Eldred's Spring 2021 Marine Sale Catalog by Eldred's Auction

THE MARINE SALE APRIL 29-30, 2021

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THE MARINE SALE

Thursday and Friday, April 29-30, 2021

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

A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 25 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000. We accept checks, cash, money orders, wire transfers and major credit cards for payment. 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.

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Auction

Both sessions beginning at 9:30 a.m. Eastern at our East Dennis Headquarters. Online, phone and absentee bidding available. In-person bidding not available.

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

Important notices

Exhibit

Wednesday, April 28, from 10 a.m. to 4 p.m., pre-scheduled appointments requested.

Absentee and Telephone Bidding

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

Online Bidding

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

Covid-19 Notice

Terms

As the situation regarding the virus unfolds, we urge you to visit our website, www.eldreds.com, for the most up-to-date information regarding auction dates, times and bidding options. COVID guidance on social distancing is enforced. Masks are required.

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

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Staff Directory Antiques & Fine Art Specialists

Production & Administrative Staff

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

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 Angela R. McParland Executive Assistant amcparland@eldreds.com

Duncan Gray Head of General Merchandise dgray@eldreds.com

Kristyn Mills Head of Photography kmills@eldreds.com

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

Madison Morris Assistant Head of Photography mmorris@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Kathleen Morse Auction Coordinator kmorse@eldreds.com

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

Megan Nichols Shipping Coordinator mnichols@eldreds.com

Gregg Dietrich Senior Consultant and Specialist

Caleb G. Seaver Shipping cseaver@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 Sarah Eldred Taylor Vice President of Human Resources sarah@eldreds.com

Mary M. Kuhrtz, Barbara H. Cleary and Christine Leofanti Gallery Assistants Kino Gray and Al Gray Shipping and Inventory Assistants

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This catalog is going to press right as the America’s Cup is taking place in Auckland, New Zealand. The quest for the Cup has inspired artists for nearly 175 years and driven advancements in science and technology that transcend sailing prowess. We’re proud to offer a fine selection of America’s Cup-related material in this auction, as well as a two private scrimshaw collections, a large group of ship models, traditional and contemporary marine paintings, and lots of other treasures. At the rear of the catalog you’ll find a sneak peek of another treasure coming up for sale in this summer’s Marine Sale, one of several exciting lots already in-house. If you are interested in participating in the sale as a consignor, we encourage you to contact us soon, as space in the auction is already filling up. As always, we thank you for your patronage and wish you good health. We look forward to seeing you soon. Joshua Eldred President

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Properties From

A Scrimshaw Collection Originating on Nantucket Island A Nantucket Collection The Kelton Collection of Marine Art & Artifacts An Important Private Collection, Newport, Rhode Island A Massachusetts Collection

And numerous other estates and collections

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Index Index of Artists Page 6-7 Session I Lots 1-322 Session II Lots 401-545 Bidder Information Page 136 Conditions of Sale Page 137 Absentee and Phone Bid Form Page 138 Illustrations Page 140

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Index of Artists ASHLEY, CLIFFORD

265

COOLE, BRIAN

291

BADGER, SOLON

264

DAVIS, WILLIAM R.

315

BAKER, ELISHA TAYLOR (attr.)

263

DODD, LOUIS

210

BASSFORD, FRANKLYN

245

DREW, CLEMENT (attr.)

257

CAMILLIERI, NICOLA

221

DREW, CLEMENT

256

CHAPELET, ROGER

289

GRAHAM, J.

224

CHEONG, WOO

277

JACOBSEN, ANTONIO NICOLO GASPARO

CHUNG, W.E.

281

KENNEY, CHARLES “FRAN”

207

COLACICCO, SALVATORE

212

MELLEN, MARY BLOOD (attr.)

260

MONAMY, PETER (attr.)

220

COLLINS, EARL

318-322

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283-287

Index of Artists MOORE, ROBERT

233

MORAN, SANDY

316, 317

STOBART, JOHN

58-60

STOKES, STAN

290

MURDAY, JOHN (attr.)

223

WALDRON, CHARLES J. (attr.)

219

PANSING, FREDERICK

292

WILLIS, THOMAS

231

RANDALL, WALLACE

294

YORKE, MARY E.

246

SAILMAKER, ISAAC (attr.)

218

YORKE, WILLIAM GAY

SCOTT, JOHN (attr.)

222

YORKE, WILLIAM GAY AND MARY E.

SELBY, JOE SHEPPARD, WARREN

238, 247, 248, 250, 252 239, 242, 249, 251

307-309 258

SMITH, FRANK VINING SMITH 288

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Session I Thursday, April 29, at 9:30 a.m. Lots 1-322 Scrimshaw & Whaling Lots 1-213 A Scrimshaw Collection Originating on Nantucket Island Lots 1-82 Prisoner-of-War Lots 81, 110-118 A Nantucket Collection Lots 96-117 America’s Cup Lots 229-244 China Trade Lots 277-282 Also Furniture, Ship Models and More

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A Scrimshaw Collection Originating on

Nantucket Island

SCRIMSHAW WHALE’S TOOTH DEPICTING A SPERM WHALE, POSSIBLY BY THE ARCH ENGRAVER Mid-19th Century Spouting out of its blowhole. The spout and scale of the whale are similar to those seen on teeth attributed to the Arch Engraver. Length 6.5”. 800/1,200

2, obverse and reverse

VIBRANTLY POLYCHROMED SCRIMSHAW WHALE’S TOOTH Mid-19th Century Obverse depicts a full-rigged ship flying a large red, white and blue American flag off the stern, a black swallowtail from the foremast, and a long red pennant with blue stars from the mainmast. Sepiacolored sails. Black hull with figural figurehead, white boot stripe and red gunports. Blue-green wavy sea. Reverse depicts a potted flowering plant on a plinth, executed in red, blue, green and black. Length 5.5”. 2,000/3,000

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A Scrimshaw Collection Originating on Nantucket Island

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH SAILOR’S FAREWELL SCENE Mid-19th Century Obverse depicts a man comforting his sweetheart, with a red flowering rosebush to the left and a church or meetinghouse to the right. Reverse depicts a whaleship with figures in a rowboat just off the bow. Ship with its anchor suspended off the port side, a whaleboat on davits, and a star emblem burgee flying from the mainmast. Length 5.5”. 1,200/1,800

SCRIMSHAW WHALE’S TOOTH WITH MASONIC IMAGERY Mid-19th Century Obverse depicts an arch of stars above a spreadwing eagle perched atop a ball at the pinnacle of a monument. Eagle with a shield at its breast and arrows and olive branches in its talons. Monument with an arrow and an ax flanking the ball, a stylized American flag and the scales of justice at the front corners, and a rising sun at the front. Reverse depicts a man in a vibrantly patterned uniform, with a dagger in his belt and a long piece of rope in one hand. Some elements on both sides executed in pinpoint. Length 5”. 800/1,200

SCRIMSHAW WHALE’S TOOTH DEPICTING A SHIP OFF A LIGHTHOUSE 19th Century Scene wraps around the circumference of the tooth, with the offshore lighthouse, believed to be Eddystone Lighthouse off Rame Head, England, prominently depicted, and the British-flagged ship seen from the stern. Lighthouse flanked by flagpoles flying various British and other flags, one possibly a storm warning flag. Length 6.75”. 2,000/3,000

3, obverse and reverse

4, obverse and reverse

5, obverse and reverse

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SCRIMSHAW WHALE’S TOOTH DEPICTING TWO SHIPS Mid-19th Century Obverse depicts an American three-masted warship off a hilly coastal village comprised of several buildings, trees, and a tower, possibly a lighthouse. Ship flies large American flags from the foremast and off the stern, a long pennant from the mainmast and an American jack off the mizzen mast. Reverse depicts a more simply rendered three-masted ship. Length 5.5”. 800/1,200

SCRIMSHAW WHALE’S TOOTH WITH WHALING MOTIFS 19th Century Obverse depicts a whaleship under sail. Reverse depicts a sperm whale above a scene of a six-man whaleboat harpooning a surfaced spouting whale. Length 5.5”. 1,000/1,500

SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAIT Mid-19th Century Flying a large American flag off the stern. Fine patina. Length 6”. 1,000/1,500

SCRIMSHAW WHALE’S TOOTH DEPICTING A BRITISH WARSHIP Mid-19th Century Ship under sail, flying a long pennant from the mainmast and a large British ensign off the stern. Nicely detailed rigging, gunports and stern. Length 4.5”. 1,000/1,500

6, obverse and reverse

7, obverse and reverse

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A Scrimshaw Collection Originating on Nantucket Island

10.

SCRIMSHAW WHALE’S TOOTH WITH DOMESTIC SCENES Mid-19th Century Obverse depicts a woman “Scotch Washing”, doing the laundry while standing in a washtub as a baby plays nearby. Reverse depicts an older woman teaching a child to knit. Both sides are charmingly detailed, including the women and child with long eyelashes, the older woman wearing eyeglasses, the baby having kicked off a bootie, and lavishly patterned clothing. Length 6.5”. 500/1,000

10, obverse and reverse

11.

SCRIMSHAW WHALE’S TOOTH Mid-19th Century Obverse with a stylized design of concentric scalloped and sawtooth bands around a floral urn on a stepped base, probably primarily executed with a compass tool and with some points deeply stippled. Crudely marked near tip “T”, “E” and possibly “P” or “D”. Reverse with pinpoint oval portrait medallion of a figure with his or her arms raised. Length 5.5”. 800/1,200

11, obverse and reverse

12.

SCRIMSHAW WHALE’S TOOTH TITLED “HOMEWARD BOUND” Mid-19th Century Depicts a seascape of a three-masted vessel under sail, cleverly framed within the skirts of a lady holding a tissue or letter in her raised hand. Vessel is just off a coastal lighthouse and flies an “A” flag from the mainmast. Another ship on a similar tack is visible in the distance. Titled in pinpoint lettering at base. Length 6.75”. 900/1,200

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13.

SCRIMSHAW WHALE’S TOOTH DEPICTING ST. CHRISTOPHER Mid-19th Century Poised to ford a river, holding a small staff in one hand, grabbing at a branch with the other, and carrying baby Jesus at his shoulder. Interesting stippled technique used on the branch’s bark. Length 5.5”. 400/600

14.

SCRIMSHAW WHALE’S TOOTH DEPICTING A SAILOR Mid-19th Century Standing and holding a pistol and a sword. Length 5”. 400/600

15.

PAINTED WHALE’S TOOTH Mid-19th Century Depicts a fisherman on the bank of a stream, with a gristmill on the opposite shore and two figures paddling past in a canoe. Length 4.75”. 300/500

St. Christopher is the patron saint of travelers and mariners.

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A Scrimshaw Collection Originating on Nantucket Island

16.

SCRIMSHAW WHALE’S TOOTH DEPICTING A COASTAL SCENE Mid-19th Century Finely rendered waterline view of two ships and flocks of birds off a jagged shoreline. Two houses at the top of one hill overlook what appear to be planted fields. Length 7”. 1,000/1,500

17.

SCRIMSHAW WHALE’S TOOTH DEPICTING A CAPSIZED VESSEL Mid-19th Century Interesting and detailed composition, showing several figures in the rigging, broken masts and water overflowing the hull. In the distance is a another ship that also appears to be in distress, yet there’s no depiction of rough seas or an ongoing battle. A curious animal-like image above the ship in the foreground could be a lion and a symbolic reference to British ships attacking U.S. merchant vessels. Length approx. 6.5”. 1,000/1,500

18.

SCRIMSHAW WHALE’S TOOTH WITH ROMANTIC MOTIFS Mid-19th Century Depicts two vignettes, one of two birds at a water fountain, and one of two lovers, possibly Romeo and Juliet, framed within shells and scrolls. Length 4.5”. 400/600

19.

SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF A BARK Mid-19th Century Flying a faint “W” flag from the mainmast and a British ensign off the stern. Some points on the sails deeply stippled. Surrounded by a laurel leaf garland. Length 5.25”. 400/600

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20.

SCRIMSHAW WHALE’S TOOTH DEPICTING FIGURAL SCENES Mid-19th Century Obverse depicts a man seated in a chair, holding the hand of a standing woman, while a dog stands at his knee, all on a patterned carpet. Reverse depicts a standing woman holding a bouquet of flowers. All three in elaborate clothing. Many elements executed in pinpoint. Length 6.75”. 1,200/1,800

20, obverse and reverse

21.

SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAIT AND EAGLE Mid-19th Century Obverse depicts a three-masted vessel at sea, flying pennants from the fore and mainmasts. Reverse depicts an eagle perched on an American shield, backed by sunrays. Length 6.5”. 1,000/1,500

21, obverse and reverse

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A Scrimshaw Collection Originating on Nantucket Island

22.

SCRIMSHAW WHALE’S TOOTH WITH ALLEGORICAL MOTIFS Mid-19th Century Titled on base “Christ the True Vine”, from John 15:1–17, where Jesus describes himself as the true vine and the disciples as branches. Depicts abundant grapevines wrapping around the tooth and surrounding images of a mermaid, Neptune on his chariot, a long-legged bird, a whaling scene, crossed American flags and a palm tree. Length 6”. 900/1,200

23.

SCRIMSHAW WHALE’S TOOTH DEPICTING A VESSEL Mid-19th Century Possibly a frigate, flying a large American flag off the stern. Reverse with very faint full-length figural portrait, possibly a sailor or military officer, with two five-pointed stars near the waistline of his jacket. Some points on both sides are deeply stippled. Length 6.75”. 500/800

24.

SCRIMSHAW WHALE’S TOOTH DEPICTING A NOBLEMAN Mid-19th Century Possibly Turkish or Middle Eastern. Finely detailed portrait of a bearded man wearing a feathered turban, flowing robes and beaded necklaces and bracelets, and holding a dagger to his chest. Some deeply stippled elements. Rich patina. Length 6.5”. 800/1,200

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25.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING A LADY READING A BOOK Mid-19th Century Wearing an unusual bonnet and dress and a long thin scarf around her neck. Book, possibly the Bible, and the lower part of her dress are deeply inked black and green. Reverse with a crude depiction of a face. Other faint scratch marks might be the remainder of a full-length portrait. Length 6.25”. 600/900

26.

SCRIMSHAW WHALE’S TOOTH DEPICTING THREE WOMEN LOOKING OUT TO SEA Mid-19th Century Seen from behind, the women are wearing bonnets, shawls and long dresses. Length 5”. 400/600

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27.

SCRIMSHAW WHALE’S TOOTH DEPICTING A SAILOR Mid-19th Century Bearded sailor wearing a hat with ribbons and holding a goblet in his outstretched right hand and a stirrer or similar in his left hand. Crossing foliate branches at base. Length 5.5”. 600/900

A Scrimshaw Collection Originating on Nantucket Island

31 28

28.

29.

WHALEBONE FID 19th Century Flattened knop at top. Length 13.25”.

WHALEBONE FID 19th Century Flattened knop at top. Length 11.25”.

30. 700/1,000

31. 400/600

WHALEBONE FID 19th Century Length 10.5”.

400/600

EXCEPTIONALLY LARGE AND HEAVY WHALEBONE FID 19th Century Pierced at top for hanging. Length 15.5”. 800/1,200

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32.

WHALEBONE, EBONY AND MAHOGANY GAME BOARD 19th Century Paddle-shaped mahogany board with ebony facings and inlaid pierced whalebone panels. Handle edged with a different material, possibly baleen. Components affixed with brass pins. Length 16.5”. Width 3.5”. 500/1,000

33.

SAILOR-MADE MINIATURE CRICKET WITH ABALONE INLAY Mid-19th Century Made of softwood, with shaped apron and legs. Top inlaid with a star and one side of apron inlaid with two diamonds. Height 2”. Length 4”. Width 2”. 400/600

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A Scrimshaw Collection Originating on Nantucket Island

34, obverse and reverse

35, obverse and reverse

34.

SCRIMSHAW WHALEBONE BUSK 19th Century Obverse with six vignettes: Two hex signs, a weeping willow, two trees with potted plants, and a spread-wing eagle with olive branches, a shield and arrows. Vignettes with geometric and vine borders. Some elements, particularly the eagle, are deeply engraved, and some are stippled. Reverse nearly entirely covered by a berry vine. Length 13.5”. 1,000/1,500

35.

HORN AND WHALE IVORY KNIFE, POSSIBLY WHALEMAN-MADE 19th Century Horn blade with polychrome engraving; one side with red and green flowers and the other side with “NB” in a diamond backed by harpoons, an anchor and nautical flags. Crosshatch design at base of both sides of blade. Turned whale ivory handle. Length 8.5”. 300/500

36.

36, six

SIX WHALEBONE FIDS 19th Century One with incised lines colored red, length 6”, one with decorative turnings, length 4.5”, one with carved crosshatch and ribbed banding, length 5”, one with shallow turnings and X carving at top, length 9.5”, one with X carving at top, length 8.5”, and one simple cone, length 12”. 1,000/1,500

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38, two

37.

POLYCHROME SCRIMSHAW WHALEBONE BUSK DATED 1843 Depicts five vignettes separated by foliate and/or geometric borders. Top carved in a heart shape, with an engraved heart enclosing two red rising suns and an anchor flanked by American flags. Similar anchor and flag design at curved end of busk, although it is oriented to face the opposite direction as the other vignettes. Two vignettes depict monuments, both marked 1843, one flanked by green trees and the other red and black curtains. Other vignette depicts a tree, with some traces of red coloring to the leaves. Length 14”. 1,200/1,500

38.

TWO SCRIMSHAW BALEEN BUSKS Mid-19th Century One with lobed top and canted bottom depicts six vignettes, including intersecting hearts, three potted plants, a monument and weeping willow, and an empty diamond. The other, with slightly curved ends, depicts a harpoon, a whale and a ship flying what is possibly an American flag. Lengths 12.5”. 300/500

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A Scrimshaw Collection Originating on Nantucket Island

39, obverse and reverse Dr. Joseph Warren (1741-1775), a physician from Boston, played a leading role in the early days of the American Revolution, including enlisting the help of Paul Revere and William Dawes to spread the alarm that the British were setting out to raid the town of Concord and arrest John Hancock and Samuel Adams. Warren participated in the Battles of Lexington and Concord and was commissioned a major general in the colony’s militia shortly before the Battle of Bunker Hill in June 1775. Warren chose to serve in the battle as a private, rather than as a

39.

POLYCHROME SCRIMSHAW WHALE’S TOOTH PERTAINING TO JOSEPH WARREN Mid-19th Century Both sides with interesting geometric compositions executed in black, red and subtle blue, with pinpoint outlines. Obverse depicts a bust portrait of “Warren” (Dr. Joseph Warren) adjacent to the Bunker Hill Monument. Reverse with a highly stylized Lady Liberty within a monument, surrounded by an American flag, a cherub, flowers, a globe, a shield, etc. Length 6”. 3,000/5,000

commanding officer, and was killed in combat after fighting valiantly. His death, seen by many as an act of martyrdom, inspired the Revolutionary cause amongst the colonists and was immortalized in John Trumbull’s painting, “The Death of General Warren at the Battle of Bunker’s Hill, June 17, 1775”. Bunker Hill Monument, which still stands today in Charlestown, Massachusetts, was erected to commemorate the battle. The first monument on the site, one of the very first monuments built in the United States, was an 18-foot wooden pillar with a gilt urn, erected in 1794. In 1823, a group of prominent citizens formed the Bunker Hill Monument Association to construct a more permanent and significant monument, an obelisk to be made of granite from nearby Quincy. After major fundraising efforts and several delays in construction, the monument was completed in 1842 and dedicated in 1843.

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40.

SCRIMSHAW WHALE’S TOOTH DEPICTING VESSELS AT SEA Mid-19th Century Obverse depicts a British-flagged ship and a smaller schooner off her bow. Reverse depicts an American-flagged ship. All three vessels fly assorted flags and pennants from the masts. Deep patina. Length 7.5”. 1,500/2,000

40, obverse and reverse

41.

LARGE SCRIMSHAW WHALE’S TOOTH WITH SPERM WHALE AND OTHER DECORATION Mid-19th Century Obverse depicts a sperm whale marked in serif lettering “From An 80 Barrel Whale”. Whale’s jaw is open, showing its teeth, and it has scars or other markings on its head. Above the whale is a half-length portrait of a lady within a laurel wreath surround. Reverse depicts a three-masted vessel at sea. Length 8”. 2,000/3,000

41, obverse and reverse

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A Scrimshaw Collection Originating on Nantucket Island

42.

SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE ARCH ENGRAVER Mid-19th Century Obverse depicts a ship under sail, flying a long pennant from the mainmast and a large American flag off the stern. Possibly some traces of polychroming to flag. Reverse depicts two whaleboats under sail in pursuit of a pod of five surfaced whales. Each boat with six whalemen, the boatheaders standing to steer the boats and the harpooners poised to throw. A thin arch surrounds the reverse scene. Length 9.25”. 8,000/12,000

This tooth is undoubtedly by the same hand as three that were part of the Thomas Mittler Scrimshaw Collection, illustrated in Through the Eyes of a Collector by Nina Hellman (2015), figs. 49, 50 and 51, and sold at Eldred’s, The Marine Sale, July 20, 2017, Lot #9. Those three teeth were from the same jawbone and the scenes on them correlate with each other, relaying the story of a whale capture. It is possible this tooth is from the same jawbone, given it is nearly the same shape and size as the others, and that it depicts two more scenes from the same “story”. Most of the scenes on the four teeth are topped with a thin arch, from which the moniker “The Arch Engraver” is derived.

42, obverse and reverse

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43.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING A SHIP OFF A FORT Mid-19th Century Large British flags fly off the fort and from the stern of the three-masted ship. Several houses line a steep ravine adjacent to the fort. Red coloring in flags, ship’s hull and ravine. Length 6.75”. 1,500/2,500

44.

SCRIMSHAW WHALE’S TOOTH DEPICTING A SCHOONER Mid-19th Century Several points on the sails and the tips of the bowsprit and masts are deeply stippled. Tooth pierced at tip and base, similarly to Fijian tabuas, for possible use as a necklace pendant. Length 6.25”. 300/500 44

45.

SCRIMSHAW WHALE’S TOOTH “A WIGWAM OF PATAGONIA” Mid-19th Century Depicts three men in a canoe, one wearing a headdress, rowing past a palm tree-lined village comprised of nine wigwams at the foot of mountains or volcanoes. Titled below scene. Rich patina. Length 6.25”. 2,000/3,000 The structures seen here are very similar to those depicted in “Fuegians and wigwams”, an illustration in Darwin’s Voyage Round the World. He describes them as resembling “in size and dimensions, a haycock”. Fuegians are one of three tribes of indigenous inhabitants of the Tierra del Fuego region of southern Patagonia.

45, two views

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A Scrimshaw Collection Originating on Nantucket Island

46.

SCRIMSHAW WHALE’S TOOTH WITH THREE SHIP PORTRAITS Mid-19th Century Obverse with two portraits, one above the other, the top depicting a twomasted vessel and the lower a three-masted warship flying an unidentified flag off the stern. Flag with multiple stars in the canton and an empty field. Hull, gunports and some elements in the rigging are deeply engraved. Water, made up of undulating parallel lines, wraps around the base to the reverse. Reverse depicts a ship similar to the upper portrait on the obverse. Base cut to solid ivory and depicts a star and an empty rectangle, possibly a stylized British ensign. Length 5.5”. 1,000/1,500

46, obverse and reverse

47.

POLYCHROME SCRIMSHAW WHALE’S TOOTH Mid-19th Century Obverse depicts a three-masted ship under sail, flying assorted flags and pennants from the masts and an American flag off the stern. Reverse depicts a floral and foliate garland above a bust portrait of a man wearing a Highland bonnet and a neckerchief. The man’s lips, the pompom on his hat and some of the floral elements are colored red, and the neckerchief has some faint blue coloring. Tip engraved to resemble a bird’s head and beak. Length 6”. 800/1,200

47, obverse, reverse and tip

48.

SCRIMSHAW WHALE’S TOOTH WITH FIGURAL PORTRAITS Mid-19th Century Obverse depicts a floral garland above a woman wearing a tall hat and puffy-sleeved dress and holding a purse. Many elements executed in pinpoint. Reverse depicts a man wearing a plumed hat and geometricpatterned tunic and holding a pike. Length 5”. 600/900

48, obverse and reverse

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49.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING BIRDS Mid-19th Century Both sides with a differing bird perched on a branch. Subtle blue, green and red coloring. Pinpoint outlines. Length 5.75”. 400/600

49, obverse and reverse

50.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF A WOMAN AND OTHER DESIGNS Mid-19th Century Obverse with a full-length portrait of a woman wearing a hat, earrings, necklace, gloves and an elaborate dress. Her right hand is raised as if in greeting and her left is lifting up her skirt. Reverse with a leafy flowering plant emanating from a heart composed of geometric designs. Length 8.25”. 1,500/2,500

50, obverse and reverse

51.

PAIR OF SCRIMSHAW WHALE’S TEETH WITH SHIP PORTRAITS Mid-19th Century Both depict two differing warships, all flying a British flag off the stern. Lengths 4.25” and 4.5”. 2,000/3,000 51, pair

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A Scrimshaw Collection Originating on Nantucket Island

52.

WHALEBONE MEASURING STICK 19th Century Both sides engraved with a “1” and a “3”, hash marks approx. every 2.5”, and “AB” in script lettering at center. Length 35.75”. 300/500

53.

NARWHAL TUSK CANE WITH STERLING SILVER CAP Late 19th Century Cap with repoussé flowers and scrolls surrounding a vacant cartouche. Marked “Sterling” on edge. Later metal ferrule, probably nickel, with a modern rubber tip. Length 37.5”. 1,000/1,500

54. “NAUGHTY NELLIE” CANE 19th Century L-shaped handle carved as a lady’s leg, with a whale ivory bare foot and calf, a whalebone knee and thigh, and ivory and baleen spacers. Square tapering striated wood shaft. Whalebone ferrule. Length 35.75”. 500/1,000

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55.

WHALE IVORY AND WHALEBONE CANE WITH BIRD-FORM HANDLE 19th Century Whale ivory bird with prominent beak, inlaid eyes, and relief-carved heart-shaped feathers with engraved details. Perched at an angle on a rope-carved ivory or bone collar. Spacers conjoining collar and shaft made from ivory and a contrasting material. Handle and shaft married. Extensively carved shaft, the upper portion in a spiraling diamond crosshatch design highlighted with pique inlay, the medial portion in a ribbed spiral design, and the lower portion a simple cylinder with a small band of a diamond crosshatch design. The bird’s eyes, the contrasting spacer and the inlay on the shaft possibly shell or glass. Metal ferrule. Length 34.5”. 1,500/2,500

56.

WHALE IVORY AND MALACCA CANE 19th Century Whale ivory knob handle with a relief-carved coiling snake detailed with engraved eyes and scales. Cylindrical Malacca shaft with contrasting wood ferrule. Length 36”. 400/600

57.

WHALEBONE CROOK-HANDLED CANE 19th Century Length 36”. 500/700

55 56

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A Scrimshaw Collection Originating on Nantucket Island

58.

JOHN STOBART America/England, b. 1929 “Nantucket The Celebrated Whaling Port in 1835”. Signed in pencil lower right “John Stobart”. Numbered lower right 352/750. Lithograph on paper, 24” x 35” sight. Framed 34” x 45”. 600/800

59.

JOHN STOBART America/England, b. 1929 “Nantucket Sleigh Ride”. Signed in pencil lower right “John Stobart”. Numbered lower right 130/750. Lithograph on paper, 17.25” x 22.5”. Framed 28” x 33”. 300/500

60.

JOHN STOBART America/England, b. 1929 “Vineyard Haven The Tops’l Schooner ‘Shenandoah’ from the Black Dog Tavern in 1984”. Signed in pencil lower right “Stobart”. Remarqued lower left. Numbered lower right 722/750. Lithograph on paper, 21” x 26.25” sight. Framed 31” x 36”. 500/700

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61.

SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF A LADY Mid-19th Century Standing beneath a floral and leaf garland and flanked by leafy plants. Her hair is elaborately coiffed, she is dressed in a patterned dress and apron, and she holds a flower blossom to her breast with her right hand and a flower basket in front of her with her left hand. Geometric border at base. Length 6.5”. 1,000/1,500

62.

SCRIMSHAW WHALE’S TOOTH DEPICTING A DANCING COUPLE Mid-19th Century Both man and woman with a deeply stippled eye. Length 5.25”. 400/600

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63.

SCRIMSHAW WHALE’S TOOTH DEPICTING A LADY Mid-19th Century Wearing a simple dress and pointing the index finger of her left hand. Her tiny feet are visible below her dress. Some elements executed in pinpoint. Possibly some traces of polychroming. Length 5.5”. 400/600

A Scrimshaw Collection Originating on Nantucket Island

65, pair 64

67, obverse and reverse

68, obverse and reverse 66

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64.

SCRIMSHAW WHALE’S TOOTH WITH PINPOINT PORTRAIT OF A WOMAN Mid-19th Century Wearing a buttoned jacket and heeled shoes, and with her right arm outstretched. Base of tooth closed up to solid ivory, supposedly indicating the tooth was taken from a very old whale. Length 5.5”. 300/500

65.

PAIR OF POLYCHROME WHALE’S TEETH WITH HALF-LENGTH PORTRAITS OF LADIES Mid-19th Century One of a lady in a red blouse and bright blue skirt, and the other of a lady in a black hat, black blouse and blue skirt, who appears to be holding a rose in her outstretched hand. Some pinpoint elements. Lengths 3.75”. 300/500

66.

SCRIMSHAW WHALE’S TOOTH DEPICTING A GIRL AND HER DOG Mid-19th Century Girl wearing a bonnet and boots and holding a closed parasol. Executed in pinpoint. Length 5.5”. 400/600

67.

SCRIMSHAW WHALE’S TOOTH WITH FINE BUST PORTRAITS Mid-19th Century One side depicts a man and the other side a woman. Incredibly delicate renderings with exceptional shadowing, at the caliber of scrimshander N.S. Finney. Unique placement on the tooth, with the tip of the tooth below the portraits rather than above. Length 6”. 800/1,200

68.

SCRIMSHAW WHALE’S TOOTH WITH THREE BUST PORTRAITS Mid-19th Century Obverse depicts a mustachioed gentleman in a top hat and jacket, and a girl wearing a beaded cross necklace. Reverse depicts the profile of a woman in a hat and earrings. Executed primarily in pinpoint. Length 3.75”. 400/600

69.

SCRIMSHAW WHALE’S TOOTH DEPICTING SHIPS OFF FORTS 19th Century Both sides with similar scene of a two-masted vessel flying an American flag and a pennant from the masts off a fort that is also flying an American flag. Forts with a grid of embrasures, with cannons visible. Unusual stippled depiction of the water, which wraps around the edge of the tooth in a V-shape. Some pinpoint elements on the ships. Length 6”. 2,000/3,000

70.

HORN SNUFF BOX WITH SCRIMSHAW-STYLE ENGRAVING 19th Century One face engraved with a fish above “J*C To His Aunt M*B”, surrounded by foliate and pique borders. Sawtooth and pique border on edge. Opposite face with an elaborate relief carving of two hearts pierced by an arrow, “M.R.”, garlands and stylized flowers. Includes handwritten note “For Gordon This snuff box was Aunt Francis’s & belonged to her Grandma Mary Billsby ...”. Diameter 2.75”. 300/500

71.

FIVE BONE AND IVORY ITEMS 19th Century Two whalebone clothespins, lengths 2.75” and 5”, a walrus ivory and wood square, length 4”, a small round whisk with turned ivory handle, length 5.5”, and a turned whalebone fid incised with concentric lines, length 3.5”. 400/600

69, obverse and reverse

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A Scrimshaw Collection Originating on Nantucket Island

75, two

72.

WHALEBONE SEAM RUBBER 19th Century Handle with faceted terminal and eight-faced elliptical shaft. Wedge-shaped blade. Faint crude engraving on one side of blade, possibly a “W” or “M”. Length 5.5”. 500/700

74.

WHALEBONE SEAM RUBBER 19th Century Extensively turned and incised handle. Wedge-shaped blade. Length 5”. 400/600

73.

WHALEBONE SINGLE BLOCK 19th Century With copper pins, wooden sheave and a ropework strop. Length 7.25”. 500/700

75.

TWO WHALEBONE SINGLE BLOCKS 19th Century Smaller with wooden pins and dry whalebone cheeks. The sheaves, face and triple-pierced eye differ in color and texture from the cheeks and are possibly whale ivory and not bone. Larger with brass pins. Lengths 3” and 4”. 400/600

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76.

WHALE IVORY BIRD’S-HEAD PIE CRIMPER Mid-19th Century Handle carved as the long neck, head and beak of a bird, with carved eyes, mouth and flattened crest at top of head. Octagonal shaft with incised rings between shaft and bird’s neck, and ribbed carving between shaft and yoke. Fluted wheel. Length 7.25”. Includes wood stand. 1,200/1,800

77.

FOUR BONE AND IVORY WHISTLES 19th Century Three with exotic wood mouthpieces. Three with pierced finials; two of the finials screw on and the third is fixed. Lengths from 2” to 4”. 400/600

78.

SIX WHALEBONE AND WHALE IVORY BODKINS 19th Century Most with finely carved terminals. Some with openwork spiral and pique designs. Lengths from 2.25” to 4.5”. 300/500

79.

77, four

78, six

FIVE IVORY AND BONE SEALS OR PIPE TAMPS 19th Century Three “Naughty Nellies” in the form of a lady’s leg, one in the form of a raised left arm with clenched fist on an architectural base carved with a crown, and one turned and incised with red and blue banding. One of the legs with carved garter and boot and red and blue highlights. Another with delicate scrimshaw engraving of stockings and boots. Lengths from 2.25” to 3”. 300/500 79, five

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A Scrimshaw Collection Originating on Nantucket Island

80.

POLYCHROME WHALEBONE AND WHALE IVORY SWIFT 19th Century Turned ivory yarn cup, barrel-form clamp and other components, some with incised banding colored blue and red. Whalebone shaft and cage. Yarn cup can be unscrewed. Length approx. 15.25”. Cage diameter approx. 24”. 1,000/1,500

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81.

NAPOLEONIC PRISONER-OF-WAR POLYCHROME BONE GAMES BOX Early 19th Century Box with shaped edge. Two sliding lids, both with heart-shaped pulls, and one with a cribbage board of pierced holes and incised lines colored red. Contains a pair of dice with black dots and approx. 45 dominoes with black pips and red incised lines. Box height 1”. Length 5.5”. Width 1.25”. 300/400 81

82.

CARVED WOODEN FIGUREHEAD IN THE FORM OF A WOMAN First Half of the 19th Century Beautifully executed, with fine facial details and a bow at the neckline of her ruffled, flowing dress. Mounted on a contemporary stand. Total height 29”. Width 13”. Depth approx. 17”. 8,000/12,000 Purported to have been on display at Boston’s Union Oyster House for several years.

conclusion of the collec tion

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83.

POLYCHROME SCRIMSHAW WHALEBONE 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”. 800/1,200

84.

POLYCHROME SCRIMSHAW WHALEBONE BUSK Mid-19th Century Depicts four finely engraved vignettes separated by floral and foliate garlands. Vignettes include a vase of flowers on a checkered surface, two lovebirds perched on intersecting hearts set on a garlanded monument, a blue floral sprig, and a basket of flowers. Lobed top. Length 13”. 300/500 Provenance: Collection of Captain Andrew Covey, New Bedford, Massachusetts (label verso).

85.

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. Heart-shaped top. Length 13.25”. 400/600 Provenance: A Long Island Collection.

86.

SCRIMSHAW BALEEN BUSK DATED 1860 Depicts three ships off a coastal fort. Large American flag flying from the fort and off the stern of one of the ships. Stylized foliate design at lobed end. Thin line border around perimeter. Presentation inscription on reverse “to A.M. from T.R. 1860”. Length 12.75”. 700/1,000

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87.

CARVED WHALE IVORY JAGGING WHEEL WITH SNAKE-FORM HANDLE Mid-19th Century Looped snake with delicately carved mouth, inset eyes and support for head. Star-form fluted wheel below an additional crimping tool with a distinctive ruffled carving. Ebony bands between handle and shaft, and near crimping tool. Length 7”. 5,000/7,000 Provenance: Collection of Charles H. Carpenter. Illustrated: The Decorative Arts and Crafts of Nantucket by Charles H. and Mary Grace Carpenter (N.Y.: Dodd, Mead & Company, 1987), p. 180, fig. 170.

88.

WHALEBONE PIE CRIMPER WITH OPENWORK HANDLE Mid-19th Century Handle comprised of four sections of whalebone in varying pillar, pierced heart and architectural forms. One end of handle with a shield-form mount supporting two side-by-side fluted wheels. Other end with a three-tine fork. Length 8.75”. 1,500/2,500 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts. The Collection of Sam and Donna McDowell.

89.

WHALE IVORY PIE CRIMPER Mid-19th Century Two-part geometric and architectural carved handle with 88 faceted terminal. Fluted wheel. Some pearling. Length 7.25”. 1,000/1,500 Provenance: The Collection of Sam and Donna McDowell. 89

90.

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”. 500/800 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts. The Collection of Sam and Donna McDowell.

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91.

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

92.

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. Decorative metal collar. Tapered cylindrical wooden shaft. Length 33”. 1,000/1,500

93.

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

94.

LADY’S WHALE IVORY AND WHALEBONE CANE 19th Century Turned whale ivory handle and whalebone shaft. Length 33.25”. 250/350

95.

CANE WITH WALRUS IVORY HANDLE CARVED AS A HOUND’S HEAD 19th Century Hound, probably a whippet, with a long snout and deeply pierced holes for nostrils and eyes. Similar deep piercings highlight mouth and ears. Handle separated from throat with a contrasting band, probably exotic wood. Elongated throat carved and inlaid to resemble a thorny branch and fitted with a metal collar. Tapered whalebone shaft with spiral carving, possibly a coiled snake. Length 33.25”. 400/600

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A NANTUCKET COLLECTION

96, pair

96.

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH “FIDELITY.” AND “GRATITUDE” Mid-19th Century Both depict a young girl seated on a cushion and accompanied by a dog, surrounded by a floral vine border. “Gratitude” is nude or partially clad and appears to be feeding the dog. Both titled in serifed lettering at base within a vine-bordered cartouche. Lengths 5.75”. Includes contemporary wooden stand. Height on stand 7.5”. 5,000/8,000 Provenance: Barbara Johnson Whaling Collection. Collection stickers on reverses.

97.

SCRIMSHAW WHALE’S TOOTH “MALGHERITA SPOLETINA.” 19th Century Finely detailed scene from the early Italian love story of Malgherita Spoletina, who fell in love with Theodore, a religious recluse who lived on an island. Swimming across a channel at night to visit him, Malgherita is discovered by her brothers, who then deceive her into swimming into the open ocean, where she drowns. Here Theodore finds her body washed ashore. The story was included in the book My Grandmother’s Guests and Their Tales by Henry Slingsby, published in 1825. Titled in pinpoint serifed lettering at base. Length 6”. With custom wooden stand. Height on stand 7”. 3,000/4,000 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, Lot #253. Barbara Johnson collection sticker on obverse of tooth and Sotheby’s lot stickers on stand.

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98.

TWO WHALE IVORY BODKINS Mid-19th Century One with architectural terminal and one with clenched fist terminal. Lengths 4” and 4.5”. 500/800

99.

WHALE IVORY LADY’S LEG PIPE TAMP Mid-19th Century Length 3”. Includes custom wooden stand. Total height 4.25”. 800/1,200 Provenance: Barbara Johnson Whaling Collection. Collection sticker on reverse of stand.

98, two 99

100.

IVORY AND WOOD IMPLEMENT, BELIEVED TO BE A CIGAR HOLDER 19th Century Includes a turned wooden base, a turned ivory foot and shaft, three turned nozzles, a carved disk comprised of four conjoined smaller disks, each with six holes surrounding a central socket, and a carved X-shaped component with lyre and claw-like forms at ends. Most pieces threaded for assembly. Shows breaks and other damages; some components appear to be missing, notably a nozzle. Height approx. 9”. Width approx. 10”. 300/500 Provenance: Barbara Johnson Whaling Collection. Collection sticker on underside. This piece is similar to a cigar holder made by whaleman Elihu Gifford of Dartmouth, Massachusetts, illustrated in A Treasury of American Scrimshaw by Michael McManus (N.Y.: Penguin Studio, 1997), p. 97.

101, pair

103

101.

PAIR OF POLYCHROME ENGRAVED IVORY CANDLESTICKS Circa 1870 One candle cup engraved with initials, believed to be “PDJ”, and the other with “1870”. Both stems with two floral blossoms and leaves. Stepped bases with vine design. Heights 3.5”. 1,500/2,500

102.

COLLECTION OF BONE AND IVORY CLENCHED FIST CARVINGS 19th Century Includes stamps, parasol handles, etc. One carved as a hand grasping a rod. Some with carved or incised shirt cuff or other detailing. Lengths from 2.5” to 3.5”. 400/600

103.

WHALE’S TOOTH CARVED AS A PENGUIN 19th Century Relief-carved wings, incised tail feathers and painted eyes. Screwed onto a demilune wooden base with whalebone trim affixed with pins. Total height 6.25”. 300/500

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A NANTUCKET COLLECTION

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

104.

* ENGRAVED WHALE’S TOOTH WITH WHALING MOTIFS 20th Century Obverse depicts a whaleship under sail, surrounded by a flock of gulls. Reverse depicts three whaling implements bound by a coil of rope. Length 7.5”. 500/1,000

105.

* WHALE’S EAR BONE Length 5”.

106.

* POLYCHROME ENGRAVED BONE BASKET PURSE 20th Century Lid with figured wood top and bone lip engraved with a vine design. Bone and wood swing handle. Basket with figured wood base panel, four bone feet, and bone side panels engraved with a red-striped shield and a spread-wing eagle grasping a star banner in its beak and arrows and olive branches in its talons. Bone panels with shaped fingers and affixed with metal pins. Height with handle raised 10.25”. Basket width 7.25”. 250/500

107.

* ENGRAVED BONE BASKET PURSE 20th Century Lid with figured wood top and bone lip engraved with a rope design. Bone and wood swing handle. Basket with figured wood base panel, four bone feet, and bone side panels engraved with a whaling scene of a whaleship and a whaleboat harpooning a breaching whale. Bone panels with shaped fingers and affixed with metal pins. Height with handle raised 9.5”. Basket width 7.25”. 250/500

104, obverse and reverse

106

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250/350

107

108.

PAIR OF POLYCHROME SCRIMSHAW WALRUS TUSKS 19th Century Possibly pertaining to the Spanish-American War. Obverses with red-striped Liberty shields backed by American flags, and portraits of steam/sail vessels, both flying American flags. Reverses with portraits of horses; one tusk with two horses in a field, and the other tusk with a single horse in a barn, labeled below, possibly “Electricity”. Some elements executed in pinpoint. Mounted on wooden and metal bases and with metal caps affixed at tips. Total heights approx. 27.5”. 1,000/1,500

108, pair

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A NANTUCKET COLLECTION

109.

POLYCHROME SCRIMSHAW WALRUS TUSK WITH FIGURAL PORTRAITS AND MARITIME MOTIFS Mid-19th Century Obverse depicts four vignettes, executed in red, black, blue and sepia. One depicts a man kneeling before a woman seated on a chaise in a Moorish-style interior, one depicts a child with a lamb, one depicts a man wearing a turban, long robe and dagger at his waist while standing before a woman seated on a chaise, and one depicts a full-length portrait of a woman wearing a bonnet and red jacket and holding a closed parasol. Obverse depicts a star, a hand grasping a long needle, an anchor with rope, a compass rose, and a ship at sail, all executed in black. Length 23.5”. Includes wooden stand. Height on stand 24.75”. 1,000/1,500

109

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110.

CARVED BONE WATCH TOWER, PROBABLY FRENCH 19th Century Triple arcade form with supporting columns and a rectangular footed base. Two spear-wielding figures on plinths flank an elaborately pierced panel with central aperture for watch. Pierced design incorporates two lovebirds, scrolls, leaves, flowers, etc. Columns joined on all four sides with low panels in a similar pierced design. Arches topped with urn-form finials and scalloped roof panels. The mount to suspend the watch is also in urn form and is slightly visible through the central panel. Base panels carved in a drape and tassel design. Total height approx. 11.25”. Width 9.75”. Depth 2.75”. 2,000/3,000

111.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE STAND French/English, 19th Century Rectangular footed base with two helmeted warriors on plinths and two tapered columns supporting an arched roof with finials at each corner. Notched spindle at center of base probably meant to support a decorative panel. Arch with scalloped roof panels and a scalloped and pierced design at interior perimeter. Base panels carved in a drape and tassel design. Height 8.75”. Width 6.25”. Depth 3”. 1,500/2,500

110

111

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A NANTUCKET COLLECTION

112.

NAPOLEONIC PRISONER-OF-WAR POLYCHROME CARVED BONE GAMES BOX French/English, Early 19th Century Rectangular splay-legged box with pierced and carved panels and two domed lids, all in a matching geometric design with red and green highlights. Domed lids lift off to reveal two sliding lids with painted decoration of ancient soldiers. Interior with bone divider, painted canvas liner and wooden base panel. Contains approx. 65 dominoes and a pair of dice. Dominoes with black or green pips, and red or black dividing lines. Height 4”. Length 6.25”. Width 4.25”. 2,000/3,000

112

113.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE GAMES BOX French/English, Early 19th Century In double casket form. Two domed lids with reliefcarved floral designs and fruit-form knobs lift to reveal two sliding lids with matching fruit-form knobs, relief-carved foliate designs and a pierced cribbage board track. Box with scalloped and serrated side panels with applied ribbed moldings, and geometric-carved corner panels. Bone base panels affixed with large metal pins; one panel missing. Contains a pair of dice and approx. 35 bone dominoes. Height 2.75”. Length 6.75”. Width 4.25”. 1,500/2,500

113

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116

115

114

114.

NAPOLEONIC PRISONER-OF-WAR POLYCHROME GAMES BOX French/English, Early 19th Century Constructed from bone and wood. Sliding lid with three panels of decorative relief carvings and a triangular pull surmounted by a heart. Box with steeple forms at corners forming feet, an overhanging lip on two sides, a tall shaped panel at one end, and side panels with decoratively carved lower edges. Red and black dot, floriform and concentric circle design throughout lid and box. Contains 36 bone dominoes with black pips and red dividing lines. Box height 2”. Length 8”. Width 2.75”. 800/1,200

115.

NAPOLEONIC PRISONER-OF-WAR POLYCHROME BONE GAMES BOX French/English, Early 19th Century Sliding lid with pierced cribbage board and fan-form pull. Box with bone sides, and a wooden base panel and interior divider. Both lid and box with dot, concentric circle and geometric designs colored green and red. Contains 42 bone dominoes with black pips and red dividing lines. Height 0.75”. Length 5.5”. Width 1.5”. 400/600

116.

PRISONER-OF-WAR BONE GAMES BOX, PROBABLY RUSSIAN 19th Century Sliding lid and sides of box with circle and dot design in a floriform pattern. Contains 27 bone dominoes with a brass pin at center and pips in the same circle and dot design as the box. Brass pin on lid to use as a thumb tab. Height 1”. Length 3”. Width 1”. 300/500

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A NANTUCKET COLLECTION

117.

DIEPPE CARVED BONE AND IVORY MIRROR 19th Century Velvet-covered wood frame nearly entirely covered by leaf forms, a plumed and crowned crest, a “SGOTORVM” banner, trumpeting angels, sea creatures, ribbons, swags, etc. Oval beveled mirror glass. Height 32.5”. Width 20.5”. 3,000/5,000

117

conclusion of the collec tion

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118

118.

NAPOLEONIC PRISONER-OF-WAR BONE MODEL OF A WARSHIP Early 19th Century Superbly detailed with two gun decks fitted with 44 guns, a helmeted soldier figurehead, carved trailboards, and nicely carved stern and captain’s quarters. Height 14.5”. Length 16.25”. 4,000/6,000

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119

119.

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 wood base mounted with a name plaque “America”. Total height 8.25”. Length 11”. Width 4.5”. Includes a glass dome, height 11” and length 13.5”. 4,000/6,000

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120, obverse above and reverse below

120.

POLYCHROME SCRIMSHAW WHALE’S TOOTH BY THE BANKNOTE ENGRAVER First Half of the 19th Century Obverse depicts a naval battle between an Americanflagged ship and a dismasted red-flagged ship, believed to be the 1812 battle between the U.S.S. Constitution and the H.M.S. Guerriere. American flags colored red and blue. Both ships flying long red pennants. Masts, gunports and some rigging elements very deeply incised. Reverse with an oval bust portrait of a woman framed by a finely detailed feathery border, a hallmark of the Banknote Engraver’s work. Similarly detailed foliate, pique and geometric borders wrap around the circumference of the base and the tip. Length 6”. 12,000/18,000 The obverse image appears to be derived from Abel Bowen’s Naval Monument, a popular volume of source material for scrimshanders. The portrait on the reverse and its surrounding border is nearly identical to that on another Banknote Engraver tooth illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 3.12a.

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121.

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”. 1,200/1,800

121, 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.

122.

123.

124.

SCRIMSHAW WHALE’S TOOTH WITH GEOMETRIC DESIGNS Mid-19th Century Depicts a feather-like cluster emanating from a spiral, and a crescent moon. Two small cartouches at upper left and lower right corners contain markings, probably a “2” and a “7”. Some pinpoint execution. Length 5.5”. 200/300

122

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING A WHALESHIP Mid-19th Century Ship under sail, flying a large red, white and blue American flag off the stern, a red flag off the central mast, and a long pennant off the foremast. Three whaleboats visible on davits. Length 6.25”. 800/1,200

123

SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAIT AND OTHER DESIGNS Mid-19th Century Obverse depicts a three-masted vessel flying a pennant from the central mast and a large American flag off the stern. Reverse depicts a woman’s head and a church steeple and roof line. Length 5”. 700/1,000

124, obverse and reverse

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125.

POLYCHROME SCRIMSHAW WHALE’S TOOTH Mid-19th Century Depicts a seated Lady Justice within a vine border. Length 4.5”. 600/800

125

126, three

126.

127.

THREE SCRIMSHAW BALEEN DITTY BOXES 19th Century 1) Engraved with a diamond design on lip, and two ship portraits, a spreadwing eagle and simulated “fingers” on body. Wooden lid carved with a five-petal flower. Signed illegibly on interior of lid. Retains handwritten note “Susan J. Hildreath A present from her mother in the year 1869 Whale Bone Box”. Height 4.5”. Diameter 7”. 2) Engraved with a tassel and drape design on lip, and an eagle, American flag and memorial scene on body. Paper affixed to exterior and interior of wooden lid and base plate, all painted with a seascape. Lip bound with one finger, and body with five. Height 4”. Length 7.75”. 3) Engraved port scene with several buildings and ships wraps around body. No lid. Body bound with five fingers. Height 2.5”. Length 5”. 500/1,000

TWO RARE WOODEN WHALING LOGBOOK STAMPS 19th Century One with a three-masted ship. The other is double-sided and has differing whales. 1.25” x 1.75” and 1.75” x 2.25”. 500/1,000

128. 127, two

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF A YOUNG GIRL 19th Century Full-length portrait of a curly-haired girl holding a hat in her hands. Length 5.5”. 300/500

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129.

130.

SCRIMSHAW WHALE’S TOOTH DEPICTING A SHIP Mid-19th Century A three-masted vessel flying a stylized American flag off the stern. Initialed “L” and “R” at base. Length 4.25”. 400/600

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING A SHIP AND A FLOWER Mid-19th Century Obverse with a three-masted ship flying a pennant off the foremast. Reverse with a leafy potted plant bearing red and blue blossoms mostly composed of conjoined circles. Faint outline of a star to right of plant. Length 4.25”. 400/600

129

130, obverse and reverse

131.

132.

SCRIMSHAW WHALE’S TOOTH INITIALED “AM” Mid-19th Century Pinpoint execution of the letters contained within an elaborate medallion composed of foliate and ribbon motifs. Length 4”. 400/600

SCRIMSHAW WHALE’S TOOTH DEPICTING TWO GIRLS Mid-19th Century Appear to be twin girls in matching outfits, posed back-to-back, one holding a bouquet in her left hand and the other a fan in her right. Some pinpoint elements. Length 4.75”. 300/500

133, two

132

133.

131

TWO WHALEBONE KNIVES Mid-19th Century A butter knife with wood handle and whalebone blade, bolster and knop, length 5.25”, and a fish slice with a scrimshaw pique and line border, length 7.5”. 200/300

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

134.

* ENGRAVED WHALE’S TOOTH WITH WHALING MOTIFS 20th Century Depicts a spread-wing eagle clutching arrows and olive branches, titled below “Sternboard - Ship ‘Jireh Perry’”, as well as various whales and whaling implements with identifying captions. The finely detailed images wrap entirely around the circumference of the tooth. Length 8.5”. 800/1,200

134, four views

135.

HANDWRITTEN WHALEMAN’S TELEGRAPHIC CODE BOOK Dated 1883 Inscribed on cover “1883 Telegraphic Code J & W.R Wing[?] New Bedford, Mass and San Francisco, Cal”. Contains several pages of codes for “General Remarks”, “Reporting Sperm Oil”, “Price Sperm Oil”, etc., and codes pertaining to the whaling barks Atlantic, Fleetwing, John Dawson and another, possibly the Abraham Barker. Contained in a papercovered ruled notebook. Approx. 5.5” x 3.5”. 500/1,000

135

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136.

PORTFOLIO OF PAPERS AND PAMPHLETS PERTAINING 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 hired by the U.S. government to rescue crewmen from the whalers crushed in the Arctic ice in 1871. The Arctic, however, met the same fate and was lost, and the lawsuit followed. 1,800/2,500

136

137.

* ENGRAVED WHALE’S TOOTH BY PETER LAJOIE 20th Century Obverse depicts a sperm whale, a vine-bordered portrait medallion of a ship, and “Canton” in a banner backed by an anchor and rope. Reverse depicts crossing oars and a whaling iron above a coil of rope. Double vine border encircles tip. Signed lower left on obverse “Lajoie”. Length 6.5”. 700/1,000

137, obverse and reverse

138.

* CONTEMPORARY ENGRAVED WHALE’S TOOTH IN THE MANNER OF THE CERES ARTISANS 20th Century By J.R. Laubin. Both obverse and reverse with oval ropeframed figural medallions above portraits of American ships. Obverse’s medallion depicts a sailor standing below a sapling, resting his arm on an anchor. Reverse’s medallion depicts a sailor and his lady, with their arms outstretched. Rope and zigzag border at center and a sawtooth border at base. Signed “JR Laubin” on obverse under ship’s bow. Length 5.5”. 600/900 138, obverse and reverse

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139.

* CONTEMPORARY ENGRAVED WHALE’S TOOTH IN THE STYLE OF EDWARD BURDETT 20th Century By J.R. Laubin. Obverse depicts a whaling scene with a whaleship and a whaleboat in pursuit of a surfaced whale. Reverse depicts a whaleship cutting in. Both whaleships flying large American flags off the sterns. Vine borders encircle the tip and base. Signed on obverse lower right “JR Laubin”. Length 7.25”. 700/1,000

140.

* CONTEMPORARY POLYCHROME ENGRAVED WHALE’S TOOTH IN THE STYLE OF THE LADY WELLINGTON ENGRAVER 20th Century By J.R. Laubin. Similar to the “Fish Face Tooth”, except the tip of this example resembles a bird’s head, with engraved eyes, beak and head feathers, rather than a fish. Obverse depicts an active whaling scene and reverse depicts a British whaleship at anchor off a hilly coastline dotted with palm trees. Wide floral bands and thin scalloped borders encircle the base and tip below the bird’s head. Reverse signed lower right “JR Laubin”. Length 7.75”. 700/1,000

141.

* CONTEMPORARY POLYCHROME ENGRAVED WHALE’S TOOTH IN THE MANNER OF EDWARD BURDETT 20th Century By J.R. Laubin. Obverse depicts a whaling scene with three whaleships, a whaleboat poised to harpoon a surfaced whale, and two other surfaced whales. The central ship is cutting in and flies a red, white and blue American flag off the stern. The ship at the right of the scene is also flying an American flag. Reverse depicts two whales off the bow of a whaleship. Image of a sperm whale on upper edge. Vine borders encircle tip and base. Signed lower right of reverse “JR Laubin”. Length 7.25”. 700/1,000

139, obverse and reverse

140, obverse and reverse

141, obverse and reverse

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

143

142, obverse and reverse 144, obverse and reverse

142.

* ENGRAVED WHALE’S TOOTH BY ROBERT SPRING Dated 1970 Obverse depicts a foliate garland framing a portrait of the whaleship Globe in a stylized sea, identified in a banner below the scene. Reverse depicts killer, right, finback and sperm whales. Images of whaling irons at edges of tooth. Signed and dated lower right of reverse “R. Spring 70”. Length 5.25”. 700/1,000

143.

* POLYCHROME ENGRAVED WHALE’S TOOTH BY ROBERT SPRING Dated 1976 Depicts a two-masted vessel at sail in a calm sea, surrounded by a foliate border. Signed on reverse “R Spring 76”. Length 4”. 400/600

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144.

* ENGRAVED WHALE’S TOOTH ATTRIBUTED TO WILLIAM GILKERSON Circa 2005 Depicts a continuous coastal scene of the Swedish double-ended gaff cutter Elly, as seen in 1875 on obverse and 2005 on reverse. Obverse marked “Elly - 1875” at base. Reverse marked “2005” and signed “WG”. The vessel belonged to Gilkerson (Wisconsin/ Nova Scotia, 1936-2015), a noted maritime artist, having descended in his family since 1915. It appeared in several of his prints, including some in a similar format as seen here. Length 6.25”. 600/900

147

145

146

148

151

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152

145.

146.

147.

WHALEBONE FID Mid-19th Century Pique decoration on top and upper edge. Attached leather tether. Length 11.75”. 500/800

WHALEBONE-HANDLED STRAINER Mid-19th Century Tapered cylindrical handle with wooden and ivory cap, and a metal and ivory hanging loop. Iron strainer. Length 18.5”. 200/300

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”. 500/1,000

149.

Provenance: A Long Island Collection.

150.

COCONUT SHELL DIPPER WITH IVORY AND EBONY HANDLE 19th Century Long serpentine handle with loose ring at end, intermittent ivory bands, and an ivory heart-shaped mount. Whale or walrus ivory. Total length 19”. 700/1,000

MINIATURE WHALEBONE BELAYING PIN 19th Century Length 9.75”.

100/200

151.

WHALEMAN-MADE SEWING CLAMP Mid-19th Century C-shaped wooden clamp with whale ivory utilitarian components and decorative embellishments. Whale ivory mounts at top support a fabric-covered pincushion. Two carved and stepped ivory bodkins are inserted into slots on upper edge of C, and three thread winders are mounted on each side, for a total of six. Shield-shaped adjustment knob screws into lower edge. Lower edge decorated with inlaid diamonds and hearts. Decorative relief-carved panels on edges are backed by metal or glass and are mostly in geometric designs, though one depicts a whale. Length 4.75”. 500/1,000

152.

PAINTING OF WHALING SCENE Late 19th/Early 20th Century Depicts a sperm whale stoving a whaleboat, with a French whaleship at left and another ship in the distance at right. Signed lower right “S Snow”. Oil on canvas, 13.25” x 21.5”. Framed 19” x 27”. 1,000/1,400

Provenance: A Long Island Collection.

148.

BONE SERVING MALLET WITH WOODEN HANDLE 19th Century Length 8.25”. 200/300

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153.

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.

153 154

154.

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”. 1,000/1,500 Provenance: A Long Island Collection.

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155.

WHALEBONE SWIFT 19th Century Shaft topped with a turned and incised yarn cup. Unusually large cage. Mounted on a weighted carved wooden base. Height 24”. Diameter approx. 20”. 1,200/1,800

156.

BLACK AND WHITE PHOTOGRAPH OF THE WHALESHIP WANDERER Depicts the ship in a harbor, with a woman being lowered over the side into a waiting whaleboat. Noted verso “Property of Ernest F. Gates New London, Conn. ...”. Approx. 9.5” x 6.5”. Framed 14.5” x 12”. 250/300

155

156

157.

PAIR OF DEADEYES FROM THE WHALESHIP WANDERER Late 19th/Early 20th Century Iron with wood cheeks. Mounted as bookends on wooden bases. One retains old typewritten label “Whaling Bark ‘Wanderer’ 1878-1924”. Total heights 8.5”. 500/1,000

157

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158.

HAND-COLORED AQUATINT “SOUTH SEA WHALE FISHERY.” Circa 1834 After William J. Huggins (United Kingdom, 1781-1845). Fully titled “South Sea Whale Fishery. A Representation of Boats attacking a Sperm Whale from descriptions given by experienced Masters and Officers in the South Sea Fishery.” Title lettering surrounds a rendering of a sperm whale. Also inscribed in margin “Painted by W.J. Huggins, Marine Painter to his Majesty, and Published at 105, Leadenhall Street. London. 1834.” and “Engraved by E. Duncan”. 18” x 25.5” sight. Framed 26” x 33”. 300/500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1994, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

158

159.

HAND-COLORED AQUATINT “THE NORTH WEST OR DAVIS’S STRAIGHTS WHALE FISHERY” Dated 1789 Robert Dodd (England, 1748-1815), artist and engraver. Published by John & Josiah Boydell, London, May 1, 1789. 16.25” x 25.5” sight. Framed 23.5” x 32.75”. 300/500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1996, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

160.

159

BLACK AND WHITE LITHOGRAPH “A SHIP ON THE NORTH-WEST COAST CUTTING IN HER LAST RIGHT WHALE” Circa 1848 After Benjamin Russell (Massachusetts/Rhode Island, 18041885). Drawn on stone by A. Mayer, lithographer. Printed by Lemercier, Paris. 16” x 25” sight. Framed 23” x 31.5”. 300/500 Provenance: Thomas Schuler Hathaway, New Bedford, Massachusetts, and thence by descent through his family. Grogan & Co., Boston, October 1994, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. Benjamin Russell, acclaimed as America’s foremost documentary artist of the whaling industry, undertook his one and only whaling voyage at age 37 on the Kutusoff of New Bedford. In 1841, after the failure of the family commercial firm, he set off for a three-year, eight-month voyage, an experience that was to sustain his artistic career for the rest of his life. A rare impression of this print exists with an extra line of imprint reading “Entered according to Act of Congress in the year 1848 by B. Russell in the Clerk’s Office of the District Court of Massachusetts.”. It is interesting to note that for his first lithograph, Russell sent his design to the prestigious Parisian

160

firm of Lemercier, thus ensuring high quality.

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161, two

161.

162, pair

TWO HAND-COLORED PRINTS “NAVIRE BALEINIER 162. PAIR OF ENDICOTT & CO. HAND-COLORED EN PANNE POUR SECOURIR SES EMBARCATIONS LITHOGRAPHS “SPERM WHALING NO. 1 - THE CHASE.” CHAVIREES PAR UNE BALEINE” AND “PÊCHE À LA AND “SPERM WHALING NO. 2 - THE CAPTURE” BALEINE - WHALING” Circa 1859 and 1862 “Navire Baleinier ...”, translates to “Whale Ship Rescuing From drawings by A. Van Best and R.S. Gifford, corrected Boats Capsized by a Whale/Hump Back, North Sea”, a handby Benj. Russel [sic] Esq. Both published by Charles Taber & colored lithograph after Louis Le Breton (France, 1818-1866). Co., “The Chase” in 1859 and “The Capture” in 1863. Signed by Le Breton in lower left corner. Text in French on the 17.25” x 35.5” sight. Framed 23” x 31.5”. 400/600 left and Spanish on the right. Marked along bottom “á Paris chez GOSSELIN., éd. imp. r. St. Jacques 71.” for the printer. Provenance: “Peche a La Beleine ...”, a hand-colored aquatint after The Kelton Collection of Marine Art & Artifacts. Ambroise-Louis Garneray (France, 1783-1857). Engraved/ etched by Jazet and published by Imprimerie de Groupil et See Kendall 16 & 19. cie, Paris. Both 15” x 19.75” sight. Framed 22.75” x 27.5”. 300/500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1994, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

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163, set of four

163.

SET OF FOUR NATHANIEL CURRIER HAND-COLORED WHALING LITHOGRAPHS America, 1846-1856 “American Whaler”, “The Whale Fishery, ‘Laying On’”, “The Sperm Whale ‘In A Flurry’.” and “Capturing The Whale.”. Each inscribed in lower margin “Lith. & Pub. By N. Currier” and “152 Nassau Street N.Y.”. Housed in matching mats and frames. 9.25” x 13.25” sight. Framed 14” x 17.75”. 600/800 Provenance: Northeast Auctions, Portsmouth New Hampshire, August 1994, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. Given the popularity of whaling lore, the time had come to add whaling scenes to Currier’s marine line. Currier could not find an American artist to use for these prints, so he relied on LeBreton and Garenay to provide images. The bark-rigged whaleships depicted, typical of the 1850s, proved a successful choice for Currier.

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164.

HAND-COLORED AQUATINT “PÊCHE DE LA BALEINE. WHALE - FISHERY 1835” After Ambroise-Louis Garneray (France, 1783-1857). Frédéric Martens (France, 1809-1875), engraver. Galerie Goupil & Cie, publisher. On wove paper, 24.75” x 32.25” sight. Framed 32.5” x 40”. 1,000/1,500 Provenance: Kennedy Galleries, New York. An unknown collector. Northeast Auctions, Portsmouth, New Hampshire, August 1984, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

165.

HAND-COLORED LITHOGRAPH “PÊCHE AU CACHALOT SUR LES COTES DU MEXIQUE” After Louis Le Breton (France, 1818-1866). Printed by Lemercier, Paris. Published 1853. Title translates to “Sperm Whaling on the Coast of Mexico”. Signed lower right “LeBreton” and titled in lower margin. AM 63; Brewington 192; Pasquier 1982, p.189. On paper, 16.5” x 24.5” sight. Framed 25.5” x 32.75”. 800/1,200

164

Provenance: Kennedy Galleries, New York. An unknown collector. Northeast Auctions, Portsmouth, New Hampshire, August 1994, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. An angry sperm whale dominates this scene. The American ship in the background has its flag upside down as a distress signal. She is presumably summoning the crew of the French vessel to help rescue her capsized whalemen.

166.

HAND-COLORED LITHOGRAPH “PÊCHE A LA BALEINE DANS LES PARAGES DU CAP DE BONNE ESPERANCE” After Louis Le Breton (France, 1818-1866). Published 1853. Title translates to “Whaling near the Cape of Good Hope.”. Signed lower right “LeBreton” and titled in lower margin. On paper, 16.5” x 24.5” sight. Framed 25.5” x 32.75”. 800/1,200

165

Provenance: Kennedy Galleries, New York. An unknown collector. Northeast Auctions, Portsmouth, New Hampshire, August 1994, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. The whaleship Uncas of New Bedford is seen here off the Cape of Good Hope. Notable details include the ship and whaleboats, the scars on the whale, and the topography of Table Bay. The Uncas is flying the flag of the Howland agency, who managed her whaling career from 1843 to 1861. Though this scene was published in 1853, after 1849, due to the depletion of the southern right whale, all Uncas’s voyages were to the North Pacific.

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166

167

168

169

167.

WROUGHT IRON BLUBBER SPADE ON POLE 19th Century Spade length 21.5”. Total length 60”. 300/400

168.

WROUGHT IRON SINGLE-FLUE HARPOON 19th Century Head painted red on one side. Length 42.5”. 500/1,000

169.

170.

171.

172.

173.

WROUGHT IRON HARPOON WITH TWO SWIVEL BARBS 19th Century Similar to #54 in Harpoons and Other Whalecraft by T.G. Lytle. Retains parts of its wooden pole. Total length 34.5”. 600/900

174.

IRON CUTTING SPADE ON POLE 19th Century Unmarked. On original pole. Total length 63.25”.

400/600

WROUGHT IRON SINGLE-FLUE HARPOON 19th Century Slight twist to barb. Length 37.5”. 1,000/1,500

175.

WROUGHT IRON TEMPLE-TYPE DARTING GUN HARPOON WITH ROPE 19th Century Head marked illegibly. Length 37.25”. 1,000/1,500

IRON KILLING LANCE 19th Century Unmarked. Similar to #256 in Harpoons and Other Whalecraft by T.G. Lytle. Length 67.75”. 500/800

176.

CAST STEEL GUN HARPOON 19th Century Probably by Greener. Double-flue head with barbs. Retains original grommet on shaft. Length 50.5”. 1,000/1,500

177.

CAST STEEL GUN HARPOON 19th Century Possibly Greener. Double-flue head. Length 44.25”. 1,000/1,500

WROUGHT IRON SINGLE-FLUE HARPOON 19th Century Length 36.75”. 1,000/1,500

IRON TEMPLE-TYPE TOGGLE HARPOON 19th Century Similar to #218 in Harpoons and Other Whalecraft by T.G. Lytle. Length 27.25”. 500/700

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170

171

172

173

174

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175

176

177

178

179

180

181

182

183

184

185, two

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178.

WROUGHT IRON SINGLE-FLUE HARPOON 19th Century Unmarked. Length 31.5”. 500/800

179.

WROUGHT IRON TOGGLE HARPOON 19th Century Possibly Azorean. Marked “A.C.C.”. Length 30”.

300/500

180.

WROUGHT IRON TOGGLE HARPOON 19th Century Similar to #74 in Harpoons and Other Whalecraft by T.G. Lytle. Length 23.5”. 300/400

181.

WROUGHT IRON TOGGLE HARPOON 19th Century Head stamped “ABR”. Length 30.75”.

300/500

182.

WROUGHT IRON TOGGLE HARPOON 19th Century Toggle marked “CCF” on one side and “ML” in dots on the other side. Length 32”. 300/500

183.

WROUGHT IRON TOGGLE HARPOON 19th Century Similar to #75 in Harpoons and Other Whalecraft by T.G. Lytle. Retains grommet. Length 26”. 300/500

184.

WROUGHT IRON TOGGLE HARPOON 19th Century Head and cone under old red paint. Length 33.25”. 500/700

185.

TWO CAST IRON DOUBLE-FLUE BARBED HARPOONS MADE FOR A HARPOON GUN 19th Century Lengths 28.75”. 500/1,000

186.

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”. 250/350 Provenance: Purchased from Nina and Bob Hellman and accompanied by a copy of the sales receipt.

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186

187

188

189 190 191

187.

188.

WROUGHT IRON CUTTING SPADE, PROBABLY EUROPEAN 19th Century Length 30”. 200/400

IRON TOGGLE-HEAD HARPOON STAMPED “J. MACY” 19th Century Similar to #83 in Harpoons and Other Whalecraft by T.G. Lytle. Length 34.25”. 700/1,000

189.

IRON TOGGLE-HEAD HARPOON 19th Century Unmarked. Similar to #81 and #82 in Harpoons and Other Whalecraft by T.G. Lytle. Length 32.25”. 600/800

190.

WROUGHT IRON TOGGLE HARPOON 19th Century Length 33.25”.

191.

400/600

WROUGHT IRON TEMPLE-TYPE DARTING GUN TOGGLE-HEAD HARPOON 19th Century Length 38.25”. 600/800

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192

193

194

195

192.

193.

194.

196

CAST STEEL BLUBBER SPADE 19th Century Stamped “J.D. Driggs Cast-Steel”. Length 16.75”. Blade width 4.5”. 400/600 195.

CAST STEEL BLUBBER SPADE 19th Century Stamped on blade “B&S”, possibly the stamp of Butts & Smith. Length 20”. Blade width 4.375”. 400/600

196.

CAST STEEL BLUBBER SPADE 19th Century Stamped “A.J. Peters Cast-Steel”. Stamp identical to one illustrated in Harpoons and Other Whalecraft by T.G. Lytle, p. 79. Length 15”. Blade width 4”. 400/600

CAST STEEL BLUBBER SPADE 19th Century Stamped “Macy Cast-Steel”. Length 14.75”. Blade width 4”. 300/500

WROUGHT IRON TOGGLE HARPOON 19th Century Head stamped “Charles W. Morgan”. Length 28.75”. 700/1,000

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198

197.

WROUGHT IRON LANCE ON WOODEN POLE 19th Century Head stamped on both sides “U.A.B”. Lance length 48.5”. Total length 116”. 1,000/1,500

198.

ENGLISH HARPOON GUN 19th Century Walnut butt, browned barrel, and brass trigger and hammer section. Numerous geometric marks. Complete with two cast iron double-flue harpoons. Gun length 40.5”. Harpoon lengths 29”. 1,500/2,500

199.

WOODEN SHEATH FOR A BLUBBER SPADE 19th Century Retains old, possibly original, finish. Folds open to receive spade. Intact leather hinge. Length 10.25”. Width 5”. 200/300

200.

IRON DOUBLE-FLUE HARPOON 19th Century Unmarked. Length 27.75”.

500/800

IRON TOGGLE HARPOON Mid-19th Century Unmarked. Length 32.75”.

350/500

201.

202.

203.

800/1,200

WROUGHT IRON DIAMOND-POINT TOGGLE HARPOON Late 19th Century Stamped “R & M” on toggle. Rope attached. Length 32”. 400/600 Provenance: Sotheby’s, New York, The Barbara Johnson Whaling Collection Part III, April 29, 1983, Lot #445. Private Collection, Cape Cod, Massachusetts.

197

204.

IRON TOGGLE HARPOON STAMPED “MACY” Mid-19th Century Also marked “BK. SBM” and “SB”. Length 35.75”.

EARLY MOUNTED BUILDER’S HALF HULL MODEL First Half of the 19th Century Possibly a whaleship. Built up in eleven lifts, with applied bowsprit, trailboards, prow and skeg. Pine backboard 10.5” x 53”. 1,000/1,500

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200

201 203 202

204

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205.

CASED SAILOR-MADE MODEL OF THE WHALESHIP MARTHA OF NEW BEDFORD Circa 1926 Made by W.G. Collins of South Yarmouth, Massachusetts. Deck detailed with tryworks, whaleboats on davits loaded with implements, and a carved eagle billethead below the bowsprit. Ship, maker and year identified on plaque affixed to case. Case height 25.5”. Length 31.25”. Width 11”. 800/1,200

205

206.

CASED SCALE MODEL OF A WHALEBOAT BY ALFRED BROWNELL Nicely made. Housed in a lucite case with wooden back panel displaying whaleboat implements, including oars, paddles, mast and boom, harpoons and more. Case height 18.25”. Length 32.5”. Depth 10.25”. 2,000/3,000

206

207.

CHARLES “FRAN” KENNEY Massachusetts, 1919-2014 “Whaling Ship ‘Niger’”. Signed lower right “Charles F. Kenney”. Titled on label verso. Oil on canvas, 24” x 30”. Framed 31” x 37”. 1,000/1,500

207

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208

209

208.

HAND-COLORED ENGRAVING “BALAENARUM WALFISCHE” Circa 1760 After Johann Baptist Homann (German, 1663-1724). From the Atlas Novus Terrarum Orbis Imperia Regna et Status Exactis Fabulis Geographice Demonstrans, published in Nuremburg, circa 1760. Fully titled “Historia Animatum Ma(rinarum). Abbildliche Geschichrinorum Iconographicate der See-Thiere ... Balaenarum Walfische”. Ingalls 447. Beautiful original color on lightly toned paper. Plate area 23.5” x 20.5”. 21.5” x 24.75” sight. Framed 28.25” x 31.5”. 250/350 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1994, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts. A rare whaling print, described in Ingalls, composed of four parts, mostly borrowed from Martens and Zorgdragger. The top panel is

209.

HAND-COLORED LITHOGRAPH “DESTRUCTION OF THE WHALING FLEET IN THE ARCTIC OCEAN.” Designed and drawn on stone by Captain Kelly of the ship Gayhead, circa 1872. Edwin Dews, publisher. 14” x 20.5” sight. Framed 21.75” x 28.5”. 400/600 Provenance: Thomas Schuyler Hathaway, New Bedford, Massachusetts, and thence by descent. Grogan & Company, Boston Massachusetts, October 1994, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts.

a “description of the whale fishery” taken from a 1675 engraving by Martens showing all phases of the Spitsbergen whale fishery,

This hand-colored lithograph depicts an event that dealt one of the

with extensive marginal description. The center panel depicts

final blows to the American whaling industry: In September 1871,

six whales found in the Spitsbergen fishery, a whale louse, a sea

off Cape Belcher, Alaska, 34 whaling vessels, including 21 from New

bird, sea worms and harpoons. The images are appropriated from

Bedford, became trapped in the ice and had to be abandoned. A

another engraving by Martens, and from several engravings taken

total of 180 whaleboats carrying 1,219 whalemen were rescued and

from Zorgdragger’s 1720 work on whaling. The lower left panel,

carried to safety by only seven surviving whaleships. Amazingly,

depicting ships caught in the ice, is from Martens. The tryworks

there were no casualties. This lithograph is based on drawings by

scene in the lower right, possibly of Hamburg, is from neither

Captain William H. Kelley, master of the whaleship Gay Head, which

Martens or Zorgdragger.

was one of the vessels abandoned and lost during the catastrophe.

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Louis Dodd United Kingdom, 1943-2006 Lot 210

210

210.

“The Whaling Bark Tamerlane outward bound from Nantucket 1830”. Signed lower right “Louis Dodd”. Titled on frame. Oil on board, 16” x 24”. Framed 22” x 31”. 8,000/12,000 Provenance: Mystic Maritime Gallery, Mystic. An Important Private Collection, Newport, Rhode Island.

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211.

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”. 3,000/5,000 Provenance: Eldred’s Spring Marine Art Auction, March 1994, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts.

211

212.

SALVATORE COLACICCO Italy/England/Canada, b. 1935 Side view of a whaleship, with figures visible on deck and land off her bow. Signed lower left “Salvatore Colacicco”. Oil on canvas, 18” x 24”. Framed 21.5” x 27.5”. 800/1,200

212

213.

AMERICAN SCHOOL Early 20th Century An Arctic whaling scene. Monogrammed lower right. Oil on canvas, 13” x 20”. Framed 18” x 25”. 700/1,000

213

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214

215

214.

215.

UNUSUAL SAILOR’S VALENTINE Early 20th Century Rectangular composition of multicolored shells with an anchor and “Hope” at center, concentric geometric and floral bands, and quartered fan designs at corners. Housed in a molded frame. 15.5” x 19.5” sight. Framed 26.75” x 30.75”. 1,000/1,500

SAILOR’S SHELLWORK PICTURE Third Quarter of the 19th Century Composed of multicolored shells, depicting anchors at the upper corners and a three-masted ship flying an American flag off the stern. Blue sand-like ground embellished with starshaped shells and bordered by a perimeter of differing shells. Housed in a shadow box-style frame. Framed 15” x 22”. 800/1,200

216.

COLLECTION OF TWENTY ENGLISH LATE VICTORIAN SHELLWORK ITEMS Late 19th/Early 20th Century Includes boxes, picture frames, miniature furniture items, etc. Heights from 1” to 6.5”. 1,500/2,500

217.

THREE ENGLISH SHELLWORK PICTURE FRAMES Late 19th/Early 20th Century Each contain a watercolor maritime scene. Overall diameters 6”. 300/500

216

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218

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

218.

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”. 10,000/15,000 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, 2001, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. Literature: Dictionary of Sea Painters by E.H.H. Archibald (Antique Collector’s Club, 2000), p. 80, plate 17.

this work was undoubtedly a commission to commemorate the visit of His Majesty.

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219.

ATTRIBUTED TO CHARLES J. WALDRON United Kingdom, 1836-1891 The clipper ship Kingfisher off Liverpool, circa 1867. Oil on canvas, 24” x 36”. Framed 32.25” x 44.25”. 3,000/5,000 Provenance: Captain Harding, the captain of Kingfisher, 18661868. The daughter of Captain Harding. Ted Thomas, Concord, Massachusetts, acquired from the above, 1934. Skinner Inc., Bolton, Massachusetts, October 1998. The Kelton Collection of Marine Art & Artifacts.

219

Kingfisher was built by Hayden & Cudworth at Thatcher Magoun’s yard in Medford, Massachusetts. She made six westward California passages out of Boston and New York between 1853 and 1864. In 1866 she returned to New York via Liverpool, which was then followed by three passages between Hong Kong and San Francisco. She was condemned at Montevideo in 1871, sold, repaired, and went under the Uruguayan flag as Jamie Cibils until broken up for scrap in 1890.

220.

ATTRIBUTED TO PETER MONAMY United Kingdom, 1681-1749 A naval battle. Unsigned. Artist identified on frame plaque. Oil on canvas, 12.25” x 20”. Framed 17” x 23”. 3,000/5,000

221.

NICOLA CAMMILLIERI France/Malta/Italy, 1762-1860 “Bark Reindeer of Scarboro, James Walker Master 1853”. Signed lower right “Nicola Cammillieri”. Titled lower center. Watercolor and gouache, 17” x 23” sight. Framed 22” x 27.5”. 3,000/5,000

220

Provenance: Northeast Auctions, Portsmouth, New Hampshire, 2001. A dramatic work in the ex-voto tradition, likely commissioned by the master to commemorate a close call at sea. These were often hung in the master’s church to remind them of God’s helping hand in the ship’s survival. Of note, the Peabody Essex Museum contains many Cammillieri works.

221

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222.

ATTRIBUTED TO JOHN SCOTT United Kingdom, 1802-1885 The Barque Cowslip off the mouth of the Tyne. Unsigned. Attribution and location based on Christie’s catalog description, November 1, 2001, Lot #526. Oil on canvas, 19” x 26.5”. Framed 26” x 33.5”. 2,500/3,500

222

223.

ATTRIBUTED TO JOHN MURDAY United Kingdom, 1787-1847 A British barque off Dover. Oil on canvas, 18.5” x 25.5”. Framed 23” x 30”. 3,000/5,000

223

224.

J. GRAHAM United Kingdom, 19th Century “British Brig Off the Cliffs of Dover”, 1869. Signed lower right “J. Graham 1869”. Quester Gallery label verso. Oil on canvas, 18.5” x 30.5”. Framed 24.5” x 36.5”. 1,000/2,000

224

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225.

ENGLISH BRASS-BOUND TWO-PART CAMPAIGN CHEST 19th Century In walnut and walnut veneer. Upper case with three varied side-by-side drawers over a full-width drawer. Lower case with two full-width drawers and turned feet. Retains original inset brass hardware. Height 42”. Width 39”. Depth 18.5”. 1,000/1,500

225

226.

CASED MODEL OF DE PRINS WILLEM, FLAGSHIP OF THE DUTCH EAST INDIA COMPANY Circa 1980 Hull and decks built up in plank-on-frame construction, with a painted white bottom, bright topsides, black banding and blue above the sheer line. Pierced and fitted with 46 cannons. Decorated at the stem headrails and stern with cast naiads and other decorative fixtures, including a red and gold lion as the figurehead. Decks detailed with fife and pin rails, barrels, deck gratings, ship’s boat lashed amidships, capstan, etc. Rigged with a bowsprit and three masts, standing and running rigging, turning blocks and other rigging details. Displayed on a pair of turned brass pedestals within a glass case with mahogany base and inlaid border. Case height 27.5”. Length 35.5”. Width 15.5”. 1,500/2,500

The Prins Willem was built in 1650 in Middelburg in the Dutch Republic. The ship was the flagship of the Dutch East India Company and fought in the Battle of the Kentish Knock during the First Anglo-Dutch War. She sank off the coast of Madagascar in 1662.

226

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227.

CASED SCALE MODEL OF THE H.M.S ROYAL CAROLINE America, 20th Century Well-detailed model built up in plank-onframe construction, the planking tree-nailed. Bottom finished bright, and the double waist painted black. Topsides above the gun deck in blue and detailed with castings of cherubs and nymphs, and a figurehead of a lion holding a gold orb. Decks detailed with pin and fife rails, coils of line, water barrels, anchor floats, deck gratings, ship’s boat fitted out over the waist, capstan, deck eyes, stove pipe, skylights, tiller and lantern, etc. Rigged with a bowsprit and three masts, and standing and running rigging. Displayed within a mahogany-framed glass case with border inlay. Case height 33.5”. Length 44.5”. Width 15.5”. 2,000/3,000 227

228.

ENGLISH TWO-PART CAMPAIGN CHEST 19th Century Hardwood. Rope-carved molding at edge of top and at skirt. Upper case with two half drawers over a full-width drawer. Lower case with two full-width drawers. Bold, carved, tapered and molded feet. Retains original inset brass hardware. Height 47.75”. Width 44.5”. Depth 17.75”. 1,200/1,800

228

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ITEMS PERTAINING TO THE

America’s Cup LOTS 229-244

The America’s Cup is the oldest trophy in sports. Originally called the “Hundred Guineas Cup,” it became the “America’s Cup” after the schooner yacht America, of the New York Yacht Club, won the trophy in 1851. After 132 years, the longest winning streak in sporting history, the New York Yacht Club lost the Cup to Australia, and Australia II with her now-famous “winged keel”. In the racing being held in Auckland, New Zealand, as this catalog goes to press, we are seeing monohulls sailing on foils vying for the Cup, sailing at over 30 knots. The America’s Cup has always been a venue for technological advancement, whether it be the design of the hulls, sails or control systems, or other developments that have influenced not only sailing, but a range of other sports and scientific applications. In addition, the fascination with the history and lore that surrounds the America’s Cup has inspired numerous contemporaneous and historical works, from literature to fine art, to prints and photography, to ship models and more. In this sale we see a cross section of the types of works that the America’s Cup has inspired, including period paintings by William Gay Yorke, prints by the venerable firm of Currier & Ives, presentation half hull models by George L. Watson, one of the great British yacht designers, a pair of tank test models of Weatherly, and other notable pieces. Please note, some additional America’s Cup-related material is included in Session II of this sale, which can be found online and in a separate catalog.

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229

229.

CASED PRESENTATION HALF HULL MODEL OF THE SCHOONER YACHT AMERICA Circa 1887 Attributed to George L. Watson (Scotland, 1851-1904). In ¼”:1’ scale. Black-painted topsides and copper-painted bottom. Carved trail board, stump mast and bowsprit. Bakelite name plaque engraved “Schooner Yacht ‘America’ Scale 1/4 = 1 foot to W.G.J. From G.L.W.”. Two labels affixed to the back, one with the history of the model and its construction, and the other a framer’s label. Case height 11.125”. Length 31”. 6,000/8,000 Provenance: George L. Watson, maker, circa 1887. William G. Jameson, a gift from the above, until about 1903. Unknown owner(s). The Glen Foster Collection, until 1999. Hyland Granby Antiques, Hyannisport, Massachusetts, August 2002, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts. Probably the most famous racing yacht ever, and the first winner of the America’s Cup, America’s design was coveted and studied by yacht designers around the world.

1851 COWES America defeats Aurora

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230

230.

CURRIER & IVES HAND-COLORED LITHOGRAPH “THE SCHOONER YACHT MAGIC OF THE N.Y. YACHT CLUB.” Dated 1850 Fully titled in margin “The Schooner Yacht Magic of the N.Y. Yacht Club Franklin Osgood Esq. Owner and Commander Winner of the Great International Yacht Race For the Queen’s Cup at New York Aug. 8. 1870. Beating Seventeen Competitors Including the English Yacht Cambria and the Famous Yachts Dauntless, Idler, Fleetwing, Phantom, America and Others”. Inscribed in margin with lists detailing the principal dimensions of the yacht and of the mast and spars, as well as “Published by Currier & Ives”, “Entered According to Act of Congress in the Year 1870, By Currier & Ives in the Office of the Librarian of Congress at Washington” and “152 Nassau St. New York.”. Conningham No. 5433. On paper, 21” x 27.5” sight. Framed 29” x 35.5”. 1,000/1,500

231.

Provenance: Bob Bascom Prints, Burlington, Vermont, October 1995, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

“100 Guineas Cup”. Sir James Lloyd Ashbury’s yacht Cambria sailed to New

Literature: Currier & Ives : A Catalogue Raisonné (Detroit: Gale Research, Publisher, 1983), No. 5830.

Loper of Philadelphia and built by Byerly & Son in New York. Her rig was

1870 NEW YORK CITY Magic defeats Cambria

231

1871 NEW YORK CITY Columbia and Sappho defeat Livonia

THOMAS WILLIS New York/Denmark, 1850-1925 Sloop yacht Maria, circa 1890. Unsigned. Oil on canvas with applied silkwork, 20” x 28”. Framed 27.5” x 36”. 2,000/3,000 Provenance: An Important Private Collection, Newport, Rhode Island.

The 1870 America’s Cup was the first Cup to be hosted in the United States and was the first “America’s Cup” after the trophy was renamed from the York on behalf of the Royal Thames Yacht Club. The New York Yacht Club entered 17 schooners, and the race was won by Franklin Osgood’s Magic. Originally launched in 1857 as the sloop Madgie, she was designed by R.F. changed to a schooner and she was renamed Magic in 1859. She won the first defense of the America’s Cup when she was 13 years old.

1876 NEW YORK CITY Madeleine defeats Countess of Dufferin

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1881 NEW YORK CITY Mischief defeats Atalanta

232

232. Valkyrie II was launched April 29, 1893, and was the second of three yachts by that name owned by the Earl of Dunraven. She was built in composite construction and was a close sister to the Royal Yacht Britannia, also designed by G.L. Watson. Valkyrie II sailed to the U.S. to compete in the eighth America’s Cup, where she faced Vigilant in the best three of five races. The races were sailed October 7, 9, and 13, 1893 off Sandy Hook. The first and third races were 15 miles to windward off Scotland Lightship and return to leeward, and the second race was a 30-mile triangle. In close racing, Valkyrie II led the entire Race 3, apparently the winner, until at the last mark she shredded her spinnaker, allowing Vigilant to go ahead for the victory. Valkyrie II returned to Great Britain, where she maintained an active racing career until 1904, when she was rammed by Satanita, another G.L. Watson-designed yacht, and sank off Holy Loch. Ironically, Watson was aboard Valkyrie II when the collision occurred.

1885 NEW YORK CITY Puritan defeats Genesta

1886 NEW YORK CITY Mayflower defeats Galatea

MOUNTED PRESENTATION HALF HULL MODEL OF THE 1893 AMERICA’S CUP CHALLENGER “VALKYRIE II” Model built at the D&W Henderson Shipyard, Meadowside, Partick on the River Clyde, Scotland, in 1893 for owner Lord Dunraven of the Royal Yacht Squadron. This important presentation model bears the original bakelite plaque mounted bottom right and inscribed “Cutter Yacht Valkyrie R.Y.S. 1893”. Presented to Valkyrie II’s racing skipper William Cranfield of Rowhedge. It is one of a few period America’s Cup half hull models known to be in private hands. Hull with painted black topsides and bronze bottom, a truncated maple mast and bowsprit, maple cap rail and clear-finished decks. Mounted on a mahogany backboard with molded edge. Backboard 14.25” x 67”. 7,000/10,000 Provenance: William Cranfield and thence by descent until 1999. Sotheby’s Marine Sale, London, April 1999. Hyland Granby Antiques, Hyannis Port, Massachusetts, July 2000, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts.

1887 NEW YORK CITY Volunteer defeats Thistle

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1893 NEW YORK CITY Vigilant defeats Valkyrie II

233.

ROBERT MOORE United Kingdom, b. 1945 “America’s Cup Racing”. Depicts several America Cup yachts beating to windward. Signed lower left “Rbt Moore”. Titled on gallery label verso. Oil on artist panel, 8” x 12”. Framed 12.5” x 16.5”. 1,500/2,000 Provenance: The Maritime Gallery at Mystic Seaport, Mystic, Connecticut.

233

234.

THREE PLATINUM PRINT PHOTOGRAPHS DEPICTING SIR THOMAS LIPTON’S YACHTS SHAMROCK AND SHAMROCK II 1899/1901 By Charles Edward Bolles (America, 1847-1914). Each signed and copyrighted with the photographer’s indicia lower right “Copyright 1899/1901 by C.E. Bolles Brooklyn, NY”. Largest 9” x 7.75” sight. Each framed 17” x 13”. 800/1,200 Provenance: Christie’s East, Sale 8347, August 2000, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

234, three

Shamrock was a racing yacht built in 1898 that was the unsuccessful

in the summer of 1899. The Cup defender Columbia beat Shamrock in all

challenger for the 1899 America’s Cup against the defender, Columbia.

three races. She returned to Britain in the autumn of 1899, towed by Lipton’s

Shamrock was designed by third-generation Scottish boatbuilder William

steam yacht Erin. She was subsequently refitted to serve as a trial horse for

Fife III and was built in 1898 by J. Thorneycroft & Co. for Sir Thomas Lipton

Shamrock II and Shamrock III.

of the Royal Ulster Yacht Club. Shamrock (also known as Shamrock I, to distinguish her from her successors) was built in 1898 under a shroud of

Sir Thomas Lipton returned to New York in 1901 with his new boat,

secrecy, and she was christened by Lady Russell of Killowen at her launch

Shamrock II, designed by G.L. Watson, to race J.P. Morgan’s Columbia,

June 26, 1899.

defending the America’s Cup for a second time. Shamrock II was the first Cup boat designed with the help of model-towing in a test tank. On September

During her trials she raced against the 1895 America’s Cup challenger,

6, 1901, Shamrock II vs. Columbia was the closest match in Cup history, with

Valkyrie III, as well as twice beating the Prince of Wales yacht Britannia in

an average winning margin of only 1 minute, 52 seconds.

regattas on the Solent. She sailed to New York for the America’s Cup race

1895 NEW YORK CITY Defender defeats Valkyrie III

1899 NEW YORK CITY Columbia defeats Shamrock

1901 NEW YORK CITY Columbia defeats Shamrock II

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1903 NEW YORK CITY Reliance defeats Shamrock III

235.

HULL MODEL OF THE AMERICA’S CUP DEFENDER COLUMBIA OF 1899 Circa 1899 Attributed to Gustav Graham (Sweden/America, 19th/20th Century). Hull built up from the solid, which has been hollowed. Topsides painted white and the bottom bronze. Mahogany veneer deck with a brass plaque engraved “Columbia America Cup 1899”. Displayed on a simple mahogany stand, supported at the keel and with a bow post. Height on stand 10”. Length 49.5”. Width 9”. 6,000/8,000 Provenance: Thomas Darling, and thence by descent. Christie’s East, New York, February 1998, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts. This model is believed to have been made by Gustav Graham, one of the principal model builders for New York Yacht Club in the Late 19th Century. The companion model is in the Club collection.

235

Columbia was designed and built in 1898-99 by Nathaniel Herreshoff and

easily won all three races against Shamrock II. In 1903 Columbia was refitted

the Herreshoff Manufacturing Company for J. Pierpont Morgan and Edwin

with the hope of being selected for a third time, but she was badly beaten

Dennison Morgan of the New York Yacht Club. She was a fin keel sloop, with

in the selection trials by the yacht Reliance. She was the first vessel to win

a nickel steel frame and Tobin bronze hull. She was launched June 10, 1899,

the trophy twice in a row, a record not equaled until Intrepid’s back-to-back

and easily won the elimination trials against the rebuilt yacht Defender.

wins in 1967 and 1970. Columbia was broken up in 1915 at City Island and

Skippered by Charlie Barr, she won all three races against the British

sold to Henry A. Hitner and Sons of Philadelphia, Pennsylvania for scrap.

challenger, Shamrock, in the 1899 America’s Cup. Columbia was selected in

Today, the mast sits in the Forest Hills Gardens neighborhood of New York

1901 to defend the Cup, again under the command of Charlie Barr, and she

City in a park known as “Flagpole Green.”

1920 NEW YORK CITY Resolute defeats Shamrock IV

1930 NEWPORT Enterprise defeats Shamrock V

1934 NEWPORT Rainbow defeats Endeavour

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1937 NEWPORT Ranger defeats Endeavour II

236.

PHOTOGRAPHS OF THE AMERICA’S CUP DEFENDER RESOLUTE AND VANITIE, CIRCA 1914, AND THE SCHOONER YACHT RESOLUTE Views of the America’s Cup defender Resolute during her trials against Vanitie, 5.5” x 7.75” sight, and a view of the Resolute, 9.25” x 7” sight, both silver gelatin photographs by Edwin Levick (New York, 1868-1929). View of the centerboard schooner Resolute circa 1871, 9.25” x 7” sight, attributed to Charles Edward Bolles (America, 1847-1914). Inscribed in pencil verso “#254. RESOLUTE. (David Carll 1871) W.M.T.”. Each framed 13.25” x 17”. 800/1,200 Provenance: Christie’s East, New York, Sale 8197, February 1999. West Sea Company, Old Town, San Diego, California, 1999, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. Resolute was christened by Grace Vanderbilt and launched April 25, 1914. She was skippered by Charles Francis Adams in the 1914 America’s Cup defender selection trials, against Vanitie and Defiance. The outbreak of World War I forced the delay of the 1914 America’s Cup races. The America’s Cup returned in 1920, and Resolute prevailed in the selection races before successfully defending the Cup in July, with Adams at the helm. Resolute lost the first two races before recovering to defend the Cup 3-2 against Shamrock IV. In 1925 Resolute was sold to E. Walter Clark of Philadelphia, and her racing career lasted another ten years. In 1930 she participated in the America’s Cup selection races as a trial horse against potential defenders.

237.

CURRIER & IVES HAND-COLORED LITHOGRAPH “YACHT ‘PURITAN’ OF BOSTON.” Dated 1885 After Charles Richard Parsons (America, 1844–1918). Signed and dated lower right within image “C.R. Parsons 85”. Inscribed in margin with lists detailing the principal dimensions of the yacht and of the mast and spars, as well as “New York Published by Currier & Ives, 115 Nassau St.” and “Copyright 1885 By Currier & Ives”. Peters No.1462; Conningham No. 6810. On paper, 16.5” x 21.5”. Framed 24.5” x 29.5”. 1,000/1,500 Provenance: Bob Bascom Prints, Burlington, Vermont, October 1995, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. Literature: Currier & Ives : A Catalogue Raisonné (Detroit: Gale Research, Publisher, 1983), No. 7366. Puritan was the defender in the 1885 America’s Cup. Designed by Edward Burgess, she was built at George Lawley & Son’s yard in South Boston, Massachusetts and was launched May 26, 1885. Puritan was an early combination of American and English designs, with some of the depth of a cutter but beam and power of a sloop. She was built for John Malcolm Forbes, who also skippered her. She defeated the New York Yacht Club’s Priscilla in the defender trials, and then went on to defend the America’s Cup against the British yacht Genesta.

The centerboard schooner Resolute was designed and built by David Carll at City Island, New York. As part of the schooner fleet of the New York Yacht Club in the 1870s and 1880s, Resolute was of the same class and raced against other well-known schooners such as Sappho, Dreadnought, Dauntless and Fleetwing.

1958 NEWPORT Columbia defeats Sceptre

1962 NEWPORT Weatherly defeats Gretel

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236

237

1964 NEWPORT Constellation defeats Sovereign

1967 NEWPORT Intrepid defeats Dame Pattie

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238

238.

WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 America’s Cup 1885, Puritan vs. Genesta. Signed and dated lower left “W.G. Yorke 1885”. Oil on canvas, 22” x 34”. Framed 32.5” x 42.5”. 10,000/15,000 Provenance: Vallejo Gallery, Newport Beach, California, June 1998, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts.

1970 NEWPORT Intrepid defeats Gretel II

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

1974 NEWPORT Courageous defeats Southern Cross

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1977 NEWPORT Courageous defeats Australia

239

239.

WILLIAM GAY AND MARY E. YORKE New York/Canada/England, 1817-c. 1888 and c. 1854-1893 Race Day, America’s Cup 1885. Signed lower left “W.G. Yorke”. Oil on canvas, 22” x 30”. Framed 29.5” x 37.5”. 10,000/15,000 Provenance: Vallejo Gallery, Newport Beach, California, September 1997, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

1980 NEWPORT Freedom defeats Australia

This painting exhibits many of the traits of Mary Yorke’s style, including the naive background, the pink sky and lazy sea. By the time of this work she had attained considerable competence as a ship portraitist.

1983 NEWPORT Liberty loses to Australia II

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240.

CURRIER & IVES HAND-COLORED LITHOGRAPH OF THE 1887 AMERICA’S CUP DEFENDER “VOLUNTEER” Dated 1887 Fully titled in margin “’Volunteer’ Modelled by Edward Burgess of Boston for Genl. C.J. Paine Steel Hull Built by Pusey & Jones, Wilmington, Del. Spars by Geo. Lawley & Son, South Boston. Sails by Wilson & Griffin, New York.”. Inscribed in margins with lists detailing the principal dimensions of the yacht and of the mast and spars, as well as “Printed in Oil Colors, By Currier & Ives, 115 Nassau St. N.Y.” and “Copyright 1887 by Currier & Ives, N.Y.”. On paper, 22.25” x 28.25” sight. Framed 31” x 37”. 1,000/1,500 Provenance: Bob Bascom Prints, Burlington, Vermont, October 1996, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. Literature: Currier & Ives : A Catalogue Raisonné (Detroit: Gale Research, Publisher, 1983), No. 7004.

240 Volunteer easily beat the 1886 America’s Cup defender Mayflower during the defender trials for the 1887 America’s Cup and won both Cup races on September 27 and 30, 1887, against Thistle. Soon after the Cup races, Volunteer was bought by John Malcolm Forbes (who also owned Puritan) and was rerigged as a schooner in 1891. On August 21,1893 she went onto the rocks at Hadley’s Harbor, Naushon Island, off the coast of Massachusetts. In 1894, in anticipation of racing with the British challenger Valkyrie, she was returned to her original sloop rig. She was broken up at a New York junkyard in 1910.

241.

241

1987 FREMANTLE Kookaburra III loses to Stars and Stripes 87

1988 SAN DIEGO Stars and Stripes defeats KZ-1

SIX VOLUMES FROM THE HOLY GRAIL OF YACHTING The Holy Grail of Yachting: The Art of the America’s Cup 1858-1970 by Alan Granby and Janice Hyland. West Palm Beach, Fl: America 3 Foundation, 2013- 2017. Limited edition. Seven-volume set; this lot does not include Vol. VII. The ultimate history of the America’s Cup, told through art and artifacts with parallel historical narrative. Embossed full-color frontispieces. Color and black and white plates throughout. Illustrated with masterworks from the 19th and 20th Centuries by painters such as Fitz Henry Lane and James Edward Buttersworth, and photographers such as Beken of Cowes. Each volume with extensive bibliography and indices sourcing the visual materials. Oblong folio, 13.5” x 12.5”. Printed on extra-heavy coated stock. All in fine (new) condition with illustrated dust jackets as issued. 4,000/6,000

1992 SAN DIEGO America3 defeats Il Moro di Venezia V

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242

242.

WILLIAM GAY AND MARY E. YORKE New York/Canada/England, 1817-c. 1888 and c. 1854-1893 America’s Cup 1887, Volunteer vs. Thistle, Race 2. Signed and dated lower left “W.G. Yorke 1887”. Oil on canvas, 18” x 24”. Framed 25.25” x 31.25”. 10,000/15,000

superiority from her first race. She easily defeated the previous

Provenance: John F. Rinaldi Nautical Antiques, Kennebunkport, Maine, March 1998, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts.

the wind averaging only 8 knots. Volunteer trounced Thistle by more

defenders, Mayflower and Puritan, and was unbeaten in her first season. The racing began September 27, 1887 on the inside course, with than 19 minutes. The second race, shown in this painting, was on an outside windward/leeward course in 12 knots of wind, with a considerable sea and some rain. On the 20 mile beat the boats sailed with equal speed, but Volunteer demonstrated superiority in pointing

The 1887 America’s Cup challenge came from a Scottish syndicate

and eventually won by 11 minutes, 48¾ seconds corrected time even

headed by James Bell, representing the Royal Clyde Yacht Club. They

though Thistle was faster downwind.

employed George Watson, then considered the most able English yacht designer, to produce the challenger, Thistle. Built in steel by D.

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

and W. Henderson at Partick on the Clyde, she was launched April 26,

Forbes (who also owned Puritan) and was rerigged as a schooner

1887. In her trials Thistle defeated the best English racers, including

in 1891. On August 21,1893 she went onto the rocks at Hadley’s

the prior challenger, Genesta.

Harbor, Naushon Island, off the coast of Massachusetts. Damage was extensive, but she was repaired, and, in 1894, she was returned to her

The defender, Volunteer, was designed by Edward Burgess, the

original sloop rig in anticipation of racing against the British Valkyrie.

designer of the two previous defenders, for General Charles J. Paine.

She was broken up at a New York junkyard in 1910.

Volunteer was built at Pussy & Jones in Wilmington, Delaware, and rigged by Geo. Lawley & Sons in Boston. She was Burgess’s fastest

This painting demonstrates Mary Yorke’s increasing mastery of the art

boat, considered a wonder in her time, and demonstrated her

of ship portraiture.

1995 SAN DIEGO Young America loses to Black Magic

2000 AUCKLAND NZL 60 defeats Luna Rossa

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2003 AUCKLAND NZL 82 loses to SUI 64

243.

TANK TEST MODEL FOR A PROPOSED DESIGN OF THE 12-METER YACHT WEATHERLY America, Dated July 20, 1961 Attributed to Lou Banks, Jr. Model built for Philip L. Rhodes as a proposed design for the America’s Cup defender Weatherly. Built to the scale of 13.3”:1’, the standard for Davidson Laboratories. Model built up in wood, with the interior hollowed and the exterior shaped and faired to a race finish. Sand has been glued to the leading edge of the bow down to the bottom of the keel; the sand was used to create a disturbance to the laminar flow so that the flow below the waterline could be easily evaluated. The hull is marked No.: 2095 at the bow, the identification for the Davidson Lab at the Stephens Institute, where the model was tested. Interior of the hull marked “July 20 1961”, the test date. Height 11.5”. Length 60.25”. Width 10.5”. 6,000/8,000 Provenance: Christie’s East, New York, NY., Sale 8539, July 2001, purchased by The Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

Tow Tank models are engineering tools used to evaluate the hydrodynamic flow around hulls, keels, rudders and propellers. They are built to a specified scale and then towed through a long shallow pool at varying speeds and angles. Changes in the model are analyzed, evaluated and finalized, and then incorporated into the final design. The most famous tanks in the U.S. are at the Webb Institute, David Taylor Tow Tank and at the Steven’s Institute. The Davidson Lab at the Stephens Institute in Hoboken, New Jersey was the primary tow tank for designers testing new hull designs. Most of the models tested in the late 1950s and 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 makers was Lou Banks, Jr. The 12-meter yacht Weatherly was designed by Philip Rhodes. She was built by Luders Marine Construction in 1958 for a syndicate of owners formed by Henry D. Mercer, Cornelius S. Walsh and Arnold D. Frese. Skippered from 1958 through 1961 by Arthur Knapp, Weatherly competed with Columbia, Easterner, and Vim for the right to defend the America’s Cup, but she was eliminated in the 1958 selection trials by Columbia, who went on to successfully defend the Cup that year. Modified by Bill Luders at Luders Marine for the 1962 Cup, Weatherly was altered with a shortened stern, squared-off rudder and numerous small changes in order to save weight. The weight saved in the redesign was put

244.

TANK TEST MODEL FOR THE AMERICA’S CUP DEFENDER WEATHERLY America, Circa 1962 By Lou Banks, Jr. Built up in lifts from wood. Interior of the hull has been hollowed. Exterior of the hull has been shaped, faired and finished to a race finish. Sand glued in place on the leading edge of the bow down to the bottom of the keel; this sand was used to cause a disturbance to the laminar flow so that the flow below the waterline and around the keel could be more easily documented. Exterior of hull marked #2281, the identification number for the Davidson Lab at Stephens Institute, where the model was tested. Interior of hull marked “Weatherly - Feb. 5 1960 - L.B. Jr.”. Height 10.5”. Length 62”. Width 11”. 6,000/8,000

into the keel to improve her ability to carry sail.

Provenance: Bill Luders, Luder’s Yachts. Benjamin D. Gilbert, Darien, Connecticut. Maine Maritime Academy, Castine, Maine. Robert Wallstrom, Blue Hill, Maine. Don Mallow, Blue Hill, Maine. Christie’s East, Maritime Sale, New York, August 2000, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts.

Lakes and on to the Palmer Johnson Shipyard in Wisconsin, where she was

2007 VALENCIA SUI 100 defeats NZL 92

100

The defender selection trials pitted Weatherly against Columbia, Easterner and the newly designed and built Nefertiti. On August 25, 1962, the N.Y.Y.C. selected Weatherly to defend the Cup against Australian challenger Gretel. Skippered by Emil “Bus” Mosbacher, Jr., in September 1962, Weatherly defended the Cup 4–1 against Gretel. Weatherly continued to be used as a trial horse in America’s Cup competition through the 1970 season when she was, surprisingly given her age, invited to enter the defender’s trials. Following that season, an engine was installed at the Derector shipyard in Mamaroneck, New York. She then motored up the Hudson and through the Erie Canal to the Great modified for offshore racing both on deck and below. Weatherly had an active racing career on the Great Lakes and the SORC under the ownership of Doug Jones. In the mid-1970s, Weatherly was sold. She is now normally berthed dockside at the Newport Harbor Hotel and Marina and is available for charter. She was listed on the National Register of Historic Places in 2012.

2010 VALENCIA Alinghi 5 loses to USA 17

2013 SAN FRANCISCO Oracle Team USA 17 defeats Aotearoa

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243

This model, No. 2095, Lot 243, represents Weatherly as she was built with proposed changes in August 1958. This model differs from the final design, particularly in the shape of the bottom back edge of the keel, which is more rounded than later versions.

244 This model, No. 2281, Lot 244, represents proposed changes to Weatherly as of February 5, 1960.

2017 BERMUDA 17 loses to Aotearoa

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2021 AUCKLAND

101

245

245.

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”. 25,000/35,000 Provenance: Sotheby’s, New York, March 3, 2007, Lot #71. Vallejo Gallery, Costa Mesa, California. An Important Private Collection, Newport, Rhode Island.

102

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246

Cambria was the first challenger for the America’s Cup. She was

246.

built in 1868 for James Lloyd Ashbury, and in 1870, en route to the

MARY E. YORKE Cup match, she engaged in a transatlantic race with James Gordon England/Canada, c. 1854-1893 Bennett’s Dauntless. In the 1870 America’s Cup, Cambria placed Cambria and Gracie off Southwest Spit Buoy, New York eighth out of 14 contestants. She raced with the New York Yacht Harbor. Signed and dated lower left “M.E. Yorke 18[?]”. Oil on canvas, 16” x 24”. Framed 24” x 32”. Club fleet for the rest of the season before returning to England in 3,000/5,000 late 1870. Provenance: The Estate of Robert Tiedemann, Newport, Rhode Island. Eldred’s, The Marine Sale, October 2016, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts.

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.

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103

247

The schooner Cambria was owned by Lord Ashbury, and after

247.

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”. 8,000/10,000

Cambria’s success in the Isle of Wight race against the champion

Provenance: William Hood Galleries, Delray Beach, Florida, April 1998, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts.

behalf of the Royal Thames Yacht Club. In July 1870, Ashbury raced

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 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.

104

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248

In the fall of 1875 a series of match races were held for New York Yacht Club members. On October 26, Vice Commodore William T. Garner in his schooner Mohawk raced against ex-Commodore James Gordon Bennett in his schooner Dauntless. The course was 20 miles to windward to the Sandy Hook Lightship and return, and the prize was $1,000 per side, winner take all. In a strong sou’easter, Mohawk, a centerboard schooner, out-sailed Dauntless to windward but Dauntless caught and passed her downwind despite breaking a fore gaff. Mohawk failed to find the finish line in the fog that plagued the race.

248.

Dauntless was designed by J.B. van Deusen and was built in 1866 at Mystic, Connecticut by Forsyth & Morgan (later modified in 1870). She had principal dimensions of 120’-9” LOA, 24’-9” beam and 12’ draft. Mohawk was designed and built by J.B van Deusen in 1875 at Williamsburg, New York for Garner. She had principal dimensions of 140’ LOA, 30’ beam, and a 6’ draft with the centerboard up. On July 20, 1876, Garner, a young man, had the misfortune to die aboard Mohawk when a sudden squall capsized her while at

WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Dauntless and Mohawk racing, October 26, 1875. Oil on canvas, 25.75” x 36”. Framed. 8,000/12,000 Provenance: Christie’s, February 2004. Hyland Granby Antiques, Hyannisport, Massachusetts, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

anchor with all of her sails set and made fast. He died trying to save his wife, who was trapped by sliding furniture. She also lost her life, as well as a number of other people on board. The sinking of this yacht was the subject of considerable discussion within the yachting community with regard to design and safety aboard these large schooners.

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105

249.

WILLIAM GAY AND MARY E. YORKE 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”. 8,000/12,000 Provenance: N.R. Omell Gallery, London, November 1998, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. 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

249

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

250.

WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Gaff cutter Julia G.. Signed and dated lower left “W.G. Yorke 1878”. Oil on canvas, 22.25” x 26.25”. Framed 29” x 33”. 6,000/8,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 2000, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts.

250

251.

WILLIAM GAY AND MARY E. YORKE New York/Canada/England,, 1817-c. 1888 and c. 1854-1893 Schooner George Bailey off Sandy Hook. Painted circa 1890. Signed lower left “W.G. Yorke”. Oil on canvas, 24.25” x 36.25”. Framed 31.25” x 43.25”. 8,000/12,000 Provenance: Vallejo Gallery, Newport Beach, California, 2003, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. Built at Bath, Maine, George Bailey’s home port was Manasquan, New Jersey. In this painting the ship owner and master Captain Asher Curtis’s private signal is flown at the mizzen peak. A smaller pennant with the schooner’s initials “G.B.” is at the main and name pennant is flown from the spanker topmast. In the days before interstate highways, coastal schooners such as George Bailey were the primary mode of transportation and commerce between cities along the American Atlantic, Pacific and Gulf coasts. Thousands of them were built, more than all other rigs combined.

251

106

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252

The Sarah Neumann was built for the Australia trade and her first voyages were between London and Australia. Here she is inbound with the Skerries Reef and Light off her bow as well as the South Stack at Anglesey off her stern, a popular view among Liverpool artists. The painting is unusual for William G. Yorke in showing the underwater shape of the rudder and hull at the stern. This treatment at the stern and the printed signature suggest the involvement of William H. Yorke, his son. Sam Davidson commented “The three flag hoist beneath the red ensign can not be a ship name in commercial code as one would expect in 1870, this requiring four flags. These three have to be taken in conjunction with the pennant at the mizzen - a possible Marryat 3 distinguishing pennant. The third step is to note the

252.

WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Sarah Neumann inbound off the Skerries. Signed and dated lower left “W. Yorke 1870 L’Pool”. Housed in its Liverpool frame with arched moldings at the top. Oil on canvas, 24” x 36”. Framed. 5,000/7,000 Provenance: Property of a Glasgow Dealer, until 1991. Private collection. Christie’s East, New York, February 1999, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

yellow center of the lower flag in the hoist, which fits Marryat 8, rather than Commercial Code ‘S’. Marryat 3 d.p.7,3,8, in fact signifies ‘Sarah Neumann’.”

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107

253.

CARVED WOODEN SHIP’S BILLETHEAD 19th Century Carved acanthus leaf design. Old weathered patina. Height 15.25”. Width 13.5”. Depth 7”. 2,500/3,500

253

254.

CARVED WOODEN LADY IN THE STYLE OF A FIGUREHEAD Late 19th/Early 20th Century Probably English. Shows traces of old green, black and rust red paint. Height 65”. Width 19”. Depth 22”. 4,000/6,000

254

255.

SHIP’S FIGUREHEAD 19th Century One-third figure of a woman with long black hair, a carved foliate and scroll design from her chest to the base, and a flowing red garment at her sides. Height approx. 46”. Width 25”. 4,000/6,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire.

255

108

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256.

CLEMENT DREW Massachusetts, 1806-1889 Ship in a storm off a rocky coast. Unsigned. Oil on canvas, 14” x 20”. Framed 21.25” x 27.75”. 1,500/2,000

256

257.

ATTRIBUTED TO CLEMENT DREW Massachusetts, 1806-1889 A ship in a storm. Unsigned. Oil on canvas, 30.5” x 45”. Framed 36” x 50.25”. 2,500/3,500

258.

WARREN SHEPPARD New Jersey, 1858-1937 Ship Europa in a storm, painted circa 1873. Signed lower right “W. Sheppard”. Oil on canvas, 24.25” x 36.25”. Framed 29.5” x 41.5”. 3,000/5,000

257

Provenance: Captain Nathaniel Kinsman, Salem, Massachusetts, and thence by descent until 2003. Skinner Auctioneers, Boston, February 2003, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts. Built by Houghton Brothers in Bath, Maine, Europa was destroyed by a fire at sea in the Gulf of Mexico in March 1873. This is an early work by Warren Sheppard, whose prominent signature is obscured beneath the frame. As a young student of Maurice F.H. de Haas, Sheppard was exhibiting at the Brooklyn Art Association by 1874, a year after the loss of Europa.

258

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109

259

259.

AMERICAN SCHOOL 19th Century Portrait of a distinguished-looking ship’s captain holding a telescope. To the right is a view of a ship battling stormy seas. Over his right shoulder is the Grand Union Flag. (While similar to the flag of the East India Company, this flag was initially designed and used by the Continental armed forces.) Unsigned. Oil on canvas, 44” x 34”. Framed 49.5” x 39.5”. 4,000/6,000 Provenance: Private Collection, Massachusetts. Eldred’s. Private Collection, Idaho. Exhibited: Smithsonian Museum.

110

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260

This work is almost an exact copy of a Fitz Henry Lane painting at the Shelburne Musuem, Shelburne, Vermont. Mary Blood Mellen was a contemporary and friend of Lane, and she would often copy his compositions.

260.

ATTRIBUTED TO MARY BLOOD MELLEN Massachusetts, 1817-1882 Ship in Penobscot Bay, Maine. Unsigned. Oil on canvas, 22” x 30”. Framed 26” x 35”. 5,000/7,000

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111

261.

PRESENTATION MODEL OF AN AMERICAN PACKET SHIP ON THE WAYS America, Early 20th Century Hull built up in plank-on-frame construction, with a copper-plated bottom, white waterline and black topsides. Stem at the bow with decorated trailboard supporting a stump bowsprit. The deck is open, showing the frame construction of the hull and decks, including such details as the knees, hatch frames, mast steps, lower partners and partners. Fitted with stump masts, bulwarks built up and painted white with a mahogany cap rail. At the stern, the deck is planked with the rudder post coming through the decking, with belaying posts on either side. Mounted on a built-up “ways” as if in preparation for launching. Height 15”. Length 50.5”. Width 9.5”. 2,500/3,500 Provenance: Vallejo Gallery, Newport Beach, California, August 1996, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

261

262.

262, two views

112

SAILOR’S PAINTED BOX CONTAINING TOOLS, LOG BOOKS, ETC. 19th Century Box with hinged lid and molded base. Exterior painted dark green and black, with a black and ochre-colored compass rose and four five-pointed stars on lid, and ochre-colored diamonds on the lid’s lip. Interior of lid with a red, blue and purple “Frederick. Cobb” banner surrounded by six five-pointed stars within a shaped medallion. Remainder of interior with natural wood finish. Contains a small wooden cutting board, five assorted molds, a whalebone wedge, a segment of a whale’s tooth, a wooden sailor’s whimsy, two bone and metal hooks, a ropework and metal bludgeon, a wooden fid with ropework hanging loop, a whalebone needle, and other assorted tools and implements. Also contains a business card for “Prof A.E. Carpenter, Psychologist & Mesmeric Operator ...”, and three small leather-bound log books filled mostly with arithmetic and doodles, though one has more traditional daily log entries. Box height 6.75”. Width 15”. Depth 9.75”. 1,000/1,500

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263.

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

263

264.

SOLON BADGER Massachusetts, 1873-1919 The Matilda D. Boros, 1890. Signed and dated lower left “S.F.M. Badger ‘90”. Oil on canvas, 21.5” x 35.5”. Framed 27” x 41”. 4,000/6,000

264

265.

CLIFFORD ASHLEY Massachusetts, 1881-1947 “The Schooner Effie M. Morrissey”. Signed lower right “Ashley”. Titled on frame plaque. Oil on canvas, 25” x 30”. Framed 32” x 37”. 2,000/3,000 Built in 1894, the schooner Effie M. Morrissey was skippered by Robert Bartlett. She made several scientific expeditions to the Arctic, sponsored by American museums, the Explorers Club and the National Geographic Society. She also helped survey the Arctic for the United States government during World War II. She is currently designated by the U.S. Department of the Interior as a National Historic Landmark as part of the New Bedford Whaling National Historical Park. She is also the state ship of Massachusetts.

265

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113

266

267

266.

MOUNTED BUILDER’S HALF MODEL OF THE SHIP GREAT ADMIRAL America, Circa 1869 Hull built up in 27 lifts alternating with mahogany spacers. Applied stem, keel and rudder post. Topsides and backboard painted black. Backboard 15.5” x 79”. 2,500/3,500 Provenance: West Sea Company, Old Town, San Diego, California, January 1997, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts. Great Admiral was a wooden full-rigged ship built in 1869 by Robert E. Jackson, East Boston, to the design of W.H. Varney. Her principal dimensions were 215’6” LOA x 40’2” beam x 25’6” draft, and tonnage 1497 NRT. Her figurehead was a likeness of Admiral Farragut, thus the name “Great Admiral”. She was principally engaged in the China Trade, making runs to the West Coast and on to China. Later, she was making runs to Australia. She foundered in a gale in December 1906, and the survivors were picked up by the

267.

BUILDER’S HALF HULL MODEL OF AN AMERICAN MERCHANT BRIG America, Circa 1830 Built up in seven alternating pine lifts, with applied rudder post, keel and stem with a stump bowsprit. Bottom finished bright and the topsides finished black with yellow waist bands. Lifts held together with wedges that have not been fused or glued together, as is the case with the majority of surviving lift models. Height 10.5”. Length 42.5”. 2,500/3,500 Provenance: Skinner Inc., Boston, February 2002, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. This model is typical of those used in the design and construction of hundreds of New England-built merchant brigs of about 18201835. The vessel likely registered around 225-275 tons. The model’s horizontal lifts are keyed together with tapered vertical tenons or toggles. The color scheme is authentic and contemporary.

British ship Barcore of Liverpool. The ship’s cook and the cabin boy were the only casualties.

114

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268.

CASED MODEL OF THE TWO-MASTED AMERICAN GUNSHIP ABLE HAND 20th Century Finely detailed. Hull cut away on the starboard side to expose belowdecks. Fitted with 12 guns. Displayed on brass pedestals on a wood plinth within a glass and wood case. Case height 28.75”. Length 36.75”. Width 14”. 1,500/2,000

268

269.

LARGE MODEL OF AN AMERICAN FRIGATE America, Circa 1950 Hull built up from the solid, with a planked bottom, painted topsides, planked decks, detailed stem and head rails. Detailed with fittings and fixtures. Rigged with masts, spars and rigging, and fitted with a full suit of sails and an American flag. Displayed on a cradle carved with dolphins. Height on stand 59”. Length 83”. Width 23”. 1,500/2,500

269

270.

270

BRONZE SHIP’S CANNON Dated 1831 Marked “D. Kahnweilers Sons. N.Y. H.M.T. 1831, U.S.n. 1”. Wooden unheeled truck with galvanized mounts. Cannon length 24”. Truck length 30”. 1,000/2,000 Provenance: The Collection of Benno Brenninkmeyer, Eldred’s, The Marine Sale, July 18, 2013, Lot #63.

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115

271

272

273

271.

116

MOUNTED HALF HULL MODEL OF THE DOWNEASTER ST. JOHN 19th Century Built up in 11 alternating pine and mahogany lifts. Very small carved billet head below bowsprit. Dark green backboard. Backboard 15.5” x 76”. 2,000/3,000

272.

MOUNTED HALF HULL MODEL OF A SCHOONER 19th Century Built up in 16 lifts. Original alligatored finish. Pine backboard 12.5” x 67”. 1,500/2,500

273.

MOUNTED BUILDER’S HALF HULL MODEL 19th Century Hardwood model built up in fourteen lifts. Pine backboard 11.5” x 56.25”. 1,000/1,500

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274

275

276

274.

MOUNTED BUILDER’S HALF HULL MODEL 19th Century Built up in ten lifts. Mahogany backboard 10.25” x 53”. 900/1,200

275.

MOUNTED BUILDER’S HALF HULL MODEL Late 19th/Early 20th Century Built up in seven lifts. Attached prow, skeg and rudder. Hull painted white with copper-colored bottom. Mahogany backboard stenciled on reverse “G.W. Burroughs, Charlestown, Mass.”. Backboard 10” x 48”. 1,000/1,500

276.

MOUNTED HALF HULL MODEL OF THE SCHOONER MARY B. DYER America, 20th Century By Tom D. Conlon. Built up in lifts. Bright-finished bottom and whitepainted topsides. Detailed with trail board with name, stump masts, etc. Pine backboard inscribed along the bottom “Mary B. Dyer East Boston. 1860”. Signed lower right “T.D. Conlon”. An identifying label affixed to the back by the maker provides additional details. Backboard 11.25” x 54.5”. 800/1,200 Provenance: Eldred’s, March 1994, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

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117

277.

WOO CHEONG 19th Century China Trade portrait of a young woman. Unsigned. Artist identified on frame plaque. A photograph affixed verso shows the original artist’s stamp prior to the painting being relined. Oil on canvas, 23” x 18”. Framed 29” x 23”. 1,000/2,000

277

278.

FINE BRASS-BOUND CAMPHORWOOD TRUNK Mid-19th Century Brass bail handles at sides. Nice patina. Height 20.25”. Width 41.5”. Depth 21.75”. 1,000/1,500

278

279.

118

BRONZE LANTAKA Southeast Asia, 18th Century A type of portable cannon or swivel gun, sometimes mounted on merchant vessels and warships. Decorated with raised triangles containing foliate designs, and sea serpents mounted at top. Retains original mounting pin. Length 45”. 800/1,200

279

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280.

CHINESE SCHOOL Circa 1830 View of the Bocca Tigris. Unsigned. Oil on canvas, 18” x 23.5”. Framed 23.5” x 29.25”. 7,000/10,000 Provenance: Roger King Fine Art, Newport Rhode Island. Private Collection, Cape Cod, Massachusetts. The Bocca Tigris or “The Tiger Gate” is a highly strategic straight that sits at the mouth of the Pearl River where it joins the China Sea. It was heavily fortified as it provided naval access to Guangzhou (Canton).

280

281.

W.E. CHUNG China, 19th Century “Westward Ho”. Unsigned. Retains a partial artist’s label attached to the original frame. Oil on canvas, 12.75” x 15.75”. Framed 17” x 20”. 2,000/3,000

281

282.

CHINESE SCHOOL 19th Century Landscape with numerous carriages and figures outside brick buildings. Unsigned. Oil on canvas, 10” x 14”. Framed 14.5” x 18.5”. 1,500/2,500

282

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119

Antonio Nicolo Gasparo Jacobsen New York/New Jersey/Denmark, 1850-1921 Lots 283-287

283

284

283.

The four-masted steam/sail schooner Alabama. Signed and dated lower right “A. Jacobsen 1891 705 Palisade Av. West Hoboken, NY”. Oil on canvas, 22” x 36”. Framed 29” x 43”. 10,000/15,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1994, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts.

284.

The American steamship St. Croix. Signed and dated lower right “A. Jacobsen 1919 NY”. Oil on board, 22” x 36”. Framed 29” x 43”. 8,000/12,000 Provenance: Eldred’s, November 22, 1996, Lot #281A. A Massachusetts Estate.

Literature: Antonio Jacobsen - The Checklist: Paintings and Sketches by Antonio N.G. Jacobsen (1850-1921) by Harold S. Sniffen (N.Y.: 1984), p. 22-23, no. 31. The sail/steam schooner Alabama was built at Harlan & Hollingsworth at Wilmington, Delaware for W.D. Munson of New York in 1873. She went out of service in 1901.

120

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Antonio Nicolo Gasparo Jacobsen New York/New Jersey/Denmark, 1850-1921 Lots 283-287

285.

The steamer Oceanic. Signed lower right “Antonio Jacobsen 190? Palisade Ave. ... West Hoboken, N.J.”. Oil on board, 16” x 27.5”. Framed 23” x 35”. 4,000/6,000

285

286.

The steam/sail ship Parima. Signed and dated lower right “Antonio Jacobsen 1903 31 Palisade Avenue, West Hoboken, N.J.”. Oil, 21.5” x 35.5” sight. Framed 26” x 40”. 5,000/8,000

286

287.

Portrait of the ship Annie H. Smith. Signed and dated lower right “A. Jacobsen 1917”. Oil on board, 12” x 20”. Framed 15.25” x 23.35”. 2,000/3,000 The Annie H. Smith was one of the last clippers built at the Rideout and Nickerson shipyard in Calais, Maine in 1876. She sailed around the world including on the China Trade.

287

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121

288

289

288.

122

FRANK VINING SMITH Massachusetts, 1879-1967 Portrait of the Red Jacket passing Britannia. Signed lower right “Frank Vining Smith”. Oil on canvas, 26” x 42”. Framed 30” x 46.5”. 5,000/7,000

289.

ROGER CHAPELET France, 1903-1995 “Waimaté”. Signed “Roger Chapelet” and titled lower right with an adjacent anchor. Oil on canvas, 22” x 28”. Framed 33” x 38”. 2,000/3,000

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290

291

290.

STAN STOKES America, 20th Century “Stag Hound at Boston 1850”. Depicts the clipper ship in Boston Harbor, with a dory in the foreground and Pilot Boat 5 off her stern. Signed lower left “Stokes”. Signed, dated and titled verso “Stan Stokes 2007”. Oil on canvas, 36” x 48”. Unframed. 5,000/7,000

291.

BRIAN COOLE United Kingdom/America, b. 1939 Boston Harbor. Signed lower right “Brian Coole”. Oil on artist board, 16” x 20”. Framed 21.5” x 25.5”. 2,000/3,000 A self-taught artist, Brian Coole is highly influenced by the work of Fitz Henry Lane.

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123

292

292.

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”. 5,000/7,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 1994, purchased by the Kelton Foundation. The Kelton Collection of Marine Art & Artifacts. 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

293.

BUILDER’S HALF HULL MODEL OF THE SAIL/STEAM SHIP LUZON Circa 1864 By Alexander Stephens & Son Shipbuilders, Linthouse, Govan, Scotland. Hull built up in ten lifts. Bottom finished bright and marked “Luzon/No. 55” at the center just below the waterline. Topsides painted black. Stem is built out from the top lift. At the stern is a rudder and a cut-out for a propeller. Height 7”. Length 59”. 700/1,000 Provenance: Sotheby’s London, The Gleneagles Auction, August 1973, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts. The Luzon was built in 1864 by Alexander Stephens & Son Shipbuilders, Linthouse, Govan, Scotland for Ker Bolton & Co., Glasgow. She was of composite iron and wood construction with principal dimensions of 180-foot LOA and 591 tons. Alexander Stephens pioneered composite ship building after Lloyds granted a higher classification for composite construction in 1861. The Luzon was lost at sea in 1866.

was sold for scrapping in Italy in January 1914.

293

124

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294.

WALLACE RANDALL America, 20th Century Portrait of the steamship Mount Hope. Signed and dated lower right “Wallace Randall 1955”. Gouache on board, 27” x 43.5” sight. Framed 30” x 46”. 2,000/3,000

294

295

295.

MODEL OF THE LIGHTSHIP “NANTUCKET” Contemporary Nicely fitted deck. Displayed on pedestals on a wood plinth. Height 37”. Length 47”. Width 10”. 4,000/6,000

296.

ALDEN MOUNTED HALF HULL MODEL OF A COAST GUARD CUTTER First Half of the 20th Century Built up in five lifts. Hull with extensive builder’s markings. Backboard 10” x 55”. 1,000/1,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 15, 2008, Lot #1522.

296

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125

297

297.

H.E. BOUCHER MFG. CO. MOUNTED PRESENTATION HALF HULL MODEL OF AN AMERICAN STEAM YACHT Circa 1890 Stamped on back “H.E. Boucher MNFC Co., 150 Lafayette St,. N.Y.”. Hull built up in lifts, with a painted green bottom and white topsides, and detailed with rudder, foliate-carved trail boards, promenade deck, boat deck, etc. Mahogany backboard 11.5” x 73.5”. 3,000/4,000 Provenance: Eldred’s, Summer Marine Sale, July 1993, purchased by Richard Kelton. The Kelton Collection of Marine Art & Artifacts.

298.

H.E. BOUCHER MFG. CO. MOTORIZED CABIN CRUISER MODEL Circa 1920 White and green hull. Brightwork upper decks. Height on cradle 13.5”. Length 43.5”. Width 11.25”. 2,500/3,500 298

299.

H.E. BOUCHER MFG. CO. LIVE STEAM MODEL POLLY-WOG Circa 1920 Red-painted plywood hull with aluminum top. “Polly-Wog” decal on side. Includes faded copy of original instructions. Length 23”. 900/1,200

299

126

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300

301

300.

BRASS SKYLIGHT YACHT BINNACLE Early 20th Century Marked “ES Ritchie and Sons #86631 Pat. Mar 2 1920”. Contemporary base. Total height 34”. 1,000/1,500

302

301.

SHIP’S ENGINE ORDER TELEGRAPH 20th Century Face marked “Electric Engine Telegraph Nippon Zosen Kikai”. Double-sided. Height 40”. 800/1,200

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302.

AMERICAN ENGINEERING COMPANY BRASS HELM Philadelphia, First Half of the 20th Century Marked on top “A E Co. Steering Gear American Engineering Company Philadelphia. U.S.A.”. Six-spoke brass wheel with walnut handles. Height 37.5”. Wheel 36”. 700/1,000

127

303

304

305

303.

MOUNTED BUILDER’S HALF HULL MODEL Late 19th/Early 20th Century Probably an ore ship. Hull painted white. Mahogany backboard 15” x 72.25”. 1,000/1,500

304.

BUILDER’S HALF HULL MODEL Late 19th/Early 20th Century Probably an ore ship. Built up in 11 lifts. Shipbuilder’s measurements on exterior. Nice crazed patina. Height 10.5”. Length 87.5”. 1,500/2,500

305.

CASED MODEL OF THE NEW YORK HARBOR TUG EDMOND J. MORAN 20th Century Painted hull. Funnel marked with an “M”. Displayed on a pair of brass pedestals in wood and brass-trimmed glass case with table-height base. Case height 21”. Length 34”. Width 13”. 1,200/1,800 The Edmond J. Moran was built in 1940 by the Bethlehem Steel Company of Beaumont, Texas, for the Moran Towing Company of New York. She was requisitioned by the U.S. Navy in 1943, then returned to private tug service in 1946. In the 1970s she was renamed the Barbara Andrie after she was acquired by the Andrie Incorporated of Muskegon, Michigan.

128

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306

306.

FINE CASED 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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129

Joe Selby Florida, 1893-1960 Lots 307-309

307.

Portrait of the motor yacht Wilmar. Signed and dated lower right “J Selby 1957”. Oil on canvas board, 13.5” x 23.5” sight. Framed 23” x 33”. 1,200/1,800

308.

Portrait of the motor yacht Sea Clar. Signed and dated lower right “J Selby 1950”. Oil on canvas board, 11.5” x 19.25” sight. Framed 21” x 29”. 1,000/1,500

309.

Portrait of the motor yacht Pilgrim II. Signed and dated lower right “J Selby 1955”. Oil on canvas board, 17.5” x 29.5” sight. Framed 26.5” x 38.25”. 1,500/2,000

307

308

309

130

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310

310.

TWO JOHN MADDOCK & SONS PLATES FROM THE COMMUTER YACHT WINCHESTER England, Circa 1907 A salad plate and a luncheon plate, both with a blue and gold rim and “Winchester” on lip. Diameters 7.75” and 9.75”. 300/400

311.

D & CO LUNCHEON PLATE, TEACUP AND SAUCER FROM THE YACHT TUNA Limoges, France Each with ribbed hand-painted gold rim. Plate and teacup with the crossed burgees of the Seawanhaka Corinthian Yacht Club, the New York Yacht Club and the house flag depicting a tuna on a red field. Signed on undersides “D&Co [Delinieres & Co.] France”. Plate diameter 9.5”. 250/350

312.

PRESENTATION TROPHY FOR THE 1913 PHILADELPHIA INQUIRER REGATTA America, Circa 1913 Glass rondel with overlaid silver rim and applied nautical motifs including blocks and rope, a ship’s wheel, life rings and three “Gold Cup” racers at center. Inscribed “The Philadelphia Inquirer Regatta Season 1913”. Diameter 10”. 600/800 The races took place Sunday, July 20 ,1913 on Barnegat

311

312

Bay off New Jersey, and included both sailing and power divisions.

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131

313. 313

CASED MODEL OF THE LAUNCH ARCADIA 20th Century Displayed on a pair of pedestals in a wood and glass case on a table-height base. Total height 48”. Length 35”. Width 14”. 1,000/1,500

314

314.

132

CASED HALF HULL MODEL OF A CHRIS-CRAFT SPEEDBOAT America, Circa 1910 Hull carved from a single piece of mahogany. Applied keel. Stem, propeller shaft, strut, propeller and rudder all in brass. Detailed with sheer rail, coaming board, open cockpit, wheel, seats, ventilator, horn, burgee and American ensign. Displayed in a mahogany case with a green back. Case height 10.5”. Length 25.5”. Depth 3”. 800/1,200

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315

315.

WILLIAM R. DAVIS Massachusetts, b. 1952 “‘Schooner Yacht off Sankaty Light’ Nantucket”. Signed lower left “William R. Davis”. Titled verso. Oil on panel, 12” x 16”. Framed 19” x 23”. 5,000/7,000

316

316.

SANDY MORAN Cape Cod, Massachusetts, 1944-2020 Sailor’s valentine “Sail”. Central medallion depicting a ship surrounded by multicolored shells in geometric patterns.Housed in an octagonal maple case. Signed and titled verso. Width 12”. 700/1,000

317

317.

SANDY MORAN Cape Cod, Massachusetts, 1944-2020 Sailor’s valentine “Sail Away”. Central medallion depicting a catboat surrounded by multicolored shells in foliate and geometric designs. Housed in an octagonal tiger maple case. Signed and titled verso. Width 9.25”. 500/700

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133

Earl Collins Connecticut/New York, 1925-1992 Lots 318-322

318

318.

Dayliner Marion. Signed lower right “Earl Collins”. Oil on canvas, 20” x 30”. Framed 25.5” x 35.5” 800/1,200

319.

Stoved boat in calm seas. Signed lower right “Earl Collins”. Oil on canvas, 24” x 36”. Framed 30.25” x 40.25”. 1,000/1,500

320.

The whaler Wanderer stands by as a whaleboat is stoved by a whale in calm seas in the Arctic. Signed lower right “Earl Collins”. Oil on canvas, 20” x 30”. Framed 24.5” x 34.5”. 1,000/1,500

319

134

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320

Earl Collins Connecticut/New York, 1925-1992 Lots 318-322

321

322

321.

Paddle steamer Falmouth. Signed lower right “Earl Collins”. Oil on canvas, 20” x 30”. Framed 25.5” x 35.5”. 800/1,200

322.

Paddle steamer State of Maine. Signed lower right “Earl Collins”. Oil on canvas, 20” x 30”. Framed 25.5” x 35.5”. 800/1,200

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135

520

428

514

438

Session II Friday, April 30, at 9:30 a.m. Lots 401-545

531 136

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411

422

405

487, detail

419

446, detail

488 and 477

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137

401.

NINE PHOTOGRAPHS OF WHALESHIPS AND OTHER VESSELS One identified in pencil on the reverse as the Fleetwing, and one as “Italian bark A... in stays. Beating out of New York”. Each approx. 8” x 10”. Unframed. 250/350

404.

PAINT-DECORATED TOOL CHEST Late 19th/Early 20th Century Top depicts a three-masted vessel flying a large American flag off the stern. Four sides with a continuous whaling scene. Height 22.25”. Width 32.5”. Depth 20.5”. 800/1,000

402.

TWENTY-ONE PUBLICATIONS ON WHALING, SCRIMSHAW AND PRISONER-OF-WAR ARTIFACTS Sizes, bindings and conditions vary. Most illustrated. Includes: 1) A Treasury of American Scrimshaw by Michael McManus. 2) Prisoner of War Ship Models 1775-1825 by Ewart C. Freeston. 3) The Lloyd Collection of Napoleonic Prisoner of War Artifacts catalogued by John F. Rinaldi. 4) The American Whaleman ... by Elmo Paul Hohman. 5) Whales and Whaling Port of Sag Harbor, New York by George A. Finckenor. Signed by the author. 6) The Captain’s Best Mate: The Journal of Mary Chipman Lawrence ... edited by Stanton Garner. 7) Birth of a Whaleship by Reginald B. Hegarty. 8) Whaling Masters and Whaling Voyages Sailing from American Ports by Judith Navas Lund. Signed by the author. 9) Steam Whaling in the Western Arctic by John Bockstoce. 10) Nimrod of the Sea or The American Whaleman by William M. Davis. 11) There She Blows! Or, The Log of the Arethusa by W.H. Macy. Circa 1877 edition. 12) A Year with a Whaler by Walter Noble Burns. 13) The British Whaling Trade by Gordon Jackson. 14) The Whale Ship Book by Joseph T. Higgins. 15) Mrs. Ricketson’s Whaling Journal 1871-1874. 16) The Charles W. Morgan by John F. Leavitt. 17-21) Four softcover publications, including volumes of “The American Neptune”, a booklet on Maine whaling, and a book about a New Bedford and Old Dartmouth museum exhibition. 300/500

405.

CARVED AND PAINTED WOODEN RIGHT WHALE SILHOUETTE BY BYRON BRUFFEE Massachusetts, Contemporary Carved “B” signature on reverse. Height 10.5”. Width 37.25”. 500/700

406.

WOODEN “HAPPY JACK” WHIRLIGIG Early 20th Century Shows traces of original paint. Face and brim of his hat made from metal parts. On contemporary stand. Total height 22.5”. Width 10”. 600/900

407.

CARVED AND PAINTED SHIP’S QUARTERBOARD America, 20th Century “William Wirt” in gold lettering on a black ground. Width approx. 124”. 600/900

408.

DECORATIVE MARITIME-THEMED TWO-DOOR CABINET 20th Century Painted black, with polychrome decoration including ship portrait medallions. Height 71”. Width 45”. Depth 21”. 800/1,200

SIXTEEN BOOKS ON ARCTIC WHALING AND EXPLORATION Sizes, bindings and conditions vary. Most illustrated. Includes: 1) True Tales of Arctic Heroism in the New World by A.W. Greely. 2) Arctic Adventure: My Life in the Frozen North by Peter Freuchen. 3) Green Seas and White Ice by Miriam MacMillan. 4) Igloo Life: A Brief Account of a Primitive Arctic Tribe .... Privately printed by Revillon Freres, 1923. 5) William Scoresby Arctic Scientist by T. and C. Stamp. 6) A Voyage to the Arctic in the Whaler Aurora by David Moore Lindsay. 7) Steam Whaling in the Western Arctic by John Bockstoce. Signed by the author. 8) Arctic Whalers Icy Seas ... by W. Gillies Ross. 9) Voyage of the Schooner Polar Bear edited and signed by John Bockstoce. 10) Alaska Whales and Whaling, an Alaskan Geographic Quarterly publication. 11) The Log of Bob Bartlett: The True Story of Forty Years of Seafaring and Exploration by Robert A. Bartlett. 12) Arctic Rovings ... by Daniel Weston Hall. 13) Whaling in the Frozen South: Being the Story of the 1923-24 Norwegian Whaling Expedition to the Antarctic by A.J. Villiers. 14) Whaling in the Antarctic by A.G. Bennett. 15) Whales, Ice, & Men: The History of Whaling in the Western Arctic by John Bockstoce. Signed by the author. 16) The Arctic Whalers by Basil Lubbock. 180/250

409.

FOUR PIECES OF ENGLISH SUNDERLAND CHINA 19th Century A mug titled “The Sailor’s Return”, a cup titled “The Sailor’s Farewell”, a small pitcher and a plate. Pitcher height 4.75”. 250/350

403.

138

Provenance: A Prominent New York Collection. 410.

WILLIAM J. HUGGINS United Kingdom, 1781-1845 “The Reculvers, Kent”. Depicts a British two-masted vessel off the coast. Signed on mat in both lower corners “William J. Huggins”. Titled on lower margin. Watercolor on paper, 7.75” x 9.75”. Framed 13.75” x 15.75”. 500/800

411.

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

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412.

413.

414.

415.

416.

417.

418.

THREE RARE 19TH CENTURY MARITIME PUBLICATIONS 1) Lewis & Dryden’s Marine History of the Pacific Northwest edited by E.W. Wright. Portland, Ore.: The Lewis & Dryden Printing Company, 1895. Illustrated with black and white photographs within text. Folio. Marbled brown leather with gilt rules and lettering. All edges gilt. Marbled endpapers. 2) Pamphlet “Register of Approved Shipmasters, and Officers of Merchant Vessels, Holding Commissions from the American Shipmasters’ Association. Chartered 1862”. N.Y.: March, 1864. Paper wraps with red and blue signal flag “756” on rear cover. Housed in contemporary blue boards. 9.5” x 6”. 3) The Famous Cruise of the Kearsarge: An Authentic Account in Verse of the Battle with the “Alabama” off Cherbourg ... by H.S. Hobson. Bonds Village, Mass.: Published by the author, 1894. Illustrated, mostly black and white photographs of officers and ships. 12mo. Red, white and blue pictorial cloth with gilt lettering. 250/500 BRASS-BOUND LAP DESK 19th Century In a highly figured hardwood veneer. Recessed brass carrying handles at sides of case. Top lifts open to reveal a green felt-lined writing slant, a pen tray and four compartments, two containing inkwells. Height 6.5”. Width 17.25”. Depth 10.75”. 400/600 ENGLISH BRASS-BOUND CAMPAIGN CHEST 19th Century Single-piece construction. In walnut. Two half drawers over a full-width drawer. Recessed brass hardware. Bold brass carrying handles at sides. Height 21.75”. Width 39”. Depth 17.75”. 300/500 FINE ENGLISH SHADOW BOX MODEL OF A FULL-RIGGED SHIP 19th Century Ship at center flanked by a steamer and a pilot boat. Profusely painted background depicts the cliffs of Dover and numerous sailing vessels. Signed lower right “Painted by J. Boydell 131 Howard Street Near the Stanley Dock”. Shadow box height 26”. Width 50.5”. 1,500/2,500

419.

MOUNTED BUILDER’S HALF HULL MODEL 19th Century Built up in three lifts. Hardwood backboard 8” x 47.25”. 600/900

420.

MOUNTED BUILDER’S HALF HULL MODEL OF THE COASTAL SCHOONER MENHADEN Late 19th Century Hardwood model built up in 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”. 600/900

421.

MOUNTED BUILDER’S HALF HULL MODEL Late 19th Century Pine model built up in four lifts. Several builder’s scribe marks. Inscribed verso “From Sommers Point New Jersey”. Back of backboard painted red. Backboard 4.5” x 22.75”. 300/400

422.

PAINTED SEA CHEST Mid-19th Century Painted blue and black. Lid with traces of a multicolored star. Front with orange stars and “8108 Ship Edwad. O’Brien 1863” and “H.T.W.D. Thomaston” in orange, green and white lettering. Interior with ditty box. Beckets carved with stars. Ropework handles. Height 14”. Width 37”. Depth 17.5”. 300/400

423.

BRASS-BOUND WALNUT SEA CHEST 19th Century Interior of lid painted with star and geometric designs. Bold beckets with rope handles. Height 17.5”. Width 31.25”. Depth 19.25”. 500/700

424.

MARINE HISTORIAN MARION BREWINGTON’S PERSONAL COPY OF HIS BOOK ON NAVIGATING INSTRUMENTS 1963 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. 500/700

JOHN INGERSOLL COGGESHAL Massachusetts, 1856-1927 Ships off the coast. Signed and dated lower right “J.I. Coggeshal 1888”. Oil on canvas, 8” x 12”. Framed 11.25” x 15.75”. 500/700 PRIMITIVE MODEL OF THE SCHOONER FANNY FERN OF QUINCY 19th Century Hull painted black, green and white. Flying an American flag. Displayed on a wooden stand. Total height 58”. Length 51”. 400/700 MOUNTED BUILDER’S HALF HULL MODEL, PROBABLY A SCHOONER 19th Century Hardwood model built up in seven lifts. Hardwood backboard 12.75” x 43”. 300/500

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. 425.

W. ATKIN CASED SEXTANT Newcastle, England, Mid-19th Century Nameplate and measuring scale on ebony frame. Complete with all lenses. Mahogany case height 5.5”. Width 9.5”. Depth 10.5”. 400/600

426.

RARE CANVAS-COVERED WOODEN TALLY BOARD Late 19th/Early 20th Century Canvas with painted instructions in English and French. Length 21”. Width 4.25”. 500/1,000

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139

427.

SHADOW BOX MARITIME DIORAMA 19th Century Depicts three vessels, the central flying a French flag. Shadow box height 27”. Width 31”. Depth 3.5”. 800/1,200

428.

SHADOW BOX MODEL OF A THREE-MASTED SHIP Late 19th/Early 20th Century Black-hulled vessel with white sheet metal sails. Lighthouse and a two-masted vessel off her bow. Shadow box height 31”. Width 45.25”. 800/1,200

429.

430.

431.

SHADOW BOX MODEL OF A RIGGED SHIP 19th Century Set in a painted plaster sea. Shadow box height 17”. Width 24”. Depth 9.25”. 800/1,200 BRASS-BOUND CAMPHORWOOD TRUNK 19th Century Brass bail handles at sides. Double locking mechanism. Height 18”. Width 41”. Depth 19.75”. 250/350 FIVE BLUEBACK CHARTS OF NAVIGATIONAL AREAS AROUND CHINA 19th Century Includes charts of the China Sea and the East Indian Archipelago. 200/300

437.

BLUEBACK CHART OF ST. GEORGE’S CHANNEL, THE BRISTOL CHANNEL AND PART OF THE WEST COAST AND ISLANDS OF SCOTLAND Published 1853 Published by James Imray and Son, London. Approx. 40.5” x 75.5”. 200/300

438.

BLUEBACK CHART OF THE WEST COAST OF NORTH AMERICA, FROM SAN BLAS TO SAN FRANCISCO Dated 1874 Published by James Imray and Son, London. Approx. 51.5” x 40.75”. 500/1,000

439.

BLUEBACK CHART OF THE NORTH PACIFIC Dated 1874 Published by James Imray and Son, London. Approx. 41” x 77.5”. 250/350

440.

BLUEBACK CHART OF THE EAST AND WEST COASTS OF SOUTH AMERICA Dated 1875 Published by James Imray and Son, London. 40.25” x 74.5”. 200/300

441.

BLUEBACK CHART OF THE INDIAN AND PACIFIC OCEANS Dated 1880 Made by the Hydrographic Office of the British Admiralty under Adm. Sir. F. Beaufort by Richard H. Laurie. Approx. 39.75” x 89.5”. 300/500

442.

APPROX. THIRTEEN CHARTS AND TWO GREEN CANVAS SAIL BAGS 19th Century Includes eleven blueback charts. Majority in poor condition. 250/350

432.

FIVE BLUEBACK CHARTS OF THE PACIFIC OCEAN 19th Century 150/250

433.

BLUEBACK CHART OF THE CAROLINA COAST 19th Century Published by E. & G.W. Blunt, New York. Detailed with Carolina harbor vignettes. Approx. 27.25” x 38”. 120/180

434.

BLUEBACK CHART “A NEW CHART OF THE NORTH SEA, OR GERMAN OCEAN.” Dated 1840 Published by M. Blachford. Approx. 37.75” x 50.5”. 250/350

443.

“GEO. W. ELDRIDGE’S HARBOR CHART-BOOK NEW YORK TO BOSTON” Dated 1913 Incomplete. Cloth covers. Folio 20” x 15.5”. 300/400

435.

FOUR BLUEBACK CHARTS OF CANADA AND THE EAST COAST OF THE UNITED STATES 1) Coast of the United States from New York to Cape Fear, published by the U.S. Government, dated 1886. 2) Bahama Banks and Gulf of Florida, published by Edmund Blunt, dated 1842. 3) Eldridge’s Chart of North America from Cape Henry to Cape Sable, 19th Century. 4) Gulf and River St. Lawrence, published by James Imray and Son, London, dated 1853. 300/500

444.

COAST PILOT BOOK Titled on cover Stebbins’ Illustrated Coast Pilot. Fully titled The Illustrated Coast Pilot. With Sailing Directions. The Atlantic and Gulf Coasts of the United States, Including Bays and Harbors. by N.L. Stebbins. N.Y.: The Rudder Publishing Company, 1902. Illustrated with photographs. Advertisements throughout. Oblong Q. Canvas wraps. 200/300

445.

THREE CLIPPER SHIP CARDS PERTAINING TO SAN FRANCISCO “The Well-known and Splendid Little Extreme Clipper Ship Fearless”, 6.5” x 4”, “Another Small and Splendid Clipper Cutwater”, 6.5” x 4”, and “The Superb Clipper Ship Lawrence”, 4” x 6.5”. 500/1,000

436.

BLUEBACK CHART OF THE NORTH ATLANTIC OCEAN Published 1844 Published by E. & G.W. Blunt, New York. Marked with numerous navigational notations in pen and pencil. Approx. 38” x 48.5”. 200/300

Provenance: “Fearless” and “Cutwater” purchased at a Richard A. Bourne Company auction, Hyannis, Massachusetts, August 1, 1989. Private Collection, Cape Cod, Massachusetts.

140

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446.

447.

448.

AMERICAN SCHOOL 20th Century The clipper ship Thermopylae, with the Fortress of Louisbourg in Nova Scotia off her bow. Signed illegibly lower right. Oil on canvas, 17.5” x 25.5”. Framed 22.5” x 30.5”. 500/800 SHADOW BOX MARITIME DIORAMA Last Quarter of the 19th Century Depicts a three-masted clipper ship, lighthouse and dismasted ship. Clipper ship with black hull and red rub rail, and flies an American flag off her stern. Painted ocean and sky background. Shadow box height 20.25”. Width 35.25”. 350/550 SHADOW BOX MODEL OF AN AMERICAN-FLAGGED SAILING SHIP Last Quarter of the 19th Century Vessel with black hull with a white stripe showing gunports, and a beautifully carved figurehead under the bowsprit. Painted background includes three sailing vessels off her stern, and a lighthouse and a steam/sail vessel off her bow. Shadow box height 24”. Width 38”. 600/800

449.

SHADOW BOX MODEL OF A THREE-MASTED SAILING SHIP Contemporary Vessel with black hull and red rub rail is flying the American flag off a mast. Painted land, sea and sky background. Signed on backboard lower right with conjoined monogram “AWE” and “[?] Eaton”, and dated 2000. Shadow box height 18”. Width 22.5”. 300/500

450.

SHADOW BOX MODEL OF A TOPSAIL SCHOONER First Quarter of the 20th Century Vessel flying a U.S. naval ensign off the stern. Shadow box with carved oak frame. Shadow box height 13”. Width 17.5”. 200/400

451.

SHADOW BOX MARITIME DIORAMA OF A FULL-RIGGED SHIP OFF TWIN LIGHTHOUSES America, Circa 1900 Ship with black hull, and white sails and rigging. An American flag is painted on the background above the gaff-rigged sail. Off her bow is a white-hulled tug and twin lighthouses on an island, possibly the twin lights on Thacher Island. Painted background. Shadow box height 19.25”. Width 30.5”. Depth 7”. 800/1,200

452.

SAILOR-MADE MODEL OF THE BRIGANTINE IMOGENE. W. Late 19th/Early 20th Century Under original milk white paint with green bootstripe and green bottom. Nicely carved figurehead, trailboards and ribbon-form sternboards. Displayed on a mahogany stand. Height on stand 34”. Length approx. 41.5”. 400/600

453.

BUILDER’S HALF HULL MODEL OF A STEAM-POWERED SAILING VESSEL Last Half of the 19th Century Built up in nine lifts. Screw shaft molding at stern. Height 9.5”. Length 50.5”. 800/1,200

454.

MOUNTED HALF HULL MODEL OF A SHIP Late 19th Century Hardwood model built up in lifts. Pine backboard covered in a gray fabric. Backboard 12” x 39”. 500/800 Provenance: The Yarmouth Port Collection of Bill Roth and Sandra Bliss K. Roth.

455.

THREE WOODEN SHIP CHOCK CASTING MODELS Late 19th/Early 20th Century Under old black paint. Lengths from 12.75” to 21”. 400/600

456.

CURRIER & IVES LITHOGRAPH “PROVIDENCE AND STONINGTON STEAMSHIP CO’S STEAMER RHODE ISLAND. OF THE PROVIDENCE AND STONINGTON LINES.” Drawn by Charles Parsons. Printed in oil colors by Currier & Ives, 115 Nassau St. New York. 24.5” x 35.5” sight. Framed 33” x 44”. 500/1,000 Provenance: The Old Print Shop, New York.

457.

APPROX. 650 POSTCARDS DEPICTING LIGHTHOUSES AND LIFESAVING Early to Mid-20th Century Early 20th Century: Sankaty Light, Hyannis Light, Cuttyhunk, Bishop & Clerk, Brant Point, Baker’s Island Lights, Gurnet Twin Lights, Gloucester Light, Bass Harbor Light, Franklin Island (Maine), Vinal Haven, Little River Light, Marshall Point Light, The Nubble, Galveston, Pt. Fermin (San Pedro), Apostle Islands, Pla-Port Lighthouse (Missouri), Palmer Park (Detroit), Mile Rock Light, and more. Life-saving: Cuttyhunk Station, Goss of Life Saving Service (Harwich), “’Off To The Rescue’, Hoylake, No. II”, real photo Portland Head Light (Cape Elizabeth), Long Island Light, and more. 300/400

458.

APPROX. 151 POSTCARDS DEPICTING LIFE SAVING Early 20th Century Includes activities such as launching the boat, flashing the Coston signal, using the breeches buoy, bringing in the lifeboat, firing the lifeline, surf boat drill, and more. Crews or stations include: Cuttyhunk, Wellfleet, Chatham, Provincetown, Newburypot, Brant Rock, Nahant, Salisbury Beach and Gloucester. 300/400

459.

TITANIC NEWSPAPER CLIPPINGS From the April 23, 1912 issue of The World. In plastic. 100/200

460.

ARTIFACT FROM THE SHIPWRECK OF THE QUANNAPOWITT OFF CAPE COD Section of the mid-ship or bow of the schooner, which wrecked off Wellfleet, Massachusetts, in November 1913. Artifact includes an original cast iron scupper, embedded line sheave, probably for foremast or anchor, and the frame for a deck rail and scupper. Several pieces from this shipwreck washed ashore, notably the main boom that was re-purposed to serve as the lower spar of the Wellfleet Town Hall flagpole. Approx. 63” x 12” x 15”. Approx 125 lbs. 400/600

Provenance: Hyde Park Country Auctions, Salt Point, New York, January 8, 2011, Lot #116.

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141

461.

MOUNTED BUILDER’S HALF HULL MODEL 471. CATBOAT POND MODEL OF A POWER VESSEL America, Early 20th Century Early 20th Century Black and green hull. Gaff-rigged sails. Height 37”. Length 29”. Built up in five lifts. Mounted skeg. Oak backboard 9” x 41.75”. 700/1,000 700/1,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 15, 2008, Lot #1529.

462.

BUILDER’S HALF HULL MODEL First Half of the 20th Century In pine. Extensive builder’s markings on hull. Height 6”. Length 48”. 600/900

463.

CASED MODEL OF A BALTIMORE REVENUE SCHOONER 20th Century Case height 30.75”. Length 39.5”. Width 17.75”. 400/600

464.

WOODEN MODEL OF A STEAM-POWERED LAUNCH, ATTRIBUTED TO BOWMAN First Half of the 20th Century Painted green. Height 6”. Length 28.25”. 400/600

465.

MODEL OF A DANISH ROYAL YACHT First Half of the 20th Century Mounted on a wood veneer base. Total height 21.5”. Length 35”. Width 9”. 400/700

466.

SHADOW BOX MODEL OF THE TWO-MASTED SCHOONER HARVARD Early 20th Century Set in composition water. Painted background of a luminous sky, land, a lighthouse off her stern and a red buoy off her bow. Handwritten note verso pertains to the sister ships Harvard and Gloriana, built in 1891 in Essex. Shadow box height 23”. Width 33.25”. 700/1,000

467.

THREE W.B. JACKSON ALBUMEN PHOTOGRAPHS OF TWO-MASTED SCHOONERS Each with Jackson stamp lower right. Vessel names lower left. Each framed 13.5” x 15.5”. 400/500

468.

MORRIS ROSENFELD BLACK AND WHITE PHOTOGRAPH OF A MARCONI-RIGGED SLOOP Signed lower right “M. Rosenfeld, N.Y.”. Framed 30.75” x 20.75”. 200/300

469.

ALBERT COOK CHURCH ALBUMEN PHOTOGRAPH OF A TWO-MASTED SCHOONER UNDER SAIL Stamped lower right and signed in ink lower left. Framed 26.5” x 22”. 200/300

470.

WONDERFUL VINTAGE PHOTOGRAPH / BROADSIDE America, Early 20th Century Black and white photograph of a catboat in a harbor at center. Inscribed above and below “Catboat Minett Capt. Adams Sailing Parties by Day or Half-Day Entrance 10 Steamboat Landing”. 19” x 15.25” sight. Framed 28” x 24”. 400/600

142

472.

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”. 800/1,200

473.

SIX ALBUMEN YACHTING PHOTOGRAPHS All depict crew members on the deck of a two-masted schooner. One marked on reverse “1914 Commodore Pratt NYYC”. Housed in three frames. Two 8” x 10” and four 6” x 8.5”. Largest frame 18.25” x 22”. 300/500

474.

YACHTING BOOKS AND PHOTOGRAPHS Circa 1900 Includes 18 black and white photographs of various vessels and other maritime scenes, all identified on the reverse, and rare volumes of Club Flags and Private Signals of Yacht Owners ... from Manning’s Yacht Register from 1900 and 1901. Both books with linen covers, pages of colored and annotated flags, and advertisements throughout. Photographs approx. 3.5” x 3.5”. Books 8” x 10”. 300/500

475.

THREE SILVER ALBUMEN YACHTING PHOTOGRAPHS One depicts a white-hulled yacht underway, signed in pencil lower left “Colleen”. Two housed in a common frame, marked on mat “Pierce & Kilburn, Inc. Atlas Basin-Fairhaven, Mass.”. One depicts a fishing trawler at drydock and the other a large whitehulled yacht at drydock. Framed 22.75” x 26.75” and 20” x 38”. 400/600

476.

FIVE MORRIS ROSENFELD PHOTOGRAPHS OF SAILING VESSELS All with embossed signatures. Housed together in a single frame. Photographs 9.25” x 7.25” sight. Framed 15.75” x 46.25”. 500/800

477.

NEW YORK YACHT CLUB BURGEE Early 20th Century 14.5” x 25.5”. Framed 23.5” x 35.5”.

200/400

478.

RARE BRASS HAND LANTERN Engraved on rim “S.Y.C. Yankee Dories 1st Twilight-1935 Inwithlli-Dr. E. B. Ormsby”. Height 10.5”. 200/350

479.

PAIR OF LAVAL, PARIS YACHTING BINOCULARS France, Early 20th Century Geared focus. Signed on left eyepiece “J. Reinhardt”. Length collapsed 6.5”. 400/600

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480.

BRASS SIGNAL CANNON 20th Century On a carved wooden truck. Unmarked. With striking mallet. Height 7.25”. Length 15.5”. 400/600

481.

THOMAS WILLIS New York/Denmark, 1850-1925 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”. 1,200/1,800

482.

BLACK AND WHITE PHOTOGRAPH OF A YACHT RACE Signed illegibly lower right and marked “N.Y.”. 15.5” x 18.75” sight. Framed 23.5” x 27”. 150/250

483.

PRANG CHROMOLITHOGRAPH “THE FINISH” After William F. Halsall. 15.75” x 24” sight. Framed 22.75” x 31”. 250/350

484.

EDWIN LEVICK New York, 1868-1929 Two silver bromide prints, one of the Vagrant and one of the Weetamae. Both 7.5” x 9.75”. Unframed. 300/500

485.

NINE PHOTOGRAPHS OF SAILBOATS AND OTHER VESSELS One identified in pencil on reverse “Mischief (at right) leading at the finish line”, one depicts a catamaran, and one depicts several sailboats off an island lighthouse. Each approx. 8” x 10”. Unframed. 250/350

486.

BOOK ON THE AMERICA’S CUP An Absorbing Interest: The America’s Cup -- A History 1851-2003 by Bob Fisher. Wiley & Sons, Inc., 2011. Lavishly illustrated volume celebrating the America’s Cup. Folio. Slipcase. 200/300

487.

488.

489.

FREDERIC SCHILLER COZZENS New York, 1846-1928 “In America’s Cup 1881 Atlanta Mischief ”. Signed lower left “Fred S. Cozzens ‘83”. Titled on label verso, which is also marked “American Yachts Plate XX”. Chromolithograph on paper, 13.5” x 20”. Framed 23.75” x 28.25”. 400/600 DECORATIVE BUCKET COMMEMORATING THE AMERICA’S CUP DEFENDER VIGILANT 20th Century Painted foliate and rope decoration around “America’s Cup Yacht Vigilant 1893”. Height to rim 17.25”. 300/500 FINE REPRODUCTION OF A JAMES E. BUTTERSWORTH PAINTING OF AMERICA MARCH Giclée on canvas, 10.75” x 14”. Framed 14.5” x 17.75”. 400/600

490.

FINE REPRODUCTION OF A JAMES E. BUTTERSWORTH SCENE OF CASTLE ISLAND Giclée on canvas, 17.5” x 24.25”. Framed 23” x 30”. 700/1,000

491.

FINE REPRODUCTION OF A JAMES E. BUTTERSWORTH PAINTING OF THE PURITAN IN 1885 Giclée on canvas, 24” x 30”. Framed 31” x 36”. 1,000/1,500

492.

FINE REPRODUCTION OF AN ANTONIO JACOBSEN PAINTING OF THISTLE Giclée on canvas, 19.75” x 34.25”. Framed 26” x 40”. 800/1,200

493.

PAIR OF FINE REPRODUCTIONS OF ANTONIO JACOBSEN PAINTINGS OF PURITAN AND GENESTA Giclées on canvas, 12.25” x 20.25”. Framed 16” x 24”. 800/1,200

494.

495.

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

496.

EIGHTEEN BOOKS ON THE AMERICA’S CUP OR YACHTING Includes the 1986 second limited edition of The Lawson History of the America’s Cup. 150/250

497.

FOURTEEN BOOKS ON THE AMERICA’S CUP AND YACHTING Sizes, bindings and conditions vary. Includes the slipcase editions of Mariette & the Herreshoff Schooners and The Twelve Meter Class. 200/300

498.

FIFTEEN BOOKS ON THE AMERICA’S CUP OR YACHTING Sizes, bindings and conditions vary. 100/200

499.

COLLECTION OF BOOKS AND EPHEMERA ON EARLY AMERICA’S CUP RACES Approx. ten items including the books The Life and Times of the Late Sir Thomas Lipton by John J. Hickey, A Testimonial to Charles J. Paine and Edward Burgess, from the City of Boston, for Their Successful Defence of the America’s Cup, printed by order of the City Council in 1887, and a first edition of The Lipton Story by Alex Waugh, as well as issues of Yachting magazine from September 1930 and October 1934, pamphlets, etc. 150/250

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143

500.

501.

502.

503.

504.

505.

506.

507.

508.

144

FINE REPRODUCTION OF A JAMES E. BUTTERSWORTH PAINTING OF THE YACHT SAPPHO Giclée on canvas, 20” x 30.5”. Framed 26” x 37”. 1,000/1,500

509.

TWO BOOKS ON YACHTING 1851-1986 America’s Cup Yacht Designs and 1870-1887 American and British Yacht Designs (vol. 1 only), both by Francois Chevalier and Jacques Taglang. Limited edition volumes signed in ink by the authors; 1851-1986 is numbered 1182/2574 and the other numbered 706/930. In French and English. Oblong Q. 300/500

510.

SHADOW BOX MODEL OF THE STEAM YACHT C.S. PARKER Early 20th Century Flying an American flag off the stern. Molded sea. Painted sky background. Shadow box height 15.75”. Width 26.5”. 700/1,000

511.

WALTER BARRATT Australia, Late 19th/Early 20th Century The ship Nelson. Signed lower left “W. Barratt”. Watercolor and gouache, 13.5” x 19.25” sight. Framed 23.75” x 28.5”. 900/1,200

512.

EDWIN LEVICK New York, 1868-1929 Black and white photograph of a white-hulled yacht, possibly the Corsair, flying a New York Yacht Club burgee from the foremast. Signed in ink lower right “Edwin Levick N.Y.”. 15” x 18.75” sight. Framed 21” x 24.75”. 200/300

513.

FOUR PHOTOGRAPHS OF THE MOTOR LAUNCH CRUISANIA OF CITY ISLAND, NEW YORK One unframed view of the stern deck, and three views of the vessel at mooring and under way, housed together in a common frame. Framed 9.75” x 35.75”. 200/300

514.

JOHN AUSTIN TAYLOR New York, 20th Century Portrait of the motor yacht Blue Heaven. Signed lower right “John Austin Taylor”. Gouache on board, 14.25” x 19.25” sight. Framed 23” x 28”. 500/700

515.

RARE WILLIAM GARNER YACHT BLUEPRINT Dated February 11th, 1921 Construction plan for hull No. 319. 19” x 36.5” sight. Framed 23” x 41”. 600/900

JOHN AUSTIN TAYLOR New York, 20th Century Portrait of the motor yacht See-Rest. Signed lower right “John Austin Taylor”. Gouache on board, 14.5” x 19.25” sight. Framed 21.5” x 26.5”. 500/700

516.

FOURTEEN BOOKS ON YACHTING AND YACHT DESIGN Sizes, binding and conditions vary. Most illustrated. Includes three books on Herreshoff and some on motorclass and steam yachts. 200/400

MORRIS ROSENFELD SILVER GELATIN PHOTOGRAPH OF A VINTAGE MOTOR YACHT Signed in ink lower right “Morris Rosenfeld N.Y.”. 13” x 10” sight. Framed 17.75” x 14.75”. 200/300

517.

POND MODEL Circa 1930 Hollowed-out hull painted blue. Lead-weighted keel. Displayed on a cradle. Height on cradle 17.5”. Length 63”. 800/1,200

MORRIS ROSENFELD SILVER GELATIN PHOTOGRAPH OF A CHRIS-CRAFT CABIN CRUISER Marked lower right “M. Rosenfeld, N.Y.”. 14” x 17” sight. Framed 19” x 24”. 300/500

518.

VINTAGE BLACK AND WHITE PHOTOGRAPH OF A MOTOR YACHT Three figures on the bow. Unmarked. 19.5” x 15.75” sight. Framed 29.5” x 24.25”. 150/250

519.

PLANK-ON-FRAME MODEL OF A CABIN CRUISER 20th Century Displayed on a wooden cradle. Height excluding cradle 9”. Length 33.25”. 300/500

COLLECTION OF AMERICA’S CUP BOOKS AND EPHEMERA, MOSTLY POST-1950 Includes official guides, programs, commemorative books on yachts, biographies, histories of the America’s Cup and assorted souvenir items. Some Louis Vuitton Cup material also included, as well as some duplicate publications. Approx. 19 items are hardcover books; sizes, binding and conditions vary. 300/500 SCARCE YACHTING BOOK J CLASS By Francois Chevalier and Jacques Taglang. London: Yachting Heritage, 2002. 1st limited edition of 2900 numbered copies signed by the authors. In French and English. Illustrated with a watercolor by Marin-Marie and black and white drawings, sail and yacht plans, photographs, etc. Decorative endpapers. Oblong folio. Linen-covered boards with blue J within a wreath on cover and spine. Includes slipcase. 200/400 RARE YACHTING BOOK J CLASS IN BRAND-NEW CONDITION By Francois Chevalier and Jacques Taglang. London: Yachting Heritage, 2002. Believed to be the 1st limited edition of 2900 numbered copies signed by the authors; this copy with “772” sticker on spine. Includes separate folder of photos and watercolors. Oblong folio. Linen-covered boards with blue J within a wreath on cover and spine. Includes slipcase and original cardboard box. Shrink-wrapped and never opened. 400/600

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”. 1,200/1,500

M.I.T. TANK TEST FIBERGLASS MODEL Mid-20th Century Painted white. Length 51”.

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400/700

520.

CARVED AND PAINTED WOODEN EAGLE PLAQUE Late 19th/Early 20th Century With a red, white and blue “Don’t Give Up the Ship” banner, and a red, white and blue shield. Eagle with deep red finish. Height 9”. Width 26.5”. 800/1,200

521.

FOUR ALBUMEN PHOTOGRAPHS OF EARLY 20TH CENTURY NAVAL VESSELS Framed 17.75” x 21.5”. 300/500

522.

U.S. NAVY SILVER PLATED TEAPOT Engraved with an anchor. Height 4.5”.

120/180

523.

JEREMY CLARK United Kingdom, Contemporary A Naval fleet parade, with naval ships and spectator vessels flying American and signal flags. Signed lower right “J.Clark”. Oil on wood panel, 8” x 18”. Framed 13.25” x 23.25”. 800/1,200

524.

COMMISSIONING PENNANT Early 20th Century Hand-stitched cotton, with seven stars. Length approx. 47”. Framed 12.5” x 16.25”. 300/400

525.

TWO CASED SETS OF WORLD WAR II U.S. NAVY RECOGNITION / TEACHING MODELS Made by Comet Metal Products Company. Die cast models. One case contains 16 and the other 12. Maker’s stamps on case. Exterior of cases painted gray and stamped “U.S. Navy Teacher Models Case No. 1” and “No. 2”. Interiors painted blue. Ships lengths from 8” to 21”. Case heights 17”. Lengths 37”. Widths 6.5”. 1,000/1,500

526.

EIGHT WORLD WAR II-ERA U.S. NAVY RECOGNITION / TEACHER MODELS Made by Comet Metal Products Company. Die cast metal and wood. Lengths from 14.5” to 19.75”. 500/800

527.

BRASS AND COPPER U.S. NAVY BINNACLE Circa 1942 With side light. Compass rim marked “U.S. Navy BU ships 4-inch boat compass mark 1 12397 1942 the Lionel Corporation, N.Y.”. Height 9.75”. Width 9”. Depth 7.5”. 250/350

528.

LIFE RING FROM THE U.S.S. DESTROYER SALEM First Half of the 20th Century Black lettering on an orange ground. Diameter 25.5”. 150/250

529.

WOODEN AND BRASS BUOY LIGHT First Half of the 20th Century Wooden center painted red. Length 15”.

200/300

530.

POLISHED NICKEL SHIP’S LANTERN Green lens. Electrified. Height 24”.

600/900

531.

PAIR OF COPPER PORT AND STARBOARD LIGHTS Early 20th Century Heights 24.75”. 500/800

532.

KELVIN WHITE CHROME STARLIGHT YACHT BINNACLE Boston, First Half of the 20th Century Hexagonal glass hood. Height 15.5”. Diameter 13”. 500/700

533.

PORTABLE LIGHT CO. INC. BRASS SEARCHLIGHT First Half of the 20th Century Bears company label marked “Half-Mile-Ray”. Height 16”. Length 34.5”. 300/500

534.

PAIR OF VIKING BRASS MARINE LANTERNS 20th Century Electrified. Heights 18”.

300/500

535.

ALUMINUM SHIP’S PORTHOLE MOUNTED AS A BAR-HEIGHT TABLE Height approx. 44”. Diameter 26”. 600/900

536.

METEORITE COPPER MASTHEAD LIGHT Numbered A10400. Patent number 546575. Height 22”. 500/700

537.

SOUVENIR PAPERWEIGHT FROM THE HOLLAND-AMERICA LINE Circa 1938 Glass with an applied copper plate and enamel coloring depicting in relief the ship S.S. Nieuw Amsterdam at sea. 3.75” x 5.5”. 200/300

538.

HAVILAND LIMOGES COMMEMORATIVE PLATE FOR THE S.S. NORMANDIE France, Circa 1985 Limited edition, numbered 589/5000, commemorating the French Line ship S.S. Normandie and designed by Remy Hetreau. Central image of the ship in profile, steaming past New York City, with an anchor below. Lip decorated with many of the motifs found on the ship, including mermaids, the sun, moon and stars, a compass rose, and a “1935 Normandie 1939” banner. Scalloped gold-edge rim. Marked on back “Haviland Limoges France” and inscribed “Made especially for Stores of the Queen Limited edition of 5000 plates of which this is no. 589”. Signed “Theodore Haviland 2nd” and “R. Hetreau”. Diameter 9.75”. 400/600

539.

ALBUM OF PHOTOGRAPHS AND MEMORABILIA PERTAINING TO THE WORKS OF MARITIME ARTIST LOUIS DODD A complete or near-complete record of his paintings, from the 1970s through his last painting, completed in June 2006, a few months before his death. Award-winning British artist Louis Dodd (1943-2006) is widely regarded as one of the best 20th Century marine painters, known for historical accuracy in his ship portraits and views of port cities. Album includes photographs of his paintings, most with captions providing title, date, size, subject and historical footnotes. Also includes candid photographs of Dodd, letters, notes on technique, newspaper clippings, brochures, etc. Compiled by Thomas J. Couglin, the artist’s agent and friend. Contained in a folio album, 14.25” x 14.25”. 500/1,000

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540.

VOLUME ANTONIO JACOBSEN - THE CHECKLIST WITH ADDENDA By Harold S. Sniffen. N.Y.: Smith Galleries Ltd. and Newport News, Va.: The Mariners’ Museum, 1984. Oblong Q. Dark blue boards. Dust jacket. Includes two copies of Addenda List Number 2 published in 1994. 150/250

541.

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

542.

EIGHT BOOKS ON MARINE ART Sizes, bindings and conditions vary, but mostly large Q or folio hardcover books in new condition. Includes: 1) A Yachtsman’s Eye: The Glen S. Foster Collection of Marine Paintings by Alan Granby. 2) Maritime Maverick: The Collection of William I. Koch edited by Alan Granby and Janice Hyland. 3-4) Two copies of Yachts on Canvas by James Taylor. 5) Flying the Colors: The Unseen Treasures of Nineteenth-Century American Marine Art by Alan Granby and Janice Hyland. 6) Fitz H. Lane: An Artist’s Voyage through Nineteenth-Century America by James A. Craig. 7-8) Two softcover publications. 200/400

543.

WILLIAM GILKERSON Wisconsin/Nova Scotia, 1936-2015 Portrait of an ancient yawl. Signed lower left “Wm. Gilkerson”. Accompanied by an April 1981 typed note from the artist indicating this is the original artwork for an exhibit poster used at the Peabody Museum in Salem, and that it illustrated characters from his new book. Watercolor, 23” x 18.5” sight. Framed 31” x 26”. 500/800

544.

WILLIAM GILKERSON Wisconsin/Nova Scotia, 1936-2015 Seven figural studies featured in Gilkerson’s book An Arctic Whaling Sketchbook (Fairhaven, Massachusetts, 1983). Includes “Whaleman Trekking Over Ice” and “Eskimo Wind Face”, among other untitled works. Most initialed in lower corners “WG”. One work with a Christmas note from the artist on the reverse. Includes a master copy of the book’s text edited by Gilkerson himself, along with a letter from his publisher, the Stinehour Press in Lunenburg, Vermont. Pencils on paper, from 3.5” x 5.5” to 9.5” x 8.75” sight. Framed from 9.75” x 11” to 15.5” x 14.5”. 500/1,000

545.

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

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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. 4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form, or complete and submit it on our website, www.eldreds.com.

SHIPPING INFORMATION We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale. If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready. We provide shipping services directly from our gallery for select merchandise including small items, small paintings and rugs. We do not ship glass items or items framed under glass. Our staff can assist with determining if your items qualify for in-house shipping. Shipments from our gallery may take four to six weeks from receipt of payment. You will be charged for the shipping or carrier fees, packing and handling fees, and required insurance. There is a minimum handling charge of $15.00 for all shipments. Depending on the carrier, insurance limits may exist (i.e., Federal Express will only insure up to $500).

5. A buyer’s premium will be added to the hammer price of all property sold, to be paid as part of the purchase price. The buyer’s premium is 25% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000.

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.

6. Online bidding is available at www.eldreds.com, with a 25% buyer’s premium. Prospective bidders must register and be approved prior to placing bids or bidding live online.

Shipping estimates can be provided only AFTER we receive payment for your invoice.

7. Eldred’s reserves the right to refuse to issue, or to revoke, bidding credentials, or to reject any bid, if deemed necessary and proper in its sole discretion, for the conduct of the auction process, and to insure fairness to consignors and other bidders.

BIDDING INCREMENTS $0-$49: $5 $50-$199: $10 $200-$499: $25 $500-$999: $50 $1,000-$2,999: $100

THE PROPERTY LISTED IN THIS CATALOG WILL BE OFFERED AND SOLD SUBJECT TO THE TERMS AND CONDITIONS LISTED IN THIS CATALOG.

$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.

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

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

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ABSENTEE/TELEPHONE BID FORM 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

info@eldreds.com

Phone: 508-385-3116

Fax: 508-385-7201

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

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Illustrations Cover Lot 236 Back Cover Lot 120 Page 3 Lot 290 Page 5 Lot 203 Page 6-7 Lot 319 Page 8 Lot 34 This Page Lot 280

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