2024 Winter Marine Sale by Eldred's Auction

TH E W IN T E R

Marine Sale F E B R UARY 2 7 -2 8 , 2 0 2 4

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THE W IN T E R

Marine Sale FEBRUARY 2 7 -28, 2024

FEATURING THE PROPERTY OF A GENTLEMAN AND AN IMPORTANT CONNECTICUT COLLECTION

Both sessions at 9:30 a.m. Eastern Location:

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

Preview: February 26 from 10 a.m. to 4:30 p.m. February 27 from 8:45 a.m. to 3 p.m. February 28 from 8:45 a.m. to 11 a.m. and by appointment

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S TA F F D I R E C T O R Y ANTIQUES & FINE ART SPECIALISTS

PRODUCTION & ADMINISTRATIVE STAFF

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

Mara Alvarado Assistant Photographer malvarado@eldreds.com Wendy A. Dunford Treasurer wendy@eldreds.com

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

Susan Eastman Client Services seastman@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 Camille Lajoie Appraisals Coordinator camille@eldreds.com

Christine Berlane Prints and Multiples cberlane@eldreds.com

Beth McGoldrick Office Assistant bmcgoldrick@eldreds.com

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

Angela R. McParland Executive Assistant amcparland@eldreds.com

Steve Dunaway Jewelry, GIA Certified jewelry@eldreds.com

Madison Morris Head of Photography mmorris@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Megan Nichols Shipping Coordinator mnichols@eldreds.com

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

Mark Renkawitz Shipping mrenkawitz@eldreds.com

Jennifer Lacker Mystic Gallery jlacker@eldreds.com Katie Callaghan Hanover Gallery kcallaghan@eldreds.com Mary M. Kuhrtz and Christine Leofanti Gallery Assistants

Cathelyn Scibelli Client Services kscibelli@eldreds.com Cheryl Stewart Head of Marketing Catalog Layout and Design cheryl@eldreds.com Sarah Eldred Taylor Vice President of Human Resources sarah@eldreds.com

Al Gray, Jim Moynihan and Nick Fowler Shipping and Inventory Assistants

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any years ago, when I was a freshman in high school, one of my school assignments was to write an essay on Admiral Nelson and the Battle of Trafalgar. I don’t recall my grade on the essay, but I do remember being intrigued by the tale of a one-armed dynamo facing long odds but emerging with a costly victory. Over the ensuing years I have remained fascinated by Nelson, so I am particularly delighted one of the consignments for this Winter Marine Sale is a letter handwritten by Admiral Nelson himself, written while he was aboard the famed H.M.S. Victory. Over my career I have been blessed to handle many historic relics, from mourning rings for George Washington and promissory notes signed by Benjamin Franklin, to ancient ceramics and old master paintings. It is a truly amazing thing to not only to study history, but to actually hold it in your hands, and I get to do that every day I come to work. That I get to hold and read a letter Nelson himself penned over two centruries ago is marvel that will never get old. While the Nelson letter might be my favorite lot in this sale, there are countless other items that are just as rare and captivating, and I can almost guarantee you will find a piece in these pages that stirs something inside you -- the thing that drives us to collect objects of history and beauty. We are proud to feature the estate of Peter Goldstein, who amassed a wonderfully diverse lifelong collection of scrimshaw, marine paintings, ship models, Edward Sheffield Curtis photographs, exhibition knives and more. Thanks to his passion for collecting, this is probably the most wide-ranging "marine sale" we could ever hope to have. We look forward to seeing you in the salesroom, Josh Eldred President

OFFICES Headquarters

P.O. Box 796

Boston Area Gallery

Connecticut Gallery

1483 Route 6A

E. Dennis, MA 02641

508-385-3116

155 Webster St. C2

Hanover, MA 02339

617-401-1753

860-912-8169

5 Roosevelt Avenue

Mystic, CT 06355

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TA B L E O F C O N T E N T S Index of Artists Page 5 Session I Lots 4001-4175 Session II Page 4501-4725 Bidder Information Page 188 Conditions of Sale Page 189 Absentee and Phone Bid Form Page 191 List of Illustrations Page 192

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INDEX OF ARTISTS

HAMPTON, BLAKE

4145

HENG, LEE

4033

BADGER, SOLON FRANCIS MONTECELLO 4070, 4071, 4591

HOWES, JEROME

4125

BARTON, JAMES BERT

4586

HOYNE, THOMAS MACLAY

4100

BELLAMY, JOHN HALEY

4116

HUDSON, JR., JOHN BRADLEY

4067

ADAM I, EDOUARD (France 1847-1929) AHRENS, RICHARD VAN WICKLEN “WICK”

4039 4708-4709

BLAKE, ANTHONY D. (A.D.)

4135-4137

JACOBSEN, ANTONIO NICOLO GASPARO 4044, 4106-4108

BLOSSOM, CHRISTOPHER

4146-4148

KENNEDY, KATHLEEN

4597

BRISCOE, FRANKLIN DULLIN (attr.)

4095

LEWIS, EDMUND DARCH

4082

BRISCOE, FRANKLIN DULLIN

4094

MCFARLANE, DUNCAN

4520

BRULOOT, FRANS JAN

4111

MEADOWS, SR., JAMES

4006

BUTTERSWORTH, JAMES EDWARD

4096

MILLER, JAMES

CLARK, C. MYRON

4088

MYERS, MARK RICHARD

4093

NEMETHY, ALBERT R.

4144

4092

RENAULT, LUIGI P.

4521

CURTIS, EDWARD SHERRIFF

4574-4585

ROSNER, CHARLES

4129

DAVIS, WILLIAM ROBERT

4595, 4596

SCHAUMBURG, JULES HENRI JEAN

4086

SPENCER, RICHARD BALL

4519

STOBART, JOHN

4056

COLACICCO, SALVATORE

4028-4031

COZZENS, FREDERIC SCHILLER

DE HAAS, MAURITZ FREDERIK HENDRICK DIEHL, ARTHUR VIDAL

4078 4112, 4113

4126, 4127

DODD, LOUIS

4526

STUBBS, WILLIAM PIERCE

FLOOD, JAMES A.

4152

SYLVAN, B.

4091

FOWLES, ARTHUR WELLINGTON

4032

TYLER, JAMES GALE

4090

FREDERIC, GEORGES

4158

WARD OF HULL, JOHN

4531

GARDINER, FRANK JOSEPH HENRY

4069

WILLIS, SID (SIDNEY)

4175

YORKE, WILLIAM HOWARD (attr.)

4054

YORKE, WILLIAM HOWARD

4055

GIFFORD, CHARLES HENRY

4079, 4588

GRIFFIN, WILLIAM

4016

GRIFFITHS, JAMES

4068

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4040, 4109

SESSION I Tuesday, February 27 at 9:30 a.m. Instruments Paintings Ship Models Prisoner-of-War China Trade America's Cup and Yacht Racing Decorative Arts An Important Connecticut Collection More

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4001. RARE BACKSTAFF QUADRANT 18th Century Marked “Made by Pass Woodside for John Dickey”. Dated 1751. Hardwood frame, probably walnut, with boxwood arcs and inlaid metal diamond-shaped ornaments. Includes a contemporary case and vanes made by Nicholas DeHilster. Length 25”. Width 14.375”. 5,000/7,000 Provenance: The Collection of Benno Brenninkmeyer. Eldred’s, The Marine Sale, July 19-20, 2013, Lot #20.

4002. SHARKSKIN-CASED NAVIGATIONAL SET Late 18th/Early 19th Century Complete set of instruments. Case length 7”. 200/300

4001

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4003. RARE AND IMPORTANT VOLUME GUILIELMI GILBERTI COLCESTRENSIS, MEDICI LONDINENSIS, DE MAGNETE London: Excudebat Petrus Short, 1600. A compilation of opinions pertaining to the magnet. Also details and illustrates various experiments on attraction, orientation in relation to the earth’s poles and use in navigation. Missing the title page, preface and index (first approx. 20 pages), but appears otherwise to be complete. Contemporary slipcases. Accompanied by documents and research pertaining to the book. Cases 12” x 8.5” and 12.25” x 9.5”. 4,000/6,000 Gilbert was a physician to Queen Elizabeth I. This book is among the first known to employ the experimental method of science.

4003

4004. VOLUME ON NAUTICAL INSTRUMENTS Longitude at Sea in the Time of Louis Berthoud and Henri Motel by Jean-Claude Sabrier, translated by Anthony Turner. Geneva: Antiquorum Editions, 1993. Monumental study on the attempts by French horologists Berthoud and Motel to solve the problem of establishing longitude at sea. Profusely illustrated with color and black and white photographs and diagrams of clocks and other marine instruments. In French and English. Brown cloth with gilt lettering. Plain cardboard slipcase. Inscribed by author on title page. 12.5” x 10”. 300/400

4004

4005

4005. IMPORTANT REFERENCE VOLUME ON GLOBES Globes at Greenwich: A Catalogue of the Globes and Armillary Spheres in the National Maritime Museum by Elly Dekker. Oxford: Oxford University Press, 1999. Complete catalogue of the collection, including descriptions, illustrations and essays. Blue cloth with gilt and blind stamp. Dust jacket. 12.5” x 9.75”. 300/500

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4006

4006. JAMES MEADOWS, SR. United Kingdom, 1798-1864 Busy scene of a Dutch harbor. Signed and dated lower right “J. Meadows 1854”. Oil on canvas, 30” x 50”. Framed 37” x 57”. 2,500/3,500

4007. SET OF SIX DUTCH ENGRAVINGS 19th Century Assorted views of Rotterdam. Illegibly signed. Each framed 11.25” x 25.5”. 300/500

4009. TWO DUTCH MARINE ENGRAVINGS Late 18th/Early 19th Century One depicts a battle scene and the other a fleet of ships. 11.5” x 14.5” sight. Framed 17.25” x 20.25”. 300/500

4010. THREE DUTCH MARINE BATTLE SCENE ENGRAVINGS Early 19th Century 12.75” x 17” sight. Framed 21.5” x 25.5”. 500/1,000

4008. DUTCH SCHOOL 19th Century Two harbor scenes. Unsigned. Pencils on woven paper. Framed 10.5” x 13” and 10.25” x 14.25”. 200/300

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4011. BRASS-BOUND CAMPHORWOOD CAMPAIGN LAP DESK 19th Century Metal line and fleur-de-lis inlay. Includes quills, a small scale, a straight edge, a brass inkwell, etc. Height 9”. Width 20.75”. Depth 12.5”. 500/800

4012. STEEL BOARDING KNIFE Late 18th/Early 19th Century Original wooden sheath. Total length in sheath 37.5”. 400/600 4011

4013. SOLID HULL MODEL OF AN 18TH CENTURY VESSEL Early 19th Century or Earlier Beautifully carved billethead. Displayed on a contemporary wood cradle. Height on cradle 7.5”. Length 21.5”. Width 5.25”. 300/500

4014. COLORED ENGRAVINGS "HASTINGS" AND "DOVER" Early 19th Century After works by J.W.M. Turner (United Kingdom, 1775-1851). 20.5” x 25.5” sight. Framed 30” x 35.5”. 500/700

4015. MODEL OF THE FRENCH GUNSHIP FOUDROYANTE Second Half of the 19th Century Nicely rigged and detailed. Female bust figurehead. Carved trailboards. Displayed on turned metal pedestals on a wood plinth. Total height 27.75”. Length approx. 40”. 1,000/1,500

4015

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4016

The Glorious First of June, also known as the Fourth Battle of Ushant, took place in 1794, about 400 nautical miles west of the

4016. WILLIAM GRIFFIN United Kingdom, 19th Century “Battle of the Glorious 1st June”. Depicts a boisterous battle scene between French and British ships, with a rescue boat in the foreground. Signed lower left “Wm. Griffin”. Titled on frame plaque. Oil on canvas, 31.25” x 44.5”. Framed 43.25” x 56.25”. 2,000/4,000

French island of Ushant in the Atlantic. It was the largest fleet conflict between Great Britain and the First French Republic during the French Revolutionary Wars. Both fleets were left in such tattered condition by the engagement they had to return to their home ports. In the immediate aftermath, both sides claimed victory and extolled the prowess and bravery of their navy. Ultimately, it was determined the British had won a tactical victory because the French withdrawal allowed the Royal Navy to set up a series of blockades that would last the remainder of the war.

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4017. PRISONER-OF-WAR CARVED BONE CHESS SET Early 19th Century Complete set of 32 chessmen, 16 stained red and 16 stained green. Each piece, save the knights and rooks, with figural heads or busts atop footed bases carved with crosshatch and circle designs, typical of Napoleonic prisoner-of-war items. Knights and rooks with matching footed bases and the appropriate horse head and castle turret stylization. Most pieces with breakage, loose components, cracks, etc., commensurate with age and use. Heights from approx. 3” to 6”. 3,000/5,000

4017, set

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4018. NAPOLEONIC PRISONER-OF-WAR DIORAMA OF THE CRUCIFIXION Early 19th Century Finely detailed bone carving of Jesus on the cross, two disciples, two spears, a ladder, three dice and carved gates with crosses. Straw work box with curtains. Height 10.5”. Width 8”. Depth 5”. 500/800

4018

4019. NAPOLEONIC PRISONER-OF-WAR CARVED BONE WATCH HUTCH Early 19th Century Monumental form with watch aperture and a drawer. Red and green foliate and carved geometric designs throughout. Height 10.5”. Width 6.75”. Depth 3.5”. 500/1,000

4019

4020. BUILDER’S MODEL OF A MAN-O’-WAR SAILING DINGY BY JOE ALBURY 20th Century Hardwood model. Displayed on a wood cradle. Brass plaque on cradle marked “Man O’ War Sailing Dingy by Joe Albury”. Height on cradle approx. 13.5”. Length 39”. Width 13.5”. 500/800

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4021

4022

4021. AMERICAN SCHOOL 19th Century Ships off a fortified coast. Unsigned. Oil on canvas, 20” x 30”. Framed 24.5” x 34.5”. 800/1,200

4022. AMERICAN SCHOOL 19th Century Ship in a calm harbor. Signed illegibly lower right. Oil on canvas, 16” x 24”. Framed 22” x 30”. 1,000/1,500

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4023. FINE HAND-PAINTED PAPIER-MÂCHÉ TRAY DEPICTING A NAVAL BATTLE England, Circa 1820 Impressed mark verso for Jennens & Bettridge, London. Depicts a fierce engagement between English and French ships, possibly the Battle of Lake Erie. 22” x 30”. 800/1,200

4023

4024. ENGLISH TWO-PART CAMPAIGN CHEST 19th Century In oak fitted with typical brass hardware. Top drawer folds down to function as a desk, the interior fitted with a variety of drawers and compartments. Three full-width drawers below. Height 41.5”. Width 40”. Depth 20”. 2,000/2,500

4025. CASED OCTANT ATTRIBUTED TO JOHN BLISS 19th Century Labeled for retailer Spencer Browning & Co. Ebony frame with brass fittings. Wedge-shaped wooden case. Case length 12.75”. Width 11.75”. 300/500 4024

4026. ENGLISH WOOLWORK 19th Century Depicts Britannia above “1892” and a “The Norfolk Regt.” ribband. Foliate surround. 23” x 23.5” sight. Framed 28.5” x 29.5". 1,000/1,500

4027. SINGLE-DRAW DAY/NIGHT TELESCOPE London, 19th Century Marked “Made by Jas. Chapman St. Catherines London Day or Night”. Mahogany tube. Length closed 19.5”. 250/350 4026

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S A LVAT O R E C O L A C I C C O Italy/England/Canada, 1935-

4028. “A British Man O’ War”. Signed lower left “Salvatore Colacicco”. Oil on board, 24” x 35.5” sight. Framed 34” x 45”. 2,000/3,000

4028

4029. “Shippin’ in a Calm in the Solent”. Signed lower right “Salvatore Colacicco”. Titled verso. Oil on artist board, 16” x 24”. Framed 19.5” x 27.5”. 800/1,200

4029

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4030. “The Flying Cloud”. Signed lower left “Salvatore Colacicco”. Oil on board, 24” x 36”. Framed 28” x 40”. 1,000/2,000

4030

4031. The racing schooner America with vessels in the distance. Signed lower left “Salvatore Colacicco”. Oil on panel, 20” x 30”. Framed 23.5” x 33.5”. 1,500/2,500

4031

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A RT H U R W E L L I N G TO N FOW L E S United Kingdom, 1815-1883

4032

4032. “The East Indiaman Blenheim 1350 tons. Built & Owned by T. & W. Smith of Newcastle 1848, Off Portsmouth Harbour with the S.S. Great Britain 3448 Tons; Messrs Gibbs, Bright & Co., Owners, Outward Bound on Her First Voyage to Australia.” Signed and dated lower right “A.W. Fowles 1857”. Titled on frame plaque. Oil on canvas, 35.25” x 59.5”. Framed 44” x 46.25”. 8,000/12,000

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4033

4033. LEE HENG China, 19th Century China Trade portrait of the ship Agenor in Chinese waters, circa 1871. Oil on canvas, relined, 20.75” x 26”. Framed 25.75” x 31”. 1,800/2,600 Provenance: Eldred’s, Spring Americana Auction, 1995. The Kelton Collection of Marine Art & Artifacts. Eldred’s, Spring Americana Auction, June 11-12, 2020, Lot #262.

The East Boston ship Agenor was built and launched in 1870 by Curtis & Smith for the Boston firm of E. Williams & Co. Her fastest passage around Cape Horn westward was 120 days from New York to San Francisco in 1876, and her fastest passage eastward from San Francisco to Antwerp was 113 days in 1882. She was laid up in San Francisco from October 1891 to July 1893 due to lack of business. She serviced the Puget Sound lumber trade but was sold to the American company Sale & Frazer in Yokohama. She was wrecked on a Kobe wheat run.

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4034

4035

4034. CHINESE SCHOOL 19th Century Three-masted ship sailing into harbor. Unsigned. Oil on canvas, 26” x 35”. Framed 30” x 39”. 3,000/5,000

4035. CHINESE SCHOOL 19th Century An American ship entering Hong Kong. Unsigned. Oil on canvas laid down on board, 18” x 24”. Framed 20.5” x 25.5”. 1,500/2,500

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A N I M P O R TA N T

Connecticut Collection

4036

4036. EXCEPTIONALLY CARVED SHIP’S FIGUREHEAD IN THE FORM OF A RUNNING DOG 19th Century Finely detailed carving, particularly of the dog’s wavy fur coat. Foliate and berry design at base. Under an old painted and gilt finish showing normal flaking and wear. A fine and well-preserved example. Length 78.5”. 25,000/35,000

4037. ENGLISH LAP DESK 19th Century In mahogany with brass bail side handles. Height 9.75”. Width 23.75”. Depth 13.25”. 300/500

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4038. ENGLISH SCHOOL 19th Century A barque off the Cliffs of Dover. Unsigned. Oil on canvas, 30” x 44”. Framed 37” x 51”. 2,000/3,000

4038

4039. EDOUARD ADAM I France, 1847-1929 Portrait of the clipper ship Parker M. Whitmore. Signed and dated lower right “Ed. Adam 1884”. Oil on canvas, 31.75” x 51”. Framed 40.25” x 60”. 2,000/3,000 The ship seen here was lost in a heavy storm off Louis Head, Nova Scotia, on August 23, 1890.

4039

4040. WILLIAM PIERCE STUBBS Maine/Massachusetts, 1842-1909 Portrait of the ship William E. Roberts. Signed lower left “W.P. Stubbs”. Oil on canvas, 22” x 36”. Framed 28” x 42”. 1,500/2,500

4040

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A N I M P O R TA N T C O N N E C T I C U T C O L L E C T I O N

4041

4041. CHART "LONG ISLAND SOUND FROM NEW YORK TO MONTOCK POINT ..." New York, 1830 “... Surveyed in the Years 1828, 29 & 30. By Edmund Blunt Published & Sold by E. & G.W. Blunt ... New York”. A magnificent and sizable chart detailing Long Island Sound. 21” x 77” sight. Framed 30” x 86”. 4,000/6,000

4042. CHART "SOUTHERN COAST OF LONG ISLAND FROM MONTAUK POINT TO EAST HAMPTON" Circa 1877 11.25” x 22.75” sight. Framed 16.75” x 28”. 800/1,200

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4043. CAST IRON SHIP’S WHEEL BRACKET HELM IN THE FORM OF A MERMAID Last Quarter of the 19th/First Quarter of the 20th Century Exceptionally detailed long flowing hair and scales on her two tails. Her arms are raised above her head to hold a shell-form wheel yoke. Accompanied by a modern steel stand. Height excluding stand 36.5”. Width 46”. Depth 10.5”. Stand height 33”. Width 45.5”. Depth 18.25”. 50,000/70,000 Provenance: Christie’s, Maritime Auction, July 27, 2006, Lot #25.

4043

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A N I M P O R TA N T C O N N E C T I C U T C O L L E C T I O N

4044

4044. ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 Port view of an American steam-sail vessel. Signed, dated and inscribed lower right “A. Jacobsen 1889 705 Palisades Ave. West Hoboken, NJ”. Oil on canvas laid down on board, 29” x 49”. Framed 34.5” x 54.5”. 12,000/18,000

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4045. LIGHTHOUSE LIGHT WITH FRESNEL LENS Contemporized metal frame with electric rotating mechanism. Bull’s-eye Fresnel lenses with refraction prisms inset in frame. Displayed on a contemporary octagonal wooden pedestal. Total height approx. 78”. Pedestal width approx. 43”. 15,000/20,000

4045

4046. FOUR MATCHING BULL’S-EYE FRESNEL LENSES Late 19th/Early 20th Century Mounted in brass frames. 24.25” x 31.75”. 5,000/8,000

4047. BRASS SHIP’S TELEGRAPH England, Early 20th Century Black dial marked with engine instructions and for maker “J.W. Ray & Co. (Liverpool) Ltd Liverpool & London”. Height 48”. 800/1,200

4047

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

4048

4049

4050

4048. FINE AND LARGE MOUNTED HALF HULL MODEL OF THE SHIP KENNINGTON Built up in eight lifts. Vessel name at stern. Mounted on a white painted backboard. Backboard 14.5” x 71”. 2,500/3,500

4051. MOUNTED BUILDER’S HALF HULL MODEL OF THE NORAH 19th Century Built up in eight lifts. Backboard 9.75” x 49.75”. 500/800

4049. BUILDER’S HALF HULL MODEL OF THE CORDELIA E HAYES Second Half of the 19th Century Probably a lumber schooner. Built up in 12 lifts. Height 7”. Length 50.5”. 500/1,000

4052. MOUNTED BUILDER’S-STYLE HALF HULL MODEL OF A 19TH CENTURY SAILING VESSEL 20th Century Built up in nine alternating light and dark wood lifts. Hardwood backboard. Backboard 9.5” x 46.75”. 500/1,000

4050. BUILDER’S HALF HULL MODEL OF THE ELIZABETH ANN 19th Century Built up in ten lifts. Height 7.5”. Length 46.75”. 500/1,000

4053. MOUNTED HALF HULL MODEL OF THE BELLE OF THE WEST 20th Century Black hull with copper bottom. Brass plaque affixed to mahogany backboard marked “Belle of the West" and "Dennis - 1853”. Backboard 7” x 24.25”. 500/800

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4054

4054. ATTRIBUTED TO WILLIAM HOWARD YORKE Canada/United Kingdom, 1847-1921 Portrait of the Canadian brigantine Aeronaut flying the Canadian red ensign. Oil on canvas, 24” x 36”. Framed 31.5” x 33”. 2,500/3,500

4055

4055. WILLIAM HOWARD YORKE Canada/United Kingdom, 1847-1921 The screw steamer Holme Force. Signed lower right “W.H. Yorke”. Oil on canvas, 12” x 18”. Framed 14.5” x 20.5”. 1,500/2,000

The Holme Force was built in 1887 by R. Williamson & Son in Workington, United Kingdom for W.S. Kennaugh & Co. She served for several decades before eventually being scrapped in 1928.

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J O H N STO B A RT Massachusetts/Florida/England, 1929-2023

4056

Seen here, Thermopylae had arrived in port June 26, 1891 with a cargo of rice from Saigon. Like her rivals in the China Trade depicted in this work, she was of composite construction, with elm and teak planking on iron frames. Her most prominent identifying

4056. “Victoria, View from Songhee Point, 1891”. An original study done in oil for the larger work on which Stobart’s 1996 print “Victoria: The ‘Thermopylae’ Alongside Main Wharf in 1891” was based. A classic Stobart composition, this view features the famed clipper having just arrived home to Victoria, capital of British Columbia, after a voyage to Asia. Alongside her at dock are rival ships of the China Trade, Cutty Sark, Titania and Taeping. Signed and dated lower left “Stobart 1993”. Titled on frame plaque. Oil on canvas, 9.75” x 14.25”. Framed 17.5” x 22.25”. Includes copies of notes about the work. 25,000/35,000 Provenance: Kensington Galleries, Boston. Peninsula Gallery, Sidney, British Columbia, 1994. Private Collection, Washington.

characteristic, however, was her green hull, which made her the “prettiest vessel ever” under sail. The 212-foot clipper was built in Aberdeen for George Thompson’s Aberdeen Line and was launched in 1868. Designed for the China Trade, she set a speed record on her maiden voyage from Gravesend to Melbourne of 63 days, still the fastest trip under sail. She sailed exceptionally well in light wind, averaging the outbound trip in 69 days and the return passage with cargo in 106 days. While racing Cutty Sark from Shanghai to London she had a record day’s run of 380 statute miles, a feat no other ship had managed before. She won by seven days after Cutty Sark lost her rudder. From 1882 to 1890 she took part only in the Australian wool trade. She was sold to Canadian owners and used in the timber trade, and then sold again in 1895 to the Portuguese government and used as a naval ship, renamed Pedro Nunes. The conversion to a training ship did not occur however, and she was soon reduced to a coal hulk. She was sunk by torpedoes in 1907 as part of a Portuguese Navy League regatta. The capital city of Victoria is located on the southern tip of Vancouver Island and has views of the Olympic and Cascade mountains and the San Juan Islands. John Stobart indicated this view is looking east, toward the settlement at Songhee Point.

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4062

4057. SAILOR’S ROPEWORK BOW FENDER 19th Century Length 31.5”.

500/700

4058. SHIP’S DOCUMENT BOX Second Half of the 19th Century In pine under deep green paint. Stenciled “W.L.B. 1870” in light yellow on front. Height 11.5”. Width 23”. Depth 12.5”. 250/350

4059. COMPOSITION COPY OF A GANGWAY BOARD 20th Century Purportedly created from a gangway board at Mystic Seaport for the American ship Adams. Depicts an “Adams” banner, an eagle with a Liberty shield and arrows, and an anchor. Height 42.75”. Width 18.5”. Depth 3”. 300/500

4060. THREE SAILOR-THEMED CHROMOLITHOGRAPHS 19th Century Two by Nathaniel Currier (New York/Massachusetts, 18131888) and one by James Bailie (New York, Early 19th Century). Framed to approx. 17” x 13”. 250/350

4061. DIMINUTIVE PAINT-DECORATED LIFT-TOP SEA CHEST Late 19th Century Top with painted decoration of a scrimshaw whale’s tooth in the style of the Vignette Engraver, with a small vignette of a ship under sail at the top right and a primary whaling scene. White pique border along the perimeter. Height 9”. Width 27”. Depth 12”. 300/500

4062. AMERICAN SCHOOL 19th Century Portrait of the ship Rutland. Unsigned. Oil on canvas, 22.5” x 36”. Framed 31” x 43”. 3,000/5,000

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4063. AMERICAN SCHOOL Early 20th Century Primitive-style view of a clipper ship flying an American flag. Unsigned. Watercolor on paper, 12.5” x 17”. Framed 18.5” x 22”. 500/700

4063

4064. CAMPAIGN TRUNK Late 19th Century In camphorwood with brass fittings. Height 18”. Width 37.5”. Depth 21”. 500/700

4065. BRASS SPEAKING TRUMPET Late 19th/Early 20th Century Length approx. 17”. 200/300 4064

4066

4066. LIMITED EDITION COPY OF OLD SHIP FIGURE-HEADS & STERNS ... Old Ship Figure-Heads & Sterns: With Which are Associated Galleries, Hanging-pieces, Catheads and Divers Other Matters that Concern the “Grace and Countenance” of Old Sailing-Ships by L.G. Carr Laughton. London: Halton & Truscott Smith Ltd. and N.Y.: Minton, Balch & Company, 1925. Limited edition, number 86 of 100 copies. Illustrated with eight tipped-in color plates, 48 monochrome plates at end of text and 80 drawings in text. Threequarter calf with marbled boards. Handmade paper. Top edges gilt. 12” x 10”. 200/400

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4067. JOHN BRADLEY HUDSON, JR. Maine/Massachusetts, 1832-1903 Portrait of the barque Sincerite. Signed lower right “J.B. Hudson”. Oil on canvas, 24” x 36”. Framed 29” x 41.5”. 2,500/3,500

4067

4068. JAMES GRIFFITHS America, 1947“Morning Haze”. Depicts a three-masted American-flagged ship and other vessels in the distance. Signed lower right “Jim Griffiths”. Watercolor and gouache, 6.5” x 11” sight. Framed 14.75” x 18.5”. 1,000/1,500 Provenance: Mystic Maritime Gallery.

4068

4069. FRANK JOSEPH HENRY GARDINER United Kingdom, 1942“The Californian Clipper Storm King ...”. Signed and dated lower left “F.J.H. Gardiner 78”. Titled on mat. Mixed media on paper, 14” x 21” sight. Framed 23” x 29.75”. 700/1,000

4069

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4070

4071

4070. SOLON FRANCIS MONTECELLO BADGER Massachusetts, 1873-1919 The Brazil. Signed and dated lower left “S.F.M. Badger 93”. Inscribed lower center “In Command of Capt. R. Lawrence.”. Oil on canvas, 22” x 36”. Framed 28.5” x 41.5”. 1,000/3,000

4071. SOLON FRANCIS MONTECELLO BADGER Massachusetts, 1873-1919 Portrait of the schooner Fred A. Small. Signed and dated lower left “S.F.M. Badger 96”. Oil on canvas laid down on board, 21.5” x 34.5”. Framed 25” x 39”. 4,000/6,000

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4072. CONTINENTAL SCHOOL 19th Century Ship off a coast. Inscribed lower left “Capt N. Spring”. Oil on canvas, 20.75” x 31”. Framed 23” x 33”. 1,000/1,500

4072

4073. ENGLISH TWO-PART CAMPAIGN CHEST Late 19th Century In mahogany, with traditional brass hardware and bun feet. Height 43”. Width 41”. Depth 17”. 1,800/2,200

4074. TWO-DRAW BRASS TELESCOPE Late 19th Century Leather wrap. Unmarked. Length closed 12.5”. In a newer hardwood box. 200/300

4073

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4075. ENGLISH TWO-PART CAMPAIGN CHEST 19th Century In camphorwood with brass fittings. Foliatecarved front corners. Upper section with three full-width drawers, the middle drawer functioning as a secretary drawer. Lower section with two full-width drawers. Height 45.5”. Width 43”. Depth 19”. 2,000/3,000

4076. SMALL SHIP’S BELL Late 19th/Early 20th Century Cast iron clapper. Height excluding clapper approx. 12.5”. Diameter 12.75”. 250/350

4075

4077. AMERICAN SCHOOL 19th Century Portrait of the schooner Eckford Webb. Initialed and dated lower right “H.D. 1868”. Label verso for Vose Galleries, Boston. Watercolor on paper, 13” x 18.25” sight. Framed 21” x 27”. 1,000/2,000

4077

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MAURITZ FREDERIK HENDRICK DE HAAS New York/Holland, 1832-1895

4078

4078. Coastal scene of boats working in a cove and a distant castle on a cliff. Signed and dated lower right “M.F. De Haas 56”. Oil on panel, 21” x 29.5”. Framed 30.5” x 38.5”. 3,000/5,000

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CHARLES HENRY GIFFORD Massachusetts, 1839-1904

4079

4079. Shipwreck. Signed lower right “C.H. Gifford”. Oil on canvas, 9.5” x 12”. Framed 19” x 21.5”. 3,000/5,000

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4080

4080. AMERICAN LUMINIST SCHOOL 19th Century Yacht under sunset skies. Unsigned. Partial old label verso attributes the work to Fitz Henry (Fitz Hugh) Lane (Massachusetts, 1804-1965). P. Deschaux & Co. New York art supply stamp verso. Oil on canvas, 10” x 14”. Framed 14” x 18”. 2,500/3,500

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4081

4081. AMERICAN SCHOOL 19th Century “Greenland Sunset”. Unsigned. In the style of William Bradford. Titled on frame plaque. Oil on canvas, 18.5” x 32.5”. Framed 25” x 39”. 2,000/3,000

4082

4082. EDMUND DARCH LEWIS Pennsylvania, 1835-1910 Ships off the coast. Signed lower right “Edmund D. Lewis”. Watercolor and gouache on paper, 19” x 28.25” sight. Framed 24” x 33”. 1,200/1,800

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4083

4083. MOUNTED BUILDER’S-STYLE HALF HULL MODEL OF THE GRAND BANKS SCHOONER NIMBUS BY T.D. CONLON Massachusetts, Contemporary Built up in six lifts. Marked on skeg “T.D. Conlon”. Backboard 12” x 36.5”. 500/800

4084. MOUNTED HALF HULL MODEL OF A 1912 FISHING SCHOONER 20th Century Teak model. Brass plaque affixed to black painted backboard. Backboard 12.5” x 48”. 300/500

4085. SAWFISH BILL Late 19th/Early 20th Century Length 24.25”. Width approx. 10.5”. 300/500

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4086. JULES HENRI JEAN SCHAUMBURG Belgium, 1839-1886 Fishing boats off the coast. Signed lower left “Jules Schaumburg”. Oil on canvas, 17” x 22”. Framed 22” x 27”. 1,500/2,500

4086

4087. CASED MODEL OF A GLOUCESTER FISHING SCHOONER 20th Century Nicely detailed deck fitted with fishing dories, barrels, chain, etc. Case height 27.5”. Length 34.5”. Width 9.25”. 1,200/1,500

4087

4088. C. MYRON CLARK Massachusetts/Maine, 1858-1925 A gaff-rigged fishing schooner. Signed and dated lower right “C. Myron Clark 1907”. Oil on canvas, 20” x 30”. Framed 24.75” x 34.75”. 800/1,200

4089. PLANK-ON-FRAME MODEL OF A DORY Late 19th/Early 20th Century Height approx. 10.5”. Length approx. 50.5”. Width 16.25”. 300/500

4088

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4090

4091

4092

4090. JAMES GALE TYLER New York/Connecticut, 1855-1931 Ship in rough seas. Signed lower right “James G. Tyler”. Oil on canvas, 19” x 29”. Framed 23” x 32”. 1,200/1,800

4091. B. SYLVAN Early 20th Century “Stormy Day in the Northern Sea”. Signed lower right “B. Sylvan”. Titled verso. Oil on canvas, 26” x 36”. Framed 34.5” x 44.5”. 800/1,200

4093

4092. FREDERIC SCHILLER COZZENS New York, 1846-1928 Hauling the rescue boat. Signed and dated lower left “Fred S. Cozzens ‘86”. Watercolor on paper, 18.5” x 28.5”. Framed 28.5” x 38.5”. 300/500

4093. MARK RICHARD MYERS California/United Kingdom, 1945Vessels off the docks. Signed lower left “Mark Myers”. Watercolor on paper, 11” x 18” sight. Framed 17.5” x 24.5”. 600/900

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4094

4095

4094. FRANKLIN DULLIN BRISCOE Pennsylvania/Maryland, 1844-1903 Stormy day at the pier. Signed lower right “F.D. Briscoe”. Oil on canvas, 18” x 24”. Framed 24” x 30”. 2,000/3,000

4095. ATTRIBUTED TO FRANKLIN DULLIN BRISCOE Pennsylvania/Maryland, 1844-1903 Fishing vessels under a dramatic sky. Unsigned. Oil on canvas, 30” x 51.25”. Framed 41.5” x 62”. 5,000/8,000

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

4096

4096. Off Castle Garden, New York. Initialed lower left “JEB”. Watercolor, 9.5” x 15” sight. Framed 17” x 22.25”. 8,000/12,000

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4097

4097. MOUNTED HALF HULL MODEL OF THE SANDY HOOK PILOT BOAT JOHN MCKEON NO. 1 BY T.D. CONLON Massachusetts, Contemporary Signed lower right “T.D. Conlon”. Placard affixed verso with additional information about the vessel. Backboard 7.5” x 33”. 500/700

4098

4098. MOUNTED HALF HULL MODEL OF THE SANDY HOOK PILOT BOAT JOHN MCKEON NO. 1 BY T.D. CONLON Massachusetts, Contemporary Signed lower right “T.D. Conlon”. Additional information about the vessel on reverse. Backboard 7.5” x 33”. 500/700

4099

4099. BUILDER’S-STYLE HALF HULL MODEL OF THE BOSTON PILOT SCHOONER HESPER BY T.D. CONLON Massachusetts, Contemporary Built up in eight lifts. Signed and dated verso “T.D. Conlon 1989”. Height 6.5”. Length 37”. 500/700

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T H O M A S M A C L AY H O Y N E Illinois/Massachusetts, 1924-1989

4100

Like many maritime artists, Thomas Hoyne painted scenes that reflected his poetic feelings about the sea and the vessels that roam the oceans, although his work also exhibits superior accuracy and meticulous detail. Formative experiences, including childhood summers spent in Ogunquit, Maine, visits to the studio of marine painter Gordon Grant, and serving in the Pacific with the U.S. Navy aboard an LST, helped drive Hoyne’s interest in maritime art. For much of his career, however, he was a commercial artist in Chicago, working for large corporations. Following a mid-life cancer diagnosis, he decided to pursue marine art full-time. He received the Rudolph J. Schaefer Award at the Mystic International in 1983, had solo exhibits at various maritime museums and organizations throughout the country, and was a founding fellow

4100. “Boston Pilot Boat”. Signed lower right “Tom Hoyne”. Titled on label verso. Acrylic on canvas, 18.5” x 24.5”. Framed 25” x 31”. 18,000/22,000 Provenance: Mystic Maritime Gallery, Mystic, Connecticut.

of the American Society of Marine Artists. Pilot boats are used to transport maritime pilots between land and the inbound or outbound ships they are piloting. They were originally designed to be fast because traditionally the first pilot to reach the incoming ship got the job. There were four pilot boat #7s in Boston: Minerva, Fleur de Lis, Friend and Louisa Jane.

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4101

4101. CASED PRESENTATION HALF HULL MODEL OF THE BARQUE HAWTHORNBANK Last Quarter of the 19th Century Presentation plaque mounted in case inscribed “Barque ‘Hawthornbank,’ Owners -- Andrew Weir & Co., Glasgow. Built by Rossell & Co. Port-Glasgow & Greenock.”. Case height 15.75”. Length 72”. Width 11.5”. 1,800/2,500

4102. CASED PRESENTATION MODEL OF THE FREIGHTER BRAUNFELS OF BREMEN First Quarter of the 20th Century Highly detailed. Presentation plaque mounted in case inscribed “Swan, Hunter & Wigham Richardson Ltd. Ship, Engine & Floating Dock. Builder’s & Repairers Walker on Tyne”. Case height 21.75”. Length 62.75”. Width 12.75”. 2,000/3,000

4102

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4103

4103. AMERICAN SCHOOL 19th Century “Great Eastern Steamship Coming up the Narrows Into the Harbor of New York”. Depicts the laying of the first transatlantic cable. Possibly the original work for an engraving published in the July 7, 1860 issue of Harper’s Weekly, or inspired by the print. Unsigned. Oil on canvas, 21.5” x 33”. Framed 28.75” x 40”. 5,000/10,000

4104. MOUNTED PRESENTATION HALF HULL MODEL OF THE STEEL SCREW TUG ROMAN Early 20th Century Ship built and engineered by J.P. Rennoldson & Sons. Black hull with salmon bottom. Presentation plaque affixed to backboard. Backboard 12.5” x 32.25”. 300/500

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4105. MOUNTED HALF HULL MODEL OF A STEAMSHIP Early 20th Century White hull with red bottom. Brass screw and shaft. Backboard 10.25” x 54.75”. 500/700

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

4106

4106. The screw steamer Pieter de Conick. Signed and dated lower right “A. Jacobsen 1888 705 Pallisades Ave. West Hoboken, NJ”. Oil on canvas, 22” x 36”. Framed 30” x 44”. 8,000/12,000 Reference: Antonio Jacobsen - The Checklist: Paintings and Sketches by Antonio N.G. Jacobsen 18501921 by Harold S. Sniffen (N.Y.: Smith Galleries in association with the Mariners’ Museum, Newport News, Va., 1984), p. 244.

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4107

4108

4107. Portrait of the steamship Pieter de Coninck. Signed, dated and inscribed lower right “A. Jacobsen 1884 705 Palisade Ave. West Hoboken, NJ”. Oil on canvas, 22” x 36”. Framed 30” x 43.5”. 8,000/12,000 Provenance: Parke-Bernet Galleries: Nineteenth and Twentieth Century American Paintings and Sculpture, October 22, 1969. Berqueman Collection, Brussels.

4108. The Jessie A. Bishop at sea. Signed and dated lower right “Antonio Jacobsen 1909 31 Palisade Av. West Hoboken N.J.”. Oil on canvas laid down on board, 23.5” x 42”. Framed 30” x 49”. 6,000/9,000

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4108A

4108B

4108C

4108A. MOUNTED BUILDER’S HALF HULL MODEL OF THE STEAMSHIP CAMBRIDGE Last Quarter of the 19th Century Built up in five visible lifts. Black hull. Brass builder’s plaque mounted on backboard engraved with “Twin S.S. Cambridge [...] Hull, 1887” as well as shipbuilder, dimensions and other information. Backboard 14.5” x 82”. 1,000/2,000

4108B. BUILDER’S HALF HULL MODEL OF A STEAMSHIP First Half of the 20th Century Painted off-white and extensively marked with design plans. Identified as “MV No. 379” at center. Height 8”. Length 66”. 1,000/2,000

4108C. HALF HULL MODEL OF A STEAMSHIP First Half of the 20th Century White varnished surface with architectural markings. Identified as “Ship No. 172”. Height 7”. Length 55.5”. 800/1,200

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4109. WILLIAM PIERCE STUBBS Maine/Massachusetts, 1842-1909 Portrait of the B.W. Morse. Signed lower left “W.P. Stubbs”. Oil on canvas, 22” x 36”. Framed 25” x 39”. 2,500/4,500

4109

4110. ITALIAN SCHOOL Late 19th Century The steamer Otranto in the Bay of Naples. Unsigned. Gouache, 15.75” x 24.5” sight. Framed 26.25” x 35.5”. 700/1,000

4110

4111. FRANS JAN BRULOOT Belgium, 1861-1917 The screw steamer Westmoreland. Signed and dated lower right “F.J. Bruloot Anvers 8 Mars 1897”. Oil on canvas, 15.5” x 24”. Framed 20.5” x 29”. 1,200/1,800

4111

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4112

4113

4112. ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 Steamship in open waters. Signed and dated lower left “Xmas Arthur V. Diehl 1919”. Oil on board, 5.5" x 10”. Framed 7.5” x 11.5”. 500/700

4113. ARTHUR VIDAL DIEHL Massachusetts/New York/England, 1870-1929 Steamship at sea. Signed lower right “Arthur V. Diehl”. Oil on board, 6” x 12”. Framed 8” x 14”. 500/700

4114. MOUNTED BUILDER’S HALF HULL MODEL OF A SINGLE-SCREW STEAM VESSEL Last Quarter of the 19th Century Built up in eight lifts. Sailor’s twinework around the perimeter of the backboard. Faded writing under the bow and stern. Backboard 7.25” x 39.5”. 300/500

4115. MOUNTED BUILDER’S HALF HULL MODEL OF A MOTORIZED SAILING VESSEL 19th Century Built up in seven lifts. Applied skeg, rudder and screw. Nice patina. Backboard 9” x 57”. 500/1,000

Best known for his sand dune and harbor scenes of Cape Cod, Arthur Diehl was born in England and exhibited at the Royal Academy in 1899. He came to America in the 1890s and became so associated with Cape Cod that in 1921 Fox Movietone made a short movie of him painting in Provincetown. He also had studios in Englewood Cliffs, New Jersey, Boston, Worcester and Truro, Massachusetts, and St. Augustine, Florida. He worked rapidly, often finishing his paintings as he chatted with prospective buyers. He was also a talented singer and piano player.

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4116

4116. JOHN HALEY BELLAMY Maine/New Hampshire, 1836-1914 Circa 1872-1900 carved pine spread-wing eagle plaque retaining its original paint. Nicely articulated curved tongue and piercing eye, both painted red, and gracefully sweeping wings with refined feathers. Red, white and blue American Liberty shield at its breast. Mellow patina. Unsigned, as typical of Bellamy’s work. Accompanied by a letter of authentication from James A. Craig, a curator and author specializing in Bellamy’s work. Craig writes the staining scheme is original to the time of manufacture and notes the rarity of this example because of the three stars on the shield, rather than the typical single star, and that it was stained to resemble mahogany rather than bearing the typical white milk paint or gilding. Height 6”. Length 25”. 2,000/3,000

4117. BOSTON ARTISTIC CARVING CO. EAGLE PLAQUE Mid-20th Century Carved and painted spread-wing eagle clutching a Liberty shield, arrows and a “Live and Let Live” banner. Length 45.5”. 1,000/1,500

Reference: A similar eagle is illustrated in The Bold Art & Brash Life of John Haley Bellamy by James A. Craig (Portsmouth Marine Society, no. 34, 2014), p. 99.

4117

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4118. CHELSEA SHIP’S BELL CLOCK RETAILED BY RIGGS & BRO., PHILADELPHIA Boston, Circa 1901 Brass case with hinged bezel. Arabic numeral dial marked “Riggs & Bro. Philada” and “Ship’s Bell”. Label verso marked “Patented Dec. 21 1901 No. 689899 Chelsea Clock Co. Boston [...]”. Back also stamped “59069” and etched with other numbers. Bezel diameter 10”. Depth 3.75”. 1,500/2,500

4119. CHELSEA SHIPSTRIKE MANTEL CLOCK Boston, 20th Century Brass case. Arabic numeral dial marked “Chelsea Shipstrike”. Figured maple base. Height on base 7.5”. Width 10”. 200/400

4120. CHELSEA SHIP’S BELL BAROMETER Boston, Late 20th Century Brass case. Silvered dial marked “Chelsea Ship’s Bell”. Stamped on reverse “03”. Diameter 7.5”. Depth 3.5”. 400/600

4121. CHELSEA SHIP’S BELL MANTEL CLOCK Boston, Contemporary Brass case. Brushed nickel Arabic numeral dial marked “Chelsea Ship’s Bell”. Mahogany base. Includes key. Clock diameter 5.5”. Height on stand 7.5”. Width 9.5”. 300/600

4118

4120

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4122. FULL HULL MODEL OF THE AMERICA’S CUP YACHT COLUMBIA 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 with a 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. The current consignor.

4122

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. Columbia was designed and built in 1898-99 by Nathaniel Herreshoff and the Herreshoff Manufacturing Company for J. Pierpont Morgan and Edwin Dennison Morgan of the New York Yacht Club, and she was launched June 10, 1899. She was a fin keel sloop, with a nickel steel frame and Tobin bronze hull. Skippered by Charlie Barr, she easily won the elimination trials against the rebuilt yacht Defender and won all three races against the British challenger, Shamrock, in the 1899 America’s Cup. Columbia was selected in 1901 to defend the Cup, again under the command of Charlie Barr, and she easily won all three races against Shamrock II. In 1903 she was refitted with the hope of being selected for a third time, but she was badly beaten in the selection trials by Reliance. She was the first vessel to win the trophy twice in a row, a record not equaled until Intrepid'‘s back-to-back wins in 1967 and 1970. Columbia was broken up in 1915 at City Island and sold to Henry A. Hitner and Sons of Philadelphia for scrap. Today, the mast sits in the Forest Hills Gardens neighborhood of New York City in a park known as “Flagpole Green”.

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4123. CONTINENTAL SCHOOL 19th Century Schooner sailing yacht flying the American yacht ensign and assorted burgees. Inscribed lower right “Dessin pinxt A. Pitrel archit Naval St. Malo 1873”. Watercolor on paper, 22” x 29”. Framed. 500/1,000

4123

4124. 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; this copy with “772” sticker on spine. In French and English. Illustrated with a watercolor by Marin-Marie and black and white drawings, sail and yacht plans, photographs, etc. Includes separate folder of photos and watercolors. Oblong folio. Linen-covered boards with a blue J within a wreath on cover and spine. Includes slipcase and original cardboard shipping box. Shrink-wrapped and never opened. 300/500

4124, example of another copy

4125. JEROME HOWES New York/Massachusetts, 1955Yacht race. Signed lower right “Jerome Howes”. Oil on masonite, 12” x 24”. Framed 17” x 28”. 800/1,200

4125

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4126

4127

4126. JAMES MILLER United Kingdom, 1962“A Close Finish”. Signed lower left “J. Miller”. Titled verso. Oil on canvas, 16” x 20”. Framed 21” x 25”. 1,200/1,800

4127. JAMES MILLER United Kingdom, 1962“Ranger on the Solent”. Signed and titled verso. Oil on canvas, 14” x 20”. Framed 16” x 22”. 1,000/1,500

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4128. MODEL OF A SIGNAL CANNON 20th Century Brass cannon on wood carriage. Height 8.25”. Length 14”. Width 9.75”. 200/300

4129. CHARLES ROSNER New York/Germany, 1894-1974 “Race of New York Yacht Club ‘NY 32’ Sloops”. Signed lower right “Charles Rosner”. Titled on gallery label verso. Oil on canvas, 24” x 18”. Framed 29.5” x 23.5”. 400/600

4129

4130. NEW YORK YACHT CLUB COMMODORE TRIBUTE 1990 Commemorating Frank V. Snyder (1923-2006), who served as commodore in 1988 and 1990. Styled as an illuminated manuscript with hand-lettered verses by John Masefield, a vignette of the Club’s building facade in New York City, and a seascape depicting the yacht Chasseur off Newport. Lettering on frame perimeter about Snyder. Tempera on vellum, 9.5” x 9.5”. Framed 24.5” x 22”. 200/400

4130

4131

4131. TANK TEST MODEL OF THE YACHT WAUPI 20th Century Designed by Francis S. Kenny. Displayed on a wooden stand. Height on stand 15.25”. Length approx. 59”. Width 15.5”. 500/1,000

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4132

4132. MODEL OF A HIGH-SPEED LAUNCH HULL America, 19th Century Long narrow hull built up in lifts, shaped, sanded, faired and painted a washed gray. Knuckle bow. Twin three-blade propellers and a single rudder in brass. Open interior, unfinished, with fore and aft deck plates. Height 5.25”. Length 54”. 1,000/1,500

4133. POND MODEL OF A GAFF-RIGGED SLOOP Early 20th Century Mint green hull with deep red bottom. Bulbous lead keel. Nicely detailed deck works and rigging, complete with whisker pole on deck. Displayed on an elaborate brass cradle on a wooden platform. Total height 55”. Length approx. 51.5”. 2,000/3,000

4134. CASED MODEL OF THE ENGLISH WHERRY TOLIAPIS 20th Century Plaque identifies maker as G. Krempien. Other plaque marked for the American Marine Model Gallery, Salem, Massachusetts. Case height 11”. Length 12.25”. Width 5.25”. 500/800

4133

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A N T H O N Y D. B LA K E New Zealand, 1951-

4135. “Reducing Sail at Sunset”. Signed lower right “A.D. Blake”. Titled verso. Oil on canvas, 30” x 24”. Framed 37.5” x 31.5”. 8,000/12,000

4135

4136. Furling sails in a storm. Signed lower right “A.D. Blake”. Oil on canvas, 30” x 24”. Framed 37.5” x 31.5”. 8,000/12,000

4136

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4137

4137. “The Flying Fish and John Gilpin Meet off Cape Horn Dec. 1852”. Signed lower right “A.D. Blake”. Titled verso. Oil on canvas, 30” x 40”. Framed 37” x 47”. 10,000/15,000

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4138

4138. CASED MODEL OF A FRIENDSHIP SLOOP 20th Century Maker identified on plaque as Flavio H. Nardi. Case height 13.75”. Length 15.75”. Width 7”. 500/700

4139. CASED MODEL OF THE SPEEDBOAT BABY BOOTLEGGER Contemporary Case height 16”. Length 46”. Width 14”. 1,500/2,500 Provenance: Lannan Ship Model Gallery, Norwell, Massachusetts.

4140. BLACK AND WHITE PHOTOGRAPH OF A MOTOR YACHT Mid-20th Century Possibly Morris Rosenfeld (America, 1885-1968). Yacht seen at dock, with a figure standing on the bow. Embossed stamp. 10.25” x 13.25” sight. Framed 16.75” x 21.75”. 150/300

4140

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4141. BUILDER’S PRESENTATION MODEL OF THE MOTOR YACHT NIRVANA IV America, Circa 1920 Hull built up from the solid, the bottom painted a pale green and the topsides painted white, with an applied sheer strake and gold-plated portholes with mirror inserts. Fitted with a rudder and twin propellers. Coaming with a mahogany cap rail and mounted railings. Veneer deck with the planking drawn in India ink. Numerous fittings, most gold plated, including a jackstaff with ensign, anchors, anchor windlass, hawse pipes, mahogany companionway, forward bench, deck light, ventilators, running lights, forward and aft masts with standing rigging, nameboards, search light, horn, funnel painted buff and black, two boats mounted atop the aft cabin on cradles and rigged with davits, mahogany main cabin and aft cabin with gold-framed windows with mirror insets, canopy covering the aft deck, flagstaff flying the American flag, etc. Displayed on a pair of silver trumpet-form pedestals on a book-matched maple veneer base within the original fine quality mahogany and beveled glass display case. Silver plaque mounted on base engraved “TW. SC. Cruiser Nirvana IV Owner H. Struckmann New York”. Case height 20.25”. Length 36.25”. Width 14.75”. 5,000/7,000 Provenance: Comissioned by the owner Holger Struckmann of Rye, New York, president of International Cement Co. and member of the Larchmont Yacht Club, Larchmont, New York. By descent through the Struckmann family. Sotheby’s, New York, Important Americana, January 2017, Lot #4062. A private collection, Maine.

4141

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4142. MERIDEN SILVER PLATED LIGHTHOUSE COCKTAIL SHAKER AND SET Early 20th Century Includes six goblets and a tray with presentation inscription “To Captain William A Hall From The Officers and Crew S.S. Admiral Dewey September 21, 1929”. Shaker height 13.75”. Goblet heights 5.25”. Tray length 16.5”. 2,500/3,000 The S.S. Admiral Dewey was an immigration ship that transported Jamaicans to Boston.

4142

4143. "PICTURE PUZZLE." OF THE PADDLE STEAMER PILGRIM OF THE FALL RIVER LINE Late 19th Century By McLoughlin Bro’s, New York. Includes the lithographed box and the completed lithographed puzzle. Depicts the white-hulled Priscilla passing below the Brooklyn Bridge, flying the Union Jack, the Fall River Line pennant and American and other flags, and her decks filled with passengers. Nicely detailed and brightly colored. Box 9” x 12”. Puzzle shrink-wrapped on foam board 17.5” x 24”. 500/700

4143

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4144

4145

4144. ALBERT R. NEMETHY America, 1920-1998 The paddle steamer Harlem. Signed lower right “Albert R. Nemethy”. Oil on canvas, 14” x 24”. Framed 18” x 25”. 3,000/5,000 Provenance: Louis J. Dianni.

4145. BLAKE HAMPTON Oklahoma, 1932“The Naugatuck”, a portrait of the American steamer flying American flags, streamers and a “Norwalk New London” banner. Signed lower right “Hampton”. Signed, titled and dated 1987 verso. Oil on panel, 12.25” x 26”. Framed 14.5” x 27”. 400/600

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C H R I STO P H E R B LO S S O M Connecticut, 1956-

4146

4146. “The Bark Superior in the Bering Strait”. Signed lower right “Christopher Blossom”. Oil on canvas, 24” x 44”. Framed 31” x 51”. 15,000/20,000 Provenance: Private Collection, Cape Cod, Massachusetts. Exhibited: Grand Central Art Galleries: Master Marine Painter, November 9, 1988.

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4147. “Colonial Schooner Halifax”. Signed and dated lower right “Christopher Blossom 1983”. Titled on gallery label verso. Oil on canvas, 17” x 27”. Framed 21” x 31”. 8,000/12,000

4147

4148

4148. “Trawlers Entering Lowesport”. Signed and dated lower right ”Christopher Blossom 1985”. Titled on gallery label verso. Oil on canvas, 25” x 40”. Framed 33” x 47”. 15,000/20,000

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4149. CASED PRESENTATION MODEL OF THE S.S. WINGA First Half of the 20th Century Plaque mounted in case marked “S.S. ‘Winga’ [...] Built for Glen & Co. Ltd. Glasgow by Alexander Hall & Co. Ltd. Aberdeen”. Case height 19”. Length 42.45”. Width 10.25”. 500/1,000 The steamship Winga was built in the Netherlands in 1924. On June 2, 1940 she collided with the much larger Norwegian steamer Jernland and sank quickly. Jernland was able to save eight lives, but fourteen other souls were lost to the depths.

4150. TECHNICAL LINE DRAWINGS OF A DIESEL CRUISER, DINGHY AND LAUNCH 20th Century Includes construction sections of step-hydroplane express, dated Dec 5, 1927, by Tams & King, naval architects and engineers. Contained in three tubes. 300/400

4151. PORTFOLIO STEEL’S NAVAL ARCHITECTURE PLATES 20th Century Reproductions of 1805 originals. Includes many ships of the period and some foldout plates. 19.5” x 19.75”. 250/350

4149

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4152

4152. JAMES A. FLOOD Florida, 1944The French S.S. Normandie on the open sea. Signed lower right “James A. Flood”. Acrylic on canvas, 20” x 24”. Framed 25” x 28”. 1,200/1,800 Provenance: The Estate of Donald D. MacDermid, sold to benefit of The American School in Switzerland (TASIS).

4153. GAILLE LAUNCH ENGINE ON A CUSTOM GLASS-TOP TABLE Detroit, Early 20th Century Marked on side of fuel tank “Gaille Detroit”. Table height 20.5”. Table top 36” x 19.75”. 400/800

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4154

4154. DESK WITH NAUTICAL DECORATION Late 20th Century Top depicts an American-flagged ship. Base with yellow scrolls, fouled anchors and “Boston” against a black ground. Height 30.5”. Width 59.5”. Depth 30”. 700/1,000

4155. BRASS BINNACLE LAMP 19th/20th Century Unusual form with swinging side lamp. Beveled glass. Height 10”. Width 10.5”. Depth 7”. 200/400

4156. CASED HAMILTON WATCH CO. MARINE CHRONOMETER Lancaster, Pennsylvania, 20th Century Brass-bound mahogany case with side handles. Case height 7.5”. Width 7.5”. Depth 7.5”. 500/800

4157. BRONZE BELL FROM THE STEAM YACHT ENAJ IV 20th Century Height 9”.

300/500

Enaj IV was built in 1923 by George Lawley & Sons of Neponset, Massachusetts. She was later renamed Kooyung II and Evelyn before she was purchased by the Navy in 1940. She was commissioned as PC-458 in 1941.

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4158. GEORGES FREDERIC Belgium, 1900-1981 Portrait of a white-hulled vessel, likely the Belgian training ship Mercator. Signed lower left “Georges Frederic”. Oil on canvas, 23.5” x 31.5”. Framed 31” x 39”. 1,000/1,500 Georges Frederic took part in the painting event at the art competition during the 1936 Summer Olympics.

4158

4159. MODEL OF A LIBERTY SHIP 20th Century By Jan Muntz. Displayed on brass pedestals on a wooden base. Height approx. 5.5”. Total length 15”. 200/300 4160. CASED HUSUN SEXTANT London, 1944 Labeled for Henry Hughes, Husun, #44647. Bliss Nautical Instruments label inside felt-lined wood case. Includes fittings and key. Case height 8”. Width 10.5”. Depth 11”. 200/400

4161

Per the catalogue notes from Charles Miller, Ltd., Richard OliverBellasis joined Euryalus on August 15, 1943. Euryalus saw extensive

4161. PAIR OF WORLD WAR II JAPANESE NAVAL BINOCULARS CAPTURED BY H.M.S. EURYALUS 1943-1945 With three-inch diameter objective lenses, folding targeting sight, adjustable eyepieces and individual focusing knobs. Mount with elevation quadrant and handle. Finished in original gray paint. Contained within a fitted wooden box, the top inscribed “The Superintendent Admiralty Research Laboratory, Teddington, Middlesex. Via. S.N.S.O. at Ports concerned. Case No. E.C. 4624 155 from Capt., R. O-B. H.M.S. Euryalus.”. Case height 9.75”. Width 22.25”. Depth 16”. 2,000/4,000 Provenance: Capt. Richard Oliver-Bellasis (1900-1964), Commander of H.M.S. Euryalus, 1943-45, and thence by descent. Charles Miller Ltd., London, October 2012, Lot #31. Purchased at that sale by the current owner.

action in the Mediterranean before being transferred to the Pacific Theater, patrolling for the Japanese. According to family history, the binoculars were sent for examination but the Admiralty had no further use for them and returned them to Oliver-Bellasis. They languished in the box he sent them for several years.

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4162. MODEL OF A GERMAN BATTLESHIP 20th Century By Jan Muntz. Displayed on brass pedestals on a wooden base. Height 7”. Total length 16.5”. 200/300

4165. CASED SET OF SHIP RECOGNITION/TEACHING MODELS First Half of the 20th Century Miniature die cast metal models on blue painted wooden bases. Includes 33 models, up to four on a single base. Includes U.S., Russian, French, Japanese, German, British, Brazilian and AustroHungarian ships, mostly pre-World War I. Contemporary printed identification labels on undersides. Wooden case painted gray on exterior and stenciled “U.S. Navy Miniature British & French Ship Models Mark I Supplement I”. Model lengths from 1.75” to 5”. Case height 11.5”. Width 16.5”. Depth 4”. 600/1,200

4163. MODEL OF THE GERMAN BATTLESHIP KOENIG 20th Century Made by Jan Muntz. Displayed on brass pedestals on a wooden base. Height approx. 8.75”. Total length 21”. 300/500

4166. TWO CASED SETS OF WORLD WAR II-ERA U.S. NAVY RECOGNITION/TEACHING MODELS OF BRITISH AND FRENCH SHIPS Large-scale die-cast metal and wood models on blue painted wooden bases. One case, containing 12 mixed British and French ships, stenciled “U.S. Navy Teacher British & French Ship Models Mark I Supplement I” and stamped with a “US” anchor. The other case, containing 18 British ships, with faint traces of stenciled lettering. Original stamped or contemporary printed identification labels on undersides of bases. Wooden cases painted gray on exterior and blue on interior. Model lengths from approx. 5.75” to 17”. Case heights 18.5”. Lengths 22” and 36.5”. 1,500/2,500

4164. CASED SET OF WORLD WAR II-ERA U.S. NAVY RECOGNITION/TEACHING MODELS OF AMERICAN SHIPS 20th Century Includes 48 miniature die-cast models on painted wooden bases. Most with impressed identifications on sides of models and contemporary printed identification labels on undersides of bases. Wooden case painted gray on exterior and blue on interior. Model lengths from approx. 2.25” to 9”. Case height 14”. Width 27”. Depth 5.5”. 1,000/1,500

4164

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4167. FOUR CASED SETS OF WORLD WAR II-ERA U.S. NAVY RECOGNITION/TEACHING MODELS 20th Century Die-cast models on painted wooden bases. One case contains eight Japanese ships, one with 16 U.S. ships, one with 32 French ships and one with 28 mixed British and French ships. Some models with impressed identifications on sides and most with contemporary printed identification labels on undersides of bases. Wooden cases painted gray on exterior and blue on interior, all with stenciled or stamped markings. Model lengths from approx. 2” to 8.5”. Case heights to 13”. Widths to 16.5”. 1,500/2,500

4167

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4168. MITCHELL RAY NANTUCKET BASKET Nantucket, 1877-1956 Oval, with swing handle. Traces of original label. Height 6”. Length 13.5”. 700/1,000

4169. TWO LARGE NANTUCKET BASKETS 20th Century Both round, one with swing handle. Heights 7.5” and 10”. 800/1,200

4170. NANTUCKET BASKET Late 19th/Early 20th Century Round, with swing handle. Upper half with thicker cane weavers than the lower half. Unsigned. Height to rim 5.75”. Length 7.5”. 400/600

4168

4171. SMALL CASED MODEL OF THE TWO-MASTED SUE B. OF CAPE COD 20th Century Gaff-rigged. Skeletized hull. Case height 9.75”. Length 12.5”. Width 6.25”. 400/600

4169, two

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4172. CHARLES VAN RIPER MODEL OF A BEETLE CAT Mid-20th Century An unusual form as Van Riper models are typically steamships. Stamped on underside of base. Height 9”. Length 10”. Width 4”. 300/500

4173. PAINTED TIN SAILOR WEATHER VANE 20th Century Holding a spyglass. Mounted on a metal stand. Height 28”. 500/800

4173

4174. GIANT SOUTH SEAS CLAMSHELL 19th Century Height 15.5”. Length 37”. Width 22”. 1,000/1,500

4175. SID (SIDNEY) WILLIS New Hampshire/Massachusetts, 1930Marine-themed still life. Signed lower right “S. Willis”. Oil on masonite, 40” x 30”. Framed 46” x 36”. 1,500/3,000

4175

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SESSION II Wednesday, February 28 at 9:30 a.m.

The Collection of a Gentleman

Maritime and Decorative Art from the Estate of Peter Goldstein

Scrimshaw and Whaling

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The Collection of a Gentleman MARITIME AND DECORATIVE ART FROM THE ESTATE OF PETER GOLDSTEIN

Paul Dereckter, president of the Derectker Shipyard and a lifelong friend and sailing companion of Paul Goldstein, remembers the two beautiful Italian Lake boats Peter maintained and stored in the picturesque Northern Italy Lake district. His nostalgic reminiscence says it all:

“Every boat was kept in beautiful condition, as he treated everything in his life. He knew how to live life and was always positive and planned every trip with great detail”. 82

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In September 1982, Sotheby’s New York was auctioning Part II of The Barbara Johnson Whaling Collection, an extraordinary assemblance of scrimshaw objects and whaling-related books and logs. During the break between the morning and afternoon sessions, I met Alan Goldstein, Peter’s father, a long-time sophisticated collector of maritime and American decorative arts. We decided to have lunch and Peter joined us. Immediately Peter and I bonded, and thus began countless conversations discussing various scrimshaw artifacts coming on the market. Peter was passionate and accumulated scrimshaw and related maritime artifacts very seriously, as though it was an occupation. He traveled around the country attending even the most obscure auctions and met with dealers who had fine items for sale. Peter was becoming a true connoisseur, and his criteria was that an item had to have beauty in its form, exhibit excellent craftsmanship and be in very fine condition. In his early years, he compiled fine scrimshaw teeth by the famed scrimshanders Albro, Myrick and the Arch Engraver. As time went by, Peter’s focus became more selective as he collected utilitarian forms of scrimshaw including canes, baskets, etc. Peter was captivated and fascinated by jagging wheels as each had an intentional design, displayed mastery in craftsmanship and provide such pleasure to the beholder. These charming scrimshaw pie crimpers became Peter’s passion, and with great enthusiasm and emotional sentiment, he amassed an amazing, first-rate, magnificent collection. Peter also had a love for marine art, and he collected several fine 19th Century paintings by highly respected artists including John Ward, Charles Henry Gifford and S.F.M. Badger, as well as a few contemporary paintings by Cape Cod artist William R. Davis. His 30” globe and his height-adjustable presentation telescope were with him for over 40 years. Peter’s ship model collection was diverse, including several prisoner-of-war models as well as 19th and 20th Century examples. Of extreme merit is the 1805 letter Peter inherited that is signed by Lord Horatio Nelson and dated January 17th at 7pm. About 20 years ago, Peter began studying Sheffield exhibition knives and, as he was educating himself, he began collecting mint examples by renowned makers

Rogers and Wostenholm. Peter applied his scholarly and accomplished collecting skills, developed over decades of acquisitions, to knife collecting, which branched out to include masterpieces by many of America’s finest 20th Century makers. Like everything in Peter’s collections, all the knives are pristine examples of knife-maker art, ranging from fine single-blade knives to larger multi-blade knives. Most have exotic grips made from shell, abalone, mother-of pearl, etc., and a few have inlaid diamonds and other precious colored stones. Many have 18kt gold fittings, beautifully designed grips, and engraved and damascened blades. Peter went to college in Colorado, where he developed an interest in and affection for Native American culture. He began purchasing the finest and most sought-after original signed Edward Curtis orotone photographs. Almost all retained their original Curtis studio frames. Peter made a point of collecting the smaller-sized Curtis photos so as to not limit his ability to display them. Peter had a lifelong connection to the sea and owned several sailing vessels, one of which we built after a 72-foot sailing sloop. He sailed competitively and for pleasure all over the U.S., Caribbean, Mediterranean, Nova Scotia, Newfoundland and Maine. For more than a decade, Peter moored his boat in the Mediterranean, exploring the ports and coastlines of Europe. At the end of each summer, he would return with such enthusiasm and happy memories. Some of the best sailing adventures I had were with Peter. We always had a great time, good food and wine, fishing, swimming and sailing in any weather. He was a great navigator, partially a result of his years flying his plane throughout the country. In closing, Peter was a dear friend, a great collector and he loved his wife, Maria, who always shared and encouraged his pursuits, passions and happiness. At the time of Peter’s death, Maria had recently retired, and plans were underway for a new home in Winter Harbor, Maine, where they would spend summers away from the orange groves of Florida in their log cabin. She was Peter’s rock, best friend and supportive teammate!

-- Alan Granby and Janice Hyland

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The Collection of a Gentleman

George Wostenholm & Son, Ltd., also known sometimes as just “IXL”, was established in 1785 and was under the leadership of three successive George Wostenholms. The original George spelled his name “Wolstenholme”, but it is said to have been shortened to “Wostenholm” by the following generation so it would fit better when stamped on blades. The “I*XL” trademark, supposedly standing for “I will excel”, was issued in 1826. The business became a limited company in 1875. The firm flourished under the third George, who was pivotal in expanding Wostenholm’s business in the United States, where westward expansion had created an enormous demand for Bowie knives, razors and other blades. Trade with America became the mainstay of the business, and the firm operated offices in New York, Philadelphia, Boston, San Francisco and other cities. The McKinley Tariff Act of 1890, however, substantially raised duties on their American exports and significantly impacted the company’s profitability. Wostenholm also performed well at exhibitions, winning several awards for the superior quality of their Bowie and multi-blade knives.

4501

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4501. GEORGE WOSTENHOLM & SON, LTD. MULTI-TOOL SPORTS POCKETKNIFE Sheffield, 19th Century Mother-of-pearl handle with inset silver crest shield and silver Yorkshire rose rivets. Beautifully engraved silver top bolsters. Eleven folding elements, including a corkscrew, a sailmaker’s needle, a manicure blade and an awl, and two concealed pull-out elements, including tweezers and a pricker. File-worked on the backs of the blades and backsprings. Stamped marks for Wostenholm, most with I*XL trademark. Length 3.625”. 7,500/10,000 References: An identical example is illustrated in Sheffield Exhibition Knives by Bill Claussen, et al (Salem, Ore.: Old World Publishing, Ltd., 1999), p. 144-145.

4501

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The Collection of a Gentleman

4502. GEORGE WOSTENHOLM & SON, LTD. "SENATOR" FOUR-BLADE POCKETKNIFE Sheffield, 19th Century Shell handle with inset silver bar shield. Blades include a master spear blade, two pen blades and a manicure blade. Blades with long nail marks. Milled brass liners. Stamped marks for Wostenholm, most “I*XL George Wostenholm Sheffield England”. Length 3”. 2,000/3,000 References: An identical example is illustrated in Sheffield Exhibition Knives by Bill Claussen, et al (Salem, Ore.: Old World Publishing, Ltd., 1999), p. 167.

4502

4503. GEORGE WOSTENHOLM & SON, LTD. "SENATOR" FOUR-BLADE POCKETKNIFE Sheffield, 19th Century Mother-of-pearl handle with inset gold bar shield and gold Yorkshire rose rivets. Ornately engraved gold bolsters. Blades with long nail marks. Gold backsprings with interior file-work. Stamped marks for Wostenholm, most “I*XL George Wostenholm Sheffield England”. Length 3.125”. 3,000/5,000 References: Similar examples are illustrated in Sheffield Exhibition Knives by Bill Claussen, et al (Salem, Ore.: Old World Publishing, Ltd., 1999), p. 110, 112 and 167.

4503

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4504. GEORGE WOSTENHOLM & SON, LTD. "SENATOR" FOUR-BLADE POCKETKNIFE Sheffield, 19th Century Shell handle with inset gold bar shield and gold Yorkshire rose rivets. Ornately engraved gold bolsters. Milled liners. Blades include a master spear blade, two pen blades and a manicure blade. Blades with long nail marks. Stamped marks for Wostenholm, most “I*XL George Wostenholm Sheffield England”. Length 3.5”. 2,000/3,000

4504

4505. GEORGE WOSTENHOLM & SON, LTD. "LOBSTER" MULTI-TOOL POCKETKNIFE Sheffield, 19th Century Shell handle with inset silver elliptical shield. Four folding elements: master spear blade, pen blade, scissors and manicure blade. Milled liners. Stamped marks for Wostenholm. Length 2.75”. 2,500/3,500 References: Similar examples are illustrated in Sheffield Exhibition Knives by Bill Claussen, et al (Salem, Ore.: Old World Publishing, Ltd., 1999), p. 158.

4505

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The Collection of a Gentleman

4506. JOSEPH RODGERS & SONS WHARNCLIFFE THREE-BLADE POCKETKNIFE Sheffield, 19th Century Checkered fiery pearl handle mounted with a silver acorn shield. Silver clamshell-type bolsters. Marked “Wharncliffe Knife” on main blade. All three blades with stamped marks for Rodgers, including “Rodgers Cutlers to Her Majesty”, “No. 6 Norfolk Street Sheffield”, and with the Star and Maltese cross trademark. One of the most desirable whittler pattern knives. Length 4.25”. 3,000/4,000 References: An identical example is illustrated in Sheffield Exhibition Knives by Bill Claussen, et al (Salem, Ore.: Old World Publishing, Ltd., 1999), p. 86-87.

Wharncliffe blades are relatively short but thick and very sturdy. They typically have a rounded spine that tapers to a point and a straight edge. The blade is named after Lord Wharncliffe, who supposedly devised the style with a dinner companion one night. Wharncliffe was patron of Joseph Rodgers and thus presented the pattern to the manufacturer sometime in the 1820s/30s.

4506

4507. JOSEPH RODGERS & SONS MULTI-TOOL FISHING POCKETKNIFE Sheffield, Circa 1905 Checkered black horn handle with inset silver bar shield and a 3.5” ruler. Silver bolsters, one with threaded design. Six folding elements, including four blades, a corkscrew and a button hook, and two concealed pull-out elements, including tweezers and a pricker. Stamped marks for Rodgers, including “Joseph Rodgers & Sons”, “Rodgers Cutlers to Her Majesty” and “No. 6 Norfolk Street Sheffield”, and with the Star and Maltese cross trademark. Length 4.5”. 5,000/7,000 References: An identical example is illustrated in Sheffield Exhibition Knives by Bill Claussen, et al (Salem, Ore.: Old World Publishing, Ltd., 1999), p. 103.

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Joseph Rodgers & Sons, founded in 1682 in Sheffield, was one of the largest and most prolific cutlery manufacturers in England. Their six-pointed Star and Maltese cross trademark was registered in 1764, and in 1821 the company was granted title of Cutlers to the Royal family, a Royal warrant they would hold for five successive sovereigns – George IV, William IV, Victoria, Edward II and George V. It was around this time they opened their first showroom, a proud display of their extensive range of pocketknives, razors, table cutlery and scissors, as well as their two famous exhibition knives, the Year Knife, with a blade added for each year of Christendom, and the 75-blade Norfolk Knife, made for the 1851 Great Exhibition, with blades elaborately etched or chased with hunting scenes or views of notable people and buildings. The showrooms were lavishly appointed and drew patrons from around the globe. The firm grew to be Sheffield’s largest cutlery factory, known for its superior quality, and exported products internationally. Notably, George Custer is said to have given a Rodgers hunting knife to Buffalo Bill. Despite robust overseas trade, Rodgers & Sons underwent several changes in ownership throughout the 20th Century before the rights to the name and trademark were purchased by Egginton in 1986.

4507

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The Collection of a Gentleman

4508

4508. JOSEPH RODGERS & SONS SIX-BLADE POCKETKNIFE Sheffield, 19th Century Shell handles with inset gold bar shield. Gold bolsters engraved with scrolls and flourishes. Milled liners. Stamped marks for Rodgers, including “Rodgers Cutlers to Her Majesty”, “No. 6 Norfolk Street Sheffield”, “Sheffield England”, and with the Star and Maltese cross trademark. Length 3.5”. 3,000/4,000

4509. JOSEPH RODGERS & SONS THREE-BLADE POCKETKNIFE Sheffield, 19th Century Staghorn handles. Threaded silver bolsters. All three blades with stamped marks for Rodgers, including “Joseph Rodgers & Sons”, “Rodgers Cutlers to Her Majesty”, “No. 6 Norfolk Street Sheffield”, and with the Star and Maltese cross trademark. Length 4”. 2,000/3,000

4509

4510

4510. JOSEPH RODGERS & SONS TWO-BLADE POCKETKNIFE Sheffield, 19th Century Staghorn handle mounted with a silver bar shield. Wide pinched silver bolsters with threaded design. Both blades with stamped marks for Rodgers, including “Rodgers Cutlers to Her Majesty”, “No. 6 Norfolk Street Sheffield”, and with the Star and Maltese cross trademark. Length 3.25”. 2,000/3,000 References: An identical example is illustrated in Sheffield Exhibition Knives by Bill Claussen, et al (Salem, Ore.: Old World Publishing, Ltd., 1999), p. 57.

4511. JOSEPH RODGERS & SONS WHARNCLIFFE TWO-BLADE POCKETKNIFE Sheffield, Early 20th Century Delicate mother-of-pearl handle with outstanding luster. Silver bolsters. Marked “Wharncliffe Knife” on main blade. Both blades with stamped marks for Rodgers, including “Rodgers Cutlers to His Majesty”, “No. 6 Norfolk Street Sheffield” and “England”, and with the Star and Maltese cross trademark. Length 3”. 2,000/3,000

4511

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4512. JOSEPH RODGERS & SONS MULTI-TOOL SPORTS POCKETKNIFE Sheffield, 19th Century Mother-of-pearl handles with an inset gold oblong shield on one side and a crest shield on the other. Four gold Yorkshire rose rivets on each side. Gold top bolsters finely engraved with scrolls and flourishes. Thirteen folding elements, including assorted blades, a corkscrew, a button hook, a screwdriver and cigar fork, and three concealed pull-out elements, including tweezers, a pricker and a lancet. Stamped marks for Rodgers, including “Joseph Rodgers & Sons”, “J. Rodgers & Sons”, “Rodgers Cutlers to Her Majesty” and “No. 6 Norfolk Street Sheffield”, and with the Star and Maltese cross trademark. Length 4.5”. 15,000/20,000 References: A similar example, with silver fittings rather than gold, is illustrated in Sheffield Exhibition Knives by Bill Claussen, et al (Salem, Ore.: Old World Publishing, Ltd., 1999), p. 36-37. Identical copies of this knife are said to have been made for the Duke of Rutland and President Ulysses S. Grant.

4512, two views

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The Collection of a Gentleman

4513 4514

4513. JOSEPH RODGERS & SONS QUILL CUTTER Sheffield, 19th Century Flat rectangular mother-of-pearl handle with silver and brass fittings. Clip-style device flips open to insert a quill tip, which is then cut and shaped into a nib when the device is closed. Push-out blade used to split the nib so it can hold ink. Stamped mark “Rodgers Cutlers to Her Majesty” and with the Star and Maltese cross trademark. Length 4.13”. 1,000/1,500

4514. QUILL CUTTER 19th Century Possibly Joseph Rodgers & Sons. Flat rectangular ebony handle with brass fittings. Clip-style device flips open to insert a quill tip, which is then cut and shaped into a nib when the device is closed. Slideforward blade used to split the nib so it can hold ink. Illegible stamped mark on blade ricasso. Length 3.5”. 800/1,200

4515

4515. IMPORTANT VOLUME ON SHEFFIELD EXHIBITION KNIVES Sheffield Exhibition Knives by Bill Claussen et al. Salem, Oregon: Old World Publishing, Ltd., 1999. First edition. Profusely illustrated. Hardcover. Dust jacket. Approx. 11” x 9”. 50/80

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4516. ENGLISH TWO-PART CORNER CUPBOARD Early 19th Century Hardwood with assorted wood veneer. Upper case with geometric glazed doors and three interior shelves. Lower case with a shallow drawer in the upper molding, two paneled doors and a single interior shelf. Used as a knife and scrimshaw display cabinet. Height 79”. Takes a 23.75” corner. 700/1,000

4516

4517

4517. EDWARDS & ROBERTS MARQUETRY VITRINE London, Circa 1900 In walnut veneer with scroll and line inlay. Lift top with gilt metal banding around perimeter and gilt metal beading around the glazed panel. Interior lined with cream-colored velvet. Round tapered legs with brass caps and feet. Marked on interior “Edwards & Roberts”. An elegant way to display knives or scrimshaw. Height 30”. Width 30”. Depth 19.5”. 200/300

4518. SMALL DISPLAY CABINET Hardwood with hinged glazed top. Width approx. 30”. 200/300

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The Collection of a Gentleman

4519

4519. RICHARD BALL SPENCER United Kingdom, 1812-1897 Portrait of the Mandarin. Ship flying a British Union Flag, used as a merchant or pilot jack, off the foremast, a British red ensign off the stern, and an unidentified flag with a blue cross, blue horizontal borders and a white field. Twin lighthouses seen off her bow. Signed lower right “R.B. Spencer”. Oil on canvas, 19” x 31”. Framed 28.75” x 40.5”. 2,000/3,000

4520. DUNCAN MCFARLANE Massachusetts/United Kingdom, 1834-1871 Portrait of the American ship Charles S. Pennell coming into Liverpool, circa 1855. Black-hulled vessel with false gunports, gilded trailboards and “Chas. S. Pennell” nameboards fore and aft, flying a red “Chas. S. Pennell” pennant off the mainmast and a bold American flag off the gaff. Assorted other vessels and a rocky coastline in the distance. Apparently unsigned. Oil on canvas, 24” x 36”. Framed 29.5” x 41.5”. 1,800/2,200 We could find only scant records of the Charles S. Pennell, though there are reports of her sailing to and from Liverpool, New Orleans, New York and Cadiz. It appears she was condemned in Rio de Janiero in 1865.

4520

4521. LUIGI P. RENAULT Italy, 1845-c.1910 “Schooner ‘Guiding Light’ of London, Captn. J.H. Wetherall, entering Leghorn 1878”. View of the Italian port of Livorno, known as “Leghorn” by the English, in the distance. Vessel flying assorted signals, pennants and the British red ensign. Signed and dated lower left “By L. Renault Leghorn 1879”. Oil on canvas, 18.75” x 26.75”. Framed 25.5” x 33.75”. 1,500/2,500 European powers established trade houses in Livorno, the main trading city of Tuscany, at the end of the 17th Century, most notably the British Levant Company. As trade grew, so did Britain’s cultural interest in Tuscany, drawing an increasing number of artists, writers and visitors to the area.

4521

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W. & A.K. Johnston, Ltd. was founded by brothers William and Alexander Keith in 1825 after they previously worked for leading globe manufacturer James Kirkwood. The Johnston firm quickly became one of the most renowned globe makers in Britain, receiving a royal appointment from Queen Victoria.

4522. MONUMENTAL FLOOR-STANDING W. & A.K. JOHNSTON 30-INCH TERRESTRIAL GLOBE Edinburgh and London, Late 19th Century Oak stand with block and turned legs and a cross-stretcher base. Engraved brass meridian and polar ring. Globe with 36 colored printed gores. Maker’s cartouche in the Pacific with a unicorn and lion crest above “30 inch Terrestrial Globe by W. & A.K. Johnston, Limd. Geographers, Engravers and Printers Edinburgh & London”. Total height approx. 47”. 12,000/18,000

The firm remained intact into the Early 20th Century. The 30-inch model seen here was the largest they created and the first of that size produced in Britain. It received several awards at the Great London Exposition in 1851. The surface area is 525% larger than the average 12-inch globe, making its construction extraordinarily expensive and a masterpiece of artistry and craftsmanship. These floor-standing models were often used in boardrooms and libraries. A similar Johnston globe was in the Mahan Hall Reading Room at the U.S. Naval War College in Newport, Rhode Island for several decades.

4522

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The Collection of a Gentleman

4523. H. HUGHES SHIP’S GIMBALLED BAROMETER London, Last Quarter of the 19th Century Figured wood veneer case with a brass and wood gimbal wall mount, ivory degree scales, simulated shell adjustment knob and brass mercury cistern. Barometer scale with readings for “Very Dry”, “Set Fair”, “Fair”, “Change”, “Rain”, “Much Rain” and “Stormy” in differing fonts. Thermometer at center with readings including “Freezing”, “Temperate” and “Blood Heat”. Wall mount with ivory plaque engraved “H. Hughes 120 Fenchurch St London”. Height 36.5”. 1,200/1,800

4524. CASED HEATH & CO. "HEZZANITH" SEXTANT London, Circa 1962 Blackened metal frame. Brass arc with inset silvered scale. Engraved “Heath & Co. New Eltham, London” and with serial number G886. Index arm with plaque marked “'Hezzanith’ Endless Tangent Screw Automatic Clamp Patent”. Fitted wooden case with certificate of examination on interior of lid from “The ‘Hezzanith’ Instrument Works, London.”, with typed serial number G886 and examination date “7th December, 1962”. Case height 5.5”. Width 11”. Depth 10.25”. 200/300

4525. EIGHT HORATIO HORNBLOWER NOVELS Includes Mr. Midshipman, Lieutenant Hornblower, Hornblower and the Atropos, Commodore Hornblower, Lord Hornblower, Admiral Hornblower in the West Indies and Hornblower and the Hotspur by C.S. Forester, and The Life and Times of Horatio Hornblower by C. Northcote Parkinson. All with dust jackets. All approx. 8” x 5”. See publication information at eldreds.com. 200/300

4523

4525, eight

4524

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4526

The royal yacht Charlotte, 232 tons, was built at Deptford

4526. LOUIS DODD United Kingdom, 1943-2006 “The Royal Yacht Charlotte Off Greenwich Hospital, 1765”. Signed lower right “Louis Dodd”. Titled on gallery label verso. Oil on panel, 16” x 24”. Framed 24” x 32”. 3,000/5,000 Provenance: Christie’s, Marine Pictures, Sale 4658, November 22, 1991, Lot #31. Quester Gallery, Stonington, Connecticut.

and launched in 1749. Ship-rigged and constructed as a sixth-rate, she carried a crew of 70. She was originally named Caroline after George II’s wife but was renamed Charlotte in 1761 in honor of George III’s bride-to-be. She was a principal royal yacht for more than 50 years, transporting the future queen from Kiel to England for her wedding and the king to welcome home troops and conduct fleet reviews. She was broken up in 1820. Greenwich Hospital, on the southern banks of the Thames, was the official home for retired Royal Navy sailors from 1692 to 1869.

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The Collection of a Gentleman

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4527. ADMIRAL LORD NELSON SIGNED LETTER 1804 or 1805 Dated “Victory Jan.ry 17th 7 pm” and signed “Nelson + Bronte”, using part of Nelson’s honorific title bestowed upon him by the Duke of Bronte in 1799. Written with Nelson’s left hand rather than dictated to a secretary. Addressed to “My Dear Sir”, but inscribed in lower margin “Capt. Keats”; Nelson is presumably writing to Admiral Sir Richard Goodwin Keats (1757–1834) of the H.M.S. Superb, one of his close confidants. (Of note, other letters from Nelson to Keats are part of the collection at the Royal Museums Greenwich.) Paper watermarked with the year 1803. Because it was written aboard the H.M.S. Victory, which Nelson commanded from May 18, 1803 to his death on October 21, 1805, during the battle of Trafalgar, we can presume the letter was written in January 1804 or 1805. Nelson writes “If you think it may be of any use to stand in tomorrow morning do so if not join me I will not give [illegible] iota of my original [illegible] demands ...”. Includes certificate of authentication from John M. Reznikoff, University Archives, Wilton, Connecticut. 5,000/10,000

Framed together with prints of the Victory and Admiral Lord Nelson

1803 watermark on paper, as seen under back lighting

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The Collection of a Gentleman

4528

4528. NAPOLEONIC PRISONER-OF-WAR BONE SHIP MODEL IN STRAW WORK CASE Circa 1790 Case, of the period and probably original to the model, with a colorful geometric pattern, brass bail handle at top, glazed side panels and turned bone feet. Glazed front panel falls open. Interior with red silk drapes and mirror back. Model of a three-decker British warship flying a Union Jack at the bow, a Royal Navy white ensign off the stern, and assorted other flags from the masts. Detailed with a Britannia figurehead, gunports fitted with cannons and red lids, a boat hanging off the stern, rigging, etc., with some polychrome and baleen elements. Displayed on bone cradles on a straw work plinth. Period illegible lettering on underside of case. Height 9.25”. Width 10.5”. Depth 4”. 5,000/7,000

4529. NAVAL DRESS DIRK AND SCABBARD Probably Britain, Circa 1800 Gilt metal pommel with lion’s mask. Cruciform cross-guard with a Greek key band, acanthus leaves and a crosshatch pattern. Twisted wire-wrapped ivory or bone grip. Blued blade with gilt engraved acanthus leaves and vines. Brass scabbard engraved with leaves and scrolls. Total length 11”. 1,500/2,000

4529

100

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4530

4530. EXTREMELY RARE AND IMPORTANT DOCKYARD SCALE MODEL OF A FRENCH FIRST-RATE 128-GUN SHIP OF THE LINE Circa 1780 Beautifully fashioned hull bearing a true resemblance to the ship to be built, as befitting a dockyard model. Buff-colored hull painted white below the waterline and with black strakes. Gunports fitted with turned brass cannons and red lids. Beautifully carved warrior figurehead, quarter galleries and stern galleries. Appropriately appointed deckworks and plank-on-frame lifeboat. Precisely turned spars and fighting tops. Complex and accurate standing and running rigging with line thicknesses in scale with that found on the real ship. Displayed on a fine walnut base, the planked top with ebony and holly string inlay, 16-point compass rose inlay at the bow and stern, and fan inlay at the corners. Perimeter gallery in carved walnut and turned bone. Model height 72”. Length 96”. Width 36”. Height on base approx. 77”. Length 101”. Width 36”. Includes custom floor stand. 10,000/15,000

Provenance: Stood for over a century above the great entrance door of the hall of the Chateau de Rioux near Bordeaux. It was later part of the famed deCoppet Ship Model Collection, then given to the New Bedford Whaling Museum around 1932, accession number 31.33.1. Exhibited: Ship model exhibition at Fort Adams, Newport, Rhode Island, circa 2013. Illustrated: A detailed drawing and description of this model can be seen in The Story of Ship Design and de Coppet Collection of Ship Models by Edward T. Pierce (New Bedford, Mass.: The Old Dartmouth Historical Society, Sketch no. 61), p. 14. The model’s provenance is also discussed. Reference: Modeles Historiques by Jean Boudriot (Paris: Edite Par A.N.C.R.E., 1997) discusses and illustrates several French dockyard models of the same period as this example.

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The Collection of a Gentleman

4531

In Dictionary of Sea Painters by E.H.H. Archibald (Antique Collectors’ Club Ltd.,1980), p. 197, John Ward is recorded has having been born in Hull in 1798, the son of a master mariner. He was apprenticed as a house, sign and ship painter, a trade he maintained even after he had become a successful artist. He exhibited extensively in the 1840s and remains the best known of

4531. JOHN WARD OF HULL United Kingdom, 1798-1849 “A Frigate Offshore”. A wonderfully detailed seascape with several vessels, figures, a small area of beach in the foreground, and the twin lighthouses at Spurn Head, the entrance to the River Humber that leads to Hull, in the distance. Signed and dated in lower right of composition on a piece of board on the shore “J. Ward 1831”. Oil on canvas, 19.5” x 28”. Framed 28.5” x 37.5”. 30,000/40,000 Illustrated: John Ward of Hull Marine Painter 1798-1849 published by The Ferens Art Gallery, Hull (1981), p. 35, plate 13, though the dimensions and medium are inaccurately listed. The work is described as “almost certainly Ward’s academy piece for 1831”.

the Hull School marine painters. This work is a classic example of Ward’s scenes of the Humber riverside. On the shoreline, two figures are engaged in conversation, one seated and handling objects in a basket and one standing and resting on his cane. Two additional figures are in the dory anchored just offshore, also appearing to be in conversation. All four figures are finely rendered and wear bright, colorful clothing, creating small focal points in an otherwise expansive scene. The two frigates offshore, one hove-to and one seen from the stern, are probably the same ship in different positions. A lateen-rigged fishing boat is to the left and other vessels can be seen in the far distance. Wonderfully detailed and crisp, this painting displays the mastery of John Ward.

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103

The Collection of a Gentleman

4532. FINE CASED MODEL OF THE U.S.S. CONSTITUTION 20th Century Black hull with red bottom and white stripe along the gunports. Detailed with rigging, deckworks, boats hanging from davits, an American flag at the stern, etc. Displayed on a wooden pedestal within a glass, metal and wood case. Case height 32”. Length 43.5”. Width 14.5”. 2,000/3,000

The wooden-hulled heavy frigate U.S.S. Constitution Constitution, popularly known as “Old Ironsides”, is the world’s oldest commissioned naval warship still afloat, commanded since 2022 by Billie J. Farrell, the first woman to hold that position. “Old Ironsides” was commissioned in 1794 and launched in 1797. Her design was unusual for the time, being deep, long on keel and narrow of beam, with extremely heavy planking to support a tremendous gun load. While she was rated as a 44-gun frigate, she often carried more than 50 guns at a time. She was built in Boston from pine and oak, including southern live oak harvested and milled by slaves.

4532

During her career she protected American merchant shipping, participated in definitive War of 1812 battles, served as a flagship, training ship and transport, and is now a working museum ship in Boston, docked not far from where she was built.

4533. CASED BUILDER’S MODEL OF THE STEAM TUG DREADFUL 19th/20th Century Vessel identified at the bow and stern. Funnel marked “F”. Hull painted gray and white. Wheelhouse and cabin with painted doors and windows. Well-appointed and appropriate fittings, some components in brass. Displayed on silvered metal pedestals on a green velvet-covered plinth within a glass and wood case. Case height 19.5”. Length 42.5”. Width 16.25”. 1,500/2,500

4533

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4534. HANDSOME DOME-TOP MANTEL CLOCK Last Quarter of the 19th Century Figured veneer case with convex glass dial door and brass knob feet. Striking mechanism. American-made works. Enameled Arabic numeral dial. Marked on face “E.J. Scheer Rochester, N.Y.”, believed to be for a jeweler. Height 13”. Width 7.75”. Depth 5”. 150/300

4534

4535. SWISS-MADE OPEN-FACE POCKET WATCH Switzerland, Late 19th/Early 20th Century Silver metal case, probably nickel silver, with guilloche engraving on exterior cover. Interior cover marked “AP” within an oval and “7031”, and faintly engraved with illegible script lettering. Cuvette engraved “Echappement a Cylindre Aiguilles No. 1031 Quatre Trous En Rubis’’ on exterior and marked “7031” on interior. Silvered dial with Arabic numerals. Marked “Francy” and “Swiss Made”. Case diameter 1.75”. 100/200 4535

4536

4536. GIRARD-PERREGAUX 18KT GOLD HUNTER-CASED POCKET WATCH La Chaux-de-Fonds, Switzerland, Circa 1889-1900 Outer cases chased with flowers and leaves, the front with a monogrammed cartouche. Cuvette engraved “Girard Perregaux Chaux-de-Fonds Medaille d’or Paris 1889 Hors Concours Membre du Jury Paris 1900” on exterior. Both inside covers and cuvette interior marked “18K” above the Girard-Perregaux emblem, the front and cuvette also numbered “286444” and the back “444”. White dial with Roman numerals and sunken subsidiary seconds dial. Marked “Girard Perregaux Chaux-de-Fonds”. Spring-movement works marked “Girard Perregaux Chaux-de-Fonds”. With 14kt gold watch fob, marked on clasp. Case diameter 2”. 2,000/3,000

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The Collection of a Gentleman

4537

4537. H.H. FRANK 14KT GOLD FOLDING KNIFE Oregon, Contemporary Made for a 1993 show in San Diego. Gold-framed mother-of-pearl handles with gold rosette rivets and inset oval gold shields, one vacant and one in a floral pattern. Gold top bolsters with relief engraving of a flower and abundant scrolling leaves. Gray-finish steel spine engraved with flourishes and inlaid with gold. Rear lock release. Gray-finish steel static shackle. Engraved liner. Gold pull-out pricker/toothpick. Gray-finish steel blade with relief engraving of scrolling foliage on the flat edges, a gold chevron design on the spine and a nail mark. Signed “H.H. Frank Whitefish MT” on one side of ricasso and “1993 San Diego Show” on the other. Pull-out marked “H.F. 14K”. Length 3.5”. 3,000/5,000

Heinrich “Henry” Frank sold his first knife in 1965 and became a member of the Knifemakers’ Guild in 1971. He was one of the first to engrave folding knives and, unlike many knifemakers, typically does the engraving himself. His work is sought after for its quality and workmanship, but it is hard to obtain as Frank made only six to eight knives per year.

4538

4538. H.H. FRANK DAGGER FOLDING KNIFE Oregon, Contemporary Made for the 2001 Art Knife Invitational Show (AKI). Gold-framed motherof-pearl handles with gold rosette rivets and inset coffin-form gold shields, one vacant and one in a floral pattern. Gold quillon-style top bolsters with exceptional relief engraving of scrolling leaves. Gold spine and liner with similar relief engraving. Rear lock release. Gold blade with matching relief engraving and nail mark. Signed “H.H. Frank Seal Rock OR” on one side of ricasso and “AKI-Show 2001” on the other. Length 3.5”. 3,000/5,000

106

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4539. H.H. FRANK 14KT GOLD "MINI CAPER" FOLDING KNIFE Oregon, Contemporary Made for the 2007 Solvang Custom Knife Show. Goldframed handles with gold rosette rivets and inset oval gold shields, one vacant and one in a floral pattern. Gold top bolsters with relief engraving of oak leaves and acorns. Gray-finish steel spine engraved with flourishes and inlaid with gold. Rear lock release. Gray-finish steel static shackle. Gold pull-out pricker/toothpick. Engraved liner. Gray-finish steel blade with fine relief engraving of scrolls on the flat edges and an inlaid gold triangle on the spine. Signed “H.H. Frank Dallas OR” on one side of ricasso and “Solvang 2007” on the other. Pull-out marked “H.F. 14K.”. Length 3.25”. 3,000/5,000

4539

4540. H.H. FRANK 14KT GOLD FOLDING KNIFE Oregon, Contemporary Gold-framed black handles, probably buffalo horn, with gold rosette rivets and inset oval gold shields, one vacant and one in a floral pattern. Gold top bolsters with relief engraving of scrolling leaves. Gray-finish steel spine engraved with flowers and scrolling leaves and inlaid with gold. Rear lock release. Gray-finish steel static shackle. Engraved liner. Gold pull-out pricker/toothpick. Grayfinish steel blade with matching relief engraving on the flat edges and a gold chevron design on the spine. Signed “H.H. Frank Whitefish MT” on one side of ricasso and “Oct. 15 1992” on the other. Pull-out marked “HF 14K”. Length 3.5”. 3,000/5,000

4540

4541. H.H. FRANK 14KT GOLD FOLDING KNIFE Oregon, Contemporary Gold-framed staghorn handles with gold rosette rivets and inset oval gold shields, one vacant and one in a floral pattern. Gold top bolsters with relief engraving of a flower and scrolling foliage. Gray-finish steel spine engraved with flowers and scrolls and inlaid with gold. Rear lock release. Gray-finish steel static shackle. Engraved liner. Gold pull-out pricker/toothpick. Grayfinish steel blade with matching relief engraving on the flat edges, a gold chevron design on the spine and a nail mark. Signed “H.H. Frank Whitefish MT” on one side of ricasso and “1966-96” on the other. Pull-out marked “H.F. 14K”. Length 3.25”. 3,000/5,000

4542. H.H. FRANK FOLDING KNIFE Oregon, Contemporary Gold-framed beautifully translucent shell handles with gold rosette rivets and inset oval gold shields, one vacant and one in a floral pattern. Gold top bolsters with relief engraving of flowers and scrolling leaves. Gray-finish steel spine engraved with flourishes and inlaid with gold. Rear lock release. Gray-finish steel static shackle. Engraved liner. Gray-finish steel blade with matching relief engraving on the flat edges and an inlaid gold triangle on the spine. Signed “H.H. Frank Dallas OR” on one side of ricasso and dated “Apr. 2007” on the other. Length 3.25”. 3,000/5,000

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4541

4542

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The Collection of a Gentleman

4543

4543. R.W. LOVELESS "CHUTE" FIXED-BLADE KNIFE Riverside, California, 1929-2010 The “chute” knife was originally designed for parachutists to cut the lines of a parachute should they become entangled in them, a tree or other obstruction. Steel handle with amber stag grips, and steel rivets and lanyard hole. Steel guard. Mirror-finish steel blade. Signed on both sides of blade “R.W. Loveless Maker Riverside, California”, one in reverse. Double nude logo. Etched “325” on ricasso. Length 9”. 6,000/8,000

Robert Waldorf Loveless, also known as Bob and R.W., is cited by the industry as one of the most innovative and influential knife makers in the world. Loveless knives have been in production since 1954 and the Chute design is one of the most desirable.

4544. JOE KIOUS AUTOMATIC DAGGER FOLDING KNIFE ENGRAVED BY RAY COVER, JR. Texas, 1945-2014 Stainless steel handle relief-engraved with scrolling leaves and inlaid with oblong shell panels and gold accents. Damascene steel spine. Hidden blade release mechanism. Front lock release. Handsomely damascene steel blade. Signed on base of blade “Kious”. Signed on top edge “R. Cover”. Length closed 3.25”. 3,000/5,000 Joe Kious worked as a high school teacher but was able to forge a career from his real passion, custom knife making, for more than 35 years. He was an internationally recognized craftsman whose work was featured in several publications, most notably for the “Pocket Locket” style of folding knife, which have a sliding panel that conceals a small engraved compartment. His knives are known to be thoughtfully and artistically

4544

crafted. He died from injuries sustained in a motor vehicle accident.

4545. JACK BUSFIELD "SKEAN DHU" FOLDING KNIFE ENGRAVED BY RAY COVER, JR. Roanoke Rapids, North Carolina, Contemporary Stainless steel handle with abalone escutcheons, mother-of-pearl panels and relief-engraved scrolling leaves accented with inlaid gold scrolls. Rear lock release. Steel blade with nail mark. Signed on blade “Busfield Roanoke Rapids North Carolina”. Stamped with date “12/92” on interior. Signed on lower edge “R. Cover”. Length 2.75”. 1,500/2,500

4545

Jack Busfield sold his first knife in 1979, and he was a longtime member of the Knifemakers’ Guild. Many of his knives are beautifully engraved by well-known artisans including Sam Alfano, Dan Wilkerson and Ray Cover, Jr., as seen on this example. Busfield has reportedly retired from knifemaking, making this a particularly desirable collectible.

Ray Cover, Jr., of Missouri, is the son of an accomplished knife maker who nurtured his son’s engraving talents. In high school and college Ray worked as a “scrimshander”, engraving scenes on simulated ivory, before transitioning to metal. He worked as a public school art teacher for several years after college but eventually transitioned to full-time work as an engraver. He now also teaches engraving classes and workshops.

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4546. HOWARD HITCHMOUGH FOLDING KNIFE England/Peterborough, New Hampshire, Contemporary Black-lip pearl and mosaic damascus handle with gold inlay and rivets. Gold pivot cap. Gold rope-twist spine. Anodized titanium liner. Liner lock release. Damascene steel blade with gold thumb stub. Signed “H.H.” in script on ricasso. Length 2.5”. 3,000/5,000

4546

4547. HOWARD HITCHMOUGH 18KT GOLD FOLDING KNIFE ENGRAVED BY TIM GEORGE England/Peterborough, New Hampshire, Contemporary Gold-framed stainless steel handle engraved with scrolling foliage accented with gold. Mother-of-pearl pivot cap. Gold rope-twist spine. Anodized titanium liner. Liner lock release. Damascene steel blade with gold thumb stub. Signed “H.H.” in script on ricasso. Signed by the engraver on lower edge “THG 08”. Marked “18K”. Length 2.5”. 3,000/5,000 4547 Howard Hitchmough was born and raised in London and began working in 1958 as a surgical instrument maker. He started making hunting knives in the 1960s and later experimented with folding knives. He became a full-time knifemaker in 1985 and moved to New Hampshire in 1997. Tim George began his career as a full-time engraver in 1981 as an apprentice under Colt master engraver Ken Hurst. He started out on his own in 1985 and in 1990 earned “Master” status. He is one of the few American engravers who still uses the time-honored “hammer and chisel” method rather than robotic machinery.

4548. MICHAEL QUESENBERRY FIXED-BLADE DAGGER California, Contemporary Coffin handle with blackwood grips, gold rivets and a goldlined damascened tang. Ribbed damascened top bolster with inlaid gold. Quillon-style damascened guard. Damascened blade. Signed on one side of ricasso “Quesenberry” and stamped “’MS” on the other. Length 15.5”. 3,000/6,000

4548

Michael Quesenberry has been a knife maker since 2005. He does everything “In-house”, and states “A custom knife should do three things well: Be visually appealing, well-balanced in the hand, and hold a razor-sharp edge.” He is an active member of the American Bladesmith Society.

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Ted Dowell was born in Watertown, Massachusetts and has a masters of mathematics degree from Boston University. After a stint in the Navy, he settled in Oregon in 1954, where he worked as a mathematics professor. He made his first knife in high school shop class, but the knife shattered

4549. TED DOWELL FIXED-BLADE KNIFE ENGRAVED BY JULIE WARENSKI Oregon, 1929-2012 Full-tang construction; the handle and blade made from one piece of mirror-finish steel. Grips with steel pins. Integral guard and butt with exceptional relief-engraved scrolling foliage. Signed on butt with “TMD” monogram mark above “J. Warenski”. Length 9”. 1,500/2,500

when he first used it. An avid deer hunter, he sought to find, or make, a good hunting knife. He started making knives in earnest in the 1960s. The production was a family affair -- his children made sheaths, stoked the stoves, sanded handles and ground blades. His first order for a knife came in June 1968, the result of the only display ad Dowell purchased, a tiny listing in American Rifleman magazine. Dowell was a founding member of the Knifemakers’ Guild and is considered a master of the integral knife. Julie Warenski-Erickson is one the nation’s top knife engravers and designers.

4550

4550. TIM HERMAN FOLDING KNIFE Olathe, Kansas, Contemporary Steel handle with inset gold-colored mother-of-pearl panels surrounded by engraved leaves arranged within a geometric pattern. Rear lock release. Satin finish steel blade. Signed on blade in script “Herman”. Length 4”. 1,000/1,500 4549

Tim Herman sold his first knife in 1978. He engraves his own knives.

4551

4551. WARREN OSBORNE FOLDING KNIFE ENGRAVED BY SAM ALFANO Australia/Texas, 1951-2016 Polished stainless steel-framed handle with inlaid black-lip pearl panels and relief-engraved gold foliate designs against a black ground. Rear lock release. Polished steel blade with long nail mark. Signed on blade “Osborne Knives” on one side and marked “006” and dated “1989” on the other. Signed on bottom edge “S. Alfano”. Length 3.5”. 2,000/4,000

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Warren Osborne, a native of Australia and later a resident of Texas, worked as a ranch hand and horse trainer, making knives in his spare time. He became a fulltime knifemaker in the 1980s, focusing on quality hand finishes. He co-founded Blade Sports International and was a member of The Knifemakers’ Guild. Sam Alfano began engraving in the 1970s with a set of tools purchased from a mail order catalog. In 1982 he was hired to engrave guns for an important personal collection, where he was able to study under master engraver Lynton McKenzie. He also traveled to Italy to learn the techniques of banknote/”bulino” engraving. For more than 35 years he has focused on engraving handmade knives and high-end jewelry and is a certified Master Engraver.

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4553

4552

4552. JIM MARTIN DIAMOND-ACCENTED 14KT GOLD FOLDING KNIFE California, 20th Century Gold handle lavishly engraved with foliage and scrolls and inlaid with oval mother-of-pearl panels. Swinging bail at end with inset diamonds on both sides. Gold thumb stud with inset diamond. Rear lock release. Damascened blade. Signed “Jim Martin” on ricasso. Marked “LSG #2” on interior and “14K” on edge of handle. Length including bail 3.75”. 1,000/2,000

4554

4553. JIM MARTIN DIAMOND-ACCENTED GOLD FOLDING KNIFE California, 20th Century Gold handle abundantly engraved with foliage and scrolls and inlaid with oval Tahitian pearl panels. Swinging bail at end with crosshatch design and inset diamonds on both sides. Rear lock release. Damascened blade with nail mark. Signed “Jim Martin” on ricasso. Marked “S’Gold #9” on interior. Length including bail 3”. 800/1,200

4554. JIM MARTIN DIAMOND-ACCENTED GOLD FOLDING KNIFE California, 20th Century Gold handle lushly engraved with foliage and scrolls and inlaid with oval Tahitian pearl panels. Swinging bail at end with inset diamonds on both sides. Rear lock release. Polished steel blade with nail mark. Signed “Jim Martin” on ricasso. Marked “#5” on interior. Length including bail 2.88”. 800/1,200

Jim Martin was a well-known knifemaker, often commissioned by Barrett-Smythe Ltd. to make knives for their New York City gallery. Many of Martin’s knives were engraved by top artisans and function not only as a utilitarian item but also as a handsome piece of jewelry.

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The Collection of a Gentleman

4555. STEVE HOEL FOLDING KNIFE ENGRAVED BY BARRY LEE HANDS Pine, Arizona, Contemporary Black satin steel handles with gold borders, relief-engraved gold leafy vines studded with diamonds, emeralds and rubies, and inset black-lip pearl panels adorned with sculpted gold leafy vines. The vine pattern aligns perfectly between the steel and pearl components and continues to the butt edge. Fine gold rope borders along spine. Rear lock release. Steel blade. Signed on blade “Steve Hoel Pine Ariz” and with his monogram. Signed on top edge with two waving hands, the mark for engraver Barry Lee Hands. Length 3.25”. 3,000/5,000

4555

Steve Hoel made his first fixed blade knife in 1953 and started making folding knives in the mid-1970s. He began making knives full time in 1980. He was one of the first knifemakers to design handle shapes with an eye toward engraving them, and he would partner with master engravers to create these functional works of art. Barry Lee Hands has studied art history and engraving techniques throughout the world and is known for several important innovations, including burnished blades, black satin backgrounds and gilded pearl and jade treatments, some of which is seen here. He formed his own firm in 1991, concentrating on knife and gun engraving.

4556. TOM OVEREYNDER FOLDING KNIFE ENGRAVED BY LYNTON MCKENZIE Arlington, Texas, Contemporary Stainless steel handle masterfully relief-engraved with scrolling foliage and inlaid with two mother-of-pearl panels. Mid-handle lock release. Polished steel blade with nail mark. Signed on blade “T.R. Overeynder Knives Arlington, Tx”. Stamped “1989” on one side of ricasso and “ATS-34” for the steel grade on the other. Signed and dated on bottom edge “L. McKenzie © 1989”. Length 3.25”. 1,500/2,500 4556

Engraver Lynton McKenzie (1940-1999) was born in Australia. He

Tom Overeynder made his first knives in

became interested in gunsmithing and engraving as a boy and by his

1977 as Christmas gifts for family members.

late teens was considered Australia’s leading gunsmith. He studied

He became a full-time knifemaker in 2001

engraving throughout Europe and worked in London for six years,

after retiring from a long career in the aircraft

engraving for some of the top gunsmiths and restoring rare and valuable

industry. He is a charter member of the

antique firearms. He, along with Winston Churchill, were considered for

Texas Knifemakers’ Association and has won

many years the two top engravers in the world.

several prestigious industry awards.

4557. TOM OVEREYNDER FOLDING KNIFE Arlington, Texas, Contemporary Stainless steel handle with dense relief engraving of scrolls and leaves and inlaid with mother-of-pearl panels. Mid-handle lock release. Polished steel blade with nail mark. Signed on blade “T.R. Overeynder Knives Arlington, Tx”. Stamped “1988” on one side of ricasso and “154-CM” for the steel grade on the other. Length 3.25”. 1,000/1,500

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4557

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4558. RON LAKE FOLDING KNIFE Eugene, Oregon, Active 1965-2000 Silver metal handle, probably aluminum, engraved with scrolling leaves and inlaid with oblong shell panels held in place with polished rivets. Swinging bail at end. Lake-designed tab lock release. Polished steel blade with nail mark. Signed “Lake” on one side of ricasso and marked “16” on the other. Length including bail 2.75”. 1,500/2,500 4558

In the mid-1960s, Ron Lake set up a workshop in his garage and started making knives in his spare time. While his first pieces were simple fixed-blade hunting knives, by the early 1970s he had designed and produced the innovative “Interframe” model, which protects the handle material and makes for a stronger knife, and a tab lock release, which is easier to use than a bar release. Lake’s knives typically have a clean and minimal aesthetic, with an emphasis on craftsmanship and precision. He was elected to the Cutlery Hall of Fame in 1998, has received several important industry awards, and was coined by sportswriter B.R. Hughes as the “Father of the Modern Day Folding Knife”.

4559. RON LAKE ENGRAVED FOLDING KNIFE Eugene, Oregon, Active 1965-2000 Silver metal handle engraved with scrolling foliage and inlaid with oblong sheep’s-horn panels held in place with polished rivets. Swinging bail at end. Lake-designed tab lock release. Mirror-finish steel blade with nail mark. Signed “Lake” on one side of ricasso and marked “33” on the other. Length including bail 2.75”. 1,500/2,500

4560. RON LAKE FOLDING KNIFE ENGRAVED BY WINSTON CHURCHILL Eugene, Oregon, Active 1965-2000 Horn handle with silver metal rivets. Steel grooved top bolsters engraved with leaves and scrolls by noted engraver Winston Churchill. Rear lock release. Concealed pull-out pricker/toothpick. Steel blade with nail mark. Signed “Lake” on one side of ricasso and “24” on the other. Signed “W. Churchill Engr.” on top of handle. Length 3.25”. 1,500/2,500

4561. RON LAKE GOLD-ACCENTED FOLDING KNIFE Eugene, Oregon, Active 1965-2000 Polished metal handle inlaid with oblong mother-ofpearl panels accented with gold rivets and inset oval shields. Gold swinging bail at end with leather lanyard. Gold tab lock release. Steel blade with nail mark. Signed “Lake” on one side of ricasso. Length including bail 3”. 1,500/2,500

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4563

4562. OWEN WOOD ART DECO-STYLE CRESCENT FOLDING KNIFE South Africa/Colorado/Texas, Contemporary Gold-framed mother-of-pearl, black-lip pearl and gold handles with gold rivets inset with tiny yellow-colored stones, probably topaz. Gold crescent-shaped top bolsters centering a motherof-pearl disc. Spine and liner, both probably anodized titanium, with a harlequin pattern. Liner lock release. Damascened chevron and mosaic pattern blade with concentric oval pattern on spine and four gold studs to ease opening. Signed on interior “Owen Wood”. Liner lock release. Length 2.75”. 2,000/4,000

4563. OWEN WOOD ART DECO-STYLE CRESCENT FOLDING KNIFE South Africa/Colorado/Texas, Contemporary Gold-framed shell and gold handles with gold rivets. Gold crescent-shaped top bolsters centering a shell disc bordered with titanium or steel. Spine and liner, both probably anodized titanium, with a harlequin pattern. Liner lock release. Damascened chevron and mosaic pattern blade with concentric oval pattern on spine and four gold studs to ease opening. Signed on interior “Owen Wood”. Length 3”. 2,000/4,000

4564. OWEN WOOD DAGGER FOLDING KNIFE Colorado/Texas, Contemporary Gold-framed black-lip pearl handles with gold rosette rivets. Gold bolsters with relief engraving of Art Decostyle fans by master engraver Amayak Stepanyan. Spine and liner, both probably anodized titanium, with a harlequin pattern. Liner lock release. Damascened chevron and explosion mosaic pattern blade with four gold studs to ease opening. Signed on interior “Owen Wood” and on bottom edge “A. Stepanyan”. Length 4”. 3,000/5,000

Owen Wood started making knives in 1972 and just seven years later became South Africa’s first professional knifemaker. In 1980 he helped found the Knifemakers’ Guild of Southern Africa and was chairman of the organization for 10 years. He moved to Colorado in 1999. He has exhibited internationally since 1982 and is known for his eye-pleasing designs.

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4565. STEVE "S.R." JOHNSON "LOVELESS CITY" FIXED-BLADE KNIFE Manti, Utah, Contemporary Full-tang construction; the handle and blade made from one piece of mirrorfinish steel. Mother-of-pearl grips with steel pins and lanyard hole. Integral guard with ridged finger rest on lower edge. Signed on blade “S.R. Johnson Manti, Utah”. Marked on lower edge “CPM” and “002”. Length 5.75”. 1,800/2,500

4565

S.R. Johnson completed his first knife 1966. He still owns that first knife, which was made for a Boy Scout Project. The “project” evolved into part-time and then fulltime work. He says he enjoys the people and places associated with knifemaking and the personal challenge of making each knife as flawless as possible.

4566

4566. TIMOTHY WRIGHT FOLDING KNIFE Arizona, Contemporary Polished stainless steel handle inset with mother-of-pearl panels and two screws. Rear lock release. Steel blade, the spine decoratively ridged or “jimped” near base. Ricasso signed on one side “Wright” and stamped “BG42, #2” on the other. Length 3”. 800/1,200 Timothy Wright was born in Chicago but now resides in Arizona. He made his first knife in 1975 and is known for his interframe folders.

4567. FINE GOLD-INLAID FOLDING KNIFE WITH BLACKENED STEEL BLADE 20th Century Apparently unmarked. Possibly French. Pistol grip-style handle with gold inlay in an elaborate scroll design and gold rosette rivets. Rear lock release. Unmarked. Length 2.5”. 1,500/2,500 4567

4568

4568. FINE GOLD-INLAID FOLDING KNIFE 20th Century Apparently unmarked. Possibly French. Blackened steel handles with engraved scrolls surrounding an oval cartouche inlaid with two gold dragonflies, a gold flower blossom and gray-colored reeds, possibly mica. Pivot with an inlaid gold dragonfly. Liner lock release. Steel blade with blackened steel thumb stud, matching scroll engraving on the upper half of the flat edges and an engraved chevron design on the spine. Length 4.25”. 1,500/2,500

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The Collection of a Gentleman

4569. CHARLES BENNICA FOLDING KNIFE France, Contemporary Mirror-polished stainless steel handle with inset amber panels and two stainless steel screws. Nearly invisible Bennica proprietary lock release at the butt. Mirror-polished stainless steel blade with nail mark. Signed on the blade in script “Bennica”. Stamped on interior “Bennica 2006 2/10 France”. Length 4”. 2,000/3,000

4570. CHARLES BENNICA FOLDING KNIFE France, Contemporary Mirror-polished stainless steel handle inset with two amorphous mother-of-pearl panels separated by an S-curve. Steel butt, also inlaid with mother-of-pearl, functions as the lock release, a nearly invisible Bennica-designed mechanism. Damascened steel blade. Stamped on interior “Bennica 2007 France”. Length 3”. 2,000/3,000

4569

4570

Charles Bennica attributes the technical advancements he has made in knife construction to his background in tool and die making. He began making knives in 1988 and worked to develop a distinct style while still producing a very functional product. The end result is ergonomic, elegantly clean-lined and mechanically precise.

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4571. DIETMAR KRESSLER FIXED-BLADE KNIFE Germany, Contemporary Full-tang construction; the handle and blade made from one piece of satin-finish steel. Stag grips. Integral fluted guard engraved with scrolls and a checkered pattern on the spine. Integral pommel with hole for lanyard and matching engraving. Signed on blade “D.F. Kressler Munchen”. 800/1,200 Dietmar F. Kressler is a trained machinist and mechanical engineer and his knives exhibit the pinnacle of technical expertise. He is a member of the German Knifemakers Guild, the American Knifemakers Guild, the Japan Knife Guild and other trade organizations.

4572. NOLEN KNIVES FIXED-BLADE KNIFE Longmont, Colorado, Contemporary Full-tang construction. Simulated shell grips with metal rivets. Nickel silver fluted top bolsters engraved with leaves, one side with a raised eagle’s head at center. Mirror-finish steel blade. Signed on blade “Nolen Knives” around the “NK” mark. Length 7.75”. 300/500 R.D. Nolen (1926-2010) made his first knife in 1946 and over the next 20 years made others for his own personal use. He was introduced to custom knifemaking in the late 1960s. R.D. and his brothers took the knowledge they had gleaned from their experiences and time in the field to develop a quality product they could market to others. Their philosophy is that, foremost, their knives are built to be functional,

4571

“used and abused” by sportsmen. Artistry is secondary. R.D.’s son, Steve, began working with him full-time in 1986 and continued on under the Nolen Knives name after R.D. passed away.

4573. JESS HORN TWO-BLADE POCKETKNIFE Eugene, Oregon, d. 2016 Staghorn handle with silver rivets and an inset silver shield on one side engraved with a floral design. Silver bolsters with 19th Century-style scroll engraving. Steel blades with nail marks. Signed “Horn” on one side of the main blade’s ricasso and stamped “006” on the opposite side. Marked “MR” on top edge, possibly for engraver. Length 3.25”. 1,000/1,500 Jess Horn, who has been making knives since

4572

4573

1968, is widely considered a legend in the field. His knives typically feature natural material handles and stainless steel frames.

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The Collection of a Gentleman

4574. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “The Vanishing Race”, 1904. Signed “Curtis” and “L.A.” and with a copyright symbol lower right. Curtis studios title label verso. Housed in the original batwing frame. Orotone, 7.5” x 9.5”. Framed. 5,000/8,000

Orotones, also known as D’Orotones or goldtones, are positive images printed on glass and backed with a golden metallic coating. This lustrous reflective coating, combined with the natural refraction of the glass, provides an exceptional translucency and sense depth to the image, “as full of life and sparkle as an opal,” as Edward Sheriff Curtis said in 1919. He marketed them as “Curt-Tones” and they are the most desirable and valuable of all his prints. Curtis is sometimes credited with inventing the orotone technique, but the process he used was based upon well-known methods of creating images on glass. The “Curt-Tone” method seems to have been perfected sometime in the second half of 1918, and in February of the following year, Curtis held his first exhibition of orotone prints in Los Angeles. The style was particularly suited to Curtis’s images of Native Americans. He made his first portrait of a Native American in 1895, when he photographed Princess Angeline, also known as Kickisomlo, the daughter of Chief Sealth of Seattle. Curtis was part of expeditions to Alaska in 1899 and the Blackfoot Confederacy in Montana in 1900, and then was awarded $75,000 by J.P. Morgan to produce a 20-volume series “The North American Indian”, an epic project that lasted more than 20 years. Curtis traveled the United States and visited at least 80 tribes, documenting tribal history, biographies, traditional foods, housing, garments, recreation and ceremonial customs through more than 10,000 recordings of Native American language and music and 40,000 photographic images. Curtis was largely forgotten at the time of his death, though interest in his photographs was revived in the 1970s. While his work is considered a precursor in visual anthropology, some criticize him for conforming to cultural archetypes of the romanticized “noble savage” and the tragically “vanishing race”. Regardless, when judged by the standards of his era, Curtis was sensitive and open to Native American culture, and his work left an enduring mark on the history of photography.

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4574

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The Collection of a Gentleman

4575. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “Signal Fire to the Mountain God”, 1912. Signed in the plate lower right “Curtis”. Housed in the original pie crust frame. 9.5” x 7.5” sight. Framed 13” x 11.25”. 4,000/6,000 Provenance: Christopher C. Cardozo, with the collection label affixed verso. Cardozo (1948-2021) is the author of nine monographs on Edward Curtis and amassed what is widely acknowledged to be the broadest Curtis collection in the world.

4575

4576. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “The Fisherman- Wisham”, 1909. Signed “Curtis” in the plate lower right. Housed in the original pie crust frame. Orotone, 9.5” x 7.5”. Framed 12.5” x 10.5”. 6,000/9,000

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4577. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “The Oath -- Apsaroke”, 1908. Signed “Curtis” and with a copyright symbol lower right. Curtis Los Angeles studio and title labels verso. Housed in the original batwing frame. Orotone, 9.5” x 7.5”. Framed 13.5” x 11.25”. 8,000/12,000

4578. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “Flathead Camp on the Jocko River”, 1910. Signed in the plate lower left “Curtis”. Curtis studio label affixed verso. Housed in the original pie crust frame. Orotone, 8” x 9.25” sight. Framed 10.75” x 12”. 7,000/10,000

4577

4578

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4579

4580

4579. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “The Piki Maker”, 1906. Signed “Curtis” lower right. Curtis studio and title labels affixed verso. Housed in the original ribbon frame. Orotone, 9.5” x 7.75”. Framed 12.75” x 10.75”. 3,000/5,000

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4580. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “Chief of the Desert, Navajo”, 1904. Signed lower right “Curtis” and with a copyright symbol lower left. Curtis Los Angeles studio and sitter identification labels verso. Housed in the original ranch frame. Orotone, 9.5” x 7.5” sight. Framed 12.5” x 10.5”. 7,000/10,000

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4581

4581. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “Canyon De Chelly”, 1904. Printed in 2007 by The Curtis Centennial Project, Inc. Signed lower right in the plate “Curtis”. Curtis Centennial Project label with handwritten studio notations including the title, size, dates and edition “112/250” affixed verso. Housed in a batwing frame. Orotone, 14” x 17”. Framed 19” x 22”. 1,800/2,200

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The Collection of a Gentleman

4582. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “An Oasis in the Badlands”, 1905. Printed in 2002 by The Curtis Centennial Project, Inc. Signed lower right in the plate “Curtis” with “CCCP 1998” notation. Curtis Centennial Project label with handwritten studio notations including the title, size, dates and edition “25/75” affixed verso. Housed in a batwing frame. Orotone, 7.5” x 9.25”. Framed 11.5” x 13.5”. 2,000/3,000

4583. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “Before the Storm”, 1906. Printed in 1999 by The Curtis Centennial Project, Inc. Signed lower right in the plate “Curtis” with “CCCP 1998” notation. Curtis Centennial Project label with handwritten studio notations including the title, size, dates and edition “22/50” affixed verso. Housed in a batwing frame. Orotone, 8” x 10”. Framed 11.5” x 13.5”. 2,000/3,000

4582

4584. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “Medicine Crow - Apsaroke”, 1908. Printed in 1999 by The Curtis Centennial Project, Inc. Signed lower right in the plate “Curtis” with “CCCP 1998” notation. Curtis Centennial Project label with handwritten studio notations including the title, size, dates and edition “18/50” affixed to the frame back. Housed in a batwing frame. Orotone, 10” x 8”. Framed 13” x 11”. 1,200/1,800

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4585. EDWARD SHERRIFF CURTIS Washington/California, 1868-1952 “Chief Joseph”, 1903. Printed in 1999 by The Curtis Centennial Project, Inc. Signed lower right in the plate “Curtis” with “CCCP 1998” notation. Curtis Centennial Project label with handwritten studio notations including the title, size, dates and edition “28/75” affixed verso. Housed in a batwing frame. Orotone, 10” x 8”. Framed 13” x 11”. 800/1,200

4585

4586. JAMES BERT BARTON Washington, 1881-1967 “Mount Rainier, Mirror Lake, Washington”, 1909. Barton’s initials and copyright in the negative lower right. Orotone, 13.75” x 10.5” sight. Framed 16” x 13”. 1,200/1,800

4586

4587. DAVID KAVNER CASED MODEL OF AN ADIRONDACK GUIDE-BOAT Keene, New York, 20th Century Natural wood plank-on-frame construction. Appears to be to scale. Displayed on cradles within a wood and glass case. Plaque on base of case marked “Adirondack Guide-Boat Built by David Kavner Keene, NY”. Case height 8.25”. Length 28”. Width 8.25”. 500/700

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4588

Charles Henry Gifford was born in the Massachusetts coastal village of Fairhaven. Although fascinated by art at an early age, his eventual career was delayed by his father’s desire for him to learn a trade, as well as to serve in the Civil War. After the end of his enlistment, which included a month as a prisoner of war in Virginia’s infamous Libby Prison, Gifford would return to Fairhaven and dedicate his life to the pursuit of his art. At the time of his return, the neighboring city of New Bedford was not only a busy

4588. CHARLES HENRY GIFFORD Massachusetts, 1839-1904 Luminist view of three sailboats in a quiet coastal inlet below looming cliffs, possibly Grand Manan, New Brunswick. Rocky shorelines on both sides, the right with a small village and the left with a remote lighthouse. Figures visible working the two boats in the foreground. Sunlight filters through the cloud-filled sky and casts sparkling reflections across the calm water. Signed lower right “C.H. Gifford”. Oil on canvas, 9.25” x 14.25”. Framed 16” x 21”. 5,000/7,000

whaling port, but also a resplendent artistic community where some of the best artists of the day maintained studios or consistently showed their works. Included in the group were leading marine artists Alfred Van Beest and William Bradford, but it was the famed luminist landscape painter Alfred Bierstadt who made the strongest impression on young Gifford. By the late 1860s Gifford had become an established and successful New Bedford marine artist, specializing in what he would later call his “little gems”, small detailed coastal views. By the 1870s Gifford’s career was firmly established. The later half of the decade saw Gifford executing a series of larger luminous works that rivaled the best of William Bradford, Fitz H. Lane and his childhood icon, Bierstadt. The composition here exhibits the calm intimacy and richly diffused light that define the Luminist School, but Gifford juxtaposes that with the majesty of the towering, formidable cliffs, the bustling village in the distance and the figures laboring on the boats, punctuated by one sailor wearing a bright red jacket, to create a captivating sense of tension and intrigue.

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The Collection of a Gentleman

4589. SHIP’S WHEEL MOUNTED AS A LOW TABLE Late 19th Century Hardwood wheel with inlaid brass band. Hub with relief lettering “Stephens-Adamson Mfg. Co. of Canada Ltd. Bellville Ontario DSE07”. Brass cap on the king pin marked “DSE 88”. Includes a glass top and contemporary block and turned oak base. Wheel diameter 54.5”. Height as table 18.5”. 1,500/2,500

4589

Bluenose, the celebrated racing ship and fishing vessel, Bluenose was built in 1921 in Lunenburg, Nova Scotia. She was named “Bluenose” after the nickname for Nova Scotians and by the 1930s she had become an icon of the

4590. FINE CASED MODEL OF THE GAFF-RIGGED SCHOONER BLUENOSE 20th Century Hull painted black, with copper bottom and white bootstripe. Nicely detailed deckworks, masts and rigging. Flying a Canadian red ensign. Displayed on a wooden cradle within a glass and wood case. Case height 30”. Length 44”. Width 10”. 1,200/1,800

Canadian province. She was designed for both fishing and racing duties, and to compete with American schooners for speed. During construction her bow was raised by almost two feet to allow for more room in the forecastle for the crew, giving the schooner its unique appearance. After her first season fishing on the Grand Banks of Newfoundland, Bluenose took part in the International Fisherman’s Cup, a series of three races. She easily won the Canadian trials and bested the American challenger to capture the trophy. She won again in 1922 and split the title in 1923 after controversy during the race. She won several other titles in her career and was invited to World’s Fairs and ceremonial occasions. By the 1930s, fishing schooners had been displaced by motor schooners and trawlers, and in 1936, Bluenose had diesel engines installed and her topmasts removed, allowing the schooner to remain on the fishing grounds year-round. She remained at dock during World War II before being sold to the West Indies Trading Company in 1942 and converted into a coastal freighter to work in the Caribbean. Laden with bananas, she struck a coral reef off Haiti in 1946 and was wrecked beyond repair. She has been commemorated in songs and on stamps, the Nova Scotia license plate and the Canadian dime,

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and she was the first non-human inductee into the Canadian Sports Hall of Fame in 1955.

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4591

The 122-foot William H. Yerkes was built in 1901 in Thomaston, Maine

4591. SOLON FRANCIS MONTECELLO BADGER Massachusetts, 1873-1919 Portrait of the four-masted schooner William H. Yerkes approaching the coast under full sail, flying a U.S. ensign off the foremast, a “D. & E.” flag off the mainmast, a “William H. Yerkes” pennant off the mizzen, and an American and signal flags off the jigger. Well-detailed hull, deckhouses and lifeboat. Shoreline below the bow filled with cottages and the pair of Cape Henry Lighthouses. A white-hulled steam tug off her stern is flying a merchant flag at the bow and the American flag at the stern. Signed lower right “S.F.M. Badger Charlestown Mass.”. Inscribed verso “S.F.M. Badger Charlestown Tremont St. Mass”. Oil on canvas, 22” x 36”. Framed 28” x 42”. 5,000/7,500

and her homeport was also Thomaston. She had a crew of ten. S.F.M. Badger painted at least one other view of the William H. Yerkes; Yerkes one of her depicted at sea sold at Christie’s, New York, February 1, 2006. The detail, color and background elements in this painting make it one of the best examples of the artist’s work. The sails are beautifully shaded and have finely wrought sail seams and reef points, the rigging is precise and delicate, and the smaller steam tug is also painted with great detail. The choppy sea, bright blue sky and puffy white clouds are gracefully highlighted. The presence of the New Cape Henry Lighthouse, with its distinctive black and white checkerboard paint job, probably dates the painting

Provenance: Sam Lowe Antiques, Boston.

to the 1880s. The new lighthouse, with a first-order Fresnel lens, was

References: Discussion about the Cape Henry Lighthouse in Lighthouses and Lightships of the United States by George R. Putnam (Boston: Houghton Mifflin Company, 1933), p. 20. The William H. Yerkes is listed in List of Merchant Vessels of the United States for the Year 1902, p. 193.

two lighthouses mark the entrance to the Chesapeake in Virginia, one

completed in 1881 as a replacement for the original tower and its presence in this work may be in commemoration of its opening. The of the most important shipping lanes in the United States. The original tower, completed in 1792, was the first federal construction project authorized under the Constitution. After it suffered structural damage during the Civil War and from a lightning strike, a replacement tower was commissioned, but the old tower was left standing as a daymark and as a basis for coast survey triangulation.

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4592. OUTSTANDING CASED MODEL OF THE CLIPPER SHIP FLYING CLOUD 20th Century Natural wood plank-on-frame construction. Vessel identified on nameboard at the stern. Outfitted with the famed trumpeting angel figurehead. Nicely appointed rigging and deckworks. Flying a Canadian red ensign. Displayed on wooden pedestals within a glass and wood case. Case height 28.75”. Length 43”. Width 15.5”. 2,000/3,000 The Flying Cloud, Cloud built by Donald McKay in Boston in 1851, was known as the fastest clipper ship ever launched, breaking the record for the New York to San Francisco passage by several days. She would hold this speed record until 1989, a span of more than 100 years. Notably, her navigator was a woman, Eleanor Creesy, wife of skipper Josiah Perkins Creesy. In later years she was used in the immigrant trade between England and Australia, then hauled coal, iron and timber between Newcastle, England and New Brunswick, Canada. The Canadian red ensign in this model probably indicates it is showing her during this era of her service. She went ashore in June 1874 on the Beacon Island bar off Saint John, New Brunswick, and was condemned and later scrapped.

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4593. CASED PLANK-ON-FRAME MODEL OF THE CLIPPER SHIP SEA SERPENT 19th Century Black hull with red bottom. Well-appointed rigging and deckworks. Displayed on brass cradles within a wonderful glass and mahogany case with ropework turk’s-head knots at the corners of the base. Case height 24.5”. Length 39”. Width 17”. 2,000/3,000 Extreme clipper Sea Serpent, Serpent owned by Grinnell, Minturn & Co. of New York, sailed the San Francisco trade, the China trade and the transatlantic lumber trade during one of the longest careers for a clipper, lasting 36 years and 5 months. She engaged in several races during her voyages, sometimes making the fastest passages in a given season. She was abandoned at sea during an 1891 voyage from Dublin to Quebec, drifting 1,120 miles in 93 days

4593

and sighted 19 times before she disappeared.

4594. PRESENTATION GALL & LEMBKE BRASS TWO-DRAW FLOOR-STANDING TELESCOPE WITH CRANK TRIPOD New York, 19th Century Engraved on side of tube “Presented to R.A.C. Smith Esq. By His Guests on the ‘Privateer’ Trip to Jamestown April 26-30, 1907”. Retains brass lens cap. Marked “Gall & Lembke New York”. Original hardwood tripod with brass swivel mount and central brass post that adjusts telescope height via a brass and wood hand crank. Height 58.5”. Length closed 52.75”. 2,000/3,000 4594

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131

The Collection of a Gentleman

4595

4595. WILLIAM ROBERT DAVIS Massachusetts, 1952“Tugboat Narragansett in New York Harbor”, with figures visible working on deck, Castle Garden on the shoreline and busy harbor boat traffic in the far distance. A particularly well-rendered marine painting by Davis with a wonderful translucency to the smoke billowing from the stack and luminosity of the sky. Signed lower right “William R. Davis A/B”. Signed, titled and inscribed “To Good Friends - Peter + Patricia” verso. Oil on panel, 15” x 21”. Framed 21” x 27”. 3,000/5,000

132

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4596

4596. WILLIAM ROBERT DAVIS Massachusetts, 1952Two New York Yacht Club yachts racing off Castle Garden, both flying American flags and N.Y.Y.C. burgees and with figures visible on deck. Signed lower left “William R. Davis ASMA”. Inscribed by the artist in pencil on stretcher verso “To Peter - Best Luck Sailing! Bill 7/86”. The yacht in the foreground is flying a “P.G.” signal flag, a nod to Peter Goldstein. Oil on canvas, 10” x 13.5”. Framed 15.5” x 19”. 4,000/6,000

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133

The Collection of a Gentleman

4597. KATHLEEN KENNEDY America, 20th Century Shoreline with distant house and sailboats. Signed lower right “Kennedy”. Oil on canvas, 7.75” x 11”. Framed 13” x 16.25”. 300/500

4597

4598

4598. CHELSEA SHIP’S BELL CLOCK AND BAROMETER SET Boston, Massachusetts, 20th Century Brass cases with screw bezels. Silvered Arabic numeral dials, the clock marked “Chelsea Ship’s Bell” and the barometer marked “Chelsea”. Clock stamped on reverse with serial number 870336 and barometer stamped 93. On wooden stands. Bezel diameters 7.25”. Height on stands 9.5”. 1,500/3,000

134

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4599. CHELSEA SHIP’S WHEEL BELL CLOCK AND BAROMETER SET Circa 1930-1950 Bronze cases with hinged bezels. Silvered Arabic numeral dials. Aneroid barometer with Fahrenheit thermometer. Clock marked “Chelsea Ship’s Bell”. Rectangular bronze base with ball feet. Total height 8.75”. Width 14”. Depth 3.75”. Bezel diameter 5”. 500/1,000 4599

4600. BRASS STOCKLESS ANCHOR MODEL Early 20th Century Unmarked. Length to shackle 6”. 200/300

4601

Boat designer Carlo Riva was most fond of the Ariston, named after a cinema in Milan and made for use on Lake Como, calling it his “lord of the sea”. Production of the Ariston began in the 1950s and ended

4600

4601. KIADE MAQUETTES MODEL OF AN ITALIAN RIVA ARISTON SPEEDBOAT 20th Century Kiade is the official manufacturer of Riva models, made from original plans in partnership with the Riva shipyard. Handmade in 1/27 scale. Varnished wood hull with green bottom and red and white bootstripe. Lighter wood decking. Chromed brass fittings including a wrap-around windshield, cleats, flagpole, exhaust pipes, etc. Cockpit complete with wheel, dials, knobs, throttle and marine-grade green and white upholstery. “Riva” and “Ariston” lettering on sides. Displayed at an angle with the bow raised on chromed pedestals atop a varnished wood base. Labeled on base “Kiade Maquettes”. Length approx. 10”. 300/500

in the 1970s, with just over 1,000 built.

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135

The Collection of a Gentleman

4602. WHALE IVORY DOG’S-HEAD PIPE TAMPER America, 19th Century With carved and incised features and inset eyes. Length 1.5”. 400/600

4602

4603. WHALE IVORY BODKIN WITH SWINGING SHACKLE America, 19th Century Shaft with polyhedral and stepped carvings. Large and well-carved shackle. Length including shackle 4.25”. With contemporary stand. 300/500

4603

4604. WHALE IVORY AND ISLAND WOOD ROLLING PIN 19th Century With a beautifully figured wood roller, contrasting dark wood spacers, and turned and deeply incised whale ivory handles. Length 11”. 600/800

4604

136

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4605. TURNED AND POLYCHROMED WHALE IVORY SEAM RUBBER America, 19th Century Incised banding throughout, with two parallel bands colored red. Hefty size that fits nicely in the hand. Length 3.75”. 600/800 4605

4606. WHALE IVORY PUZZLE BOX IN THE FORM OF A SHIP’S HULL America, 19th Century Interior of hull with a pair of adjoining hollows. Highly polished. Length 4”. With contemporary stand. 2,000/3,000 4606, two views

4607. WHALE IVORY EAGLE’S-HEAD LETTER OPENER America, 19th Century Made in two parts. Handle carved as the head and graceful long neck of an eagle, the eyes and mouth deeply inscribed. Shaped blade slotted and pinned to handle. Length 6.75”. 1,200/1,500 Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 142.

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4607

137

The Collection of a Gentleman

4608. ENGRAVED AND INLAID WHALE IVORY CLENCHED FIST PIE CRIMPER America, Mid-19th Century Geometric handle with ebony spacers and incised decoration, most colored with red or blue sealing wax. Terminal carved as a beefy clenched right fist with a red and blue heart-shaped bracelet design at the wrist. Upper portion of handle with a red cathedral dome on one side and concentric blue hearts and diamonds on the other. Lower portion of handle with two leafy branches and a pentacle centering an inlaid mother-of-pearl disk on one side, and two leafy branches, red concentric diamonds and a blue heart on the the other. U-shaped yoke supports a fluted wheel and a handshaped three-tine fork. Relief-carved and polychromed heart-shaped bracelet design at the wrist, similar to that on the terminal. Deep mellow patina. Length 6.5”. 3,000/4,000

4608

4609. WHALE IVORY PIERCED HEARTS PIE CRIMPER America, Mid-19th Century Made in two parts with a contrasting spacer, possibly baleen or exotic wood. Long and straight shaft, the upper portion carved as stylized arrows piercing hearts. Lower section with a two-tine fork and openwork floriform wheel. Length 7.5”. With contemporary stand. 2,000/2,500

4609

138

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4610. WHALE IVORY LOOPED HANDLE PIE CRIMPER America, Mid-19th Century Handle carved as a teardrop-shaped loop. Fluted wheel supported by twin spade-shaped mounts pinned to the handle. Length 6”. With contemporary stand. 750/1,000

4610

4611. IMPORTANT POLYCHROME SCRIMSHAW WHALE IVORY THERIANTHROPIC PIE CRIMPER America, Mid-19th Century In the form of a serpent-headed nude woman, with a relief-carved snake wrapped around the torso. The serpent head has an open red mouth, showing finely carved teeth and a pointy tongue, inset black eyes, red nostrils, a delicate design of red and black concentric diamonds engraved on the top of the head, and a red crosshatch design encircling the neck. Thin contrasting spacer between serpent head and female torso. Snake wrapped around the body with engraved scales, inset black eyes and a red mouth. Fluted wheel with an openwork star-shaped hub is supported by the woman’s two legs. Length 6.5”. With contemporary stand. 20,000/30,000 Provenance: Meylert Armstrong, New Hope, Pennsylvania, inscribed in white ink “NH350[?]” (number smudged). E. Norman Flayderman. Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #41. Illustrated on cover. Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 185, which notes the probable symbolic components of this crimper’s design, the snake most likely representing temptation. Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis Port, Mass.:, 2021), p. XXII, in a photograph of Meylert Armstrong and his wife, Natalie, and a portion of their scrimshaw collection, and p. 294, figs. 15.29a-c.

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4611

139

The Collection of a Gentleman

4613

4612. EXCELLENT WHALE IVORY LOOPED SERPENT PIE CRIMPER America, Mid-19th Century A red-mouthed serpent with inset eyes and a looped body coils around one end of a brace-shaped shaft. Opposite end with an elegantly swooping three-tine fork and a pastry wheel with a pierced teardrop design and notched rim. Shaft with two medial baleen spacers. Length 7”. 5,000/10,000 Reference: A similar example, with the same swooping fork and notched wheel rim, most likely by the same hand, is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), p. 194, fig. 10.26. Another similar example is illustrated in Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis Port, Mass.:, 2021), p. 293, fig. 15.26.

4612

4613. WALRUS IVORY HAND HOLDING SHAFT PIE CRIMPER America, Mid-19th Century Carved from a single piece of ivory, the graceful hand grips the simple square shaft between the thumb, index and middle fingers, while the remaining two fingers are curled toward the palm. Delicately rendered fingernails. Fluted wheel. Metal swinging loop at end. Deep age patina. Length 6”, not inclusive of loop. With contemporary stand. 2,500/3,500

4614

140

4614. EXEMPLARY WHALE IVORY "NAUGHTY NELLIE" PIE CRIMPER America, 19th Century Handle formed as a lady’s leg, constructed from two sections of whale ivory separated by a baleen spacer. Scrolled yoke supports a three-tine fork and a five-spoke notched-rim wheel. Swinging shackle at one end. Excellent polish and patina. One of the best examples of this form we have seen. Length 6.75”. With contemporary stand. 3,000/5,000

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4615. PAIR OF WHALE’S TEETH CHALICES America, 19th Century Cups made from inverted whale’s teeth. Carved spearpoint rims. Turned whale ivory and exotic wood stems. Stepped whale ivory bases. Red collection numbers on undersides. Heights 6.75”. 4,000/6,000 Reference: A single chalice/vase from the Howland Scrimshaw Collection, with an identical spearpoint rim, similar exotic wood banding in the shaft and what appears to be the same type of construction, was sold at Eldred’s, Americana & Paintings, November 17, 2016, Lot #724. 4615

4616. OVAL WHALEBONE BASKET America, Mid-19th Century Rim of basket carved with alternating scallops and sawtooths. Sides with pierced interlocking circles. Fixed handle attached with pins and carved in a similar pattern as the rim. Wooden base. Height including handle 5”. Length 6.5”. 5,000/7,000

4616

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141

The Collection of a Gentleman

4617. FINE POLYCHROME SCRIMSHAW WHALEBONE BUSK WITH PATRIOTIC DECORATION America, 19th Century A delicate leafy vine around the perimeter surrounds finely detailed images of twin five-pointed stars; a spread-wing eagle with a Liberty shield, olive branches and arrows; crossed American flags; a shield; a potted flowering plant; two fouled anchors flanking a five-pointed star; a port view of an American ship; crossed halberds; an American flag within a foliate arch; two five-pointed stars above a spread-wing eagle within a wreath; and a five-pointed star within a foliate shield. All stars with shaded blades and tiny dots at the tips of the blades and at the open centers. This type of star, as well as the patriotic nature of the decoration seen here, are evocative of the workmanship of the Star Engraver, though the images on this busk are far more delicately rendered than on any piece attributed to that otherwise-anonymous scrimshander. Busk lobed at top and curved at bottom. Length 13.25”. With contemporary stand. 5,000/7,000

4617

142

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4618

4618. SPECIAL EDITION OF CLIFFORD W. ASHLEY’S THE YANKEE WHALER Boston and New York: Houghton Mifflin Company/The Riverside Press, 1926. Limited first edition of 1,625, of which 156 are numbered, signed and contain an original pen and ink drawing by Ashley. This copy inscribed, signed and dated “Westport Dec. 9th 1933” by the author on the copyright page, below the Ashley pen and ink drawing of a whaleship and spouting whale. Per the inscription, this copy was presented to Louise Knowles “from her cousins Sarah R. Ashley Clifford W. Ashley”. Profusely illustrated with color and black and white plates and line drawings. Half tan cloth and tan boards with gilt title and whale decorations on spine. Top edges gilt. Written by an actual whaleman, this volume memorializes a way of life and an industry that had come to the end of its road. An important volume and a must-have for any whaling collector. Approx. 11” x 9”. 2,000/3,000

4619. * RARE AUTHOR’S PERSONAL EDITION COPY OF SCRIMSHAW AND SCRIMSHANDERS ... WITH SPECIAL BONE COVER Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman. New Milford, Connecticut: N. Flayderman & Co., Inc., 1972. Number 8 from the author’s personal edition of 150, which contains five additional plates of erotic scrimshaw and is signed by the author. Handsomely custom-bound with a whalebone plaque inset on the front cover inscribed with the title and “No. 8” on a relief-carved sperm whale. Gilt spine lettering. Marbled endpapers. Green ribbon bookmarks. Matching slipcase. This is the rarest and most desirable edition of this definitive book on scrimshaw. 10” x 8.25”. * Per Federal Regulation, this item may be purchased only by a Massachusetts resident and will not be shipped out of state. 800/1,200

4619

4620. ESKIMO CARVED WALRUS IVORY PIPE 19th Century Top with two figures in kayaks and two figural masks on each side of the bowl. Both sides with seven spotted seals, for a total of 14. Underside with a dormant polar bear and a couchant polar bear flanking another dormant creature, possibly a human figure. Primarily carved from a single walrus tusk, but the figures in the kayaks and the head of the couchant polar bear are applied. The pipe bowl was made to slide in and out, possibly for cleaning. Length 10”. 3,000/5,000

4620

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143

The Collection of a Gentleman

4621

4621. POLYCHROME SCRIMSHAW PANBONE PANEL ATTRIBUTED TO WILLIAM LEWIS RODERICK England, Circa 1850 Depicts an active whaling scene of several whaleboats in pursuit of five whales, one whaleboat under sail and others in various stages of capture. Some whales spouting red and/or the water is colored red around them. Port view of a whaling bark at the center of the horizon and a second ship approaching under sail in the distance. Scene framed within a thin line border. Panel pierced at top corners and threaded with rope for hanging. Includes a letter from Dr. Stuart M. Frank dated August 10, 2023, certifying the work as authentic 19th Century scrimshaw and attributing it to William Lewis Roderick. 3.75” x 6.75”. With contemporary stand. 8,000/12,000 Illustrated: Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis Port, Mass.:, 2021), p. 161, fig. 9.5. Reference: A similar polychrome scrimshaw panbone plaque, signed by Roderick, is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), p. 69, fig. 5.5.

According to Dr. Frank, William Lewis Roderick (1826-1874) served as ship’s physician on at least three South Seas whaling voyages aboard the bark Adventure from 1847 to 1856. Originally believed to be Welsh, current research indicates Roderick was English and worked in London as a physician/dentist. His meticulously detailed work is considered some of the finest of British scrimshaw.

144

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4622. INLAID SCRIMSHAW WHALE IVORY LOOPED SERPENT PIE CRIMPER America, Mid-19th Century Handle carved as a looped serpent with engraved scales, mouth and eyes, and contrasting inset pupils. Square shaft comprised of a wood cube and a chamfered whale ivory section, the wood cube with red sealing wax along the edges. Contrasting spacer, probably baleen, between shaft and shaped wheel mount. Wheel with openwork floriform hub and notched rim. Abalone geometric inlay at base of serpent, on both sections of the shaft and the wheel mount. Length 7.25”. With contemporary stand. 6,000/8,000

4622

4623. GRACEFUL WHALE IVORY BIRD’S-HEAD PIE CRIMPER America, 19th Century Carved from a single piece of ivory, what could only have been a massive whale’s tooth. Arched octagonal shaft with three pairs of bulbous rings, a four-tine fork at one end and a wheel mount carved as a bird’s head at the opposite end. Wheel held in place with a metal pin that serves as the bird’s eyes. Fluted wheel with seven spiraling spokes. Fine polish and patina. Length 9”. 4,000/6,000

4623

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145

The Collection of a Gentleman

4624. ELABORATELY CARVED WHALE IVORY PIE CRIMPER America, Mid-19th Century Handle formed as a series of interlacing teardrops, almost Celtic in design. Swinging shackle at one end. C-curved wheel mount. Openwork fluted wheel with a star-shaped hub. Warm age patina. Length 7.25”. With contemporary stand. 3,500/4,500 Provenance: Bennett Collection, Richard A. Bourne Company, Hyannis, Massachusetts, 1960s.

4624

4625. INLAID WHALE IVORY EAGLE’S-HEAD PIE CRIMPER America, Mid-19th Century Delicately carved and pierced terminal in the form of an eagle’s head with inlaid ebony eyes, incised and polychromed nostrils and an open beak exposing the tongue. Square shaft made from two sections of whale ivory and an ebony spacer. Upper face of shaft inlaid with a mother-of-pearl diamond, crescent and shield. Shaft’s other three faces inlaid with ebony rectangles, diamonds and small dots. Fluted wheel with openwork floriform hub. Length 6.5”. With contemporary stand. 3,000/5,000

4625

146

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4626. OUTSTANDING ARCHITECTURAL WHALEBONE PIE CRIMPER America, 19th Century Shaft carved from a single piece of whalebone, with two sets of four-column cages and sections of fancy stepped carvings. Flattened ball terminal with reeded carving around the circumference. Unique openwork wheel mount with a delicate leaf and tiered diamond design at the hub. Fluted wheel in an openwork ship’s wheel design. Length 8.25”. 5,000/7,000 Provenance: Meylert Armstrong, New Hope, Pennsylvania, inscribed in white ink “NH200”. E. Norman Flayderman. Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 148, reproduced in slightly larger-than-life size. Reference: A very similar example, part of the Frank and Annie Seabury Wood Collection donated to the New Bedford Whaling Museum in 1923, is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), p. 193, fig. 10.24. Undoubtedly by the same hand, there are slight variations in the terminal and wheel designs, but the shafts and wheel mounts are nearly identical.

4626

4627. RARE AND IMPORTANT SIX-WHEEL WALRUS IVORY PIE CRIMPER America, Last Quarter of the 19th Century Each side of the elongated teardrop-form handle with a pique design along the perimeter, an inlaid abalone diamond, and a circle of dark red sealing wax surrounding a five-pointed star. Wheels at each end with fluted rims and openwork heart designs. Remaining four wheels are perpendicular to the shaft and arranged in pairs. Wheel yokes with deep crosshatch carvings. Length 9.25”. With contemporary stand. 5,000/10,000 Three similar crimpers are illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 175, this one most closely resembling the one on the far left, which was part of the collection of Meylert Armstrong, New Hope, Pennsylvania. All are presumably by the same hand.

4627

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147

The Collection of a Gentleman

4628. FINE RUNNING UNICORN PIE CRIMPER America, Mid-19th Century A rare and highly desirable form. Constructed from two sections of whale ivory with a baleen spacer. Well-formed head with inset baleen eyes and applied baleen ears and horn. Fluted wheel with a star-shaped hub supported by the unicorn’s front legs. Elegantly formed rear legs and looping tail. Length 8”. 6,000/8,000 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, Marine Antiques, August 3-4, 1987, Lot #267A.

4628

148

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4629. INLAID WHALE IVORY DOUBLE-WHEEL PIE CRIMPER America, Third Quarter of the 19th Century Polyhedral terminal and eight-sided shaft with abalone and mother-of-pearl dot inlay throughout. Stepped carving between shaft and wheel mount. Oversize fluted wheels. Length 5”. With contemporary stand. 2,000/3,000

4630. UNFINISHED WHALE IVORY PIE CRIMPER WHEEL America, 19th Century Pierced hole at the center and fluted carvings on one side. Diameter 1.88”. 100/150 Illustrated: Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis Port, Mass.:, 2021), p. 26, fig. 2.12.

4629

4630

4631. WHALE IVORY PIE CRIMPER WITH PASTRY STAMP America, Mid-19th Century With oblong handle, fluted wheel and semi-circular serrated pastry stamp. Pastry stamp’s support is incised and shaped to resemble a whale’s tail. Rich in-use patina. Length 4.75”. With contemporary stand. 800/1,200

4631

4632. INTERESTING AND UNUSUAL WHALE IVORY PIE CRIMPER America, Mid-19th Century Two-part shaft conjoined with baleen and ivory spacers, the upper section with a rooster’s-comb and stepped carvings and the lower section with balustroid and stepped carvings. Wheel with fluted rim and five spiraling spokes spins entirely within the one-piece mount. Length 7”. 1,500/2,500

4632

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149

The Collection of a Gentleman

4633. SCRIMSHAW WHALE IVORY SERPENT PIE CRIMPER America, Mid-19th Century Shaft made in two parts, the upper portion carved as a looped serpent with a raised head, slightly open mouth and inset eyes. Joint comprised of baleen and whale ivory spacers. Lower portion of shaft is square, with stepped carvings and an engraved leafy floral stem on one face. Complex pierced wheel with a seven-pointed star hub, a ship’s-wheel outer ring, and a fluted rim. Length 7”. 3,000/5,000

4634. WHALE IVORY EAGLE’S HEAD PIE CRIMPER America, Mid-19th Century Bulbous square shaft with stepped carvings and a terminal carved as an eagle’s head grasping a swinging shackle. Fluted wheel. Length 7.25” not inclusive of shackle. With contemporary stand. 4,000/6,000

4633

Provenance: Meylert Armstrong, New Hope, Pennsylvania, inscribed in white ink “NH60”. E. Norman Flayderman. Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 182.

4634

150

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4635

4635. WHALE IVORY OPEN CAGE PIE CRIMPER America, Mid-19th Century Curved shaft with a bulbous fourcolumn cage and sections of stepped carvings. Polyhedral terminal with swinging shackle. Six-spoke openwork wheel with fluted rim. Length 6” including shackle. 2,500/3,500

4636

4636. FINE WHALE IVORY PIE CRIMPER WITH EAGLE’S HEAD America, 19th Century Constructed from four sections of whale ivory with three contrasting spacers, either baleen or dark wood. Two sections with large crosshatch carving. Upper section with stepped carvings and an eagle-shaped wheel mount. Eagle with engraved eyes and a sharply curved beak. Wheel with a pierced hex-style design and fluted rim. Length 7.75”. With contemporary stand. 4,000/6,000

4637

4637. WHALE IVORY OPPOSING HEARTS PIE CRIMPER Mid-19th Century Shaft and four-tine fork carved from a single piece of ivory. Shaft in an openwork design of two opposing hearts and a circle, the hearts subtly carved as snakes whose heads meet in the middle. Snakes with inset black eyes and nostrils. T-shaped mount supports a fluted wheel. Length 6.25”. With contemporary stand. 1,500/2,000

Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 182.

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151

The Collection of a Gentleman

4638. OUTSTANDING FIST CRUSHING A SPOTTED SERPENT CANE America, Circa 1850 An exceptional example of whaleman art. Whale ivory handle carved as a clenched right fist grasping a spotted serpent that is coiled around the hand, wrist, shirt cuff and throat. Serpent with inset eyes, possibly glass beads, subtly engraved features, and an open mouth, showing its red forked tongue. The hand’s fingers and fingernails are finely detailed, and a thin wire wraps around the forefinger, probably to support the serpent, but nicely mimicking a ring. Upper quarter of the tapered shaft is comprised of alternating sections of shell and baleen rings and whale ivory segments, terminating in two bulbous shell rings separated by a silver metal spacer, possibly a small coin. Remainder of shaft is whalebone, with sections of quilted diamond and spiral carvings. Retains original brass ferrule. Length 36”. 10,000/15,000

4638

152

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4639. FIST CLENCHING A SNAKE CANE America, Mid-19th Century Whale ivory handle carved as a right fist tightly grasping a serpent that is wrapped around the wrist. Serpent with inset eyes, an engraved mouth and engraved nostrils colored red. Throat comprised of baleen bands and whale ivory spacers. Tapered wood shaft with original horn ferrule. Length 35”. 2,500/3,500

4640. CANE WITH WALRUS IVORY COILED SNAKE HANDLE 19th Century Snake with a toothed open mouth, a visible tongue, a diamondshaped head and crosshatched scales sinuously coils around itself and the pistol grip-style handle. Metal collar. Tapered wood shaft with red stain. Metal ferrule. Length 36”. 2,500/3,500

4639

4640

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153

The Collection of a Gentleman

4641. * UNPOLISHED WHALE’S TOOTH Length 6”.* Per Federal Regulation, this item may be purchased only by a Massachusetts resident and will not be shipped out of state. 200/300

4641

4642. OUTSTANDING SCRIMSHAW LETTER OPENER America, 19th Century Handle built up from three layers of whale ivory topped with silvered metal and alternating shell and motherof pearl panels, the central shell panel with an inlaid mother-of-pearl diamond. Sides of handle topped with whale ivory panels. Shell, mother-of-pearl and ivory panels affixed with evenly spaced metal rivets, creating an attractive geometric pique design. Thin and nicely shaped whalebone blade with scrimshaw “X” near handle. Length 9”. With contemporary stand. 800/1,200

4642

4643. WHALE IVORY, EXOTIC WOOD AND COCONUT SHELL DIPPER America, 19th Century Heavy and dark exotic wood handle with turned whale ivory ends, one with a swinging loop for hanging and the other fitted into the round whale ivory bowl mount. Bowl mount is incised with concentric rings and affixed to the coconut shell bowl with four pins. Length including loop 18.5”. 800/1,000 4643

154

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4644. LARGE "BLONDE" TURTLE SHELL WITH SCRIMSHAW-STYLE ENGRAVING Shell probably from a South American river turtle, possibly taken in the 19th Century. Later engraving depicts images commemorating the British southern whale and seal fishery including the Port of Bristol coat of arms; the “Advance Australia” arms; port and starboard portraits of a ship; two whaling scenes, one with a stoved boat; a sperm whale; a seal; a coastal scene with a large ship’s anchor and a sailboat; and a scene of figures alongside a beached whale. Column of images at center depict a seahorse, a stingray, a shell, a tropical fish, a ship, a seagull and a crab. Lower scene, the largest of all, depicts “The Horses of Neptune”, a view of Neptune with his trident riding in a chariot drawn by four horses. Scrolls flank a compass rose at top and a globe at base. Crisp and highly detailed workmanship. No apparent signature. Length approx. 27”. Width approx. 21”. 2,000/3,000 Merchant sailors and whalemen would capture a stockpile of living turtles and tortoises during their voyages to keep aboard ship as a food source. The animals required very little food and water to keep alive, but when they were slaughtered they provided plentiful fresh meat for the crew. The shells were often polished to become the “blonde” color you see here and were sold upon arrival in port. Seen as exotic and rare, they became a showpiece in 18th and 19th Century Britain, either on display in a collector’s “cabinet of curiosity”

4644

or used as a firescreen.

4645. CASED MODEL OF THE WHALESHIP CHARLES W. MORGAN 20th Century Black hull with copper-colored bottom and white bands. Nicely outfitted, including five whaleboats hanging from davits, each filled with oars and other paraphernalia, and two whaleboats lashed to the trydown cover. Finely rigged. Displayed within a glass and wood case. Case height 25”. Length 32”. Width 13.75”. 2,500/3,500

During her 80-year whaling career, the Charles W. Morgan embarked on 37 voyages, lasting anywhere from nine months to five years. Often referred to simply as “The Morgan”, she was launched in 1841 in New Bedford, her home port. She typically sailed with a crew of about 35, and her career tally totaled 54,483 barrels of sperm and whale oil.

4645 see photos of all lotsconclusion and view condition reports at www.eldreds.com of the collection

155

4646. RARE AND POSSIBLY UNIQUE PAIR OF WALRUS IVORY AND WALNUT CRUTCHES Second Half of the 19th Century Elegantly shaped walrus ivory arm rests and grips. Uprights made from single pieces of split and bent walnut, with an ivory shim wedged into the split. Metal fasteners and ferrules. Ingeniously and stylishly crafted. Heights 45”. Include contemporary wooden stand. 500/1,000

4647. WHALEBONE FOUR-POSTER DOLL’S BED Mid-19th Century Baluster turned posts and legs with incised banding; slight variations of the turnings between all four. Whalebone slats. Brass or copper tack “bed screws”. Retains three wooden rails for a canopy. Height 17”. Length 16”. Width 10”. 1,000/1,500 A similar example was part of the Barbara Johnson Whaling Collection, Sotheby’s New York, December 11-12, 1981, Lot #481.

4646

4647

4648

156

4648. SCRIMSHAW WHALEBONE DITTY BOX 19th Century Wood top and bottom, the top mounted with a diamond-shaped plaque, possibly baleen or horn. Swag and tassel design on lip of lid and lower border of box. Sides of box with finely rendered images of a rooster, ship, flower, eagle and fylfot. Height 3.5”. Length 8”. Width 6.25”. 1,200/1,500

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4649. CANE WITH WALRUS IVORY LOOP HANDLE 19th Century Ribbed loop emanates from a subtly spiral-carved throat. Contrasting inlaid bands on throat probably exotic wood. Striated wood shaft. Length 36”. 300/500

4650. CARVED AND ENGRAVED WHALE IVORY AND WHALEBONE CANE Late 19th Century Whale ivory ball handle engraved with a floriform design. Throat carved in a geometric design. Slightly tapering whalebone shaft. Length 36.25”. 300/500

4649

4650

4651. CLENCHED FIST CANE Late 19th Century Marine ivory handle carved as a clenched left fist and shirt cuff inlaid with ebony buttons and banding. Striated wood shaft inlaid with diamond-shaped abalone escutcheons around holes for wrist cord (no cord present). Whalebone ferrule. Length 37”. 400/600

4652. WALRUS IVORY EAGLE’S HEAD CANE Late 19th Century Well-carved eagle with layers of feathers, penetrating eyes, a crooked beak and a slightly open mouth revealing its tongue. Unmarked collar possibly gold. Wooden shaft with metal ferrule. Length 33”. 350/500

4651

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4652

157

4653. PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH WITH CHERUBS Circa 1860 Both teeth with “ORE” at tip and “We Keat.g” above images of cherubs bordered by three frilly garlands. One tooth with “W. Mc. N” below the cherub, who is holding aloft a banner. The other cherub is holding a shield and sword and kneeling on a Liberty shield-shaped plinth. Lengths 5.5”. Include wooden bases. 2,000/3,000

4653, pair

4654. PAIR OF SCRIMSHAW WHALE’S TEETH ATTRIBUTED TO SAMUEL W. TENNEY 19th Century Typical of Tenney, who is also known as the “King of the Sea” artist, the scenes on the teeth wrap around the circumference and feature an oversize figure. One tooth has a statuesque classical female figure on a hillside, as well as a lighthouse and a jaunty figure sailing a gaff-rigged sloop. The other tooth has an ancient warrior holding a spear, as well as a three-masted ship flying an American flag. Lengths 4.75”. 6,000/8,000 Provenance: E. Norman Flayderman. Private Rhode Island Collection. Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 61.

4654, pair obverse and reverse 158

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4655. POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING "THE CITY OF SALONICA" 19th Century Obverse with a finely rendered image of the city’s waterfront surmounted by an American eagle with a Liberty shield at its breast and four American flags on poles in its talons. Panoramic view of the famed Greek city includes mountains and hillsides, houses, lighthouses and other buildings, and a harbor filled with several vessels, including two full-rigged ships in the foreground. Reverse depicts “Schooner Andr[...] 1851”, showing the schooner leaving a fortified port. Both sides titled at base. Fancy scalloped and sawtooth border encircles base. Deep rich patina. Length 5.75”. 3,000/5,000 Provenance: Meylert Armstrong, New Hope, Pennsylvania, marked in white ink in hollow of tooth “NH22004”. E. Norman Flayderman. Private Rhode Island Collection.

4655, obverse and reverse

Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 65. Salonica, also known as Thessaloniki, located in the northwest corner of the Aegean Sea, is now the secondlargest city in Greece. Throughout its history it has been an important port of southeastern Europe and a center of culture, commerce and transportation. Alongside Constantinople, it was a co-reigning city of the Byzantine Empire and at one time had a larger population than London.

4656. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH FIGURAL PORTRAITS 19th Century Obverse depicts a figure, possibly Awilda, the female pirate, holding aloft a sword. Figure wearing a red headdress and a deep blue, black and red outfit. Reverse depicts a young girl holding a slender branch. Sawtooth design around tip and base. Length 6.25”. 3,000/5,000 Provenance: Private Rhode Island Collection.

4656, obverse and reverse

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159

4657. WHALEBONE PIE CRIMPER AND FID 19th Century Nantucket-style pie crimper with sizable turned and incised handle and fluted wheel. Fid with turned knop and tapered shaft. Lengths 6.5” and 8”. 400/600

4658. POLYCHROME SCRIMSHAW FOLDING TOOTHPICK 19th Century Carved from whale ivory in the form of a four-blade pocketknife. Handle carved with various crosshatch patterns. One face with red and blue lines and circled dots surrounding a pierce-carved triple ellipse backed by silvered glass. Other face with red lines, green pointed ovals and an inlaid mother-of-pearl disk. Thin tapered blades with carved terminals. Metal pivots. Length 3”. 200/300

4659. HARDWOOD FID New Bedford, 19th Century Carved “NB Emma” around grip. Punchwork and ivory inlay on top. Length 16”. 500/800

4660. * ROLLING PIN INSPIRED BY SAILOR-MADE EXAMPLES 20th Century Wooden roller and handles with whalebone heart, diamond and other geometric inlay. Length 20”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 250/300

4661. RARE AND UNIQUE PIERCE-CARVED WHALEBONE BUSK Early to Mid-19th Century Elaborate star, floral, grape, bird and vine design above two crossed flags and a sailor with a flag at his back, giving him a slightly angelic appearance. Some engraved highlights. Once affixed to a backing with metal rivets; backing is gone but rivets remain. Length 13.25”. Includes acrylic stand. 800/1,200 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, August 5, 1980, Lot #62. Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, July 31, 1989, Lot #65.

4661

160

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4662

4662. WHALE IVORY AND BALEEN PRESENTATION WALKING STICK England, Dated 1854 Commemorates the clipper ship Champion of the Seas setting the world speed record December 10, 1854, when she traveled 465 nautical miles in 24 hours while under the command of Alexander Newlands. Whale ivory capstan-form handle divided into eight segments with baleen spacers, each segment with inlaid gold numbers “1”, “2”, “1”, “0”, “1”, “8”, “5” and “4”, forming the date she set the record (12/10/1854). Alternating segments with inlaid gold lettering “Captain”, “Alexander Newlands”, “Champion of the Seas” and “465 Nautical Miles”. Whale ivory and baleen ship’s wheel pattern at top of handle. Malacca shaft with gold collar, gold-rimmed holes for wrist cord (no cord present) and hardwood ferrule. Length 39.25”. 4,000/6,000 The clipper ship Champion of the Seas was built by Donald McKay for the Black Ball Line. She was launched April 19, 1854. Her 24-hour world speed record stood for nearly 130 years, until August 1984.

4663. CANE WITH WHALEBONE SHAFT 19th Century Silver metal faceted knob handle, the top engraved with a leaf and an illegible banner. Missing ferrule. Length 32.5”. 500/700

4664. "NAUGHTY NELLIE" CANE 19th Century Whale ivory L-shaped handle carved as a woman’s leg and boot, with metal fasteners at the thigh. Marine ivory throat with baleen and metal banding. Whalebone shaft. Length 32.75”. 1,500/2,000

4664

4663

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161

4665. POLYCHROME SCRIMSHAW WHALE’S TOOTH IN THE MANNER OF THE STAR ENGRAVER 19th Century Obverse depicts a snake coiled around a tree. Reverse depicts a circular medallion containing a five-pointed star within a five-pointed star, the stars with shaded blades and open pentagonal centers, a characteristic often seen on scrimshaw by the Star Engraver. Rope-style border wraps around circumference of base. Warm patina. Length 5.5”. 500/800

4665, obverse and reverse

4666. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH CRUCIFIXION SCENE 19th Century Obverse depicts Jesus on the cross, two mourners, an angel holding a chalice, and a mounted Roman soldier holding a lance. Length 4.5”. 300/500 Provenance: E. Norman Flayderman. Private Rhode Island Collection.

4666

4667. WHALE’S TOOTH TABUA 19th Century Holes drilled at both ends. Obverse with line of nondescript punch work. Reverse with two lines of lettering. Length 6.25”. 700/1,000

4667

162

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4668, obverse and reverse

4668. POLYCHROME SCRIMSHAW WHALE’S TOOTH 19th Century Tooth wrapped in an assortment of images and scenes including a portrait of a woman in a red dress and hair covering; a hilly coastal landscape with a three-masted ship in a harbor, a stately home and a flowering dogwood tree carved with a heart; a ribband with a musical clef, staff, notes and “Take Joy Home”; a floral medallion; a treasure chest; a floral cluster; a pair of bells; a book open to blank pages; and a tree-filled medallion titled “The Elms”. Sun mask design at tip. Length 7.75”. 4,000/6,000 Provenance: Private Rhode Island Collection.

4669. POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE EAGLE PORTRAITIST Mid-19th Century Obverse with a framed three-quarter-length portrait “Only Daughter”, a curly-haired young woman holding flowers in her apron. Titled in script lettering below. Reverse depicts a spread-wing eagle with an “E. Pluribus Unum” banner in its beak, a red and white Liberty shield at its breast, and olive branches and arrows in its talons. Length 6.75”. 3,000/5,000

4669, obverse and reverse

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163

4670, obverse, edge and reverse

4670. POLYCHROME SCRIMSHAW WHALE’S TOOTH BY THE BRITANNIA ENGRAVER Circa 1830 Titled on edge “Daniel 4th of London.”. Obverse depicts a busy and active whaling scene with a British whaleship flying a red agent’s flag, four whaleboats, and six whales in various stages of capture, some spouting red and one waifed. Reverse depicts a detailed scene of a whaleship cutting in, with the whale carcass pulled alongside the starboard hull and a blanket piece being hauled aboard. On both sides the ship is flying a similarly large British ensign off the stern. Berry vine borders encircle tip and base. Exhibits deeply carved intaglio-style whaleship hulls and whales, characteristic of the Britannia Engraver. Length 5”. 6,000/10,000

The anonymous Britannia Engraver is considered one of the earliest practitioners of scrimshaw. The Daniel IV was active in the South Seas Whale Fishery and was destroyed by fire near Tahiti on a return voyage.

Provenance: Inherited in the 1970s from the consignor’s great-grandmother, a major antique collector in the United Kingdom.

164

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4671, obverse, edge and reverse

4671. EXCEPTIONAL SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENE Mid-19th Century Obverse depicts two whaleships and five whaleboats in pursuit of a large pod of whales. The scene wraps around the edge to the reverse, which depicts two additional whaleships. Wonderfully detailed ships, each flying an American flag, house flag or pennants. Ship in the foreground of the obverse with deeply stippled reef points, a lookout in the crow’s nest and a whaleboat hanging from davits. Whaleboats in the water are engaged in various stages of capture, from approaching whales under sail to towing the carcass back to ship. Sawtooth border wraps nearly around the circumference of the tip. Crosshatch, sawtooth and ribband design along edge. Length 7.25”. 15,000/25,000

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165

4672. SIZABLE WHALE IVORY SEAL-FORM PIE CRIMPER WITH FORK AND KNIFE America, Mid-19th Century Y-shaped handle, the upper half formed as a seal and the lower half supporting the wheel. Seal, with inlaid abalone eyes, grips the knife and three-tine fork in its mouth, which are fastened with brass pins that simulate the seal’s nostrils. Baleen spacers between lower half of handle and wheel yoke. Pierced wheel with spiraling spokes and a fancy ruffled rim. Hanging loop at end of handle swings slightly. Warm patina. Includes contemporary stand. Length 8.5”. Height on stand 4.5”. 3,000/5,000 Provenance: The Kobacker Scrimshaw Collection, Eldred’s, The Marine Sale, July 19, 2018, Lot #61. Illustrated: Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis Port, Mass.:, 2021), p. 289, fig. 15.21. Reference: Two similar crimpers, possibly by the same hand, are illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), p. 207, fig. 10.50.

4672

166

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4673, pair

4673. RARE PAIR OF WHALE IVORY DOUBLE-WHEEL PIE CRIMPERS Mid-19th Century Architectural shafts with polyhedral terminals, bulbous columns and assorted stepped carvings. Differing pierced wheels, one set slightly smaller and with star-shaped hubs, and the other with spiraling spokes, but both with serrated rims. Mellow age patina. The only pair of crimpers we have examined. Include contemporary stands. Lengths approx. 7”. Heights on stands approx. 8.75”. 3,000/5,000

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167

4674. WALRUS IVORY PIE CRIMPER America, Third Quarter of the 19th Century Handle comprised of a circular segment incised with concentric grooves and an elliptical segment containing two opposing hearts. Simple arms support a two-tine fork at one end and a fluted wheel at the opposite end. Length 9.75”. 2,500/3,500

4675. TWO "NANTUCKET" PIE CRIMPERS 19th Century One with an elaborately turned and incised whalebone handle. Smaller with a simple turned handle, possibly wood, with three polychromed incised bands. Both with fluted wheels and rich patina. Lengths 5” and 6.5”. 200/300

4676. SCRIMSHAW WHALEBONE BUSK 19th Century Images on both sides. Obverse depicts the Man in the Moon and a star; a heart formed with hex designs; “Remember Me” in a foliate wreath; a geometric design; and a sun face. Images separated by differing decorative borders. Reverse with seven hex designs and thin line borders. Canted corners. Length 10.5”. 300/500

4674

168

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4677

4677. LARGE WHALEBONE BIRDHOUSE 19th Century Design probably based on a piece of classical architecture. Octagonal cupola with hipped roof. Octagonal base with protruding sections fronted with two sets of columns alternating with sections enclosed by whalebone dowels and crosspieces. Mostly wood construction with whalebone tile veneer, some tiles incised with X or star patterns or carved with geometric patterns. Several pieces unglued but still present. Height 24”. Width 17”. 2,000/3,000

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169

4678. * NARHWAL TUSK WALKING STICK Silver metal cap with a guilloché pattern, stamped in cartouche at center of top “Thos. Chodwick” but otherwise unmarked. Tapering shaft with silvercapped eyelets for wrist cord and brass ferrule. Tusk with warm, mellow patina. Length 34.5”.* Per Federal Regulation, this item may be purchased only by a Massachusetts resident and will not be shipped out of state. 5,000/10,000

4679 4678

4679. WHALE IVORY AND WHALEBONE CANE WITH TURK’S HEAD HANDLE America, Mid-19th Century Highly polished whale ivory grip carved as a monkey’s fist knot, the stubs of the knot’s ropes visible on the underside. Throat with wormed rope carving. Thin baleen spacer. Tapered whalebone shaft with segments of crosshatch and wormed rope carvings separated by Turk’s-heads. Length 33.5”. 12,000/15,000

170

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4680. WHALE IVORY AND WHALEBONE CANE America, Mid-19th Century Whale ivory handle carved as a monkey’s fist knot atop a wormed rope throat. Contrasting spacer, probably baleen or shell. Tapered whalebone shaft with segments of elaborate ring, quilted diamond, fluted and wormed rope carvings. Length 33.75”. 8,000/12,000

4681. CARVED WHALE IVORY, WHALEBONE AND MAHOGANY CANE America, Mid-19th Century Whale ivory knob handle with an inlaid mahogany disc at the top and incised rings at base. Mahogany collar with a bulbous medial ring separating the cylindrical upper half and the octagonal lower half. Tapered whalebone shaft with a short octagonal upper section, a large rope-carved central section and a cylindrical lower section, each section separated by a Turk’shead carving. Upper portion with an inlaid wooden triangle on each face of the octagon. Retains original brass ferrule. Length 34.75”. 2,000/2,500

4682. WHALE IVORY AND WHALEBONE CANE WITH ROPE-CARVED SHAFT America, Mid-19th Century Beautifully polished whale ivory handle carved as a monkey’s fist knot within a flared ring-turned cup. Dark wood inlay at top of monkey’s fist. Island wood throat separated from handle and shaft with whale ivory and baleen spacers. Tapered whalebone shaft, the upper two-thirds with wormed rope carving. Length 35.75”. 4,000/6,000

4683. FIST CLENCHING A SPYGLASS CANE 19th Century Marine ivory handle, probably walrus ivory, carved as a clenched right fist clutching a three-draw scope, the scope with finely engraved lines and an inlaid mother-of-pearl lens. Shell band at wrist. Very thin collar, also probably shell. Dark wood shaft with whalebone ferrule. A rare and well-executed variation of the clenched fist motif. Length 36.5”. 1,200/1,800

4680

4682 4681

4683

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171

4684. RARE COPY OF THE TELEGRAPH NANTUCKET DAILY NEWSPAPER Vol. 1, No. 1 for “Monday Morning, Aug. 7, 1843”. Believed to be the first issue of The Telegraph ever published and the only known copy of this issue to still exist. First page with “Whaling in the Pacific. - Encounter with a White Whale” by William Comstock, taken without credit from his 1836 book A Voyage to the Pacific: Descriptive of the Customs, Usages, and Sufferings on Board of Nantucket Whale-ships (Boston: Oliver L. Perkins), p. 44-53. Other pages with an introductory editorial, blurbs and advertisements, some ads with small images. 16.5” x 11.5”. Unframed. 500/700 William Comstock was the brother of Globe mutineer Samuel B. Comstock. Other copies of The Telegraph are at the American Antiquarian Society and The Library of Congress.

4684

4685

4685. ROGER MITCHELL CARVED SPERM WHALE Massachusetts, Contemporary Signed in ink on back “R. Mitchell”. Length 39”. 500/800

172

4686. ROGER MITCHELL CARVED HUMPBACK WHALE Massachusetts, Contemporary With its tail raised. Signed on back “R. Mitchell”. Length 23”. 300/500

4687. ROGER MITCHELL CARVED HUMPBACK WHALE Massachusetts, Contemporary Signed on back “R. Mitchell”. Length 34.5”. 500/700

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4688

4688. FIVE EARLY WHALING LOG BOOKS 1815-1829 Bound together in a single volume and covering five voyages under the command of Captain John Bunker (1784-1854). Unpaginated but includes approx. 353 pages plus accounts. Sailcloth cover marked on front “JB 1815”. Includes: 1) “A Journal of A Voyage from Fairhaven towards the Coast of Patagonia On Board the ship Herald which commenced on Tuesday July 18th 1815”. Approx. 126 pages. Voyage lasted until June 22, 1816 and yielded 1,400 barrels of whale oil. This is one of the earliest whaling logs to appear on the market in at least 40 years, and only about 115 manuscripts earlier than 1815 exist in public collections. 2) “A Journal of the Voyage from New Bedford to the Cape of Good Hope on Board of the Ship Herald which Commenced on Wednesday January the 2nd 1817”. Approx. 36 pages. Voyage lasted until May 26, 1818 and yielded 130 barrels of sperm oil and 700 whale oil. 3) “A Journal of Voyage from Nantucket towards the Pacific around Cape Horn on Board Ship John Jay which commenced on Saturday August 29 1818”. Approx. 58 pages. Voyage lasted until May of 1821 and yielded 369 barrels of sperm oil and 100 whale oil.

4) Voyage from New London “to the Pacific Ocean on Board the Connecticut which commenced Oct. 17th 1822” (text in upper margin illegible). Approx. 49 pages. Contains handdrawn whale stamps. Voyage lasted until April 30, 1825 and yielded 2,154 barrels of sperm oil. 5) “A Journal of A Voyage from Fairhaven to the Pacific Ocean A Whaling on Board the Ship Origon which commenced on Monday December 12th 1825”. Approx. 84+ pages. Voyage lasted until May 31, 1829 and yielded 1,900 barrels of sperm oil. The ship is listed incorrectly in Starbuck as “Oregon”, not Origon. Of note, scrimshander Edward M. Burdett is known to have sailed aboard the Origon, and although a crew list does not exist, a Burdett scrimshaw whale’s tooth with an inscription indicating he was aboard the ship Origon of Fairhaven is dated 1827. Given this voyage lasted from 1825 to 1829, it can be conjectured Burdett was aboard during the trip covered in this log. Book approx. 13.5” x 8.5”. 8,000/12,000

John Bunker was born on Nantucket and made six whaling voyages, five of which are covered in these logs. His last voyage was aboard the Pindus, from 1830 to 1821, which sailed from Fairhaven to the Pacific. He died in Fairhaven.

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173

4689. PHOTOGRAPHS, LETTERS AND BOOK PERTAINING TO MID-20TH CENTURY WHALING Mid-1950s Provides a fascinating first-hand account of commercial whaling and factory whaleships in the South Atlantic during the 1950s. Includes a copy of Of Whales and Men by R.B. Robertson (N.Y.: Alfred A. Knopf, 1954), two letters from whaleman Thomas Gordon, and approx. 50 annotated photographs of factory whaling, crew members and other views of the South Atlantic. Gordon served aboard the Southern Harvester, the last British vessel involved in commercial whaling, and was stationed at Leith Harbor, the largest of the whaling stations of South Georgia, an island in the South Atlantic off Argentina. Of Whales and Men describes author R.B. Robertson’s eightmonth term as the attending head physician on a Norwegian whaleship during an expedition to Antarctica. Gordon encountered Robertson at some point and describes him in an October 9, 1955 letter as “one of the biggest drunkards aboard [...] he really goes from the sublime to the ridiculous and to any man that’s been to the whaling, most of the book would either make him laugh or swear!!”. Other letter, dated September 8, 1956, is a chatty description of day-to-day life. Both letters addressed to Alice Farrell, believed to be Gordon’s sister, from Leith Harbor. The 1955 letter also thanks her for sending him a copy of Of Whales and Men and says he will get crew members to sign their pictures. The copy of the book in this lot, which is annotated and contains several signatures, as well as most of the accompanying photographs, is probably the result of this pledge. Book 8.5” x 6”. 400/600

4690. TWO IMPORTANT VOLUMES ON SCRIMSHAW 1) Ingenious Contrivances, Curiously Carved: Scrimshaw in the New Bedford Whaling Museum by Stuart M. Frank. Boston: David R. Godine in association with the New Bedford Whaling Museum, 2012. First edition. Believed to be now out of print. Comprehensive survey of the world’s most extensive collection of scrimshaw and whaling artifacts. Copiously illustrated. Blue cloth with gilt. Dust jacket. 11.25” x 9.25”. 2) A Treasury of American Scrimshaw: a Collection of the Useful and Decorative by Michael McManus. New York: Penguin Studio, 1997. Covers both decorative and utilitarian whaleman-made items. Color illustrations. Blue cloth with gilt. Dust jacket. 11” x 9”. 200/400

4691. AMERICAN SCHOOL Late 20th Century Primitive whaling scene. Signed lower left “Mike Butler”. Oil on breadboard, 32.5” x 22.5”. Framed 27.5” x 37.25”. 1,000/1,500

4691

174

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4692. LARGE WHALEBONE SEAM RUBBER 19th Century With nicely shaped pentahedral terminal, beveled handle and wide blade. Length 6”. Blade width 2.75”. 1,000/1,500

4692

Provenance: Rafael Osona, Nantucket, Massachusetts.

4693. WHALEBONE DOUBLE SHEAVE BLOCK America, Mid-19th Century With rare wrought iron strapping and hook. Length extended 6.5”. 600/900

4693

4694

4694. WHALEMAN-MADE SAW Second Half of the 19th Century Whalebone frame with steel blade and twisted wire tension cord. 9.5” x 14”. 500/1,000

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175

4695

4695. PERCUSSION HARPOON GUN Probably England, 19th Century With steel barrel and wood stock. Unmarked. Length 45”. 1,000/2,000

4696. WROUGHT STEEL DOUBLE FLUE HARPOON England, 19th Century Length 47.25”. 300/500

4697. THREE WHALING IMPLEMENTS 19th/Early 20th Century Two harpoon bombs and a cast steel harpoon end for a bomb gun. Double spring-loaded barbs. Lengths from 14.25” to 17”. 250/350

4698. FOUR BLUBBER SPADES 19th Century Two marked. Lengths from 15.5” to 25”.

176

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400/600

4699. SCRIMSHAW WHALE’S TOOTH WITH SHIP AND FIGURAL PORTRAITS Late 19th Century Obverse depicts a stern view of a British naval vessel flying a Union Jack. Reverse depicts a full-length portrait of a man in a top hat, possibly a captain, walking with a cane or umbrella. Foliate sprig wraps from edge of tooth to reverse. Sawtooth border around circumference of base. Length 5”. 2,500/3,500

4700, obverse and reverse

4699, obverse and reverse

4700. SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENES 19th Century Obverse depicts a whaleboat and a waifed whale, with the bow of the whaleboat visible at far left. Reverse depicts a whaleboat fast to a whale. Length 5.25”. 800/1,200

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4701. SCRIMSHAW WHALE’S TOOTH DEPICTING AN AMERICAN PRIVATEER 19th Century Starboard view of the vessel flying a large American flag and with cannons visible in the gunports. Length 5.25”. 1,500/2,500

4701

4702. SCRIMSHAW WHALE’S TOOTH WITH MARITIME AND FIGURAL SCENES 19th Century Obverse depicts two ships at sea, the near ship flying a large American flag. Distant ship’s flag also believed to be American. Reverse depicts a jolly man in patched clothing, holding a walking stick above his head and a satchel at his side. Smoke billows from the chimney of a distant thatch-roofed cottage. Vines of shamrocks along edges. Celtic-style scroll and leaf border encircles tooth above scenes. Length 5”. 400/600

4702, obverse and reverse

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4703. SCRIMSHAW WHALE’S TOOTH WITH "TENERIFFE" ISLAND LANDSCAPE 19th Century Obverse depicts three ships off the hilly coast of “Teneriffe_”, where smoke billows from a looming volcano, probably Mount Teide. Scene framed by a fine line border on three sides and is identified in serifed lettering below. Reverse depicts a partial image of a chaotic battle or shipwreck scene. Workmanship similar to that of the Naval Monument Engraver, and possibly by the same hand as a tooth sold at Eldred’s, The Winter Marine Sale, February 28, 2023, Lot #4255. Length 6.5”. 1,500/2,500

Teneriffe, now known as Tenerife, is the largest of the Canary Islands located off the coast of Morocco. Although sperm whales are known to pass through the waters around Tenerife, this tooth is probably referencing the 1797 British invasion of the island when it was under Spanish rule, during which Admiral Horatio Nelson was seriously wounded, necessitating the amputation of most of his right arm.

4703

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4704, obverse and reverse

4704. LARGE SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENES Mid-19th Century Obverse depicts a finely rendered and shaded portrait of a three-masted vessel, with “Ship Boy” in elegant script lettering above. Reverse depicts a close-up view of three whaleboats in pursuit of two visible whales, charmingly detailed with the whalemen’s faces, oars and implements. Some of the workmanship is similar to that seen on pieces by the Lady Wellington Engraver. Warm patina. Length 6.5”. 18,000/25,000

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4705. RARE AND POSSIBLY UNIQUE WHALEBONE BALANCE SCALE America, Circa 1850 Fancily carved whalebone crossbeam mortised into turned whalebone dowels that suspend copper pans from three cords. Handmade iron hook. Displayed on a contemporary base. Includes set of weights. Height on stand 17.75”. Width of beam 15.5”. Width of stand 19”. 4,000/6,000 Provenance: The Edwin F. Eldredge Whaling Museum, Chatham, Massachusetts. Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #634. The catalog states “This scale was found in California and was said to have been made by a whaler who deserted to join the gold rush of 1848. The string fittings have been restored.”. The Kobacker Scrimshaw Collection. Eldred’s,The Marine Sale, July 19, 2018, Lot #31. Illustrated: Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis Port, Mass.:, 2021), p. 233, fig. 13.31.

4705

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4706. SEVEN WHALEBONE, MARINE IVORY AND WOOD CARPENTER’S TOOLS 19th Century Includes two spokeshaves and five mortise gauges, one with a carved wooden heart-shaped screw, one with a turned whale ivory screw with red incised banding, and one with an incised stock. Lengths from 7” to 13.5”. 400/600

4707. PAIR OF SCRIMSHAW WHALE’S TEETH ON AN ELABORATE WHALEBONE STAND Mid-19th Century Both teeth with very fine bust portraits of gentlemen, one in uniform identified in script lettering as “Napoleon” and the other in jacket and stock identified in similar script lettering as “W.C. [...]” (chips obscure full name). Both portraits with delicate floral and foliate surrounds. Two-tier stand with turned whale ivory spikes at the corners and a turned walrus ivory central column with ebony spacers. Teeth set on oblong whalebone arms extending from the stand. Total height 8.5”. Width 10”. Teeth lengths approx. 6.5”. 5,000/10,000 Provenance: James Abbe. The Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #489. Rafael Osona Auctions, The Barbara Johnson Collection of Scrimshaw and Whaling Artifacts, August 14, 1993, Lot #92. Private Collection. Eldred’s, The Marine Sale, July 25, 2019, Lot #11. Private Collection. Illustrated: Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis Port, Mass.:, 2021), p. 264, plate 14.48.

4707

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4708. RICHARD VAN WICKLEN "WICK" AHRENS Vermont, 1944-2016 Carved and painted wooden sperm whale. Signed and dated on back “Wick Ahrens 94”. Height 6”. Length 17”. 400/600

4709. RICHARD VAN WICKLEN "WICK" AHRENS Vermont, 1944-2016 Carved and painted wooden whale. Signed and dated on back “Ahrens 98”. Height 8”. Length 25”. 500/800

4710. POLYCHROME SCRIMSHAW WHALE IVORY AND WHALEBONE SWIFT 19th Century Block-style clamp carved from a whale’s tooth and polychrome engraved with a half-length portrait of a woman holding a branch, a songbird perched on a branch, and a bust portrait of a woman. Contrasting pique along perimeters. Hollow of tooth filled with a metal plug engraved with a “CM” monogram. Turned whale ivory finial, adjustment collars and screws with red and bluegreen incised banding. Whalebone shaft and shaped cage stays. Some damages. Length 15.5”. 3,000/5,000

4710

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4711. POLYCHROME WHALEBONE AND WHALE IVORY SWIFT Mid-19th Century Turned whale ivory turnip finial, adjustment collar, screws and barrel-style clamp with incised lines, most colored red or blue-green. Top half of the finial can be unscrewed, allowing the lower half to function as a yarn cup. Whalebone shaft and cage. Length 24”. Includes contemporary wooden stand. 1,500/2,000

4711

4712. WHALEBONE AND WHALE IVORY SWIFT 19th Century Finial, clamp, collars and screw inlaid with small silver medallions, each engraved with a star. Silver plaques on clamp, one dated 1831 and one with monogram. Length 22.5”. 2,500/3,500

4712

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4713

4713. "NAUGHTY NELLIE" CANE 19th Century Ivory handle carved in the form of a woman’s bare leg, frilly garter and heeled boot. Boot with black glass bead “buttons”. Silver collar with engraved inscription “Presented to E.H. Davies By His Son Harry July 11th 1898” and hallmarks. Wood shaft with metal ferrule. Length 36”. 400/600

4714

4714. "NAUGHTY NELLIE" CANE 19th Century Ivory handle carved in the form of a woman’s bare leg in a heeled boot. Ruffled garter just above the knee detailed with eyelets and a small bow. Boot with glass bead “buttons”. Silver metal collar. Malacca shaft with metal ferrule. Length 36”. 350/500

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4715. WALRUS TUSK WITH THREE VIGNETTES 19th Century One vignette depicts a vessel under sail flying a pennant and red flag, framed within a rope border. Other vignettes depict Napoleon in a landscape and a fireman in front of a burning building. Length 22”. 400/700

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4716. ESKIMO OOSIK Early 20th Century Polished baculum with walrus ivory end caps, one carved, engraved and polychromed as the face of a walrus and the other as the heads of two growling polar bears. Baleen spacers between bone and end caps. Includes a contemporary dark wood base with applied carving of an Eskimo on a sled drawn by two dogs. Nice age patina. Height on stand 6.5”. Oosik length 22.5”. 1,500/2,500 Provenance: The Estate of Errol Rudman of Rudman Capital.

4717. WALRUS TUSK CRIBBAGE BOARD 19th/Early 20th Century Set on three ball feet. Includes one peg. Length 19.5”. 500/700

4718. * LARGE POLISHED WHALE’S TOOTH 20th Century or Earlier Length 8”.* Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 400/600

The oosik is the baculum, or penis bone, of the walrus. They have been long valued as totemic by the Eskimo people.

4716

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4719. SCRIMSHAW WHALE’S TOOTH WITH AMERICANA MOTIFS 19th Century Tooth wrapped in an assortment of images including a spread-wing eagle with American and British flags, an arrow in its beak, a Liberty shield at its breast and arrows and scrolls in its talons; a fouled anchor; a balance scale/scales of justice; a portrait of an American ship; potted flowers, a doll; a contemplative woman holding a fan; a flowering plant; and a smaller spread-wing eagle with an American flag. Some elements executed in pinpoint. Length 5”. 800/1,200

4720. SCRIMSHAW WHALE’S TOOTH DEPICTING A YOUNG GIRL 19th Century Finely wrought full-length portrait of a girl with a hoop and rolling stick. Flowering plant at her feet with some traces of polychroming. Length 5.75”. 500/800

4721. PAIR OF SCRIMSHAW WHALE’S TEETH WITH POLYCHROME PINPOINT PORTRAITS Mid-19th Century One tooth depicts a woman on one side and a girl on the other. Other tooth depicts a boy on one side and a woman on the other. All fulllength portraits and all the but the boy with red highlights. Lengths 6.5”. 500/1,000

4719, obverse and reverse

4722. SCRIMSHAW WHALE’S TOOTH WITH FIGURAL SCENE 19th Century Depicts a man and woman in dramatic poses, possibly stage actors. Leafy tree below. Length 6.5”. 400/600

4723. SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF A WOMAN 19th Century Full-length portrait of a woman in a bonnet and elaborately patterned skirt holding a letter and a parasol. Some elements executed in pinpoint. Length 6.25”. 500/700

4724. SCRIMSHAW WHALE’S TOOTH WITH MARITIME MOTIFS 19th Century Obverse depicts a full-length profile view of a man standing beside a fouled anchor. Reverse depicts Neptune with his trident riding in a chariot drawn by seahorses, and a portrait of an oncoming full-rigged ship. Both sides with swagged drapery framing images. Length 6.5”. 300/500

4725. * POLYCHROME ENGRAVED WHALE’S TOOTH ATTRIBUTED TO MANUEL CUNHA 20th Century Depicts “Napoleon and the Duchess of Guiche”, as well as a ladyin-waiting, seated at a table. Titled below. Length 7.5”.* Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 800/1,200

4720

4725 see photos of all lots and view condition reports at www.eldreds.com

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GLOSSARY, IMPORTANT NOTICES AND ADVICE TO BIDDERS Authorship of Paintings and Works of Art

Advice to Bidders

A. LEMUEL D. ELDRED

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.

Massachusetts, 1848-1921 In our opinion, this is a work by the artist.

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

D. SCHOOL OF LEMUEL D. ELDRED

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

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

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

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

Condition Reports It is the bidder’s responsibility to obtain a condition report. Condition reports can be viewed at www.eldreds.com or by contacting us. Condition reports will be provided to the best of our ability, and the reports are statements of opinion only. Prospective buyers should satisfy themselves by personal inspection as to the condition of each lot. The absence of a condition report does not imply an object is free of defects or restoration. If provided, a Condition Report may only detail flaws or restorations, and may not take into account wear, fading or other issues consistent with an object’s age. All property is sold subject to Item 1 of our Conditions of Sale, which provides all property is sold as is. The jewelry has been analyzed and evaluated in accordance with standards using “state of the art” methods and precision equipment. Unless otherwise stated, all colored stones listed have probably been subjected to various treatments to improve their appearance. Treatments are considered usual and customary practices when properly disclosed and when done without intent to defraud.

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3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff. 4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form. 5. Online bidding is available at www.eldreds.com, with a 26% buyer’s premium. Prospective bidders must register and be approved prior to placing bids or bidding live online. 6. 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.

Terms A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 26 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. 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.

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 limited shipping services directly from our gallery; our staff can determine if your items qualify for in-house shipping. Please note, shipments from our gallery may take 4-6 weeks from receipt of payment, and you will be charged for carrier fees, packing and handling, and required insurance. If we are unable to ship your items we will provide you a list of alternative shipping agents.

Bidding Increments $0-$99: $10 I $100-$499: $25 I $500-$999: $50 $1,000-$2,999: $100 I $3,000-$4,999: $250 $5,000-$9,999: $500 I $10,000-$29,999: $1,000 $30,000-$49,999: $2,500 I $50,000-$99,999: $5,000 $100,000 and above: $10,0000 I Above $300,000: auctioneer’s discretion

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

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

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BIDDER PRE-REGISTRATION Thank you for your interest in bidding in our auction. If you have not been a successful bidder with Eldred’s in the past, please help us establish your bidding credentials by completing this form and selecting one of the options that follow.

CLIENT INFORMATION Name:

Phone:

Company:

Alternate Phone:

Address:

Email:

City:

All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate or a copy thereof when registering. Failure to do so will subject the bidder to paying sales tax on purchases.

MA Resale #: State:

ZIP:

FINANCIAL REFERENCES Please select one of the following options: 1. DEPOSIT Submit a deposit representing 10% of the total order, either by mailing a check to the address below or providing a credit card number. We accept Visa, MasterCard, American Express and Discover with domestic billing addresses in amounts up to $5,000.00. 2. LETTER OF CREDIT FROM YOUR BANK Letter must be on bank letterhead. 3. AUCTION HOUSE REFERENCE Complete the information requested below. Advance notice is required for this option as it is often difficult to reach the appropriate contact. You may have to authorize release of information. Please be aware Christie’s and Sotheby’s will not divulge any credit information. Auction House:

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

Auction House:

Auction House Phone:

Contact:

Account #:

SIGNATURE (required): Date: Bids will not be accepted without your signature on this form. By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc.

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ABSENTEE/TELEPHONE BID FORM

2. Carefully review your bid form for accuracy of lot numbers, phone numbers, shipping information, etc. Although we attempt to confirm descriptions against lot number, bids are posted by lot number.

6. At the conclusion of the sale you will be notified if you were the successful bidder. All invoices must be paid in full within ten (10) days of the close of the auction. We accept checks, cash, money orders, wire transfers and major credit cards for payment. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. We reserve the right to hold goods until payment has cleared.

3. Please submit your bids in a timely manner, to avoid the chance of posting error. We request all bids be received by 3 p.m. the day before the auction. In the event of identical Absentee bids, the earliest received takes precedence.

7. All purchases are subject to state and local sales tax unless you possess a Massachusetts or out-of-state sales tax exemption or resale number and register that number with us.

4. A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount will be returned promptly to you.

The Robert C. Eldred Co., Inc. offers this service as a convenience to its clients and will not be held responsible for errors or failure to execute bids.

1. Clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow our standard bidding increments.

5. A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 26% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000.

Are you a new bidder with Eldred’s?

Yes:

No:

If so, please also complete our Buyer Pre-Registration form.

SALE TITLE: SALE DATE:

NAME:

Lot #

Item Description

Maximum Bid or “phone” for Telephone Bid

ADDRESS:

check if change in address

PHONE: ALTERNATE PHONE: EMAIL: Signature (required): By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc. All bids are kept in strict confidence.

Date: SHIPPING Do you have a tax resale #? Yes: Will pick up:

No:

Ship to address above:

Or ship to:

26% buyer’s premium will be added to the hammer price. See Item 5 above.

Total 10% Deposit

Have you examined the items listed above? Yes:

No:

All property must be removed from our facility within 28 days of the close of the auction or be subject to a $5 per item/per day storage fee.

PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 see photos of all lots and view condition at www.eldreds.com www.eldreds.com info@eldreds.com Phone:reports 508-385-3116 Fax: 508-385-7201

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I L L U S T R AT I O N L O T S Front Cover 4628

Rear Cover

4043, 4056, 4683 I 4617, 4624, 4135 I 4612, 4531, 4512

Pages 3-6

4527 I 4633 I 4082 I 4036

Page 80 4621

This Page 4016

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ADDENDA As of 1/30/24 at 9:30 a.m.

4574. WITHDRAWN: Edward S. Curtis “Vanishing Race”.

4576. WITHDRAWN: Edward S. Curtis “The Fisherman”. 4580. WITHDRAWN: Edward S. Curtis “Chief of the Desert”. 4581. WITHDRAWN: Edward S. Curtis “Canyon de Chelly”. 4679. Estimate revised to $4,000/6,000. 4680. Estimate revised to $3,000/4,000.

Please note: Additional corrections and amendments to lots in this sale could be made in the time between the distribution of this catalog and the auction date. Please review lot descriptions on our website or call our offices to confirm current information.

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