner and a Liberty shield in its beak and crossed American flags in its talons. Flags flank a small cannon. Reverse depicts an active whaling scene with a whaleship, two five-man whaleboats, and three surfaced whales. Length 5”. Includes metal stand.

1,500/2,500

Provenance: A Private Collection, New York.

146.

THREE WHALE IVORY BODKINS Mid-19th Century All with faceted terminals, one with contrasting dots, one with serrated tamper on top, and one with faint incised diamonds. Lengths from 3” to 4.5”. Includes metal stand to display all three.

200/300

Provenance: Provenance: A Private Collection, New York.

A Private Collection, New York.

144.

WHALE IVORY PIE CRIMPER WITH HEART-SHAPED FINIAL Mid-19th Century Architectural handle with finely carved tiers of stepped carvings and a reeded bulbous shaft. Wheel support with similar tiers of stepped carvings. Intricate openwork fluted wheel. Heart-shaped finial is serrated for use as a pastry cutter; retains some tiny specks of crust. Length 6”. Includes metal stand.

2,000/3,000

147.

PAIR OF WHALEBONE KNITTING NEEDLES

Mid-19th Century With stepped whale ivory terminals and island wood banding. Lengths 13”.

700/1,000

Provenance: A Private Collection, New York.

Provenance: A Private Collection, New York.

66

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143

144

145, obverse and reverse

147

146, three

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67

148.

TWO BOTTLES OF NYE SPERM WHALE OIL 19th Century Full of oil. Retain original paper boxes, labels, corks and seals. Bottle heights 4.5”. Box heights 4.75”.

400/600

149.

TWO BOTTLES OF SPERM WHALE OIL 19th Century Both with paper labels “Sperm Oil Thomas Hollis, Druggist and Apothecary, 23 Union St., Boston”. Heights 4” and 6.75”.

300/400

150.

PAIR OF GLASS PEG LAMPS WITH WHALE OIL Mid-19th Century Clear glass cylindrical fonts fitted with metal burners and mounted on spun brass candlesticks. Half-full of whale oil. Total heights 14.75”.

250/350

148, two

149, two

151.

151, sampling

68

PORTFOLIO OF PAPERS AND PAMPHLETS RELATING TO THE WHALESHIP ARCTIC OF HAWAII 19th Century Includes 38 handwritten documents and 22 pamphlets and typed documents, many pertaining to the U.S. Senate hearings for a lawsuit involving the Arctic, which was was hired by the U.S. government to rescue crewman from the whalers crushed in the Arctic ice in 1871. The Arctic, however, met the same fate and was lost, and the lawsuit followed.

4,000/6,000

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152, sampling

152.

153.

154.

ALBUM “OLD WHALESHIPS AND WHARF SCENES” Circa 1919 Contains approx. 25 black and white images including photographs of ships and dock scenes and reprints of paintings and prints on glossy photo paper. Identifying labels on recto pages. Leather album with gilt lettering including title and “Compliments of New Bedford Storage Warehouse Co. New Bedford, Mass. 1919”. Album approx.

10.25” x 12”.

500/1,000

SET OF BARBARA JOHNSON WHALING COLLECTION AUCTION CATALOGS Parts I, II, III and IV of the Sotheby’s auctions held in New York from December 1981 through December 1983.

150/250

THREE MARITIME VOLUMES

BY CLIFFORD W. ASHLEY 1) Whale Ships of New Bedford (Boston and N.Y.: Houghton Mifflin Company, 1929). Limited edition of 1,035 copies. Sixty plates. Quarto. Red boards with gilt spouting whale on cover. 2) Ashley Book of Knots (N.Y., et al: Doubleday, 1944). Quarto. Blue boards. Includes dust jacket. 3) Yankee Whaler (Boston and N.Y.: Houghton Mifflin Company, 1926). First limited edition of 1,625 copies, 156 of which are numbered and signed by the author with tipped-in drawing. This copy does not appear to be numbered but is signed and includes drawing.

200/300

155.

TWO MARITIME BOOKS BY GEORGE FRANCIS DOW 1) Slave Ships and Slaving (Salem, Mass.: Marine Research Society, 1927). Q. Black cloth.

2)Whale Ships and Whaling ... (Salem, Mass.: Marine Research Society, 1925). Q. Green cloth.

150/180

156.

TWO BOOKS ON WHALING 1) Scrimshaw and Scrimshanders, Whales and Whalemen

by E. Norman Flayderman (New Milford, Conn.: N. Flayderman & Co., 1972). Folio. With dust jacket.

2) Harpoons and Other Whalecraft by Thomas G. Lytle (New Bedford, Mass.: Old Dartmouth Historical Society, 1984). Quarto. Linen cloth.

100/200

157.

COLORED ENGRAVING “GREENLAND SEAL CATCHING.” Marked “Published and sold May 1st 1873, by Edw. Orme. Bond Street London.”. 7.5” x 9.5” sight.

Framed 13.5” x 14.75”.

250/350

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69

158.

WHALING JOURNAL FROM THE WHALESHIP HOBOMOK OF FALMOUTH, MASSACHUSETTS Begins October 25, 1836 and ends November 8, 1839.

Contains many whale stamps and considerable writings of daily activity onboard ship. Contained in a book marked for William C. Taber, New Bedford. 18.25” x 10.75”.

4,000/6,000

158, more images at www.eldreds.com 70

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159

159.

AQUATINT AND HAND-COLORED ENGRAVING “A SHOAL OF SPERM WHALE OFF THE ISLAND OF HARWAII [SIC]” 1838 Painted by T. Birch, from a sketch by C.B. Hulsart.

Engraved, printed and colored by J. Hill. 20” x 24” sight. Framed 23” x 30”.

600/800 Provenance: The estate of a Rhode Island gentleman.

160.

SCALE MODEL OF THE WHALESHIP CHARLES W. MORGAN Mid-20th Century Hull built up from the solid in 3/16” scale. Hull finished bright with a black waterline. Deck is planked in a similar fashion and detailed with anchors, anchor windlass, covered tryworks, hatches, whaleboats rigged on davits and fitted with equipment, coils of line, helm, carved stern eagle, rudder, etc. Rigged with three masts and bowsprit and standing and running rigging.

Displayed on keel blocks on a mahogany base with glass and brass cover. Restored by William Hitchcock. Case height 31”. Length 36.5”. Width 14.75”. 3,500/6,500

160, with detail below

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71

161.

* CASED WHALEBONE MODEL OF A WHALEBOAT

First Half of the 20th Century Probably Azorean. Complete with oars, implements, masts and sails. Plaque mounted in case marked “Nantucket Whaleboat ca. 1850”. Case height 16.75”. Length 22.75”.

Width 8.75”.

800/1,200

161

162.

CASED MODEL OF THE WHALESHIP NEPTUNE

20th Century Case height 30.75”. Length 38.75”.

Width 16.75”.

900/1,200

162

163.

CASED MODEL OF A WHALEBOAT

20th Century Hull painted green and white. Complete with harpoons, oars, etc. Case height 9”.

Length 29.75”. Width 10.75”. 600/800

163

72

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164

164.

MOUNTED HALF HULL MODEL OF THE WHALESHIP ESSEX Alternating hardwood model mounted on a yellow pine backboard.

Signed “Mark A. Sotherland” and dated 2015. Backboard 8.25” x 27”.

300/500

165

165.

RARE CHARLES F. BROWN PATENT HARPOON

Patented 1850 Head marked “C.F. Brown Warren R.I.” on one side and “Patent 1850” on other side. Unusual twisted wedge-shaped head with barbs at end where head attaches to rod. Length 33.25”.

2,000/2,500 Literature: A drawing of this harpoon and information about Brown is included in Harpoons and Other Whalecraft by T.G. Lytle, p. 25.

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73

166

167

171.

GREENER IRON GUN HARPOON

England, 19th Century With double flue stop withers. Marked near head “N.&J. 1892”. Other side marked “Halaena”. Similar to #164 in Harpoons and Other Whalecraft by T.G. Lytle.

Length 51.75”.

1,000/1,500

172.

IRON TOGGLE HEAD GUN HARPOON 19th Century Traces of red and black paint. Length 47.5”.

500/1,000

173.

IRON TOGGLE HEAD HARPOON 19th Century Stamped “Macy”. Similar to #78 in Harpoons and Other Whalecraft by T.G. Lytle. Length 38.5”.

1,000/1,500

174.

MACY WROUGHT IRON TEMPLE-TYPE DARTING HARPOON 19th Century Under old, possibly original, red paint. Stamped “Macy” on head. Similar to #132 in Harpoons and Other Whalecraft

by T.G. Lytle. Length 38.75”.

900/1,200

175.

GREENER IRON GUN HARPOON 19th Century With movable double flues and stop withers. Length 45.25”.

800/1,200

176.

CAST STEEL KILLING LANCE 19th Century Stamped “Macy” on one side of head and “cast-steel” on the other. Complete with period wooden pole. Lance length 58.75”. Pole length 82.5”.

1,200/1,500

168

169

166.

167.

168.

169.

170.

74

WROUGHT IRON LILY HEAD HARPOON

19th Century Similar to #51 in Harpoons and Other Whalecraft by T.G. Lytle. Length 26.75”.

700/1,000

OLIVER ALLEN CAST IRON HARPOON 19th Century With four barbs. Similar to #203 and #204 in Harpoons and Other Whalecraft by T.G. Lytle. Length 25.75”.

400/600

WROUGHT IRON DOUBLE FLUE ARCTIC HARPOON

19th Century Stamped “J. Macy” and “WEN” for the whaleship William C Nye of New Bedford. Length 33”.

900/1,200

WROUGHT IRON HARPOON 19th Century With two swivel barbs. Harpoon head stamp on upper shaft.

Identical to #53 in Harpoons and Other Whalecraft by T.G. Lytle. Length 24”.

400/600

CAST STEEL GUN HARPOON 19th Century Possibly Greener. Movable barbs. Retains wire grommet and manila rope. Length 45.75”.

1,000/1,500

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170

171

172

173

174

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175

176

75

177

178

179

180

181

182

183

76

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177.

MACY WROUGHT IRON TEMPLE-TYPE DARTING GUN HARPOON

19th Century Under old red paint. Head stamped “Macy”. Similar to #134 in Harpoons and Other Whalecraft by T.G. Lytle. Length 38.5”.

800/1,200

178.

ROBERT BROWN IRON HARPOON 19th Century Made for a gun mold. Signed and dated on shaft “R Brown Patd 1850”.

Movable double flues. Similar head in Harpoons and Other Whalecraft by T.G. Lytle, p. 104. Length 33.5”.

400/600

179.

EXCEPTIONAL SNOW & PURRINGTON IRON TOGGLE HARPOON

New Bedford, 19th Century Off the whaler Timberlane. Head marked “S & P, LB” for larboard boat and “B. TAMIE” for Bark Timberlane. Complete with sheath, rope and twine wrapped around cane.

1,500/2,000

180.

WROUGHT IRON DOUBLE FLUE HARPOON With stop withers. Marked “AI” on upper shaft. Length 35”.

181.

JAMES D. DRIGGS WROUGHT IRON TEMPLE-TYPE DARTING HARPOON

19th Century Marked “J.D.D.”, “CWM” for Charles W. Morgan, and “S.B.R”. All marks on toggle similar to #135 in Harpoons and Other Whalecraft by T.G. Lytle.

Length 36.75”.

700/1,000

182.

JAMES DURFEE WROUGHT IRON TOGGLE HARPOON 19th Century Toggle stamped “J.D”. Shaft under later green paint. Length 34”. 700/1,000

183.

JAMES MAGUIRE WROUGHT IRON KILLING LANCE 19th Century Head stamped “J. Maguire” on one side and “New Bedford” on the other.

Shaft painted black. Length 33.25”.

600/900

184.

SNOW & PURRINGTON CAST STEEL BLUBBER SPADE ON POLE

New Bedford, 19th Century Stamped “Snow & Purrington” on spade. Spade length 15.25”. Total length 56.75”.

300/500

185.

AMBROSE J. PETERS CAST STEEL CUTTING SPADE ON POLE

19th Century Stamped on head “A.J.P” and “cast-steel”. Similar to #266 in Harpoons and Other Whalecraft by T.G. Lytle. Length of head 13.5”. Total length 60.5”.

500/800

19th Century 700/1,000

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184

185

77

190 186

78

187

188

191

189

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192

193

186.

IRON HARPOON Mid-19th Century Made for Oliver Allen, New London, Connecticut. Four barbs. Length 45”.

1,100/1,400

187.

IRON DOUBLE FLUE ARCTIC HARPOON

19th Century Length 23”.

300/600

188.

FORGED IRON HARPOON With two swivel barbs. Length 45”.

191.

IRON DOUBLE FLUE HARPOON Length 36.5”.

19th Century 600/900

192.

IRON TOGGLE HARPOON Length 30”.

19th Century 400/600

193.

IRON LANCE Length 60”.

19th Century 500/800

194.

RARE KONGSBERG VAABENFABRIK HARPOON GUN MODEL Norway, 19th/20th Century Swiveling brass gun with barbed harpoon and metal carriage.

Carriage mounted to a brass stand on a brass wedgeshaped base. Length of rope attached to a rectangular metal plate that is also mounted to base. Labeled “Kongsberg Vaabenfabrik HR2” with the corporation logo. We have been unable to find a similar example. Total height 10”.

Length 22”.

700/1,000

1840s 600/800

189.

STEEL HARPOON 19th Century With 5.5” single swivel and 5” diamond cross-section head.

Double shaft with wire ring. Length 23”.

200/300

190.

IRON SINGLE FLUE HARPOON Length 37.25”.

19th Century 700/1,000

194

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79

195

195.

LEMUEL D. ELDRED Massachusetts, 1848-1921 Whaleship off New Bedford under moonlight. Oil on canvas, 11.5” x 15.5”. Framed 19.5” x 24”. 7,000/10,000 Provenence: Godel & Co., New York (label verso).

80

196.

CLAUS HOIE New York, 1911-2007 “Stove Boat”, 1994, with a whale’s tale looming over a boat.

Signed lower right “Claus Hoie”. Watercolor on paper, 11.5” x 11.5”. Framed 20.5” x 20.5”.

200/400

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197.

NAPOLEONIC PRISONER-OF-WAR BONE MODEL OF A 120-GUN UNIDENTIFIED FIRST-RATE SHIP French/English, Circa 1800 Hull built up from the solid and planked in bone, with applied bands of bone between the gun ports. Gun ports with red-painted lids with blackened brass cannons (some oxidized). Detailed with chainplates, deadeyes, head rails leading up to a carved bone figurehead of a gentleman with residual polychroming, carved and pierced stern and quarter galleries, etc.

Bone-planked decks detailed with metal anchors, capstan, pin and fife rails, belfry, well deck with ship’s boat on supports over the top, wood railings, side boards, hatch gratings, guns on carriages, taff rail, etc. The hull, stem, railings and other areas of the entire model have numerous delicately carved elements. Rigged with masts, yards, standing and running rigging with bone blocks, spars, stun’sail booms, and other details. Displayed on a pair of turned bone pedestals on an wood-inlaid bone base with railing stanchions, housed within a mahogany and glass case with brass trim. Case height 24”.

Length 29.5”. Width 11”. Model height 19”. Length 25.5”. Width 9”.

8,000/12,000

197

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81

198.

VERY FINE SMALL NAPOLEONIC PRISONER-OF-WAR BONE MODEL OF AN UNIDENTIFIED 90-GUN SECOND-RATE SHIP French/English, Circa 1795 Hull carved from a single piece of bone with incised waist and lines between the gun ports detailed with black polychroming.

Gun ports with red-painted lids and blackened brass cannons.

Detailed with chainplates and dead-eyes, a carved bone figurehead of a Roman warrior with residual polychroming, and carved and pierced stern and quarter galleries. Deck planked in bone veneer and detailed with metal anchors, head rails, capstan, pin and fife rails, belfry, well deck with railings, side boards, ship’s boats swung out over the port and starboard sides, hatch gratings, guns on carriages, ladders, taff rail, etc. Rigged with masts, yards, standing and running rigging with bone blocks, spars, stun’sail booms, boat rigged out over the well deck, etc.

Displayed on a pair of turned bone pedestals and mounted on a two-tier bone stand with polychrome decoration on the rails.

Total height 8.75”. Length 9”. Width 4”.

6,000/8,000 198

199.

FINE SMALL NAPOLEONIC PRISONER-OF-WAR BONE MODEL OF A 40-GUN FRIGATE

Circa 1805 Hull built up from the solid and planked in bone, with an inset waist band and applied sheer band in baleen.

Cut and pierced for 40 guns with blackened brass cannons. Detailed with chainplates and dead-eyes, a carved bone figurehead, a carved and pierced stern decorated with drapes carved in relief and a nameboard (blank). Finely detailed quarter galleries. Veneer bone decks detailed with metal anchors, anchor floats, head rails carved in relief, capstan, pin and fife rails, stove pipe, belfry, well deck with ship’s boat hung over, guns on carriages, taff rail, etc. Rigged with masts, yards, standing and running rigging with bone blocks, spars, stun’sail booms, and other details. Displayed on a pair of turned and carved bone pedestals set on a bone base with railings and foliate-decorated posts. Height 9.75”.

Length 14”. Width 4”.

6,000/8,000

199

82

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200

200.

VERY FINE NAPOLEONIC PRISONER-OF-WAR BONE MODEL OF THE 110-GUN FIRST-RATE SHIP H.M.S. VICTORY French/English, Circa 1805 Hull built up from the solid and planked in bone, with an inset waist band and applied bands between the gun ports in baleen. Cut and pierced for 110 guns with blackened brass cannons. Detailed with chainplates and dead-eyes, a carved bone figurehead with residual polychroming, a carved and pierced stern decorated with cherubs, lion/unicorn and “Victory”, pulls for the cannons (not tested) and quarter galleries. Veneer bone decks detailed with metal anchors, head rails carved in relief as swags of cloth, capstan, pin and fife rails, water casks, well deck with railings, side boards, hatch gratings, guns on carriages, ladders, taff rail, etc.

Rigged with masts, yards, standing and running rigging with bone blocks, spars, stun’sail booms, and other details. Displayed on a pair of later cradles set on a mirror and wood base housed in a brass-trimmed glass case. Case height 24.5”.

Length 29.25”. Width 10.5”.

10,000/15,000

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83

201

201.

84

NAPOLEONIC PRISONER-OF-WAR PAINTED BOXWOOD MODEL OF THE 44-GUN FRIGATE H.M.S. NELSON French/English, Circa 1815 Hull built up from wood with a painted white bottom and the topsides with a black waist and black bands at the sheer line. At the bow is a delicately carved and polychromed crest. The transom and quarter galleries are carved and pierced, and decorated with carved lion and unicorn motifs below the taff rail, with additional polychrome decoration.

Decks fitted with a number of details that include anchors, capstan, stove pipe, belfry, long boat over the open waist, pin and fife rails, deck grating, double helm, skylights, etc. Rigged with three masts and a bowsprit, standing and running rigging, ratlines, turning blocks, bracing lines, halyard stays, spars and stun’sail booms, etc. Displayed on a pair of bone cradles on a decorated bone and tiger maple board mounted on a beveled mirror inset in a light mahogany base with a glass and brass-framed cover. Case height 13.75”. Length 18”. Width 8”.

4,000/6,000

202

202.

NAPOLEONIC PRISONER-OF-WAR BONE MODEL OF THE 74-GUN SECOND-RATE SHIP H.M.S. HEROS

Circa 1800 Hull built up from the solid and planked in bone, with an inset ebony waist band, and an applied ebony band between the gun ports. Detailed with brass cannons, chainplates and dead-eyes, a carved bone figurehead with residual polychroming, carved and pierced stern and quarter galleries carved in detail with “HEROS” carved on the stern, and a pair of anchor pulls (not tested). Bone-planked decks detailed with metal anchors, head rails, capstan, pin and fife rails, deck eyes, well deck with a launch and gig mounted over on cross frames, side boards, hatch gratings, guns on carriages, coils of line, ladders, taff rail, etc. Rigged with masts, yards, standing and running rigging with bone blocks, spars, stun’sail booms, and other details. Displayed on a mahogany board with bone detailing around the edges.

Total height 17.5”. Length 23.5”. Width 9”. 6,000/8,000

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203.

MODEL OF A 42-GUN MAN-OF-WAR

French/English, Early 19th Century In the style of Napoleonic prisoner-of-war models. Hull with copper-colored bottom and white paint around the gun ports. Cut and pierced gun ports fitted with blackened brass cannons and red lids. Detailed with a carved polychrome figurehead, rigging, deck fittings, etc. Displayed on a pair of metal stands. Contemporary glass-domed case with a black wooden base. Case height 17.5”.

Length 17.5”. Width 7”.

6,000/8,000 Provenance: Private Collection, New York.

203

204

204.

BONE MODEL OF A 56-GUN SHIP OF THE LINE Early 20th Century In the style of Napoleonic prisoner-ofwar models. Finely detailed throughout, including rigging, deck fittings, etc. Hull planked in bone, with a horn band at the water line. Cut and pierced gun ports fitted with retractable cannons, operated by the tasseled cord attached to the stern. Carved baton-wielding helmeted figurehead. Stern with an oval bust portrait of the king flanked by rampant lions, an open gallery, a swag and vine design, and lions or gargoyles at corners. Contemporary brass-bound glass case with stepped ebonized wood base. Case height 30.25”. Length 37.25”. Width 15.5”.

15,000/25,000 Provenance: Private Collection, New York.

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85

205.

NAPOLEONIC PRISONER-OF-WAR NEAR-SCALE WOODEN MODEL OF A 46-GUN MAN-OF-WAR

French/English, Early 19th Century Detailed with cut and pierced gun ports fitted with blackened brass cannons, a carved figurehead, rigging, deck fittings, etc. Flag in the rigging possibly part of a French flag. Displayed on a pair of wooden cradles resting on a wooden base with pierced gallery. Contemporary glassdomed case with a black and gold-colored wooden base.

Case height 9”. Length 11”. Width 7”.

5,000/7,000 Provenance: Private Collection, New York.

205

206.

MINIATURE MODELS OF A 50-GUN 4TH RATE SHIP OF THE LINE AND A 12-GUN NAVAL BRIG In the style of Napoleonic prisoner-of-war models.

Displayed together on a straw work galleried base. Nearscale models, probably carved from boxwood and other exotic woods. Finely detailed with cannons, rigging, deck fittings, etc. Man-of-war with a sword-bearing figurehead.

Contemporary glass-domed case with stepped mahogany base. Case height 8.75”. Length 12”. Width 8”.

6,000/8,000 Provenance: Private Collection, New York.

206

207.

BONE MODEL OF AN AMERICAN 24-GUN SLOOP-OF-WAR America, Circa 1820 Hull built up from the solid and planked in whalebone, with brass trunnels and a baleen waist. Head rails supporting the stem with residual blue polychroming. Stern with rudder and polychrome-decorated transom. Detailed with anchor, bowsprit ladder, pin rails and fife rails, open waist with polychrome swag decoration, stove pipe, capstan, skylight, companionway, ship’s wheel, etc. Pierced and fitted with 22 cannons, each mounted on a carriage. Rigged with a bowsprit and three masts, standing and running rigging, flags and other details. Displayed on a pair of bone pedestals on a velvet-covered block of wood mounted with a name plaque “America”. Total height 8.25”. Length 11”.

Width 4.5”. Includes a glass dome.

4,000/6,000

207

86

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208.

DIORAMA OF A 46-GUN SHIP OF THE LINE In the style of Napoleonic prisoner-of-war models. Detailed with cut and pierced gun ports fitted with blackened brass cannons, a carved figurehead, carved gallery, rigging, deck fittings, etc. Fitted into a contemporary painted wooden stand simulating the water line, with dories surrounding the ship. Contemporary glass-domed case with a stepped mahogany base. Case height 19”. Length 19”. Width 10”.

4,000/6,000 Provenance: Private Collection, New York.

208

209.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE SEWING CLAMP French/English, Early 19th Century In the form of a royal lady with crown, epaulettes and a sash, standing on a plinth and backed by a panel with an openwork crown design and a pierced and carved decorative border. Outfitted with a pincushion, needle holder and a screw-type clamp. Polychrome highlights throughout. Height 7”.

800/1,200

209

210.

NAPOLEONIC PRISONER-OF-WAR STRAW WORK PICTURE French/English, Early 19th Century Depicts a harbor scene with a three-masted ship at center. Illegible banner at lower margin.

Housed in an old frame, possibly period.

Framed 14.25” x 19.25”.

400/600

210

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87

an important private collection of Newport, Rhode Island Lots 211-217

88

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211

211.

FRANKLYN BASSFORD New York, 1857-1897 “Coronet Underway”. Signed and dated lower left “Franklyn Bassford 95”. Titled on frame plaque. Oil on canvas, 19.75” x 25.75”. Framed 28.5” x 34.75”.

30,000/40,000 Provenance: Sotheby’s, New York, March 3, 2007, Lot #71.

Vallejo Gallery, Costa Mesa, California.

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89

an important private collection of newport, rhode island

212

213

212.

LOUIS DODD 213. LOUIS DODD United Kingdom, 1943-2006 United Kingdom, 1943-2006 “The Whaling Bark Tamerlane outward bound from “New Bedford waterfront showing the clipper Syren and Nantucket 1830”. Signed lower right “Louis Dodd”. Titled whaling bark Massachusetts 1865”. Signed lower left “Louis on frame. Oil on board, 16” x 24”. Framed 22” x 31”.

Dodd”. Titled on frame. Oil on board, 22” x 36”. Framed 10,000/15,000 27” x 41”.

10,000/15,000 Provenance: Mystic Maritime Gallery, Mystic.

90

Provenance: Mystic Maritime Gallery, Mystic, Connecticut.

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214, sampling

214.

JOHN MECRAY Rhode Island/Pennsylvania, 1938-2017 Custom portfolio of 29 artist’s proofs and remarqued color lithographs, see a complete list at www.eldreds.com. Folio 42.5” x 30”.

6,000/8,000

215.

JOHN MECRAY Rhode Island/Pennsylvania, 1938-2017 Concordia Moon and Star. Initialed lower right “JM”.

Pencil on paper, 8.5” x 10.25”. Framed 12” x 14”.

1,000/1,500 Provenance: The artist to the current owner.

215

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91

an important private collection of newport, rhode island

216

216.

JOHN MECRAY Rhode Island/Pennsylvania, 1938-2017 “Coronet”. Signed lower right “John Mecray”. Titled on frame plaque. Oil and acrylic on canvas, 29” x 46”.

Framed 36.5” x 53”.

40,000/60,000 Provenance: The artist to the current owner.

After being inspired by a 1980 article in Wooden Boat magazine featuring the languishing schooner Coronet, John Mecray set out on a mission to restore the vessel to her original glory. To support these efforts, he painted three oils as well as a set of limited edition prints, of which he donated most of the sale proceeds. Due in large part to Mecray’s efforts, the Coronet has been recognized by the National Trust for Historic Preservation and has been called America’s “Most Historic Yacht”. A full-scale restoration of the Coronet commenced in 2008 at the Newport campus of IYRS School of Technology & Trades.

92

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93

an important private collection of newport, rhode island

Thomas Willis New York, 1850-1925 Lots 217-220

217

217.

Sloop yacht Maria, circa 1890.

Unsigned. Oil on canvas with applied silk boat and sails, 20” x 28”. Framed 27.5” x 36”.

2,500/3,500

conclusion of the collec tion

94

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218.

219.

220.

Portrait of a large American sloop, circa 1885.

Oil-painted background attributed to Antonio Jacobsen (New York/New Jersey/Denmark, 1850-1921). Schooner with black velvet hull and embroidered gold trailboards, cove stripe, deck, deck houses and seven sailors in light blue uniforms. An embroidered New York Yacht Club burgee flies from the top of the mast and an American yachting ensign flies off the gaff. Sails are covered with silk and have pencil-drawn sail seams and reef points, typical of the artist’s work.

Three-dimensional threadwork waves at bow and along the hull. The sky and water technique is typical of Jacobsen’s painting of the Mid- to Late 1880s and features a dark squall-like area on the right, and a red highlight that rounds through the dark left and continues across the horizon of the canvas. This is one of a few known early works by Willis in which he purchased the canvas background from Jacobsen. Unsigned.

Oil on canvas with applied silk boat and sails, 20” x 26”. Framed 23” x 29”.

2,000/3,000

“The Yacht America Cup Winner in 51”, circa 1890.

Yacht with black velvet hull, distinctive gold embroidered trailboards, a number of deck details including the round cockpit, and with her proper rig with a topsail only on the main mast.

Embroidered Union Jack flies from the top mast and the American yacht ensign flies off the gaff.

Sails with penciled lines showing the sail seams; the mainsail has two rows of pencil-drawn reef points. Colorful and somewhat primitive painted sky and water. Unsigned. Titled lower center.

Oil on canvas with applied silk boat and sails, 14” x 22”. Framed 18” x 26”.

2,500/3,500

218

219

Portrait of the New York Yacht Club steam/sail yacht Elsa.

Exceptionally executed water and finely detailed yacht with numerous figures on deck and a cabin parlor complete with tie-back drapes. A New York Yacht Club burgee flies from the foremast, an owner’s swallowtail flies from the aft mast, and a brightly rendered American flag flies off her stern. Signed lower right “T Willis”. Oil on canvas with applied silkwork, 19” x 34.75”.

Framed 25.75” x 41.75”.

1,800/2,500

220

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95

Items from the Collection of Jack Warner Lots 221-225

221.

ADLAI STEVENSON HARDIN Connecticut/Minnesota, 1901-1989 Carved maple figure group of three sailors, circa 1962.

Signed “Adlai S. Hardin”. Height 35.5”. Width 42”.

Depth 5.5”.

4,000/6,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 18, 2001, Lot #207.

221

Adlai Stevenson Hardin was a descendant of Adlai E. Stevenson, who served as Vice President under Grover Cleveland. He was also a first cousin of Adlai E. Stevenson, who ran for President in 1952 and 1956. Hardin was born in Minneapolis and grew up in Chicago. His interest in sculpture was piqued after seeing an exhibition of wood sculpture at the Chicago Art Institute when he was 15 years old. Following

222

his graduation from Princeton, he worked as an advertising executive but pursued sculpture and wood carving in his free time, becoming president of the National Sculpture Society in 1957.

222.

ADLAI STEVENSON HARDIN Connecticut/Minnesota, 1901-1989 Carved maple figure group of two sailors with a parrot. Signed and dated “Adlai S. Hardin 1962”.

Height 35.5”. Width 28”. Depth 5”.

3,000/5,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 18, 2001, Lot #207.

96

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223.

RARE CARVED AND PAINTED DIORAMA OF AN AMERICAN SHIPYARD

America, 19th Century A fine example exhibiting professional quality and detail yet holding an American folk art appeal. Multi-wood construction depicts the building of three-masted sailing vessel, complete with scaffolding, ramps, ladders, a crane, a small woodshed, a larger detailed building, and 17 figures, including some in formal dress gathered around blueprints and others in overalls engaged in various tasks. Vessel with plankon-frame construction, the deck and hull with thin planks individually fastened with tiny wood trennels. Deck fully planked, with framed hatch openings and a metal and brick oven mounted near the center of the deck. One section of the hull near the keel intentionally unplanked to view frame construction. The anchor is mounted off the starboard bow and the rudder is fastened to the ground behind the stern. Diorama and mahogany base in a natural wood finish save for the sloping platform, which is painted green. Height 17”. Length 58”. Width 16.25”.

3,000/5,000 Provenance: Property from the Westervelt Company, Tuscaloosa, Alabama, purchased and given to his company by Jack Warner.

223

Jack Warner (d. 2017), a businessman and philanthropist, was renowned for assembling one of the greatest private collections of American art, which included hundreds of paintings, sculpture, furniture and decorative art representing masterpieces from the 18th Century through the early 20th Century, notably works by Thomas Cole, Frederic Church, Albert Bierstadt, Asher B. Durand, John Singer Sargent, Mary Cassatt, William Merritt Chase, Edward Hopper, Winslow Homer and Andrew Wyeth. He was also an avid collector of nautical antiques and established the North River Yacht Club in 1978, where he displayed many of his fine marine antiques at the club house. In recognition of his collection, Warner was awarded the Frederic Edwin Church Award in 2010. Warner’s collecting achievement was also recognized in 2011 by the naming of the newly-opened Jack and Susan Warner Hudson River Gallery in the Metropolitan Museum of American Art in New York. Warner’s remarkable collection was displayed and operated by his foundation in the Westervelt-Warner Museum of American Art from 2002 until 2011, attracting thousands of visitors to Tuscaloosa, Alabama each year.

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Items from the Collection of Jack Warner Lots 221-225

224

225.

224.

NAVAL ELECTRIC CO. BRASS U.S. NAVY SIGNAL CANNON WITH TRIPOD New York, Circa 1895 Rare example built specifically as a signal cannon as it was made to fire blank shells. Deeply engraved near loading breech “U.S.N. OR 251 C 5.18”. Brass barrel with raised band at trunnions and a sight mounted at the top. Rotating brass handle used to slide the breach into the block and lock it in place. Retains original trunnion caps, bots, and a brass and black-painted steel collapsible tripod. Cannon is fired by pulling a cord that activates a hammer to strike a firing pin that in turn strikes the back of the shell. Modified with a new 10-ga. shell reducer so that it can fire commercially available shells, making it far more usable. Height on tripod 27.5”.

Cannon length 39.75”. Total length on tripod 65”. 10,000/12,000

PAIR OF LARGE AND HEAVY BRASS BOLLARDS WITH BRASS BASES

Circa 1930 Probably American. Cylindrical, with a round cap at tops and four bolt holes on each side of the bases. Most bollards of this size are made of iron and brass examples are very rare. Weight approx. 250 pounds. Heights 17.5”.

Widths 30.5”.

2,000/3,000

Height 17.5”

225, pair

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Items from the Estate of a Massachusetts Collector Lots 226-233

226

227

226.

SAMUEL WALTERS United Kingdom, 1811-1882 “The Mary Jones in Two Positions off Perch Rock Lighthouse”. Unsigned. Titled on frame plaque. Oil on canvas, 27” x 40.5”. Framed 33” x 47”.

15,000/25,000

227.

ROBERT SALMON England/Massachusetts, 1775-c. 1851 “Shipping off Greenwich”. Signed and dated lower right “RS 1803”. Titled on frame plaque. Oil on canvas, 10.75” x 17.5”. Framed 16” x 24”.

18,000/22,000

Provenance: N.R. Omell, London.

Exhibited: N.R. Omell 19th Annual Marine Exhibition, 1988.

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228.

LEONARD JOHN PEARCE United Kingdom, b. 1932 The privateer America. Signed lower right “L.J. Pearce”.

Oil on canvas, 18” x 28”. Framed 25” x 36”. 2,500/3,500

229.

HONORE PELLEGRIN France/United Kingdom/America, 1793-1869 “Barques Laurens Captn. Fraklin N. Thompson, William Winn Mate 1845”. Signed and dated lower right “Hon. Pellegrin Marseilles 1845”. Titled lower center. Watercolor on paper, 16.75” x 22”. Framed 25” x 31”.

1,200/1,800

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229

230.

231.

JOHN FAUNCE LEAVITT Massachusetts/Connecticut, 1905-1974 “The Letter of Marque Brig Grand Turk, of 14 Guns, Wm. Austin Comd. Saluting Marseille”. Inscribed on label verso “Copy by J.F. Leavitt Marblehead, Mass. April 16, 1931”.

Watercolor on paper, 17” x 24” sight. Framed 30” x 37.5”.

1,200/1,800

230

CURRIER & IVES LITHOGRAPH “THE NEW EXCURSION STEAMER COLUMBIA. ‘GEM OF THE OCEAN’...”

America, Circa 1877 After Charles R. Parsons and Lyman W. Atwater. Gale no.

4802. 23.25” x 35.25” sight. Framed 29.5” x 42”.

800/1,200

231

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Items from the Estate of a Massachusetts Collector

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233

232.

ROY CROSS United Kingdom, b. 1924 Busy scene of Commercial Wharf, Boston Harbor, in the 19th Century, with the ship Joshua Bates headed out and the sidewheeler America to her port. Signed and dated lower left “Roy Cross 1988”. Oil on canvas, 24” x 36”.

Framed 32” x 44”.

15,000/25,000

233.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 The sidewheeler Daniel Webster. Signed, dated and inscribed lower right “Antonio Jacobsen 1900 31 Palisade Av. West Hoboken, NJ”. Oil on canvas, 22” x 36”. Framed 26.5” x 40.5”.

15,000/20,000

The Joshua Bates was the last ship built by Donald McKay in Newburyport before settling into East Boston. She was a 620-ton pioneer packet of Enoch Train’s White Diamond Line.

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The Kelton Collection Eldred’s is pleased to offer maritime art and artifacts from the Kelton Collection over a series of auctions this year, including the eighty-two lots presented here.

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234.

CONTINENTAL SCHOOL Circa 1650 Dutch flutes whaling in the North Sea. Unsigned.

Oil on panel, 23.5” x 32.75”. Framed 30” x 39.75”.

4,000/6,000 Provenance: Eldred’s Spring Marine Art Auction, March 1994.

Acquired at the above sale by Richard Kelton.

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235.

AMERICAN SCHOOL Circa 1850 American whalers in New Zealand.

Unsigned. Inscribed verso “The Charles W. Morgan and mid 19th Century Whalers”. Oil on canvas, 14” x 20”.

Framed 18.25” x 24.25”. 2,000/3,000 Provenance: Skinner Inc., Boston, October 1998.

Acquired at the above sale by the Kelton Foundation.

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236.

JULIAN O. DAVIDSON New York/Maryland, 1853-1894 “North Pacific Whalers Trying Out Oil”. Signed lower right “J.O. Davidson ‘91”. Inscribed verso “North Pacific Whalers Trying Out Oil Painted

by J.O. Davidson Nyack on Hudson 1891”. Oil on canvas, 20” x 16”. Framed 25.5” x 21.5”.

1,500/2,500 Provenance: Vallejo Gallery, Newport Beach, California.

Purchased from the above by the Kelton Foundation, April 2005.

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237.

HAND-COLORED LITHOGRAPH “DESTRUCTION OF THE WHALING FLEET IN THE ARCTIC OCEAN.” Designed and drawn on stone by Captain Kelly of the ship Gayhead.

Edwin Dews, publisher. 14” x 20.5” sight. Framed 21.75” x 28.5”.

400/600

237

237A, three

237A. THREE HAND-COLORED LITHOGRAPHS DEPICTING WHALES “Graphic Illustrations of Animals. ... The Whale”, “The Common Whale” and “Fin Whale”. Designed and drawn on stone by W. Hawkins. Published

by Thomas Varty, London. 9.5” x 12.75” sight. Framed 17.5” x 20.5”.

600/800

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238

238.

MOUNTED BUILDER’S HALF HULL MODEL OF THE WHALESHIP PETREL New Bedford, Circa 1853 Built up in ten lifts, shaped, sanded and faired, with painted topsides, bright finished bottom with applied stem, keel, rudder and trailboards, and original lift pegs. Mounted on black-painted backboard. Backboard 17” x 66”.

2,000/3,000 Provenance: Eldred’s, Spring Americana & Marine Sale, March 1995.

Acquired at the above sale by Richard Kelton.

The Petrel, at 350 tons and 107 feet long, was built in Rochester in 1853 and owned by Charles H. Gifford and William A Beard. She was re-registered as a bark in 1864 in New Bedford. She had an active whaling career for almost 42 years.

239.

CHROMOLITHOGRAPH “PRIVATE SIGNALS OF THE MERCHANTS OF BOSTON.” Circa 1855

By John T. Smith. Kramer & Co., Lithographer, Boston.

Depicts 112 different Boston merchant flags with the names of each below. “Respectfully Dedicated to the Merchants and Underwriters of Boston, By Their Obedient Servant John T. Smith” at lower margin. 38.75” x 28” sight. Framed 48.25” x 36”.

2,500/3,500

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240.

ATTRIBUTED TO FRANÇOIS JOSEPH FREDERIC ROUX France, 1805-1870/74 Medium clipper ship Asa Eldridge, circa 1858. Oil on canvas, 26” x 32”. Framed 30.5” x 37”.

3,000/5,000

Asa Eldridge was named after a famous captain of the clipper ship Red Jacket, who claimed to have bettered Dreadnought’s record run from Sandy Hook to Rock Light, Liverpool in 13 days, one hour.

Provenance: Eldred’s auction, July 1995.

Acquired at the above sale by the Kelton Foundation.

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The American packet Republic, hailing from Baltimore, gets underway on her homeward voyage, depicted off the French port of Le Havre, with Fort Saint Jean astern.

The Roux family of Mediterranean port painters was made up of no less than six important marine artists who were all born in the French port city of Marseille.

Francois Joseph Frederic Roux, known as Frederic, was the second son of Antoine Roux (1765-1835) and was the third generation of this important dynasty of sea painters.

241.

FRANCOIS JOSEPH FREDERIC ROUX France, 1805-1870/74 American packet Republic off Le Havre. Signed and dated lower right “Frederic Roux 1846”. Further inscribed verso “Frederic Roux, Hydrography & Peintre Du Marine ou Havre, 1846”. Watercolor on paper, 14.5” x 22.5” sight.

Framed 22” x 28.75”.

2,500/3,500 Provenance: Vallejo Gallery, Newport Beach, California.

Purchased from the above by the Kelton Foundation, August 1997.

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242.

ATTRIBUTED TO THOMAS LUNY United Kingdom, 1759-1837 British man-of-war near shore. Unsigned.

Oil on canvas, 14” x 19.75”.

Framed 18.5” x 24.5”.

2,500/3,500 Provenance: Vose Galleries, Boston.

An unknown private collector.

Eldred’s auction, November 2002.

Acquired at the above sale by Richard Kelton.

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243

H.M.S. Britannia of 1689 carried 100 guns during wartime and 90 in home waters. She was “girdled” in 1701, increasing her beam, but then was broken up in 1716.

243.

The flag flown from Britannia’s foremast is the Banner of England,

ATTRIBUTED TO ISAAC SAILMAKER The Netherlands/United Kingdom, 1633-1721 A three-decker flying the Royal Standard with the Royal Yacht in the foreground. Probably the pre-Establishment ship H.M.S. Britannia of 1689. Oil on canvas, 35.5” x 58”.

Framed 46.25” x 68.5”.

15,000/25,000 Provenance: Sotheby’s, New York, May 22, 1997, Lot #56A. Private collection, London.

Christie’s, South Kensington, London, May 11, 2000, Lot #37.

Vallejo Gallery, Newport Beach, California.

Purchased from the above by the Kelton Foundation, 2001.

Literature: Dictionary of Sea Painters by E.H.H. Archibald (Antique Collector’s Club, 2000), p. 80, plate 17.

a flag associated only with the King, William III. The Banner of England, with its three gold lions on a red ground, could only be flown when the King was present. In addition, Britannia flies the pre-1707 Red Ensign, with the Cross of St. George on a red ground, and the Royal Navy Union Jack flies at the bow. The broad pennants flown at the mainmasts of both central vessels are command pennants designating ships are under the authority of the officer commanding in the Downs (on the east coast of Kent), which helps identify the location as most likely the mouth of the Thames.

Other details include the crew and the ship’s complement of Marines shown in full uniform, including hats, on deck for a formal event, the starboard sally port with the boarding steps still in place, and all of Britannia’s gun ports open, suggesting a Royal salute, and the departure of the ketch-rigged Royal transport in the right

foreground.

The scale and grandeur of this work was undoubtedly a commission to commemorate the visit of His Majesty.

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Originally attributed to Samuel Walters, research by Dr. Samuel Davidson documented in his book Fifty Ship Paintings by Francis Hustwick attributes this work to Francis Hustwick. Hustwick was a

244.

FRANCIS HUSTWICK United Kingdom, c. 1797-1865 The American packet ship Washington outward bound, with the sail-steamer North Star in the distance. Oil on canvas, 28” x 41”. Framed 33.75” x 46.75”.

10,000/15,000 Provenance: The collection of Fritz Gold, New York.

Northeast Auctions, Portsmouth, New Hampshire, 1996.

Acquired from the above at that sale.

Literature: For an illustration and discussion of this work, see Fifty Ship Paintings by Francis Hustwick by Samuel Davidson (JonesSands Publishing, Wirral, U.K., 1999), p. 80.

relatively unknown painter of the Liverpool School until Davidson identified a “rebus” or pictorial signature as part of an “identikit” for Hustwick paintings, many of which had been attributed to Walters or other Liverpool artists. More than 50 Liverpool ship portraits have now been re-attributed to Hustwick.

The trans-Atlantic packet Washington was a big three-decker and known as a fast ship. Built for the New York to Liverpool run, her best eastbound crossing was reported as 13 days, 14 hours in February 1852. This view shows her departing Liverpool with the South Stack at Hollyhead visible just beneath the tip of her bowsprit, and the Skerries Reef and Lighthouse off her stern. A sailsteam vessel, bearing all the characteristics of the American sidewheeler North Star is depicted in the distance off Washington’s port bow. Built in New York by Jeremiah Simonson in 1853 for Cornelius Vanderbilt, the 2,004-ton North Star was the first purpose-built private steam yacht.

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245

246

245.

JOHN LYNN United Kingdom, fl. 1826-1847 Launching at the East India Company yard, Blackwall on the Thames. Oil on canvas, 28.5” x 41”. Framed 37.5” x 49.75”.

15,000/25,000 Provenance: Christie’s, South Kensington, London, May 1997.

Acquired from the above at that sale.

246.

FREDERICK J. TUDGAY United Kingdom, 1841-1921 Ship Centurion off Eddystone Light. Signed and dated lower right “F.J. Tudgay 1872”. Oil on canvas, 20” x 29.75”. Framed 27.25” x 37”.

5,000/7,000 Provenance: Christie’s East, New York, February 1998.

Acquired at the above sale by Richard Kelton.

Centurion was built at Alex Stephen’s Kelvin Baugh Yard #15 in Glasgow for R. Richardson, who was in the tea trade. She was still in service in 1881 under Captain Widdicombe and still rated Lloyds AA1 as she had been built with heavier plating than was required to meet the then-current standards.

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Captain Philip Dumaresq (1804-1861) was one of the most famous “drivers” in the China Trade and later on the California run. He was long associated with the Russell and Low families of Boston, as well as Captain Robert Bennet Forbes, many of whose ships Dumaresq commanded in the opium trade. It was Forbes who named Dumaresq “The Prince of Captains”. Dumaresq’s commands

247.

EUGENE CHARLES LE GENDRE Belgium, 1827-1900 Captain Dumaresq with his family and the ship Antelope.

Signed, dated and inscribed lower left “Eug. LeGendre, 1856. Antwerp”. Oil on canvas, 26” x 32.5”. Framed 31.5” x 38.25”.

5,000/10,000 Provenance: Marine Arts Gallery, Salem, Massachusetts.

Purchased from the above by Richard Kelton, December 1992.

included Great Britain, Akbar, Antelope, and later the clippers Surprise, Bald Eagle, Romance of the Seas and Florence. Dumaresq and Josiah P. Creesy are the only captains in history to have twice made the westward passage around Cape Horn from an East Coast port to San Francisco in under 100 days, and Dumaresq is the only one to have accomplished this feat in two different vessels.

The Antelope was an American semi-clipper built in 1843 by Samuel Hall in East Boston. She was owned by Russell and Company and the Forbes of China.

The artist, Eugene Charles Le Gendre (or Legendre), was born in Bruges. He is considered a post-Romantic painter of history and genre scenes. He studied at the Academies of Bruges and Antwerp.

He travelled to London and Paris and also taught at the L’Academie des Beaux Arts d’Anvers. Since the artist traveled to London and Paris, the portrait may have been made in London.

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248

248.

ISAAC HEARD United Kingdom, 1804-1869 Portrait of a sailmaker, circa 1844. Oil on canvas, 36” x 28”.

Framed 47” x 38.5”.

4,000/6,000 Provenance: Eldred’s, Summer Marine Auction, July 1996.

Acquired from the above at that sale.

Literature: See Marine Art & Liverpool by A.S. Davidson (Waine Research Publications, Wolverhampton, UK, 1986), p. 50, illustration #50 for a painting of Isaac Heard by his brother Joseph.

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249.

CHARLES J. WALDRON United Kingdom, 1836-1891 Genevieve Strickland off Fastnet Light, Ireland.

An old label, handwritten in ink at top of the stretcher, reads “Genevieve Strickland From the Collection of Captain William Strickland Clinton, Connecticut”. Also inscribed on stretcher in pencil “By J.G. [sic] Waldron”. Oil on canvas, 24” x 36”. Framed 28.5” x 40.5”.

8,000/12,000 Provenance: Captain Strickland, Clinton, Connecticut, thence by descent.

Christie’s East, New York, July 2001.

Acquired at the above sale by Richard Kelton.

249

The Genevieve Strickland was in the Pacific Coast trade and in 1881 was recorded as being surveyed in San Francisco that year. The ship was sold to Germany in 1880 and her name changed to Camilia.

Charles J. Waldron was an Irish-born Liverpool artist whose home and studio was in Seacombe. He specialized in ship portraits, the majority of which were painted for export, particularly to America. Waldron’s artistic endeavors were secondary to his listed trade as a “paint and oil merchant” and later “oil and color merchant”.

250.

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”.

10,000/15,000 Provenance: Jack Partridge, Edgecombe, Maine.

Purchased from the above at the Winter Antiques Show, New York, January 26, 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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251.

GEORGE MEARS United Kingdom, 1826-1902 H.M.S. Topaze passing the Royal Yacht Victoria & Albert II, circa 1858. Oil on canvas, 18” x 36”. Framed 23” x 40.75”.

2,000/3,000 Provenance: Sotheby’s, Scotland, August 1973.

Acquired at the above sale by Richard Kelton.

251

H.M.S. Topaze was a wood steam/screw frigate launched in May 1858. She is noted as the ship that brought the Easter Island statue back to the British Museum. In the background here is a paddlewheel-driven steam yacht built in 1855, the Victoria & Albert II, Queen Victoria’s yacht. The schooner yacht America is on the right, the finish line buoy is in the left foreground, and the distant second-place yacht, the cutter Aurora, is in the far right background.

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253

252.

ROBERT DODD England, 1748-1815 H.M.S. Termagant at anchor. Ship and artist identified on frame plaque. Oil on canvas, 21.5” x 31.5”.

Framed 30” x 40”.

6,000/8,000

253.

Provenance: Newhouse Galleries, New York.

Estate of Peter Paanakker.

Morton M. Gerson, a private dealer.

Purchased from the above by Richard Kelton, 2003.

This view of the H.M.S. Termagant off Plymouth, with a circular quay that may be part of the Plymouth Citadel. H.M.S. Termagant was purchased by the Royal Navy while still on the stocks and launched in 1780 with a battery of 22 six-pounders and four twelve-pounders. In 1782 she was converted to an 18-gun “ship” sloop and was sold in 1795.

HENRY MELLING United Kingdom, 1808-1879 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 marked “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.

Ocean Monarch, an American emigrant ship, was outward bound from Liverpool with over 300 passengers onboard 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.

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254

When launched at Portsmouth, New Hampshire in 1854, the medium clipper Sierra Nevada was the largest ship built on the Piscataqua River. Her construction was supervised by Captain Pearce Wentworth Penhallow (1817-

254.

DUNCAN MCFARLANE Massachusetts/United Kingdom, 1834-1871 Packet ship Sierra Nevada off Point Lynas. Signed and dated lower left. Oil on canvas, relined, 24.5” x 36”.

Framed 34.75” x 47”.

15,000/25,000

1885), who was her commander from 1854 until 1858. Sierra Nevada’s maiden voyage was from Boston to Liverpool, March 16 to April 12, 1855. In 1856 she entered the California trade, making five passages to San Francisco between 1856 and 1862. In 1862, she was departing San Francisco Bay when she missed stays beating out through the Golden Gate and went ashore on Fort Point, but she was saved. In 1863 Sierra Nevada made her last voyage as an American

Provenance: Descended through the family of the ship’s captain, Pierce Wentworth Penhallow.

Hyland Granby Antiques, Hyannisport, Massachusetts.

Purchased from the above, October 2000.

ship, sailing from San Francisco to London. She was sold to MacKay & Baines’

Literature: Flying The Colors by Alan Granby and Janice Hyland (Mystic Seaport, 2009), p. 322, plate V.17.

Black Ball Line, an example of the massive flight of American flag vessels to foreign ownership as a result of the activities of Confederate Commerce Raiders during the Civil War. She was wrecked in 1877 on the coast of Chile while on a voyage from Callao bound for Liverpool carrying guano.

This painting was commissioned from Duncan McFarlane for the ship’s first commander, Captain Pearce Penhallow. It depicts the Sierra Nevada as she appeared in 1855, with the ship’s distinctive figurehead of an Indian warrior after she passed into British Registry. Approaching Liverpool and preparing to pick up her pilot off Point Lynas, this location was the focal point of the Mersey Pilot Service, whose vessels put out from Amlwich. Liverpool Pilot Schooner #3, The Duke, built by Buckley Jones in 1852, is off the ship’s starboard bow with her punt trailing astern as she prepares to send over a pilot.

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255.

MILES WALTERS AND SAMUEL WALTERS United Kingdom, 1773-1849 and 1811-1882 American packet Sheffield approaching Liverpool.

Signed and dated lower right “Walters & Son 1831”. Oil on canvas, relined, 26.5” x 42”.

Framed 34.25” x 49.75”.

15,000/25,000 Provenance: Estate of W. Scott Keith, Jr., Deerfield, Massachusetts, descendant of the original owners.

Skinner Inc., Boston, March 23, 1997.

Acquired from the above at that sale.

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This view depicts the Red Star Line packet Sheffield in two positions inbound to Liverpool off the South Stack Lighthouse, below the Holyhead and the signal station at Angsley. Two small channel cutters are shown beneath Sheffield’s bowsprit. Indicative of the collaborations between Miles and Samuel Walters in the 1830s, the sea is rough and choppy, painted in a vigorous style with strong light effects.

When Sheffield was launched from the yard of Smith and Dimon in New York in 1831, she was considered the fastest of the transatlantic packet ships. She sailed for the Red Star Line on the Liverpool run for 13 years, and she was then sold and converted to a whaler and sailed out of Cold Spring Harbor, New York until 1860.

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256

The original period frame bears the label of “W.M. Walters, Carver and Guilder, No. 3 Berry Street, Liverpool”. This is the label of Samuel Walters’ brother, William Miles Walters, and is significant because William went “up market” in 1851, the date of this painting, moving to 97 Bold Street in what is still a fashionable shopping district.

This would be one of the last of the old labels William used before relocating to his new address.

The painting detail shows the New Brighton Steam ferry boat at the Brighton Pier on the extreme left. Just to the right of this is a sailing ship being side-towed into the harbor by a local tug. Perch Rock (sometimes called Black Rock) Fort and Lighthouse appear just under the Daniel Webster’s bowsprit, with the fort’s connecting causeway clearly defined. On the Daniel Webster’s foremast is a post-1840 Marryat’s Code four-flag hoist, identifying the ship by her numerical designation, 7-1-8-3, displayed beneath the second distinguishing pennant. At the main truck is the white diamond house flag of the vessel’s owners, Enoch Train and Company. The American flag flies from her gaff. There are a large number of carefully detailed people on the ship’s deck, and also two figures working aloft, one on the fore topsail yard and one on the mizzen topsail yard. The ship’s figurehead represents Daniel Webster standing above a gilded platform followed by articulated trailboards.

256.

SAMUEL WALTERS United Kingdom, 1811-1882 The packet ship Daniel Webster entering Liverpool. Signed lower left “S. Walters 1851”. Oil on canvas, relined, 32” x 48”.

Framed 43.5” x 59.5”.

15,000/25,000 Provenance: Enoch Train, commissioned by him from Samuel Walters.

Adeline Train, Enoch’s daughter, who married Seth Whitney, and then to her son.

Theodore Train Whitney, Sr., Milton, Massachusetts, and then to his son.

Theodore Train Whitney, Jr., Milton, Massachusetts, and then to his sons.

Theodore Train Whitney III, Barnstable, Massachusetts and George Whitney, Colorado.

Hyland Granby Antiques, Hyannis Port, Massachusetts.

Acquired from the above, February 1998.

Literature: Samuel Walters - Marine Artist by A.S. Davidson (JonesSands Publishing, Coventry, U.K., 1992), p. 207, discusses Miles Walters, Jr., framer.

Flying The Colors by Alan Granby and Janice Hyland (Mystic Seaport, Mystic, Ct., 2009), p. 315, plate V.10.

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257.

SAMUEL WALTERS United Kingdom, 1811-1882 The Liverpool paddlewheel steam tug United States. Signed and dated lower left “S. Walters 1858”. Oil on canvas, 28” x 42”. Framed 34.5” x 48.5”.

20,000/30,000 Provenance: Vallejo Gallery, Newport Beach, California.

Purchased from the above, June 1998.

The iron-hulled paddle tug United States, built at Newcastle in 1857, was owned by the United Steam Tug Co. of Liverpool. Her dual-stack steam engines had an output of 130 horsepower. Even though the last British paddlewheel vessel, Cunard Scotia, was built in 1865, the tug United States was still in active service in 1883. This is one of five tugs that enabled the United Steam Tug Company Ltd. to maintain service in Liverpool Bay in all but the most extreme conditions.

In the condition portrayed, the master is taking no chances. A full head of steam is available in both boilers, indicated by smoke from each funnel and a wisp of steam escaping from their adjacent steam pipes.

According to Samuel Davidson, the handling of the sea and stormy sky is unmistakably that of Samuel Walters at his most mature. This painting is likely a commission from the vessel’s captain.

258.

SAMUEL WALTERS United Kingdom, 1811-1882 Liverpool pilot boat #2 Kitty in a rough sea. Signed and dated lower right “S. Walters 1837”. Oil on canvas, 20” x 44”. Framed 36” x 53”.

15,000/25,000

Provenance: Vallejo Gallery, Newport Beach, California.

Purchased from the above, August 1996.

Literature: See Samuel Walters - Marine Artist by Samuel Davidson (Jones-Sands Publishing, Wirral, U.K., 1992), p. 163 for an illustration of another painting of the pilot boat Kitty and a discussion of this work.

In this early painting by Samuel Walters, the Liverpool pilot cutter off the headland of Great Orme makes her way to rendezvous with an inbound ship in busy restricted waters on a windy day.

The outward-bound cross-channel paddle steamer in the right background is likely the Ariel, an Admiralty P.O. steam packet. This pilot boat was the third to be so named, and she was in service as a pilot boat until 1846, after which she was still afloat in Bereheven, County Cork, Ireland, in 1886.

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259.

SAMUEL WALTERS

The Adelaide is depicted entering Liverpool, off the Skerries, United Kingdom, 1811-1882 Anglesey, with the South Stack Lighthouse just visible on the right Medium clipper Adelaide approaching Liverpool. and the Skerries Lighthouse ahead of the bowsprit. At 1,831 tons Signed and dated lower left “S. Walters 1865”. Oil on and 216 feet long, Adelaide was the 16th largest ship built in the canvas, 31.25” x 46.25”. Framed 39.25” x 54.25”.

United States during the 1850s. By 1865 she had been sold to Henry 12,000/18,000 Fernie of Liverpool, whose house flag is shown at the mainmast.

Provenance: Richard Green, London.

Marine Arts Gallery, Salem, Massachusetts.

The Ritz Carlton Collection.

Christie’s East, New York, Maritime Sale, February 1997.

Acquired from the above at that sale.

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She is shown with divided topsails, although this modification occurred after her early voyages, and single top gallants with furled Royals. When launched she also carried skysails. Adelaide had a successful and uneventful 20-year career before being stranded in December, 1875 and condemned at Cape Town.

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260.

AZIMUTH AND STEERING COMPASS BY GEORGE ADAMS

Circa 1770 Signed, with the original label and on the underside of the compass card “Geo Adams”. Printed label on the underside of the lid marked “I hereby certify that I have examined this Compass and that it appears to be rightly Constructed” and signed “Geo. Adams”. A second label states “Azimuth and Steering Compass Invented By Gowan Knight F.R.S. Made by George Adams, Mathematical Instrument Maker to His Majesty at Tycho Brahes Head in Fleet Street, London. N.B. Drawing Instruments, Telescopes and Hadley’s Quadrants of the best Construction”. Printed dry card compass rose, marked “Made by G. Adams Fleet Strt. London Instt. Makr. to His Majesty”, mounted within a scribed metal degree ring, suspended in a brass rotating drum case with gimbal mounts and brass sights, within the original oak box. “East” and “North” compass points are decorated. Compass card diameter 6.5”. Box height 9.5”. Width 12”.

Depth 12”.

5,000/8,000 Provenance: R. Frank Collection of Scientific Instruments, until 1986.

Sotheby’s, London, The R. Frank Collection of Scientific Instruments, March 1986.

Acquired from the above at that sale.

Literature: Captain Cook, R.N. The Resolute Mariner by Thomas Vaughan and C.M. Murray-Oliver (Oregon Historical Society, 1974).

Exhibited: Oregon Historical Society, 1974.

261.

No Lot.

In the early days of map making, Jerusalem was placed in the center of the map because it was considered the most holy city in Christendom.

Subsequently, in addition to the north point on the compass rose card, many early compasses had the east point embellished in recognition of the fact Jerusalem lay to the east of most of the Western commercial centers. In this early compass, the card contains traces of this tradition. This was to evidence the compass maker’s faith and/or invoke the protection of the Christian God’s grace and protection for the ship on which the compass was used.

In addition to its use for steering the ship, the azimuth compass was used to determine compass deviation from true north using the direction of the sun and to determine the bearing of distant objects sighted through the vanes. This type of steering compass was the first to be patented. The first sighting compass was invented around 1600 by William Barlow (Compass by A. Gurney (2004), p. 63-64). This design uses a permanently magnetized steel needle invented by Gowan Knight.

George Adams (1704-1773) was an inventor and author as well as instrument maker to both the King and the Honorable East India Co. He was the most prominent maker of Hadley’s quadrants during the 18th Century. An instrument of this type was used by Captain James Cook on his voyages of discovery.

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260, additional view above

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262.

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WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Medium clipper Mary inbound off the Skerries, England.

Signed, dated and inscribed lower right “Wm. Yorke, L’pool Dec...1859”. Oil on canvas, 26” x 36”. Framed 34” x 44”.

10,000/15,000 Provenance: John McInnis Auctioneers, Amesbury, Massachusetts.

Acquired from the above by Richard Kelton, October 2003.

Capt. John Bridgeo had been at sea, primarily in the fishing industry,

Mary was one of only three clipper ships built at Marblehead. She

off, much against the wreckers’ opposition and attempts at bribery.

was named for her owner’s daughter, Mary Kimball. When launched

He brought the ship safely into New Orleans, where he received a

on December 6, 1854, she was fully rigged and ballasted as she

handsome reward from the vessel’s underwriters. Between 1858

slid down the ways. Her maiden voyage, from Boston to Le Havre,

and 1862, Mary was back on the transatlantic run, still under Captain

France via New Orleans, commenced a month later, on January 8,

Bridgeo. In 1865, she made her final voyage between Boston and

1855, under Captain William Churchill. Between 1855 and 1858 her

San Francisco before being converted into a bulk carrier. In 1867, she

primary route was Boston - New York - San Francisco - Calcutta. In

was condemned at Callao, Peru, and sold to British interests, who

1857, under Captain John Bridgeo, Mary made her fastest passage

continued to operate her as a bulk carrier until she was abandoned

between Boston and San Francisco, of 109 days, and from there to

at sea on a voyage from Callao to Cork, Ireland, on December 11,

Calcutta in 83 days.

1869, due to heavy flooding.

since the age of 13. In 1858, while under his command, Mary struck a reef in the Bahamas. The local wreckers came out to salvage the ship, but Captain Bridgeo and his crew succeeded in getting her

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263.

WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Moro Castle entering Liverpool off Perch Rock, circa 1864.

Signed lower center “Wm. Yorke”. Oil on canvas, 18” x 26.5”. Framed 25.75” x 34.75”.

5,000/7,000 Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts.

Purchased from the above by the Kelton Foundation, November 2002.

Moro Castle was built in 1852 by T.J. Southard at Richmond, Maine, who was also the ship’s owner. She was a relatively small ship, as is shown in the painting by the comparatively large size of the figures on deck. This painting fits stylistically between the Yorkes most strongly influenced by Duncan McFarlane and the lesser-influenced pictures of the 1862-1865 period. Moro Castle also visited Liverpool in 1864, which is likely the year this painting was created. The large number of Maine-built ships painted by both Yorke and McFarlane suggests a strong relationship between these artists and Maine sea captains.

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264.

BUILDER’S PLATING HALF HULL MODEL OF THE JOHN CARSWELL BY CHARLES CONNELL & CO., SHIPBUILDERS Glasgow, Scotland, Circa 1891 Built up in ten maple lifts with the station lines drawn on the back and the plating plan drawn in India ink on the hull. 10.5” x 61.5”.

3,000/4,000

265.

HAWK’S NEST MODEL OF A MERCHANT BRIG

America, 19th Century Built up in hardwood frames, the lower sections doubled, with stem, keel, and rudder post, sheer stringer and other details. Height 8.5”. Length 32.5”.

1,500/2,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 2001.

Acquired from the above at that sale by Richard Kelton.

The ship was built and named for John Carswell of Greenock in 1891. She was sold in 1895 to the Calluna Ship Co. Ltd., then again in 1906, and again several more times. In 1910 she had several

This is an example of a builder’s type of model that was used by

Danish owners before being torpedoed by a U-boat in 1917.

shipbuilders prior to the development of the “lift” model. The “Hawk’s Nest” model was created using the ship’s line drawings and frame layout to replicate an accurate scale model for reference to construction techniques. Also called “bird cage” or “framing” models, this example features “sistered” (doubled and joined together) frames and is pegged together using wooden tree nails.

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267

266.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 The pilot schooner No. 13, the Francis Perkins. Signed and dated lower right “A. Jacobsen 1895”. Oil on canvas, 12” x 20”. Framed 18” x 26”.

6,000/8,000 Provenance: A Private Collection.

Northeast Auctions, Portsmouth, New Hampshire, August 1994.

Acquired from the above at that sale.

Literature: See Antonio Jacobsen - The Checklist by Harold S. Sniffen (Sanford & Patricia Smith Galleries, Ltd., N.Y., 1984), p. 124-125, #14 for a listing of this painting.

267.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 Steamship Cottage City at sea. Signed, dated and inscribed lower right “A Jacobsen 1891 705 Palisade Av., West Hoboken.

NJ”. Oil on canvas, 22” x 36”. Framed 31” x 41.5”.

10,000/15,000 Provenance: Vallejo Gallery, Newport Beach, California.

Purchased from the above by the Kelton Foundation, March 2003.

Literature: See Antonio Jacobsen - The Checklist by Harold S. Sniffen (Sanford & Patricia Smith Galleries, Ltd., N.Y., 1984), p. 84-85, #8 for a listing of this painting.

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268.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 Passenger steamship Yale of the Metropolitan Steam Ship Company. Signed and dated lower right “A. Jacobsen, 1908”. Oil on board, 18” x 28”. Framed 25.5” x 35.75”.

7,000/10,000

Built along with her sister Harvard, Yale originally was built for the run from Boston to New York, known as the “Cape Cod” run. These were only the second and third steam turbines ever constructed in the United States. In 1911, both ships came to the West Coast, chartered by the Pacific Navigation Company, and provided four

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Provenance: Kennedy Galleries, New York.

A private collection.

Northeast Auctions, Portsmouth, New Hampshire, August 2001.

Acquired from the above at that sale by the Kelton Foundation.

trips per week between Los Angeles and San Francisco. From 1916

Literature: See Antonio Jacobsen - The Checklist by Harold S. Sniffen (Sanford & Patricia Smith Galleries, Ltd., N.Y., 1984), p. 308-309, #6 for a listing of this painting.

transport during World War II, this time in the Aleutian Islands. After

to 1920 they served as troop ships, shuttling wartime personnel across the English Channel. In 1920, they returned to the West Coast under the flag of the newly formed Los Angeles Steamship Company. In 1931, LASSCO was taken over by Matson Navigation.

Yale continued alone under the Matson flag until 1936 when service ended. Laid up until 1940, Yale again served as a troop the war she was used as a floating barracks for a construction firm and was finally scrapped in 1949.

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270

269.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 The steam yacht Atalanta at sea. Signed, dated and inscribed lower left “Antonio Jacobsen 1911 31 Palisade Ave., West Hoboken, NY”. Oil on board, 18” x 30”.

Framed 21.5” x 31.5”.

7,000/10,000

270.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 Downeaster Henry B. Hyde. Signed lower right “Antonio Jacobsen 1896”. Oil on board, 18” x 29.75”.

Framed 24” x 36”.

10,000/15,000

Provenance: Sotheby’s, London, May, 1985.

Acquired from the above at that sale by Richard Kelton.

Provenance: A Private Collection.

The West Sea Company, Old Town, San Diego, California.

Purchased from the above by Richard Kelton, 1997.

Literature: See Antonio Jacobsen - The Checklist by Harold S. Sniffen (Sanford & Patricia Smith Galleries, Ltd., N.Y., 1984), p. 3839, #2-4 for listings of other paintings of Atalanta by Jacobsen.

Literature: See Antonio Jacobsen - The Checklist by Harold S. Sniffen (Sanford & Patricia Smith Galleries, Ltd., N.Y., 1984), p. 144-145, #26.

Atalanta was built in 1903 as the yacht Lorena in Scotland by

The downeaster Henry B. Hyde is considered to have been the

Ramage & Ferguson for A.L. Barber. This painting shows her in 1911,

finest American sailing ship of the post-clipper era and the

wearing the house flag of George J. (Jay) Gould, who owned her

largest ship built in Maine up to that time. She was named for the

from 1907 to 1925, and flying the New York Yacht Club burgee on

president of the Equitable Life Insurance Company of New York.

the foremast. She saw Naval service during World War I and then

Her average time on her first 12 voyages between New York and

was sold to the Chinese government in 1926 as a survey ship and

San Francisco was a brisk 109 days. In 1899 she was sold to the

gun boat. She was lost in 1941 during the war with Japan.

California Shipping Company. She was lost February 19, 1904, when she broke loose from her tow en-route from New York to Baltimore for loading. She was driven ashore about 10 miles south of Cape Henry and lay stranded until she broke in two in October 1904.

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272

271.

MOUNTED BUILDER’S HALF HULL MODEL OF 272. MOUNTED BUILDER’S HALF HULL MODEL THE CLIPPER SHIP JOHN HARVEY BY W.B. COFFIN, OF THE CENTERBOARD CUTTER RUSAKLA SHIPBUILDERS Newburyport, Massachusetts, 1866

BY LAWLEY AND SONS Boston, Circa 1896 Hull built up in 10 lifts, shaped, sanded and faired, and Hull built up in 10 alternating pine lifts, with applied stained and varnished, with original lift pegs. Mounted on stem, keel, cap rail and other details. Mounted on a later an arched-top backboard. Backboard 21.5” x 60.25”. backboard. Accompanied by a photograph of the yacht.

2,500/3,500 Backboard 11.25” x 59.25”.

2,500/3,500 Provenance: A Private Collection, Gloucester, Massachusetts.

Vallejo Gallery, Newport Beach, California.

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Provenance: Eldred’s, Spring Marine Auction, March 1994.

Acquired from the above at that sale by Richard Kelton.

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273.

AMERICAN BUILDER’S PLATING HULL MODEL OF THE CANTON PACKET COHOTA

BY WILLIAM H. WEBB New York, Circa 1843 Built up from the solid, with painted coaming, and applied India ink details. Deck detailed with drawn outlines and lettering describing position of the deck structures including cabins, hatches, freeing ports, masts and capstans. Topsides detailed in India ink showing the planking layout. Inscribed on base “Canton Packet COHOTA Built by William Webb 1843 New York City”. Height on stand 9”. Length 29.25”.

Width 8”.

3,000/5,000

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Cohota was William H. Webb’s 12th hull model, and was one of three pre-clipper packets built for the Griswold firm of Old Lyme, Connecticut. Her sisters were Helena and Panama. These hulls resembled a packet, but with a tall rig like a clipper. In 1845, when Sargent S. Day was captain of Cohota, after leaving Shanghai, bound for Boston, he discovered two Chinese boys as stowaways. One died, but Day adopted the surviving child, naming him Edward Day Cohota. Cahota’s 124-day “pilot to pilot” run in 1850 was the fastest “pre-clipper” passage. Her 1852 passage took 134 days. His adopted son sailed with Captain Day and Cohota until the captain retired in 1857. Cohota was sold in 1860 to British owners.

Models were considered important steps in the evolution of Webb’s clipper designs. Built for the China Trade, these ships are often referred to as the first “China Tea Clippers”.

274.

LAI FONG China/India, fl. 1810-1910 Iron ship County of Kinross. Signed, dated and inscribed lower right “Lai Fong Calcutta 1899”.

Oil on canvas, 18” x 23.5”. Framed 22” x 27.75”.

2,000/3,000

Provenance: Honeychurch Antiques, Ltd., Hong Kong.

Purchased from the above by Richard Kelton, March 1983.

Lai Fong was a Chinese ship’s portraitist working in the Last Quarter of the 19th Century and the early years of the 20th Century. Commencing his artistic career in Hong Kong, he emigrated to Calcutta due to the fierce competition in his home port. Many of the large British windjammers and barques that he was commissioned to portray regularly called at Calcutta on their way to the Far East. Lai Fong established a substantial following in

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Calcutta among the visiting captains. His work is held in the collections of the Merseyside Maritime Museum, Liverpool, the Maritime Museum in Troense, Denmark, the Peabody Essex Museum in Salem, Massachusetts, and India House, New York.

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275.

CHINESE SCHOOL Circa 1856 American clipper Daring at Hong Kong, flying the Bush & Comstock house flag. For the China Trade. Oil on canvas, 30.75” x 44.75”. Framed 36” x 50.5”. 10,000/15,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1995.

Acquired from the above at that sale by Richard Kelton.

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William Bradford Massachusetts/California, 1823-1892 Lot 276

276.

Clipper Golden West of Boston, outward bound, circa 1852.

Signed and indistinctly dated lower right “Wm. Bradford Fairhaven Mass 1st Month 1853”. Label verso marked “Golden Wave, So. Fla. A.G. Estate, GPH-12/27”. Another older label, designating a loan to an exhibition, indicated the lender was Albert Goodhue, obviously the “A.G.” of the estate, and Carl Crossman’s client. Oil on canvas, 32” x 48”.

Framed 38.5” x 54.5”.

60,000/80,000 Provenance: Child’s Gallery, Boston, Carl Crossman, director.

Albert Goodhue, Jr., purchased from the above circa 1965.

Northeast Auctions, Portsmouth, New Hampshire, 1996.

Hyland Granby Antiques, Hyannis Port, Massachusetts.

Purchased from the above by the Kelton Foundation. continued next page

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Literature: See William Bradford--Sailing Ships & Arctic Seas by Richard Kugler (New Bedford Whaling Museum and the University of Washington Press, Seattle and London, 2003), p.

6 for a discussion of the painting and p. 95 for a full-page color illustration.

him into a family business career, his childhood interests in art

Exhibited: De Cordova Museum, Lincoln, Massachusetts, November 2-December 28, 1968.

New Bedford Whaling Museum, “William Bradford--Sailing Ships and Arctic Seas”, May 24-October 26, 2003, Richard C. Kugler, curator.

steamer Panther. Following this trip, he produced a book titled The

prevailed, and in the 1850s Bradford was selling ship portraits in New Bedford for $25 apiece. Bradford’s artistic endeavors were spent working in Swampscott and Nahant and he then established a studio in Boston, where he worked for several winters. In 1869, Bradford made a notable expedition to the Arctic onboard the Arctic Regions, a folio volume published in 1873 in England under the patronage of the British Royalty, including Queen Victoria.

Bradford went to Boston to produce 10 known paintings of large merchant clipper ships, mostly between 1852 and 1853. By his own recollection, “Captain Glidden of Boston gave me an order to

The American clipper ship Golden West is shown outward bound,

paint a vessel”, presumably for his shipping firm of Glidden and

departing on her maiden voyage to San Francisco on December

Williams, and probably of Queen of the Sea or Golden West, both of

12, 1852, depicted with the lighthouse on Little Brewster Island,

which he painted in 1853. Golden West did not return to the East

the customary point of departure for Boston-owned vessels. The

Coast until January 1854, supporting the theory of the painting

Golden West is shown in a starboard profile from the leeward,

being a depiction of Golden West’s departure from Boston on her

sailing into the wind with her sails braced hard on the port tack.

maiden voyage. The inscription has been mis-copied as “11th

The American ensign flies from the mizzen-gaff hoist and the

month (November) 1853” on the title plaque mounted to the frame.

prominent house flag of Glidden & Williams is worn at the truck of

Bradford most likely would have observed and recorded the ship’s

the main mast. The ship’s gilded eagle figurehead is a prominent

initial December 1852 departure, completing the painting a month

detail identifying the ship. The schooner off the clipper’s bow is

later in January 1853. An overlooked detail of this painting is the

likely her departing pilot boat.

unintended “ghosts” of two ships seen on the horizon line between the pilot schooner, likely part of Bradford’s original composition

The 1,441-ton Golden West, as her name suggests, was active in the

but that appear to have been painted over and replaced with

Pacific and California trades. Built for the Boston firm of Glidden &

smaller versions to create the perspective of greater distance as the

Williams, she was an extreme clipper, making several trips around

work progressed. Richard C. Kugler, director emeritus of the New

Cape Horn trading between China, Australia and the American

Bedford Whaling Museum, wrote in June, 2000, regarding the loan

West Coast. She still holds the record for the fastest sailing passage

of Golden West for an upcoming exhibit, “More than any of the eight

between Japan and San Francisco-- 4,876 miles in just over 20 days

other (Bradford) clipper portraits I am acquainted with, I would like

-- under Captain Putnam, from May 13 to June 2, 1856. In the early

your example, thinking it the most classic of its kind”. Kugler further

1860s, between voyages from the West Coast or the Orient to New

mentions, in a follow-up letter from June 2002, of coming across an

York and London, she traded in harbors throughout the Far East.

interview with Bradford where the artist recalls, “Captain Glidden

After being sold by Glidden & Williams, she was owned for some

(senior partner Glidden & Williams) gave me one hundred dollars

time by the New York firm of J.A. & T.A. Patterson. In 1863, as a

for a picture about four feet long”, quite likely a reference to this 48”

result of the heavy toll taken against U.S. clippers by Confederate

wide image.

Commerce Raiders, Golden West was sold to a British owner, J.G. Ross. In 1866, under Ross’ ownership, she was engaged in

Compared with his whaleship portraits, those of the clippers are

transporting Chinese laborers between China and Peru. Her

larger in size, perhaps to accommodate their greater length and

ultimate fate is unknown.

taller masts, or to match the prevailing standards for painting of this kind in Boston. The largest of them was this painting.

A closely related painting of the clipper Dashing Wave is in the

The clipper ships have a more formal air about them, with their

collection of the Peabody Essex Museum in Salem, Massachusetts.

depiction intent on showing the search for speed under sail.

Another painting of Golden West by J.B. Smith of Brooklyn, done

Bradford’s paintings of whalers are smaller, with small whaleboats

in 1857 for her captain, is illustrated in The American Neptune

and a different structure and composition from the clipper ships.

Pictorial Supplement #1 (1959) as plate XXVI. It is also in the

The clipper ship paintings were made before Bradford’s association

Peabody Essex collection.

with the Dutch-trained marine artist Albert Van Beest, who arrived in Boston in 1855.

According to Artists of New Bedford A Biographical Dictionary

by Mary Jean Blasdale (The New Bedford Whaling Museum, New Bedford, Mass., 1990), p. 46-47, William Bradford was born in Fairhaven, Massachusetts. Despite his parents’ efforts to guide

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William Bradford Massachusetts/California, 1823-1892

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277.

WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 New York Yacht Club schooner Columbia off Governor’s Island, circa 1889. Oil on canvas, 24” x 34”.

Framed 31.5” x 41.5”.

10,000/15,000

This painting is a companion portrait to the N.Y.Y.C. yacht Sultana, Lot #278 in this sale. Both were likely painted around 1889, and they were featured together in the 1976 Omell catalog. This painting depicts the 1871 America’s Cup defender Columbia close

Provenance: A private collection.

N.R. Omell Gallery, London.

Purchased from the above by Richard Kelton, August 2001.

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hauled on a starboard tack, sailing past Governor’s Island in the upper New York Bay.

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This is the companion painting to the previous lot in this sale. The two were featured together in the Omell catalog, and the exhibit is noted on the stretcher label. The paintings are mounted in identical frames made by F.A. Pollak of London.

The yacht’s private signal, along with comparisons to several period photographs and a Louis Roux painting at the Peabody Essex Museum in Salem, Massachusetts conclusively identifies this vessel as the 1889 steam/sail yacht Sultana, owned by Trenor L. Park, a New York Yacht Club member elected in 1883. The bow view was almost certainly painted by Mary Yorke and due to the late date

278.

WILLIAM GAY YORKE AND MARY E. YORK New York/Canada/England, 1817-c. 1888 and c. 1854-1893 The steam/sail yacht Sultana of the New York Yacht Club, circa 1889. Signed lower left “Wm. G. Yorke”. Oil on canvas, 24” x 36”. Framed 29.5” x 49.5”.

12,000/18,000 Provenance: N.R. Omell Gallery, London.

Purchased from the above by the Kelton Foundation, November 1998.

of this work (the yacht was not launched until 1889), it is possible Mary was the primary creator of the overall painting.

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MARY E. YORK United Kingdom/Canada, c. 1854-1893 Cambria and Gracie off Southwest Spit Buoy, New York Harbor. Signed and dated lower left “M.E. Yorke 1895”. Oil on canvas, 16” x 24”.

Framed 24” x 32”.

3,000/5,000

Provenance: The Estate of Robert Tiedemann, Newport, Rhode Island.

Eldred’s, The Marine Sale, October 2016.

Acquired from the above at that sale

by Richard Kelton.

Cambria was the first challenger for the America’s Cup. She was built in 1868 for James Lloyd Ashbury, and in 1870, en-route to the Cup match, she engaged in a transatlantic race with James Gordon Bennett’s Dauntless. In the 1870 America’s Cup, Cambria placed eighth out of 14 contestants. She raced with the New York Yacht Club fleet for the rest of the season before

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returning to England in late 1870.

This painting depicts Cambria in a race off buoy #10, at Southwest Spit on the old N.Y.Y.C. race course near Sandy Hook Lightship. A tugboat is seen on the left horizon, and an unidentified private steam yacht on the right. The schooner is racing a black-hulled sloop, the most likely candidate is the yacht Gracie.

280.

WILLIAM GAY YORKE AND MARY E. YORKE New York/Canada/England, 1817-c. 1888 and c. 1854-1893 Sloop Albatross under a full moon. Signed and dated lower left “M.E. Yorke 1893”. Oil on canvas, 20” x 24”. Framed 27 x 31”.

7,000/10,000 Povenance: John Hohorst, and thence by descent.

Skinner, Inc., Boston, 2009.

Vallejo Gallery, Newport Beach, California.

Purchased from the above by Richard Kelton, 2010.

The Albatross was purchased in 1891 by brothers John and Louis Hohorst, both residents of Brooklyn, New York, and neighbors of Mary E. Yorke.

Mary E. Yorke was the widow of artist William G. Yorke, with whom she collaborated over the years. She lived across the street from the Hohorsts, who worked on Van Brunt Street in Brooklyn.

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280

281 The Emily St. Pierre was a blockade runner, built in Bath, Maine by William Rogers & Son in 1854, owned by the Trenholm Company, and was under the command of Capt. William Wilson, a Scotsman. After sailing from Calcutta, the ship was nearing the bar at Charleston on March 18, 1862, when the U.S.S. James Adger stopped her on the grounds that her British registration was illegal, and the Emily St. Pierre was taken into custody. The Confederate seamen were removed from the ship, with the exception of Louis Schelvin, the cook, Matthew Montgomery, the steward, and Captain Wilson, who was ordered to take his ship to Philadelphia. Wilson hatched a plan to recapture his ship, and he drew the cook and the steward into his confidence. While Lieutenant Josiah Stone, who was the acting master, was on watch, they bound and gagged the mate while he was asleep, and in another room the engineer was treated in the same manner. Wilson then requested Lieutenant Stone come to his cabin and check a chart, saying he was unsure his charts were correct. On the way, Wilson threatened Stone with an iron bar and tied him up so he could not raise the alarm. Wilson, now having taken the lieutenant’s gun, ushered three men and the helmsman into a hatch and locked them in. Wilson had now regained his vessel, but he was 3,000 miles from Liverpool with only the cook and a steward, neither of whom could reef nor steer. Eventually the prisoners agreed to assist and a month later, April 21, the ship anchored in the Mersey.

This painting is quite possibly a collaboration between William G. Yorke and the 15-year-old William H. Yorke. Note the naive treatment of the small boats and the reflection on the water of the hulls and the seagulls.

281.

WILLIAM GAY YORKE AND WILLIAM H. YORKE New York/Canada/England, 1817-c. 1888 and 1847-1921 The capture of the Emily St. Pierre by Federal sloop James Adger.

Signed, dated and inscribed lower right “Wm York Lpool July 1862”. Oil on canvas, 25” x 36”. Framed 30” x 41”.

10,000/15,000 Provenance: Matthew Montgomery, steward of the Emily St. Pierre, and thence by descent.

N.R. Omell Gallery, London.

Purchased from the above by the Kelton Foundation, November 1998.

Literature: See Warships and Naval Battles of the Civil War by Tony Gibbons (Smithmark Publishing, 1989) for a reference on the James Adger.

An illustration of this painting is in Mersey Built, The Role of Merseyside in the American Civil War by Robert Thorpe (Vernon Press, 2017), p.186, plate 7.

These are traits later associated with William H. Yorke.

This painting descended through the family of Emily St. Pierre’s steward, who assisted the ship’s master, Captain Wilson and two crew members in recapturing the vessel from the American prize crew.

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The schooner Cambria was owned by Lord Ashbury, and after

282.

WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Schooner yacht Dauntless leading Cambria. Signed and dated lower left “Wm G. Yorke 1877”. Oil on canvas, 31.5” x 42.5”. Framed 36.25” x 47.25”.

10,000/15,000 Provenance: William Hood Galleries, Delrey Beach, Florida.

Purchased from the above by Richard Kelton, April 1998.

Cambria’s success in the Isle of Wight race against the champion American schooner Sappho, Ashbury decided to challenge for the America’s Cup. He subsequently exchanged letters with Gordon Bennett, sportsman and owner of the New York Herald, challenging him to a transatlantic race prior to competing for the Cup on behalf of the Royal Thames Yacht Club. In July 1870, Ashbury raced Cambria across the Atlantic from Ireland to New York against Bennett’s yacht Dauntless. Cambria won the race by arriving first off Sandy Hook Lightship in 23 days, 5 hours and 17 minutes, which was 1 hour, 43 minutes ahead of Dauntless.

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283

284

283.

WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Cutter yacht Melvina racing. Signed and dated lower left “Wm. G. Yorke June 187[3]”. Oil on canvas, 20.75” x 27.25”.

Framed 24” x 30.75”.

8,000/12,000 Provenance: Skinner, Inc., Boston, February 2003.

Acquired from the above at that sale by Richard Kelton.

284.

WILLIAM GAYE YORKE AND MARY E. YORK New York/Canada/England, 1817-c. 1888 and c. 1854-1893 Schooner yacht Atalanta of the New York Yacht Club arriving in Newport, Rhode Island, circa 1885. Signed lower left “W.G. Yorke”. Oil on canvas, 24” x 34”.

Framed 30.75” x 40.75”.

7,000/10,000 The hermaphrodite brig Atalanta is seen here sailing off Fort Adams, Newport, Rhode Island. This location is reinforced by the

Reminiscent in style to J.E. Buttersworth, this strong painting of

number of small yachts shown in the background.

the cutter yacht Melvina was executed well before Yorke’s 1882 accident. The signature is in a straight line with the date “June 187[3]”, suggesting the work to be pure William Gay Yorke.

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285.

TANK TEST MODEL OF A 12-METER YACHT

Circa 1961 By the Davidson Tow Tank, The Stephens Institute, Hoboken, New Jersey, probably made by Lou Banks, Jr. In 13.3’: 1’ scale, standard for all Davidson tank models. Built up of wood, with the interior hollowed. Hull exterior is shaped and faired to a race finish. Sand has been glued in place at the leading edge of the bow, extending to the bottom of the keel, which creates a disturbance in the laminar flow below the waterline for easier observation.

Davidson lab number 2498 is stenciled on the bow.

Height 10.75”. Length 60.25”.

2,500/3,500

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Dated July 20, 1961, the lines of this model most closely resemble those of the Bill Luders-designed 12-meter American Eagle (US21), which was launched in 1964. American Eagle’s hull was a radical departure from conventional 12-meter lines, with its distinctive swept-back keel.

However, further research shows this model is not representative of American Eagle, appearing more cut-away than the 1964 design, but data from the tank test results using this model would likely have influenced the final design for American Eagle. The Davidson lab was the primary towing tank where designers tested new hull designs.

Most of the models tested between the late 1950s and early 1960s were made by only a few makers specified by the Institute to preserve a standard of quality and scale. The most prominent of these was Lou Banks, Jr., who is possibly the creator of this model.

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286

The Ocean Express was a major participant in the Pacific Coast trade. Between 1855 and 1871 she made at least 10 westbound trips from North Atlantic ports to San Francisco, seven of which were from New York, one from Boston and two from English ports. She often returned with grain to England or sometimes stopped at Callao in Peru for guano. In 1861-1862, during the Civil War, she served as a troop transport. She returned to Pacific Coast service between 1871 and 1876 under Peruvian and Costa Rican flags, operating in the lumber trade between Puget Sound and Peru and Australia. In 1876 she was sold to a German firm, renamed Friederich and had a home port of Bremerhaven. By 1890 she had been sold to Norwegian owners. During the years

286.

JOSEPH B. SMITH AND SON New York/New Jersey, 1798-1876 Medium clipper Ocean Express approaching San Francisco, circa 1856. Oil on canvas, 32” x 44”. Framed 38” x 50”.

15,000/25,000 Provenance: Colonial Williamsburg, deaccessioned.

Northeast Auctions, Portsmouth, New Hampshire, March 2004.

Acquired from the above at that sale by Richard Kelton.

of European ownership, she was active in the North Atlantic trade. In 1890, after 36 years of hard service, she had to be abandoned in the North Atlantic.

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CURRIER & IVES HAND-COLORED LITHOGRAPH “THE GREAT OCEAN YACHT RACE.” Circa 1867 After James Edward Buttersworth (England/America, 18171894). Depicts the start of the “Great Ocean Yacht Race” of 1866 between Henrietta, Fleetwing and Vesta.

22.75” x 30.25” sight. Framed 28.25” x 36.25”. 700/1,000 Provenance: Christie’s East, New York, February 1997.

Acquired from the above at that sale by the Kelton Foundation.

287

288.

MOUNTED HALF HULL MODEL OF A STAR CLASS ONE-DESIGN SAILBOAT

Circa 1968 Cast aluminum, with keel, rudder and skeg.

Backboard 7” x 20”.

300/500 The Star Class is the oldest Olympic class boat and a favorite of the world’s top sailors. Designed in 1911 by Francis Swiesguth, they are a proven design, first used in Olympic competition in 1932 and in every Olympics until 2012. Supported by a worldwide association, the

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Star Class is one of the best in organized one designs, with more than 8,100 yachts built over its 80-year history.

289.

WOOLWORK PICTURE OF THE H.M.S. RIFLEMAN

Circa 1846 Embroidered in blues, white, black, tan, red, and other colors, depicts the British ship H.M.S. Rifleman of the Red Fleet. The ship’s name is in red in the blue sea beneath the vessel. In the foreground, flanking the title, are two smaller sailing craft flying what appears to be the Danish ensign. Housed in the original maple frame with gold liner. 13.5” x 17.75” sight. Framed 16” x 20”. 400/600

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290.

VICTORIAN BRASS-BOUND LAP DESK Circa 1870 Lock escutcheon labeled “Thompson’s Patent”. Hinged top opens to reveal a hinged drop-front with upper and lower compartments, the upper compartment with a secret panel revealing three small drawers when opened. Also fitted with a pen tray, two lidded compartments and two ink bottle holders (one ink bottle missing). Gilt tooled blue leathercovered writing slope and pockets for days of the week.

Height closed 7”. Width 20”. Depth 10.25”.

700/1,000

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291

291.

VICTORIAN ANGLE BAROMETER BY CHARLES HOWORTH Circa 1840 Signed on the paper scales “Charles Howorth - Fecit - Halifax”. Burled mahogany frame in the form of a pendulum with a demilune crest at top. Mounted with double inclined tubes. Two sets of paper scales measuring 0-50 and indicating “Dry to Stormy”; indicators on a wire slider. Two exposed siphon tubes with bulb cisterns. Height 39.5”. Width 27.5”.

3,000/5,000 The angle barometer’s invention is obscure, but resulted from the knowledge that in a straight barometer tube the mercury moves only a short distance. If the tube is bent just below the lowest point to which the mercury can fall, and then extended at an angle, the mercury will move over a far greater distance. Traditionally, the invention was attributed to Sir Samuel Morland (1625-1696), “Master Mechanic” to England’s King Charles II. The earliest reference occurs in 1684 in the “Transactions of the Philosophical Society of Oxford” for an instrument made by a “Mr. Walker”. Angle barometers continued to be made throughout the 17th and 18th Centuries, but they were rarely produced in the 19th Century. This instrument maker, Charles Howorth, was British and flourished 1823-1852.

292.

SHIP’S FIGUREHEAD OF DEMETER, THE GODDESS OF HARVEST AND GRAINS

Britain, Circa 1880 Carving of a female figure with a beautifuly delineated face, her hair pulled back into a bun with carved grain flanking at the sides of her hair, carved earrings in the form of flowers, and a finely carved toga-like robe with a gilt button over the right shoulder. Her arms are crossed below her chest and she is holding a sickle and a bundle of grain. The back of the figure has a typical wedge cut-out where she was mounted to the ship. Height 25.5”. Width 16”.

1,500/2,500

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293.

SCALE MODEL OF THE BARQUE H.M.S. ENDEAVOUR OF 1768 BY L.D. TAYLOR

Great Britain, 20th Century A well-detailed 1/5’: 1’ scale model. Hull planked and pinned with tree nails, and with an applied mahogany waist and painted black bottom. Detailed with stem, keel, rowing ports, chainplates, fitted glazed stern windows, rudder, etc. Deck also planked and detailed with anchors with bound wooden stocks, catheads, sheaves, windlass, belaying rails and pins, bits, stove pipe, grating, bilge pumps, deck rails, companionways, ship’s wheel and tiller, and three clinker-built ship’s boats with bottom boards, thwarts and oars. Rigged with bound masts, yards, full standing and running rigging and other rigging details. Displayed on a pair of turned wood columns within a glazed case. Case height 32”. Length 36.5”.

Width 15.5”.

2,500/3,500

293

Endeavour was originally launched at Whitby in 1764 as the Earl of Pembroke, a coal collier, a common type of coastal cargo vessel. Due to the sturdy construction, this vessel was selected to carry James Cook on his first scientific voyage of exploration into the Pacific, 1768-1771. She was renamed Endeavour and would carry a crew of 90 officers and seamen plus 12 Royal Marines. Also on board were two naturalists, an astronomer and two artists to document plant and animal specimens and visually record new discoveries with landscapes. Before returning to England, Cook and the Endeavour would discover Australia and accurately chart and name much of the unknown territory of the South Pacific.

After the Cook expedition, Endeavour served briefly as a French transport before returning to England where she was renamed the Earl of Sandwich after the Cook expedition’s benefactor. She was finally sent to America, where she was hulked and eventually sunk in the harbor at Newport, Rhode Island.

294.

GEODETIC REFLECTING CIRCLE BY HENRI GAMBEY

France, Circa 1825 Signed “Gambey, a Paris Depot des cartes et plans de la marine” for Henri Gambey (France, 1787-1847). Telescope mounted by two brackets on a brass wheel that revolves about a silver circle of degrees, with four vernier scales and two magnifier mounts. Raised in a trunnion above a tapering column on a circular platform with engraved circle of degrees, vernier and three leveling screws. Entire circle also inclines to enable reading of horizontal as well as vertical angles and intermediate angular distances. Height 15.25”. Scope length 12.75”. Diameter of ring 9.5”.

4,000/6,000

294

Provenance: Sotheby’s London, sale LN4594, 1994.

Acquired from the above at that sale.

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295

The cutter yacht Navahoe was built in 1893 and was the first steel yacht designed and built by Herreshoff. Her owner was Royal Phelps Carroll and she was registered in Newport, Rhode Island. Soon after she was launched, Carroll undertook sailing her to England. Departing in the early spring, she struck the Nantucket Lightship and had to return to Boston for repairs. She finally arrived in England in early June, where she engaged in the season’s late races, winning the 1893 Brenton’s Reef Cup across the English Channel and back, besting the Royal yacht Britannia.

When Navahoe arrived in England, one of the first visitors on board was the Earl of Dunraven, owner of that year’s America’s Cup challenger Valkyrie II. This painting shows what was possibly a match race between the two before Valkyrie II’s departure for the Cup competition in September. A.J. Kenealy’s Yacht Races for the

295.

AMERICAN SCHOOL Circa 1896 Valkyrie II and Navahoe racing at Cowes. Indistinctly signed. Inscribed verso on frame “For Cranfield from Lady [illegible] and Lady Aileen Xmas 1896”. Oil on canvas, 15.25” x 20”. Framed 21.5” x 25.75”.

4,000/6,000

Provenance: William Cranfield, Valkyrie II’s skipper, and thence by descent.

Sotheby’s, London, April 1999.

Hyland Granby Antiques, Hyannis Port, Massachusetts.

Purchased from the above by the Kelton Foundation, July 2000.

America’s Cup, 1851-1893 makes note of a fleet race Navahoe won against Valkyrie, Britannia, Iverna and Calluna in 1893.

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PERCY SANBORN Maine, 1849-1929 “Bark Palestina; A.B. Ford, Master”, circa 1927. Signed, titled and further inscribed along the bottom “Built Walton, N.S. 1866” and “Barcelona, June 30, 1876.”. This work is inspired by “Barque Palestina Capt. A.B. Ford” by Jose Pineda (Spain, 1837-1907). Oil on canvas, 20” x 28”. Framed 24.5” x 32.5”. 3,000/5,000 Provenance: Eldred’s auction, March 1994.

Acquired from the above at that sale by the Kelton Foundation.

296

297.

JOHN LOOS Belgium, c. 1871-1888 American downeaster Servia, as she appeared in 1888. Signed and dated lower right “John Loos.

Antwerp. 1888”. Oil on canvas, 27” x 39.5”.

Framed 33” x 46”.

2,500/3,500 Provenance: John W. Brawley, Chula Vista, California.

The Renaissance Gallery, La Jolla, California.

Purchased from the above by Richard Kelton, 1992.

Built by Houghton Brothers of Bath, Maine, circa 1880, the Servia was one of the last downeasters to be built.

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298.

EDMUND DARCH LEWIS Pennsylvania, 1835-1910 Schooner Madeleine racing in Long Island Sound.

Signed, dated and inscribed lower left “Edmund D. Lewis, Aug 21, 1875”. Oil on canvas, 14” x 22”. Framed 18.5” x 21.5”. 2,000/3,000 Provenance: Eldred’s, Marine Art Auction, July 1993.

Acquired from the above at that sale by Richard Kelton.

298

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Kearsarge was built at Portsmouth Navy Yard in Kittery, Maine, under the 1861 American Civil War emergency shipbuilding program, and she was launched September 11, 1861. The U.S.S. Kearsarge is noted for engaging in the last significant single-ship action of the Civil War when she sank the Confederate Commerce Raider C.S.S. Alabama off Cherbourg, France on June 19, 1864.

After several recomissionings, Kearsarge was on Caribbean patrol and departed Haiti on January 20, 1894 for Bluefields, Nicaragua, but she wrecked on a reef off Roncador Cay on February 2. Her officers and crew made it safely ashore. She was struck from the list of ships in 1894.

299

Joseph Pellegrin worked in the French port of Marseilles during the second and third quarters of the 19th Century.

His work is characteristic of the Marseilles School, usually featuring the seaport’s topography as the background for his paintings. This work shows the American full-rigged ship India of New York, with all sails set, departing Marseilles on November 10, 1854.

300

299.

SAMUEL FINLEY MORSE BADGER Massachusetts, 1817-1919 “Her Last Cruise”, the U.S.S. Kearsarge. Signed lower left “S.F.M. Badger”. Oil on canvas, 22” x 36”.

Framed 25.5” x 39.5”.

4,000/6,000 Provenance: Eldred’s auction, July 1994.

Acquired from the above at that sale by the Kelton Foundation.

300.

JOSEPH HONORÉ MAXIME PELLEGRIN France/United Kingdom/United States, 1793-1869 “Ship India of New York. Capt. Jos Young Jr. leaving Marseille Nov 10th 1854”. Signed and dated lower right in the sea “Jose Pellegrin 1854”. Titled lower center.

Watercolor and gouache on paper, 18.5” x 25” sight.

Framed 26” x 32.75”.

2,500/3,500 Provenance: Vallejo Gallery, Newport Beach, California.

Purchased from the above, September 1993.

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Annie Johnson was launched in England as the iron bark Ada Iredale. On a voyage from Scotland to San Francisco in October 1876, the ship’s cargo of coal caught fire and the vessel was abandoned 1,900 miles east of the Marquesas. After drifting for eight months, she was sighted by the French gunboat Seignelay,

301.

HENRY SCOTT United Kingdom, 1911-2005 The three-masted bark Annie Johnson outward bound off the Golden Gate Bridge. Signed lower right “Henry Scott”. Oil on canvas, 28” x 42”. Framed 33” x 47”.

3,000/5,000 Provenance: Sotheby’s, London, January 2000.

Acquired from the above at that sale by the Kelton Foundation.

and with her cargo still burning, was towed to Papeete, Tahiti. It was not until May 1878 that the fire was finally extinguished after burning for an amazing 19 months.

The Ada Iredale was then purchased by Andrew Crawford of San Francisco, who overhauled and repaired the vessel, and in June 9, 1880, she was placed under U.S. registry and renamed Annie Johnson. In 1913 Matson re-rigged the ship as a four-masted schooner and in 1916 installed twin auxiliary diesels. In 1926, after logging more than 125 island voyages for Matson, she was sold to Captain Leo Ozanne of Papeete and renamed Bretagne. In October 1929, after departing Vancouver, Canada for Suva in the Fiji Islands, the 57-year old vessel rammed a floating log that holed her badly below the waterline. She sank just southwest of Cape Flattery.

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302

Built by Donald McKay for Enoch Train & Company’s White Diamond Line, the Staffordshire was one of the few clippers built for transatlantic packet service. On her first run in May 1851, she sailed from Boston to Liverpool in 14 days. In August of the same year, Train hired veteran clipper captain Josiah Richardson to take Staffordshire to San Francisco, which he did in a brisk 103 days.

From there they sailed to Singapore (51 days), Calcutta (21 days), and then to Boston in the record time of 84 days, a pace that few sailing ships ever bettered. This Calcutta-to-Boston passage is likely the one represented in this painting.

Staffordshire’s tragic last voyage began at Liverpool on December 9, 1853, when she departed with 214 passengers, most of them

302.

HENRY SCOTT United Kingdom, 1911-2005 “Staffordshire Clear of the Horn”. Signed lower left “Henry Scott”. Titled in ink verso. Oil on board, 14” x 20”. Framed 18.5” x 24.5”.

2,000/3,000 Provenance: Christie’s East, New York, July 2001.

Acquired from the above at that sale by the Kelton Foundation.

Irish immigrants. On December 24 the steering gear was disabled and the bowsprit and foremast were carried away. In the course of repairs, Captain Richardson was injured and on December 30 the ship struck Blonde Rock of Seal Island and sank quickly, bow first.

Captain Richardson and 170 passengers and crew were lost.

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FREDERICK PANSING New Jersey/Germany, 1844-1912 Steamship S.S. Parisian of the Allan Line, circa 1885. Signed lower left (scratched in the paint) “Fred. Pansing”. Oil on canvas, 22” x 32”. Framed 28.25” x 38.25”. 6,000/8,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1994.

Acquired from the above at that sale by the Kelton Foundation.

Parisian was built for the Allan Line by R. Napier & Sons, Glasgow.

She was launched November 1880 and made her maiden voyage, Liverpool-Halifax-Boston, on March 10, 1881. She remained in service through the end of 1898, serving Montréal, with a call at Québec during the summer months, and Halifax or Saint John in winter. In 1899, Parisian underwent a major refit at Workman, Clark & Co. of Belfast, and she returned to service in July 1899, running on the Liverpool-Canada service until March 1905. She then served at various times on the following routes: Glasgow-New York, GlasgowBoston and London-Canada. She made her final passenger sailing, from Glasgow to Boston, in October and November 1913. Parisian was sold for scrapping in Italy in January 1914.

303

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304.

WILLIAM ALEXANDER COULTER California/Ireland, 1849-1936 Five-masted schooner Flagstaff, circa 1908. Signed lower right “W.A. Coulter”. Oil on canvas, 24” x 36”. Framed 35.25” x 47.25”.

12,000/18,000 Provenance: Charles Crowley.

Private collection.

The Penobscot Marine Museum.

Acquired from the above by Richard Kelton, 2006.

Flagstaff was built by Hanlon Dry Dock and Shipbuilding Company at Oakland in 1917. Ordered from Balfour, Guthrie and Co. of San Francisco as the world’s first five-masted barkentine, at the time her wooden hull was the largest ever built on the West Coast. Before her launching, the vessel was sold to the Western Fuel Co. for use as a tanker. Flagstaff ended up being launched as a five-topmast schooner carrying a single yard on the foremast. Later she was sold to the Falkentind Ship Company, which renamed her Falkentind.

This is one of two known portraits by William Coulter of the fivemasted schooner Flagstaff; the other shows her under her later name, Falkentind.

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305.

JOE DUNCAN GLEASON California/New York, 1881-1959 The Golden Age whaler Charles W. Morgan, New Bedford, circa 1920. Signed lower right “Duncan Gleason”. Oil on canvas, 40” x 30. Framed 47” x 37”.

18,000/22,000 Provenance: Edenhurst Gallery, Los Angeles.

Purchased from the above by Richard Kelton, February 2004.

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In the 1920s, Joe and Dorothy Gleason began spending their summers in Fairhaven, Massachusetts, across the river from the whaling port of New Bedford. This painting shows the whaleship Charles W. Morgan heading out under a running side tow by a harbor tug. Her sails are slack in the early morning calm, and while many of her crew can be seen on deck, a lone crewman is still aloft on the royal yard.

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306.

WALTER L. GREENE New York, 1870-1956 S.S. President Hoover at the Yangtze, Shanghai, China, circa 1931. Signed lower right “Walter L. Greene General Electric Co.”. Oil on canvas, 36” x 28”. Framed 43” x 35”.

1,500/2,500 Provenance: Vallejo Gallery, Newport Beach, California.

Purchased from the above by Richard Kelton, November 1992.

The President Hoover was built in 1930 by the Newport News Shipbuilding and Drydock Company. This painting, commissioned by the General Electric Company, portrays the vessel entering port amidst the croweded Chinese waterways. The vibrant colors from Walter L. Greene’s pallete, his attention to detail and the dramatic pose of the Hoover underway make this an exceptional image, representative of the grand style of ocean passages in the 1930s.

In August 1931 this painting was presented to Captain Robert Dollar of the Dollar Shipping Line by General Electric. It hung in the foyer of the Dollar Line headquarters in San Francisco until 1985.

Greene was born in Schenectady, New York and trained at the Boston Art College.

306

307.

JOE DUNCAN GLEASON California/New York, 1881-1959 Whaler Charles W. Morgan underway. Signed lower right “Duncan Gleason”. Oil on board, 16” x 12.25”. Framed 22.25” x 18.25”.

3,000/5,000 Provenance: Vallejo Gallery, Newport Beach, California.

Purchased from the above by Richard Kelton, March 2003.

Joe Duncan Gleason painted numerous images of the whaler Charles W. Morgan and was influenced by her presence on the West Coast from 1888 to 1904.

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309

308.

NORMAN WILKINSON United Kingdom, 1878-1971 Sir Francis Drake’s Golden Hinde. Signed and dated lower left “Norman Wilkinson 1907”. Oil on board, 18” x 15”.

Framed 24.25” x 21”.

4,000/6,000 Provenance: Bonhams, New Bond Street, London, January 2002.

Acquired from the above at that sale by Richard Kelton.

Sir Francis Drake’s English galleon Golden Hinde is depicted on her triumphant return to England after completing her 1577-1580 circumnavigation of the world. This view likely represents Golden Hinde’s subsequent journey to London at the Queen’s request after

GORDON HOPE GRANT New York/California/United Kingdom, 1875-1962 The American clipper Gamecock in Whampoa Harbour.

Signed lower left “Gordon Grant 1947”. Oil on canvas, 26” x 40”. Framed 29” x 43.25”.

4,000/6,000 Provenance: Seaman’s Bank for Savings, No. 248.

Federal Deposit Insurance Corporation, No. 1397.

Northeast Auctions, Portsmouth, New Hampshire, August 20, 2000.

Acquired from the above at that sale.

The Gamecock was built by Samuel Hall of East Boston in 1851

the ship’s initial arrival in her home port of Plymouth.

for Bacon & Taylor, New York. She had principal dimensions of

Launched as Pelican in 1576, this vessel became Drake’s flagship

was known for her long sailing life of over 29 years, with her

on his 1577 raid into the Pacific that became England’s first circumnavigation. Drake was knighted by Queen Elizabeth on the deck of Golden Hinde at Deptford Dockyard on April 4, 1581.

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309.

LOA: 190.1 feet, Beam: 39.9 feet, and a draft of 22 feet. Gamecock principal route running between New York and San Francisco. She was condemned in 1880. This painting depicts her in Whampoa Harbour, probably in 1851. She is flying the house flag of the vessel’s owners, Sampson & Tappan of Boston.

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310.

JOE DUNCAN GLEASON California/New York, 1881-1959 Grand Banks schooner Elsie. Signed lower right “Duncan Gleason”. Oil on canvas, 20” x 24”.

Framed 25” x 29”.

4,000/6,000 Provenance: Vallejo Gallery, Newport Beach, California.

Purchased from the above by Richard Kelton, September 1997.

One of the most famous Grand Banks schooners ever built, Elsie was a landmark design from Thomas F. McManus and built by A.D. Story at his Essex, Massachusetts yard in 1910. She was one of the largest and fastest of the Grand Banks schooners and set records as a “High Liner”, the term Gloucester fisherman used for vessels that returned to port with the season’s largest catch of fish.

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311.

FINE SCALE MODEL OF THE FOUR-MASTED SHIP GWENDOLINE

England, Circa 1890 An exquiste model of near-shipyard quality. Full hull built up in lifts and with painted red bottom and gray, white and black topsides. Detailed with a figurehead, faux gunports and rudder. Decks detailed with anchors, railings, bollards, pin and fife rails, ladders, deck houses, stove pipe, ship’s boats, deck houses and hatches, companionway, ship’s wheel, etc. Rigged as a four-masted bark, with bowsprit, masts, cross spars, standing and running rigging, and other rigging details. Hull set into a raised waterline. Displayed in the original mahogany case with original finish and an elaborately carved foliate and scroll nameboard with “Gwendoline” carved in the arched piece at the center. Case height 34.25”. Length 41”.

Width 12.5”.

2,500/3,500 Built as yard number 129 by Sir Raylton Dixon & Company in Middlesbrough, Gwendoline was launched on June 8, 1876 as the S.S. Redcar, but the name was quickly changed to S.S. Gwendoline. The iron vessel was owned by Herbert A. Swan (later Swan Brothers) of Middlesbrough.

311 On November 20, 1893 she was traveling from Bo’ness to Hull with a cargo of coal and a crew of 13 under the command of Captain Mallett when she sank offshore of Bamburgh.

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159

selections from

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

312.

T-FRAME REFLECTING QUADRANT BY JOHN GILBERT II London, Mid-18th Century Signed on the inset ivory plate on the cross-bar “J. Gilbert London”, for John Gilbert II (Great Britain, fl. 17371791). Mahogany frame and radius arm (absent clamp).

Inset boxwood scale reads 0-90 degrees and is divided by 4 seconds, and the diagonal scale is divided by tenths (.4 sec = 2.4 mi.). There are two sun filters and two horizon sight filters, moveable front to back. The front sight (upper) mirroring is worn, and the back sight (lower) mirroring has heavy craquelure. The foresight has two peep-sights (one large, one small) and the back sight has one peep-sight.

Fitted with three turned ivory legs. Ivory pencil is missing from the holder at the top of the arced support frame. Box height 5”. Length 20.5”. Width 18”.

4,000/6,000 Provenance: West Sea Company, Old Town, San Diego, California.

Purchased from the above, 2012.

312

313.

RARE EARLY 19TH CENTURY PARKINSON & FRODSHAM BOXED MARINE CHRONOMETER

London, Circa 1805 Signed and numbered “Parkinson & Frodsham Change Alley London No. 234” in script on the silvered dial above the center, and again on the movement. Face with Roman numerals for the hours on the inner band, Arabic numerals for the minutes on the outer band, gold hands, and a subsidiary seconds dial below the center. Chaindriven fusee movement signed with matching number, with five-spoke wheelwork and Harrison maintaining power, bi-metallic compensated balance wheel with diamond end stop, blued hairspring, and Earnshaw detent escapement.

Mounted within a three-tier box. Box interior fitted with a spring-loaded gimbal lock, inner dust bowl with bayonet fit, and winding arbor dust cup. Box exterior with a large nameplate engraved “Parkinson & Frodsham London” and with number disc 234. Chronometer face diameter 3”. Box height 6.5”. Width 6.25”. Depth 6.5”.

3,000/5,000 Provenance: West Sea Company, Old Town, San Diego, California.

Purchased from the above, 1997.

Exhibited: Newport Harbor Nautical Museum: “The Wreck of the Julia Anna”, 1999.

160

313

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314

314.

DAVIS QUADRANT WITH VANES MADE BY JOHN DEAN II

Great Britain, Circa 1742 Rosewood frame with boxwood arcs. Retains two of three original vanes. Handsomely decorated with a fleur-de-lis over “IP” on the ivory name plate inscribed “Ino Deane. May 20, 1742”. Name plate also marked with five crown designs and the entire perimeter is engraved with a decorative border. Front and back of the frame and arcs are inset with 15 ivory diamonds of which all but two are engraved with decorative borders or scale delineations. The larger arc is graduated from 0-25 degrees along lower edge, 65-90 degrees along upper edge and is decoratively stamped with 16 roses. The smaller arc is divided from 0-25 degrees and is stamped with three fleur-de-lis. Length 25.25”. Width 13”.

5,000/8,000 Provenance: John Rinaldi, Kennebunkport, Maine.

Purchased from the above by Richard Kelton, 2004.

Maker John Deane II was working in 1742 and is listed as a seller of Davis Quadrants (Clifton).

conclusion of the collec tion

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161

315.

FINE AND RARE BACKSTAFF FROM THE COLLECTION OF MARITIME HISTORIAN MARION BREWINGTON

18th Century Unmarked, save for serial number “222”. Retains four vanes, believed to be original, all with matching serial number.

Hardwood limbs, possibly walnut, and boxwood arcs. Larger arc with shaped handle. Both arcs with decoration of bands of tiny stars within double-line borders. Length 25”.

6,000/8,000 Provenance: Personally gifted to J. Revell Carr, director emeritus of Mystic Seaport,

by Dorothy Brewington, Marion Brewington’s widow, in 1981. Carr and the Brewingtons were close personal friends for many years. The lot is accompanied by a letter from Carr describing the backstaff and his relationship with the Brewingtons.

315

316.

MARINE HISTORIAN MARION BREWINGTON’S PERSONAL COPY OF HIS NAVIGATING INSTRUMENTS The Peabody Museum Collection of Navigating Instruments with Notes on Their Makers by M.V. Brewington (Salem, Mass.: Peabody Museum, 1963).

Volume includes Brewington’s marginalia, clippings and other notes, and is inscribed on front paste-down “Copy #2 M.V. Brewington 18 December 1963”.

Quarto. Black cloth boards and gilt lettering on spine.

700/1,000 Provenance: Personally gifted to J. Revell Carr, director emeritus of Mystic Seaport, by Dorothy Brewington, Marion Brewington’s widow, in 1981, with a gift inscription from Dorothy on front paste-down. Carr and the Brewingtons were close personal friends for many years. The lot is accompanied by a letter from Carr describing the book and his relationship with the Brewingtons.

162

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316

317, pair

317.

318.

RARE PAIR OF JOSLIN 12-INCH TERRESTRIAL AND CELESTIAL GLOBES Boston, Circa 1860 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”.

10,000/15,000

319.

STICK BAROMETER 19th Century Marked “Imray ... London”. Oak case. Bone panels engraved with barometer measurements. Also fitted with a thermometer. Mounted on a replacement gimbal on wooden backboard. Height 37.5”.

600/800

320.

ENGLISH BOXED SEXTANT Circa 1936 “Hezzanith” instrument labeled for Heath and Co., New Eltham, London. Mahogany case with hinged upper section.

Case height 10.5”. Width 11”. Depth 5.5”.

200/400

CASED BRASS SEXTANT Late 19th Century Mahogany dovetail case labeled “F.W. Lincoln Jr. & Co. of Boston”. Sextant frame marked “Ainsley, South Shields”.

Case height 5.5”. Width 9.5”. Depth 9.75”.

300/500

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163

321.

CASED SPENCER BARRETT & CO. SEXTANT London, 19th Century Original wedge-shaped wooden case with labels for S. Thaxter & Son, Boston, and Michael Rupp & Co., New York. Instrument 13” x 10.5”. Case height 4”.

Length13.75”.

500/800

322.

BRASS TABLETOP THREE-DRAW TELESCOPE 19th Century Unmarked. Tripod stand. Length collapsed 16.5”.

Mahogany case height 4”. Width 21”. Depth 6”. 300/500 Provenance: A Private Collection, New York.

321

323.

RARE CHELSEA SHIP’S CLOCK Boston, Circa 1907 Serial #18821. Brass case. Burnished steel 12” dial marked “L.A. Karcher & Co., Boston.” and “Chelsea”. Total diameter 14.25”.

8,000/12,000

324.

CHELSEA SHIP’S CLOCK AND BAROMETER Boston, 20th Century In matching brass cases. Dial diameters 8”.

800/1,200

325.

CHELSEA SHIPSTRIKE CLOCK AND BAROMETER SET ON STAND Boston, 20th Century Brass cases. Burnished aluminum dials. Total height 7”.

Length 20.75”. Depth 3.5”. Crystal diameters 4”. Includes Chelsea key.

500/800

326.

CHELSEA SHIP’S BELL CLOCK ON STAND Boston, 20th Century Brass case. Burnished aluminum dial marked for retailer Shreve, Crump & Low Co., Boston. Total height 9.5”.

Length 14”. Depth 4.25”. Crystal diameter 5.25”.

400/600

322

323

164

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327.

BENJAMIN PIKE & SONS STICK BAROMETER

New York City, Circa 1845 Lavishly carved walnut or mahogany case with rococostyle floral, leaf and shell designs and an oval bust profile portrait of George Washington, probably a unique design per a special order. Beveled glass panels cover beautifully engraved ivory scales. Signed on scale “S. Pike & Sons. New York.”. Retains original ivory adjustment key, brass knob to set mercury level, and brass hanging hardware. Height 45”. Width 9”.

5,000/7,000

Benjamin Pike, Sr. (1777-1863) established his instrument manufacturer in New York City around 1800. His eldest son, Benjamin, Jr. (1809-1864), became a partner in 1831 and the firm was re-named Benjamin Pike & Son and moved to 166 Broadway. The name vacillated between “Son” and “Sons” as members of the family joined and left the business; at one point, Benjamin, Jr. opened a competing store at 294 Broadway. In operation until 1916, the Pike firms were leading instrument makers of their day, winning notable awards and achieving financial prosperity. Benjamin, Jr. built an extravagant estate for his family that later became known as the Steinway Mansion.

328, with additional view 327

328.

RARE BRASS AND NICKEL FLOOR-STANDING DOUBLE-BARREL BINOCULAR TELESCOPE WITH TRIPOD Late 19th Century Apparently unmarked. Probably English. Nickel tubes with brass fittings and brass focusing tubes. Optics in working order and allow for rough and fine focusing.

Collapsible mahogany tripod. Height on tripod 63”.

Scope lengths closed 43”.

3,000/5,000

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165

329.

“U.S. LIGHT HOUSE ESTABLISHMENT” HOWARD & DAVIS NO. 4 BANJO CLOCK

19th Century Mahogany case. Painted Roman numeral dial marked “Howard & Davis. Boston.”. Gold and black reverse-painted throat glass and door glass; door glass marked “U.S. Light House Establishment”. Retains paper label “Property of the United State Lighthouses”. Weight- and pendulum-driven. Height 32”.

3,000/5,000

329

330.

330

TRINITY HOUSE-MADE MAHOGANY SEWING BOX INLAID WITH MARITIME SCENE

19th Century Lid with polychrome wood inlay depicting a small sloop and a large ship-of-war flying multiple pennants and flags sailing off a hilly coastline populated by buildings, one of which is possibly a lighthouse.

Figured wood inlaid panels on front and sides of box with line inlay surround. Compressed ball feet. Interior lined in paper and fitted with a lift-out tray. Tray with four open compartments, four lidded compartments with mother-of-pearl knobs on lids, and a central pincushion. Height 4.5”. Width 12”. Depth 9.25”.

1,500/2,500 Trinity House was the name of Great Britain’s lighthouse service. These boxes were made circa 1850- 1880 by the lighthouse and lightship keepers while they were on station.

They were marketed directly to the sailing captains and ship owners they aided.

166

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331

332

331.

SHADOW BOX MODEL OF THE AMERICAN BARKENTINE WILLIAM P. FRYE America, Circa 1900 A four-masted vessel with white hull, white wood spars, paper nameboards at bow and stern, an American flag flying off the gaff, and paper sails with penciled seams and reef points. Off her bow is a buoy and a small island with a tall lighthouse and a flagpole flying an American flag. Molded and painted plaster sea. Bright blue painted sky background with white fluffy clouds and seagulls. Period rosewood veneer frame with gilt liner. Height 20.75”. Width 35”.

Depth 4.25”.

1,200/1,800

332.

SHADOW BOX MODEL OF THE TUGBOAT TEXAS

America, Last Quarter of the 19th Century Charming model of a two-masted steam tug with white hull, red bottom, a red star on the smokestack, and “Texas” at the bow and on two nameboards. Molded and painted plaster sea. Painted background includes smoke billowing out from the tug’s smokestack into a clouded sky.

Height 20.25”. Width 27.5”. Depth 3.5”.

1,500/2,000

The 332-foot William P. Frye was built and sailed out of Bath, Maine.

While carrying cargo from San Francisco to England on January 28, 1915, she was the first U.S. merchant ship sunk by the Germans during World War I.

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167

333.

EXCEPTIONAL BILLETHEAD 19th Century Carved from white pine in a scroll, flower, bellflower and acanthus leaf design. Retains original gilt and black surface showing minor wear. Height 12”. Length 11”. Width 6.75”.

1,500/2,000

333

334.

HALF A SHIP’S FIGUREHEAD IN THE FORM OF A RUNNING DOG

Mid-19th Century With extensive relief-carved fur, foliate carvings below dog’s rear leg and a scroll carving. Retains some of its original gilt finish. Height approx. 12”.

Length 77”.

6,000/8,000

334

168

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335.

OUTSTANDING EARLY CARVED FIGUREHEAD IN THE FORM OF AN AMERICAN EAGLE

Circa 1815 A larger-than-life-size Federal Period eagle, the earliest example of an American carved eagle figurehead we have examined. Strong facial features, including a high brow, well-defined eyes and nostrils, a sharp open beak with visible tongue, a taut extended neck, and the head positioned so the eye is centered at the front of the figurehead. Beautifully carved and incised feather details on neck, chest and upper portion of legs. Carved wings, tucked in close to the body, have some carved feather details but were probably intentionally more modestly carved to help minimize damage while the figurehead was at sea. Finely detailed talons clutch rocks at the base. Back of eagle with typical carved scrolls. Flat unfinished pine backboard. Mounted on a contemporary metal base. Height 41.5”. Width 16”.

Depth 16”.

6,000/9,000 335

336.

CARVED AND PAINTED BILLETHEAD

19th Century Deeply carved in a floral and acanthus leaf design. Mounted with an iron bracket.

Height 16.75”. Length 29”. Width 10”.

3,000/5,000

336

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169

337

337.

MONTAGUE J. DAWSON Great Britain, 1890-1973 “The Stone Jetty”. Signed lower left “Montague Dawson”.

Titled on label verso. Oil on canvas, 40” x 50”. Framed 47” x 57”.

70,000/100,000 Illustrated in The Maritime Paintings of Montague Dawson by Ron Ranson (David & Charles, 1993), p. 38.

170

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338

339

338.

ANTHONY D. BLAKE New Zealand, b. 1951 “’Brittania’ off Cowes in 1893”. Signed lower right “A.D. Blake”. Titled verso. Oil on canvas, 24” x 40”.

Framed 30” x 45”.

12,000/15,000

339.

RICHARD K. LOUD Massachusetts, b. 1942 “Yacht ‘America’ Entering Marblehead”. Signed lower right “R. Loud”. Titled on gallery label verso. Oil on canvas, 26” x 42”. Framed 36” x 52”.

7,000/9,000

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171

Robert Salmon England/Massachusetts, 1775-c. 1851 Lots 340-342

340.

“Dumbarton Castle”.

Signed verso “RS”. Numbered 990. Dated 1833.

Oil on panel, 6” x 8.25”. Framed 13” x 16”.

5,000/7,000 Provenance: Private Collection, New York.

340

341.

Numerous small vessels off a cliff-side lighthouse.

Unsigned. Oil on panel, 7.75” x 9.75”. Framed 13” x 15”.

6,000/9,000 Provenance: Private Collection, New York.

341

172

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Robert Salmon England/Massachusetts, 1775-c. 1851 Lots 340-342

342

342.

“Ships and a brig of the John Gladstone & Company fleet in the Mersey”.

Signed lower right “R. Salmon”. Titled on frame plaque. Oil on canvas, 26” x 43”.

Framed 35” x 51”.

40,000/60,000 Provenance: Private Collection, New York.

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173

343.

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

2,500/3,500 Provenance: Private Collection, New York.

343

344.

ITALIAN SCHOOL 19th Century “Harmony of Dundee Entering the Bay of Naples Alexander Stephen Master”. Unsigned.

Titled along lower margin. Oil on canvas, 16.25” x 24.25”. Framed 23” x 31”. 800/1,200 Provenance: Private Collection, New York.

344

345.

GOVERT VAN EMMERIK The Netherlands, 1808-1882 “Boten op woliige zee” (Boats on a stormy sea).

Signed lower left “G van Emmerik”. Titled in Dutch on gallery label verso. Artist’s wax seal verso. Oil on canvas, 22.5” x 29.5”. Framed 32.75” x 38.5”.

1,500/2,500 Provenance: Kunsthandel Roelofs, Amsterdam.

Christie’s, New York, Maritime Sale, February 26, 2002, Lot #104.

Private Collection, Cape Cod, Massachusetts.

345

174

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346, pair

346.

JAMES EDWARD BUTTERSWORTH New Jersey/New York/United Kingdom, 1817-1894 A pair of seascapes: “Frigate and Sailing Vessel Off a Coast”, signed lower right “J.E. Buttersworth”, and “Frigate and Fishing Boat off Dover”, indistinctly signed lower right. Titled on gallery labels verso. Oils on canvas, 17” x 23.5”. Framed 22” x 28”.

60,000/80,000 Provenance: Richard Green, London, No. 447 as a pair, 1981.

Mr. and Mrs. Norman Blum, Westfield, New Jersey, purchased from the above in 1982, and thence by descent to the current owner.

Literature: Illustrated in the Richard Green catalogue, Exhibition of Maritime Paintings, Watercolours and Prints, 1981, p. 29.

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175

347.

ATTRIBUTED TO JOHN MURDAY United Kingdom, 1787-1847 British barque off Dover. Oil on canvas, 18.5” x 25.5”. Framed 23” x 30”.

3,000/5,000

348.

CONTINENTAL SCHOOL Early 19th Century Unusual view of the same sailing vessel in three positions. Unsigned. Oil on canvas, 22” x 34”.

Framed 25.75” x 37.75”.

1,500/2,000

349.

FRANKLIN COURTER Michigan/New Jersey, 1854-1947 Sunset in New York Harbor, with a tug headed for a ship off Robbins Light. Signed lower left “F.C. Courter”. Oil on canvas, 24” x 40”.

Framed 36” x 52”.

1,000/1,500

347

348

349

176

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350

350.

CASED EXHIBITION STANDARD MODEL OF L’AMISTAD

BY ALAN BURGHARDT America, 20th Century Hull built up from the solid and 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 rigging details. Displayed on an inlaid cherry base on a “T” keel stand within a glass and cherry case. Case height 27.25”.

Length 37”. Width 15”.

3,500/6,500

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177

351.

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 rigging details. Displayed on pin mounts within a brass-trimmed mahogany and glass case. Case height 21”. Length 24.75”.

Width 9.5”.

2,000/3,000 Maker William E. Hitchcock (1928-2006) was a prolific builder of ship models and his work has been exhibited at the Peabody Essex Museum in Salem, Massachusetts, Mystic Seaport in Mystic, Connecticut and numerous other museums and private and corporate collections.

351

352.

CASED SCALE MODEL OF THE PRIDE OF BALTIMORE BY M. CLAYTON OSTERLING

20th Century Hull planked and trunneled, with painted red waists and white topsides. Planked decks detailed with pin and fife rails, belaying pins, barrels, hatches, cannons rolled out on carriages, boat lashed to the center, deckhouse, companionway, tiller, boom crutch, etc. Rigged with a bowsprit and two masts, standing and running rigging, furled sails, and other rigging details. Displayed “on the ways” within a mahogany and glass case. Case height 24.5”.

Length 32”. Width 11.25”.

2,000/3,000

352

353.

CASED FOLK ART MODEL OF A SCHOONER

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

1,000/1,800 353

178

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354.

CASED ALDEN MODEL OF THE TWO-MASTED SCHOONER MENDHAM, CIRCA 1930 20th Century Highly detailed model with motor launches on davits and furled sails. Flies the Eastern Yacht Club burgee from her foremast. Plaque noting the U.S. Coast Guard’s recognition of the Mendham for her service in World War II is mounted on case’s base.

Case height 31”. Length 32”. Width 10”.

2,000/3,000

355.

MODEL OF THE SCHOONER BLUENOSE

20th Century Made by Eugene LeClerc (Quebec, Canada, 18851968). Height 34”. Length 41”.

600/800

356.

CASED SHIP DIORAMA “HOMEWARD BOUND” BY ROBERT MOUAT 20th Century In 1/16 in.:1 ft. scale. Waterline model depicting the ship in a heavy sea, circa 1915. Hull built up from wood with black painted topsides. Dark gray decks detailed with anchors, nameboards, anchor winches, ventilators, cargo hatches, cargo booms and masts, ladders, center cabin structure with bridge and bridge wings, funnel, ship’s boats on davits, cargo on deck, wheel box, portholes, flag, etc. Set in a molded and painted sea. Glass case with brass trim and mahogany base. Case height 9.5”.

Length 27”. Width 12”.

1,000/1,500

357.

358.

FOLK ART MODEL OF A STEAM/SAIL YACHT

Early 20th Century Hull built up from the solid with painted green bottom and white topsides. Mahogany veneer deck detailed with anchors, capstan, companionway, skylight, main deck cabin, binnacle and helm, funnel, ship’s boat, bench, etc. Rigged with two masts, a bowsprit and simple standing and running rigging. Displayed on a pair of brass pedestals on a mahogany board. Accompanied with a book detailing some history of the yacht. Height on stand 26”. Length 45.75”. Width 7”. 700/1,000

354

356, with detail

357

POND MODEL OF A SAILING SLOOP

Early 20th Century With white-painted hull and hand-sewn sails.

Displayed on a wooden stand. Height on stand 47”.

Length 48”. Width 9”.

1,200/1,600

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179

359.

PINE SEA CHEST 19th Century Dovetail construction with canted front. Beckets with star carvings and rope handles. Interior painted black, and lid depicts a farewell scene of a sailor, his lady and an American-flagged ship in the distance. Height 16”. Width 31.5”. Depth 15”.

800/1,200

359

360.

PAINTED WOODEN BOX CONTAINING SHIP’S PAPERS

19th Century Green-painted box with “Bark J.B. Rabel 1882” in yellow lettering on front. Dovetail construction. Contains papers pertaining to the bark. Height 10”. Width 16.25”. Depth 12”.

1,000/2,000

361.

PINE SEA CHEST WITH CARVED AND PAINTED DECORATION 19th Century Dovetail construction. Lid, front and sides with Early 20th Century carved and painted decoration of an eagle, a clipper ship and anchors. Height 12”. Width 26.75”. Depth 13.5”.

300/500

362.

360

CARVED SEA CHEST BECKET

19th Century Relief-carved with flower blossoms and a round ship portrait medallion. Sawtooth carving at top and bottom. Suspends a ropework handle. Wired to hang on the wall. Total length including handle 14”.

300/500

362

363.

PAIR OF SAILOR-MADE ROPEWORK HANDLES

19th Century Lengths 10”.

250/350 Provenance: The Collection of Paul Vardeman.

180

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363, pair

364

364.

365.

366.

MCLOUGHLIN BROTHERS PUZZLE DEPICTING THE STEAMBOAT CITY OF WORCESTER

America, Circa 1890 Lithographed wood puzzle pieces. Assembled and framed. Framed 13.5” x 38.5”.

250/350

TEN-SPOKE SHIP’S WHEEL

19th Century Wooden wheel with brass hub and brass inlay on rim.

Diameter 65”.

500/1,000

CARVED WOODEN STERNBOARD “BENJAMIN S. WRIGHT” Contemporary Gilt lettering and blue painted decoration on a black ground. Height 10”. Length approx. 148”.

300/500

365

366

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181

367

367.

CARVED WOODEN YACHT SIGN “WELCOME ABOARD”

Late 20th Century In walnut. Floral carving above lettering and a spread-wing eagle below. Height 17”. Length 24”. Depth 2”.

700/1,000

368.

369.

BRASS YACHT’S BELL

Late 19th/Early 20th Century On custom mahogany stand. Total height 19”.

Length 16.5”. Width 9”.

300/400

BRASS YACHT CANNON

19th Century Bore 7/8”. Takes a 12-ga. shell. Stamped on barrel “Wm. Gregory 214 Front St. N.Y.”. On a mahogany carriage with lignum vitae wheels. Total height 10”.

Length 20.5”. Width 10.5”.

1,000/1,500 Provenance: Descended from Andrew L. Riker (18681939) of Riker’s Island, New York.

182

369

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370

370.

371.

WOODEN NANTASKET BOSTON STEAMBOAT CO. SIGN 19th Century “These Seats Are For The Exclusive Use of Patrons Of The Steamboat Co. All Other Persons Using Them Are Tresspassers And Will Be Dealt With As Such Nantasket Boston Steamboat Co. Harold E. Greene Gen’l Mgr.” in black lettering on a white ground with green border. Signed lower right, possibly “Urann”. Height 18”. Width 24”.

Depth .75”.

700/1,000

FOUR BOSUN’S WHISTLES WITH COMMEMORATIVE INSCRIPTIONS 19th Century Inscribed “To Wm. Davis by the Stewards of R.M.S. Abyssinia as a token of Respect Sept 11 1879”, “Presented to George F. Stephens Boatswain’s Mate of H.M.S. Royal Oak By his well wisher and Watch Mate Lieutenant Austin”, “B. C de A. From J.C. Jan. 1888 in memory of ...”, and “Grampa ‘64’ Geo. F. Gullup ‘97’”. Two with hallmarks. All retain lanyards. Whistle lengths from 4.5” to 5.5”. 300/500

372.

SMALL EIGHT-SPOKE SHIP’S WHEEL

Late 19th/Early 20th Century Hardwood wheel with steel hub and turned spokes.

Diameter 40.5”.

300/500

373.

PAIR OF PERKO GIMBALED BRASS YACHT LAMPS

Late 19th/Early 20th Century Complete with globes and smoke bells. Lamp heights 7”.

300/500

374.

SMALL EIGHT-SPOKE SHIP’S WHEEL

Late 19th/Early 20th Century Hardwood wheel with steel hub and turned spokes.

Diameter 37.25”.

300/500

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183

375

376

377

375.

MOUNTED BUILDER’S HALF HULL MODEL

Late 19th Century Probably a schooner. Hardwood model with nine lifts.

Newer wooden backboard. Backboard 10.75” x 51.5”.

700/1,000

376.

MOUNTED BUILDER’S HALF HULL MODEL OF THE COASTAL SCHOONER MENHADEN

Late 19th Century Hardwood model with seven lifts. Typewritten note verso refers to the Menhaden as being 184-feet long, built in Bath, Maine circa 1880, and sister ship of the Levatron. Nice patina. Pine backboard 8” x 46”.

800/1,200

184

377.

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

1,000/1,500

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378

379

378.

EDWARD MORAN Pennsylvania/New York, 1829-1901 “Off the Coast of Maine”. Signed lower right “E. Moran”.

Titled on frame plaque. Oil on board, 16” x 24”. Framed 21” x 29”.

10,000/15,000 Provenance: Private Collection, Cape Cod, Massachusetts.

379.

RICHARD BARNETT SPENCER United Kingdom, active 1840-1874 Battle of Trafalgar. Signed lower left “R.B. Spencer”. Oil on canvas, 24” x 36”. Framed 32” x 44”.

5,000/7,000 Provenance: Private Collection, New York.

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185

380.

ARTHUR QUARTLEY New York/Maryland/England/France, 1839-1886 Lone figure watches a sailboat in stormy waters rounding a pier. Signature cartouche in red lower left. Oil on canvas, 9.5” x 11”. Framed 16.5” x 14.25”.

800/1,200

381.

CHARLES LEVIER New York/California/United Kingdom/France, 1920-2003 “Port”. Signed lower left “Levier”. Titled and signed verso.

Oil on canvas, 30” x 24”. Framed 32” x 26”.

600/1,000

380

382

381

382.

NEW ENGLAND SCHOOL 19th Century Portrait of a sea captain. Unsigned. Oil on canvas, 30” x 24”.

Framed 34” x 29”.

800/1,200

383.

WILLIAM TORGERSON Illinois, 1833-1890 Ship under sail in New York Harbor. Artist identified on label verso. Oil on canvas, 13.5” x 11.5”. Framed 22” x 19.5”.

3,000/5,000 383

186

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384.

FREDERIC SCHILLER COZZENS New York, 1846-1928 The New York Harbor tug Admiral Dewey.

Signed and dated lower left “Fred S. Cozzens 1900”. Vessel identified on frame plaque.

Watercolor on paper, 15.25” x 28.25” sight.

Framed 28” x 40”.

2,500/3,500 Provenance: Private Collection, California.

Thomaston Place auction, August 22, 2009, Lot #94.

384

385.

EDMUND DARCH LEWIS Pennsylvania, 1835-1910 Shore scene with white house and ships, likely Newport, Rhode Island. Signed and dated lower right “Edmund D. Lewis 1901”.

Watercolor on paper, 9” x 20” sight. Framed 18.5” x 29”.

800/1,200

385

386.

WILLIAM TROST RICHARDS Pennsylvania/Rhode Island, 1833-1905 “A Quiet Surf ”. Signed lower right “W.T. Richards”. Titled on frame plaque.

Watercolor on paper, 7.25” x 14”. Framed 14.5” x 21.5”.

800/1,200

386

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187

387

388

387.

MORRIS ROSENFELD America, 1885-1968 “Good News and Bloodhound”. Taken during the New York Yacht Club Spring Regatta on June 7, 1952 on Long Island Sound. Raised signature lower right “M. Rosenfeld”.

Rosenfeld ink stamp and serial number “88393” verso.

Silver gelatin print, 20” x 16”. Framed.

1,500/2,500

388.

MORRIS ROSENFELD America, 1885-1968 “Flying Spinnakers”, the 12-Meter yachts Nyala and Northern Light taken on Long Island Sound on July 9, 1938. Raised signature lower right “M. Rosenfeld”. Artist’s label was attached to reverse but currently in an envelope.

Rosenfeld ink stamp and serial number “1232535” verso.

Silver gelatin print, 20” x 16”. Framed.

1,500/2,500

188

389.

EDWIN LEVICK New York, 1868-1929 Two photographs, one of the Vagrant and one of the Weetamae. Silver bromide prints, 7.5” x 9.75”.

300/500

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390.

SILVER YACHTING TROPHY 1902 George II-style trophy with domed lid, rounded body with applied waist band and tiered foot, and serpentine handles topped with leaf tips. Engraved “58th Annual Cruise New London to Newport July 20, 1905 All Schooners, sailing as one class Presented By Rear Commodore Cornelius Vanderbilt New York Won by Yacht Club Valmore”. Made

by London silversmith Edward Barnard & Sons Ltd. Hallmarks on reverse near one handle. Stamped “446” on underside of foot. Height 13.5”.

2,500/3,500 In 1903, the Valmore, an 81-foot schooner, was owned by John M. Richmond of Providence, Rhode Island, who joined the New York Yacht Club in 1898. Between 1903 and 1910 the schooner was sold to William Hale Thompson (1869-1944), who served four terms as mayor of Chicago. In July of 1910 the Valmore won the Lipton Cup at the Chicago Yacht Club for a 15-mile race.

390

391.

BRASS TILLER YOKE Circa 1880 Probably English. Single piece of brass with rectangular slot at center and openwork arms with pivoting brass single sheave blocks attached at ends. Length 16.5”.

200/300

391

392.

AMERICA’S CUP YACHT DESIGNS 1851–1986

By Francois Chevalier and Jacques Taglang (Paris: 1987). Numbered 1,892 of a limited edition. Signed by the authors. Oblong folio. A rare and important work and a must-have reference for serious America’s Cup collectors.

1,000/1,500

392

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189

393

393.

COTTON SWALLOWTAIL PENNANT FROM THE YACHT ADELAIDE II

Circa 1929 Yacht’s name in white stitched lettering on a dark blue ground. Length 47”. 300/500 The Adelaide II was built in 1929, designed by the American Car Foundry in Wilmington, Delaware. She was owned by J.D. Chapman of Greenwich and Bridgeport, Connecticut.

394.

AMERICAN YACHT FLAG

First Quarter of the 20th Century Blue field with an anchor surrounded by stars. Hand-sewn. 30.5” x 48”.

200/300

395.

395

190

POND MODEL OF AN X BOAT

Circa 1940 Plank-on-frame hull painted red with black lead keel. Complete with mast, sail and steering mechanism. Displayed on a cradle. Height on cradle approx. 101.25”. Length 71”.

1,500/2,000

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396

396.

POND MODEL Circa 1930 Hollowed-out hull painted blue. Lead-weighted keel. Displayed on a cradle. Height on cradle 17.5”.

Length 63”.

1,200/1,500

397.

BOUSCHER POND LAUNCH WITH STEAM ENGINE White hull with green bottom.

Natural wood deck. Brass plaque on splash rail dated “Sept. 1931”.

Displayed on a cradle. Approx. height excluding cradle 12.5”.

Length 38”.

2,000/3,000

397

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191

398

398.

DONALD MCNARRY, FRSA Great Britain, 1921-2010 Superbly detailed miniature model of the steam yacht Skeandhu of 1888, displayed in diorama format, built in 16’=1” scale. Hull built up in wood, painted green to the waterline and with white topsides. Applied sheer strake, hawse pipes, chain plates, mahogany coaming rail and white top railings.

Scored deck detailed with anchors, chain and anchor davit, ventilator, deck houses, ship’s wheel, funnel, sky light, water cask, companionways, deck graining at the stern, ship’s boat rigged on davits, red duster, etc. Rigged with a bowsprit and two masts, and standing and running rigging. Set in a green modeled sea. Displayed in the original burled maple case. Height 4.25”.

Length 9.5”. Width 4.25”.

12,000/18,000

Provenance: American Marine Models Gallery, Salem, Massachusetts.

Private Collector, New York.

Purchased from a New York City auction house by the present owner.

Literature: See Ship Models in Miniature by Donald McNarry (N.Y.: Praeger Publishers, 1975) for additional information on Donald McNarry dioramas.

192

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399.

POND YACHT MODEL

First Quarter of the 20th Century Exquisite plank-on-frame construction. Deck coverings open to reveal vessel’s construction.

Carved figurehead below bowsprit. Stern cockpit mounted with brass plate emulating vessel’s instruments. Brightwork-finished hull, keel and deckworks. Complete with a full suite of sails.

Marconi rig. American flag flies off the stern.

Displayed on an ebonized cradle. Total height 87”.

Width 74”.

2,000/3,000

399

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193

400

401

400.

MOUNTED HALF HULL MODEL OF AN UNNAMED SAILING YACHT WITH A DROP KEEL 20th Century Attributed to the Little Shipyard, Setauket, New York. Hull built up in lifts, shaped, sanded and faired, with a green painted bottom, black waterline, white topsides and mahogany toe rail. Detailed with a deck house, drop brass keel, etc. Mahogany backboard 7.25” x 28.25”.

700/1,000

401.

MOUNTED HALF HULL MODEL OF THE YACHT SORA 20th Century Attributed to the Little Shipyard, Setauket, New York. Hull built up in lifts, carved, shaped and faired, with a green painted bottom, white waterline, blue topsides, gold cove stripe and mahogany toe rail. Detailed with cabin top, etc. Mahogany backboard with a copper and enamel nameplate and builder’s plaque. Backboard 9” x 21.75”. 600/800

402.

194

CASED MODEL OF THE YACHT AMERICA

Circa 1970 Fine model of the yacht, which flies a pennant and an American flag. Displayed on brass pedestals within a brass-trimmed glass and mahogany case.

Case height 32.5”. Length 41”. Width 11”.

2,000/3,000

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402

403

403.

GEORGE ELDRIDGE CHART OF NANTUCKET AND MARTHA’S VINEYARD

Boston, 1902 Large-scale engraved chart titled “No. 1 Eldridge’s New Chart of Vineyard Sound and Nantucket Shoals”. Published by S. Thaxter & Son, Boston, 1896. 23” x 48” sight.

Framed 26” x 51”.

700/1,000

404.

TWO BLUEBACK CHARTS PUBLISHED BY RICHARD H. LAURIE, LONDON 1) “A General Chart of the Coasts of Brasil, &c. From the River Para to Buenos Ayres ...”. Circa 1842.

38.5” x 77”.

2) “The Southern Part of the North Sea”. Circa 1869. 28.25” x 58.25”.

400/600

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405.

TWO BLUEBACK CHARTS BY E. & G.W. BLOUNT, NEW YORK 1) “ ... Sheet No. 2 From Cape Lookout to Cape Carnaveral [sic]...”.

Circa 1860. 47.5” x 32.25”.

2) “Chart of the South Atlantic Ocean ...”. Circa 1840. 32” x 76”.

400/600

195

406

406.

196

CARVED AND POLYCHROMED AMERICAN EAGLE PLAQUE America, Early 20th Century A spread-wing eagle clutching a Liberty shield and an “E Pluribus Unum” banner. Height 18”. Length 41”.

2,500/3,500

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407

407.

BOSTON ARTISTIC CARVING CO. STREAMER EAGLE

First Half of the 20th Century Gilt eagle with a red, white and blue “-E-Pluribus-Unum-” banner. Width 44.5”.

800/1,200

408

408.

BOSTON ARTISTIC CARVING CO. “LOUISBURG” EAGLE

First Half of the 20th Century Gilt eagle clutching three gilt arrows and a polychrome shield.

Height 15”. Width 44”.

1,800/2,500

409

409.

BOSTON ARTISTIC CARVING CO. SPREAD-WING EAGLE

First Half of the 20th Century Gilt eagle with a polychrome shield. Height 6”. Width 26”.

500/800

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197

410

410.

SIGNAL CANNON BY R.H. BROWN & CO.

New Haven, Connecticut, Circa 1890 10-ga. Stamped on barrel “Made by R.H. Brown & Co.”.

Brass fittings and adjustable elevation knob. On a mahogany carriage with wooden wheels and a brass axle. Height 9.45”.

Length 19”.

2,500/3,500

412.

TWO LOG BOOKS 19th Century Both pertaining to shipping, one for the ship St. Lawrence on a voyage starting November 3, 1841 from Philadelphia to New South Wales and Mernilla [sic], and one for the ship Jasper on a voyage starting January 19, 1870 from Newport, Rhode Island to an unknown port (writing illegible).

150/250

411.

SAFE PASSAGE DOCUMENT 1832 For Captain Nathaniel Osgood of the frigate Americana, November 16, 1832, Port of Lintin (China). 12” x 8” sight.

Framed 13” x 9”.

200/300

413.

MODEL OF A BRASS CANNON ON CARRIAGE

20th Century Wooden carriage with brass mounts. Cannon with brass barrel. Mounted on a wooden platform. Total height 7.25”.

Length 15.75”. Width 9.5”.

250/350

198

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414.

CIVIL WAR-ERA BOARDING PIKE WITH RETRACTABLE BLADE Possibly Confederate, Circa 1860 Hardwood frame with hand-forged steel mounts. Retractable blade slides up with a side lever and is held in place by a steel catch mounted to the side. Length closed 72.5”.

Length open 87”.

2,000/2,500

414

415

415.

THREE VOLUMES ON COMMODORE PERRY’S VOYAGES

BY FRANCIS L. HAWKS, D.D.L.L.D. Narrative of the Expedition of an American Squadron to the China Seas and Japan, Performed in the Years 1852, 1853, and 1854, under the Command of Commodore M.C. Perry, United States Navy, by Order of the Government of the United States. Compiled from the Original Notes and Journals of Commodore Perry and his Officers, at his Request, and under His Supervision (Washington, D.C.: Published by order of the Congress of the United States, Beverly Tucker, Senate Printer, 1856). Three vols. Original Japanese onsen plate in Volume I, p. 428. Other sets omit this plate or have copies inserted, as nudity was considered inappropriate for a Congressional document. The plate is not formally listed in the comprehensive list of illustrations. Quarto.

1,500/2,500

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199

416.

BRITISH SAILOR-MADE MODEL OF A 90-GUN BRITISH SHIP OF THE LINE Circa 1850 Hull built up from the solid and painted with a green bottom and black and white topsides. Fitted with head rails with residual gold polychroming, the figurehead of a man, the stern with quarter galleries with glazed windows, rudder, and other details. Deck with scored planking and detailed with numerous figures on deck and in the rigging, pin and fife rails, deck hatches, ladders, belfrys, poop deck, double helm, ship’s boats on davits, etc. Rigged with a bowsprit and three masts, cross spars with stun’sail booms, standing and running rigging, flags and other details. Displayed on wood cradles mounted to a mahogany board. Total height 24”.

Length 35”. Width 9”.

4,000/6,000

416

417.

ENGLISH CAMPAIGN CHEST

First Half of the 19th Century In walnut with original inset brass hardware. Case with two half drawers over three graduated full-width drawers and turned feet. Unusual construction with a panel that pulls up from the back to support two hinged shelves, which are further supported by four turned columns. Height 41.5”.

Width 35.75”. Depth 20.75”.

2,000/3,000

417

200

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418.

EIGHT-SPOKE SHIP’S WHEEL

19th Century Wooden wheel with brass hub and brass inlay on rim. Diameter 30”.

300/500

418

419.

CARVED WOODEN FIGURE OF A MARINER

First Half of the 20th Century Height 34”. Base 12” x 9.75”.

500/700

419

420.

PERKO SHIP’S ONION LAMP Nickel frame and red glass globe.

Height 22.75”.

200/300

421.

PAIR OF PERKINS BRASS AND GLASS ONION LAMPS

Circa 1920 Globes embossed “Perkins 8”.

Heights 15”.

500/700

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421, pair

201

422.

WARREN W. SHEPPARD New Jersey, 1858-1937 Yachts Sappho and Magic off Sandy Hook. Signed lower right “W.W. Sheppard”. Oil on artist board, 8” x 10”. Framed 14” x 16”.

2,500/3,500

422

423.

MARSHALL JOHNSON Massachusetts, 1850-1921 Brigantine off a coast. Signed lower left “Marshall Johnson”. Oil on canvas, 10” x 14”. Framed 13” x 17”.

800/1,200 Provenance: Private Collection, Cape Cod, Massachusetts.

Eldred’s auction, November 22, 2008, Lot #1020.

A New Hampshire Collection of Paintings.

423

424.

CHARLES “FRAN” KENNEY Massachusetts, 1919-2014 Sunbeam off Gayhead. Signed lower right “Charles F. Kenney ASMA”. Oil on board, 19” x 23”.

Framed 24” x 28”.

1,500/2,500

424

202

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425.

LEONARD JOHN PEARCE United Kingdom, b. 1932 Puritan leads Genesta in an America’s Cup race, 1885. Signed lower left “L.J. Pearce”. Oil on board, 12” x 31”. Framed 21” x 40”.

3,000/5,000

425

426.

VICTOR MAYS, JR. Connecticut/Maine, 1927-2015 The sailing ship Bedouin. Signed lower right “Mays” and lower left “Bedouin”. Handwritten document about the ship affixed verso. Watercolor on paper, 15” x 22”. Framed 24” x 30”.

800/1,200

426

427.

DAVID B. WALKLEY New York/Connecticut/Ohio, 1849-1934 “Gloucester Wharf ”. Signed lower right “David Walkley”. Titled on frame plaque. Oil on canvas, 17.5” x 20.5”. Framed 25” x 28”.

1,000/1,500

427

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203

428

429

430

428.

ALAN NAKANO Canada, 20th Century The schooners Lynx and Bill of Rights. Signed and dated lower right “2007 Alan Nakano CSMA”. Acrylic on board, 10” x 17.5”. Framed 13.25” x 20.75”.

1,500/2,500

429.

CHINESE SCHOOL 19th Century China Trade view of tea packing, with numerous figures packing tea and Western merchants and businessmen meeting in the foreground. Unsigned. Watercolor on paper, 7” x 10” sight. Framed 15” x 19”.

700/1,000

204

431

430.

ANDREW BENNETT Australia, b. 1955 “1st Fastnet Race 1925 Jolie Brise”, depicting a yacht race off Fastnet Lighthouse, Ireland. Signed lower left “Andrew Bennett”. Oil on canvas, 20” x 30”. Framed 33.5” x 23.5”.

600/800

431.

LOUIS KRUPP Florida, 1888-1978 Boats at dock. Signed lower right “L. Krupp”. Oil on canvas, 27” x 31”. Framed 32” x 36.5”.

400/600

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432.

LALIQUE “GROS POISSONS VAGUES” MOLDED GLASS FISH SCULPTURE France, Second Half of the 20th Century Marked on underside. Height 12.25”.

Length 16”.

2,000/3,000

432

433.

DOUBLE SAILOR’S VALENTINE 19th/20th Century Composed of multicolored shells.

Left side with a heart, star and geometric design. Right side with a flower, star and geometric design.

Octagonal hinged wooden case. Each side 13.5” x 13.5”.

5,000/7,000

433

434.

PAIR OF CAST IRON ANDIRONS IN THE FORM OF ANCHORS 20th Century Painted black. Heights 25”. Depths 26”.

500/800

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434, pair

205

435

437

436

435.

COVERED NANTUCKET BASKET PURSE

BY HARRY HILBERT Dated 1998 Round basket with swing handle and turned wooden liftoff lid with gilt and black decoration of fruit and foliage.

Notches on lid conform to handle, helping to keep the lid in place. Branded on underside “Harry A. Hilbert” and dated 1998. Height of basket 6.5”. Diameter 8.25”. 800/1,200

436.

ROUND NANTUCKET BASKET BY AINSLEY D. ROOKWOOD Cape Cod, Massachusetts, 20th Century Fixed heart-shaped handles at sides of rim. Signed on underside “A.D.R.” Height including handles 5.25”.

Diameter 8.75”.

200/300

438

Ainsley D. Rockwood (d. 2014) was considered a master Nantucket basket maker. He began making the baskets when he retired to Mashpee, Massachusetts, in 1979.

Harry Hilbert (1917-2010), maker of Lots 435 and 437, was 52 when he made his first basket in 1970 following a visit he made to Mary-

437.

NANTUCKET BASKET BY HARRY HILBERT Dated 1998 Round basket on a turned wooden base. Branded on underside “Harry A. Hilbert” and dated 1998. Height 6.5”.

Diameter 9”.

200/300

Grace and Charles Carpenter, authors of Decorative Arts and Crafts of Nantucket. Purportedly wanting to make the Carpenter’s a basket as a gift, he went home to Connecticut, chopped down a small oak tree for the rim, staves and base, and crafted a primitive basket. A fine woodcrafter, Hilbert would become known for the inlay and wooden embellishments he added to his baskets. His work was exhibited at the Smithsonian, Boston’s Museum of Fine Arts, and the Nantucket

438.

206

OVAL NANTUCKET BASKET FRIENDSHIP PURSE

BY BILL AND JUDY SAYLE Nantucket, Dated 1977 Top panel with scimswhaw-style decoration depicting a whaling scene. Basked signed and dated on base “W + J Sayle 1977”. Height exclusive of handle 7.5”.

Width 11.25”.

700/1,000

Lightship Basket Museum, amongst other museums and galleries.

Hilbert also ran an antique shop in New Canaan, Connecticut and was a World War II veteran of the Battle of the Bulge.

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439.

CASED MODEL OF THE H.M.S. WARSPITE

BY ROBERT H. MOUAT

United Kingdom, 20th Century Hull built up in wood, hollowed and painted gray. Basswood veneer deck. Brass and wooden superstructure. Accurately fitted out and detailed as she was in 1936. Housed in a brass-framed glass case with mahogany base. Case height 13.75”.

Length 47.5”. Width 12.25”.

2,000/3,000 Provenance: American Marine Model Gallery, Salem, Massachusetts.

439

Robert H. Mouat (1920-2007), maker of Lots 439 and 441, was born in Scotland and served in the British Royal Navy, retiring as a full Commander. He’s built models for both commercial purposes and for boat builders.

440.

440

441.

CASED MODEL OF THE H.M.S. LION

BY LESTER KIRBY

United Kingdom, 20th Century Hull built up in wood, hollowed and painted gray. Basswood veneer deck. Brass and wood superstructure. Accurately decorated and fitted to her period configuration. Housed in a brass-framed glass case with a mahogany base. 500/1,000 Provenance: American Marine Model Gallery, Salem, Massachusetts.

CASED MODEL OF THE H.M.S. RODNEY

BY ROBERT H. MOUAT

United Kingdom, 20th Century Hull built up in wood, hollowed and painted in a camouflage scheme known as “dazzle painting”. Basswood veneer deck.

Accurately decorated and fitted to her period configuration. Housed in a brass-framed glass case with a mahogany base. Case height 15.5”.

Length 53”. Width 18”.

2,000/3,000 Provenance: American Marine Model Gallery, Salem, Massachusetts.

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441

207

442

442.

208

CASED FINE SCALE MODEL OF AN AMERICAN LIBERTY SHIP IN COMMERCIAL COLORS

Circa 1995 Attributed to Alan Raven (United Kingdom/America, 20th Century). Hull built up from the solid, with a painted rust red bottom, white water line and black topsides. Bow and stern with draft markings, rudder and propeller. Deck in rust red and detailed with anchor windlass, bollards, ventilators, cargo hatches, booms and windlasses. Main deck structure painted white and detailed with funnel, helm station, canopy frames, life boats on davits, docking bridge, raft, etc.

Displayed on a pair of brass pedestals in a brasstrimmed glass and mahogany case. Case height 16.25”.

Length 45”. Width 10”.

3,000/4,000

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BIDDER INFORMATION

ADVICE TO BIDDERS 1. Carefully read the Conditions of Sale.

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.

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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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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. We require seven to ten business days for your payment to clear our banking system before releasing purchases to your chosen shipping agent.

Shipping estimates can be provided only AFTER we receive payment for your invoice.

BIDDING INCREMENTS $0-$49: $5 $50-$199: $10 $200-$499: $25 $500-$999: $50 $1,000-$2,999: $100 $3,000-$4,999: $250 $5,000-$9,999: $500 $10,000-$29,999: $1,000 $30,000-$49,999: $2,500 $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion

Please adhere to the above bidding increments.

Eldred’s reserves the right to adjust absentee bids to the nearest increment below the bid.

see photos of all lots and view condition reports at www.eldreds.com

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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

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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.

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.

see photos of all lots and view condition reports at www.eldreds.com

ABSENTEE/TELEPHONE BID FORM 1.

Clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow our standard bidding increments.

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.

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.

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.

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.

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. There is a 2% buyer’s premium discount for payment made in full via cash, check, money order or wire transfer within ten (10) days of the invoice date.

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. Mixed payment methods are not eligible for the buyer’s premium discount. We reserve the right to hold goods until payment has cleared.

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.

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.

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:

No:

All property must be removed from our facility within 28 days of the close of the auction or be subject to a $5 per item/per day storage fee.

PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 www.eldreds.com

see photos of all lots and view condition reports at www.eldreds.com info@eldreds.com Phone: 508-385-3116 Fax: 508-385-7201

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Illustrations Cover Lot 234 Page 3 Lot 258 Page 5 Lot 315 Pages 6-7 Lot 233 Page 8 Lot 17 This Page Lot 230

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see photos of all lots and view condition reports at www.eldreds.com