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THE MARINE SALE AUGUST 6-7, 2026

THE MARINE SALE

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T H E M A RI NE S A LE AUGUST 6-7, 2026

Previews:

August 5 from 10 a.m. to 4:30 p.m, the sale days beginning at 8:45 a.m., and by appointment

Auction location:

Cape Cod headquarters I 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com

View all lots at www.eldreds.com

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I M P O R TA N T N O T I C E S Bidding Options In-person, online, phone and absentee bidding is available. To register for absentee and telephone bidding, visit our website, or call 508-385-3116. Online bidding is available through www.eldreds.com. Bidding through third-party auction platforms may incur additional fees beyond the buyer's premium. Terms A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 26 percent of the hammer price up to and including $2 million, 20 percent on the portion of the hammer price between $2,000,001 and $8 million, and 15 percent on the portion of the hammer price exceeding $8 million. We accept checks, cash, money orders, wire transfers and major credit cards for payment. Please note we will not accept credit card payment for lots of jewelry, credit cards may only be used for up to $5,000 of the invoice total, and the credit card must have a U.S. billing address. Bidders holding a resale number must provide the certificate or copy thereof when registering to bid or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in or shipped to Connecticut are subject to 6.35% Connecticut sales tax. Residents of other states may be subject to state and local sales taxes. Condition Reports Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is. All dimensions are approximate. Shipping Information We require prompt payment and removal of your purchases. If you plan to pick up your purchases, please call ahead. We provide very limited shipping services but can help coordinate shipping with alternative agents. Please be aware that lots containing animal and/or plant material are not available for international delivery without CITES and other necessary permits, licenses, and certificates. Obtaining the appropriate documentation is the sole obligation of the buyer. Eldred’s is not able to assist with obtaining the appropriate documentation, and we offer no assurances that the documentation can be obtained. We ask you to be aware of current international, domestic and your own local regulations and bid accordingly. Please review our Conditions of Sale at the rear of this catalog before bidding.

OFFICES Headquarters

P.O. Box 796

Boston Area Gallery Connecticut Gallery

I I

1483 Route 6A

155 Webster St. C2 5 Roosevelt Avenue

I I

E. Dennis, MA 02641

508-385-3116

Hanover, MA 02339

Mystic, CT 06355

860-912-8169

617-401-1753

MA Lic.. #155

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CONTENTS Staff Directory page 4 Introduction page 5 Index of artists page 6-7 Session One Scrimshaw and whaling artifacts, featuring the Collection of Mr. and Mrs. John Miklos Session Two Paintings, ship models, prisoner-of-war artifacts, folk art and more, featuring a Nantucket Estate and items deaccessioned from the Museum of Fine Arts, Boston Glossary of Terms page 222 Bidder Information page 222 Conditions of Sale page 223

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S TA F F D I R E C T O R Y BOARD OF DIRECTORS Devyn Henry

Joshua F. Eldred

Administrative Assistant dhenry@eldreds.com

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

Jessica C. Hooper

Assistant to the Head of Marketing jhooper@eldreds.com

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

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

William Bourne

Vice President Head of Americana and Maritime Arts bill@eldreds.com

Jennifer Lacker

Mystic Gallery jlacker@eldreds.com

Wendy A. Dunford

Treasurer wendy@eldreds.com

Anne G. Lajoie

Head of Asian Arts and Contemporary Art annie@eldreds.com

Eric S. Mulak Vice President Head of Sporting Antiques, Folk Art and Collectibles Consignment Manager eric@eldreds.com

Beth McGoldrick

Administrative Assistant bmcgoldrick@eldreds.com

Angela R. McParland

Sarah Eldred Taylor

Executive Assistant Japanese Art amcparland@eldreds.com

Vice President of Human Resources sarah@eldreds.com

Kathleen Morse Inventory Associate, Sandwich Auction kmorse@eldreds.com

SPECIALISTS AND ADMINISTRATIVE STAFF Mara Alvarado

Assistant Photographer malvarado@eldreds.com

Sam Murphy

Registrar smurphy@eldreds.com

Christine Berlane Prints and Multiples cberlane@eldreds.com

Megan Nichols

Shipping Coordinator mnichols@eldreds.com

Madison Casale

Operations Manager Head of Photography mcasale@eldreds.com

Cathelyn Scibelli

Client Services kscibelli@eldreds.com

Steve Dunaway

Cheryl Stewart

Jewelry, GIA Certified jewelry@eldreds.com

Head of Marketing, Catalogs and Design Maritime Arts + Scrimshaw cheryl@eldreds.com

Susan Eastman

Client Services seastman@eldreds.com

Katie Callaghan, Al Gray and Mark Renkawitz

Duncan H. Gray

Shipping and Inventory

Head of General Merchandise Hanover Gallery dgray@eldreds.com

Emily Moynihan and Anne Tochka Digital photography editors

Mary M. Kuhrtz and Christine Leofanti Gallery Assistants

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Most years my opening letter celebrates the wonderful treasurers contained within the pages of the catalog, but this year we are going to honor and celebrate one of our own, Bill Bourne. After a long and remarkable career, Bill has decided to step down as head of the Maritime Arts department and ease into retirement. Bill’s contributions to the field of marine art and scrimshaw cannot be overstated. Throughout his career, he helped make Eldred’s one of the world’s leading auction houses for marine art and antiques, bringing to market some of the most important maritime collections ever assembled, including the Mittler and Kobacker collections. His impressive career did not begin at Eldred’s, but rather at the Richard A. Bourne Co. in the 1960s, where as a young man he helped his father give birth to the modern marine auction market. At Bourne’s he amassed a solid foundation of knowledge and sold thousands of items, many of which would come full circle and be sold again at Eldred’s. Bill remembered each of these objects with uncanny detail, often able to recall exactly where it had come from originally, who had bought it, and what page it was on in an old auction catalog. Bill’s expertise has been essential in guiding his career, but arguably his greatest assets are his humility, enthusiasm and affability. He is at his best when he’s chatting away with collectors and dealers, discussing the latest scrimshaw discovery or debating the artist of an unsigned ship portrait. Thankfully this passion for the field will keep him involved for years to come. While he is retiring from the daily grind, he will remain a valued member of the Eldred’s family and will be available to lend his expertise on future collections. Please join us in wishing Bill fair winds and following seas on his next adventure. Josh Eldred July 2026

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INDEX OF ARTISTS

ARGUIMBAU, PETER LAYNE

2507

BADGER, S.F.M.

2484

BUTTERSWORTH, THOMAS (attr.)

2347

BUTTERSWORTH, JAMES EDWARD

2452

DOMMERSEN, WILLIAM RAYMOND

2341

DREW, CLEMENT (attr.)

2458

DREW, CLEMENT

2457

DZIGURSKI, ALEXANDER A.

2328

ELDRED, LEMUEL D.

2172

GIGUERE, GEORGE

2496

GILKERSON, WILLIAM

2174

GRUPPE, CHARLES PAUL

2329

JACOBSEN, ANTONIO NICOLO GASPARO

2488-2490

JOHNSON, JR., MARSHALL

2443, 2444

LE GENDRE, EUGENE CHARLES

2317

LEVICK, EDWIN

2474, 2475

MARSTON, CHARLES GORDON

2331

MEADOWS, ARTHUR JOSEPH

2459, 2460

MOHRMANN, JOHN HENRY

2491

MONIZ, ARTHUR

2183

NORTON, WILLIAM EDWARD

2407

PERRETT, GALEN JOSEPH

2502

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PETERSEN, JOHN ERIK CHRISTIAN

2404

RIEGEN, NICHOLAAS

2342

ROSENFELD, MORRIS

2473

ROUX, FRANCOIS JOSEPH FREDERIC

2400, 2401

SCOTT, HENRY

2408

SCOTT, JOHN

2348

SHEPPARD, WARREN W.

2445

SILVA, FRANCIS AUGUSTUS

2456

SMITH, FRANK VINING

2325

STOBART, JOHN

2500

STUBBS, WILLIAM PIERCE

2394

THIMGAN, DAVID

2492

VALENKAMPF, THEODORE VICTOR CARL

2501

VAN DE VELDE THE YOUNGER, WILLEM (after)

2343

VAN DER PLAS, NIEK

2307

VERY, MARJORIE

2330

VINCENT, HARRY AIKEN

2510

VON EMMERIK, GOVERT

2448

VON KALCKREUTH, PATRICK

2446

WALDRON, CHARLES J. (attr.)

2403

WALTERS, SAMUEL

2402

WARD OF HULL, JOHN (attr.)

2346

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session one

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2001. WHALEBONE WATER CASK Late 19th/Early 20th Century Brass hoops. Height 13”. Diameter approx. 9”. 1,000/2,000

2001

2002. CARVED WHALEBONE CASK MEASURE 19th Century Used to measure the amount of whale oil in a cask. One side with hash marks and numbers. Other side with only hash marks. Brass tip. Length 48.25”. 800/1,200

2003. HARDWOOD CASK MEASURE 19th Century With hash marks and numbers, used to measure the amount of whale oil in a cask. Iron ends. Length 48”. 200/300

2002

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2004. ROSEWOOD AND WHALE IVORY MEASURING STICK 19th Century Rosewood stick with whale ivory caps and abalone hash marks. Length 36”. 500/1,000

2007. LARGE POLYCHROME SCRIMSHAW WHALE’S TOOTH Mid-19th Century Obverse with a highly detailed scene of whaleship cutting in, with two seagulls floating near a shark attacking the sperm whale drawn alongside the ship, and three whalemen on deck cutting the blubber into smaller “horse pieces”. Reverse depicts a sailor and a young lady dancing in front of a garden lattice. Floral garland encircles tip. Length 8.875”. 6,000/8,000

Provenance: The Estate of Paul and Diane Madden, Sandwich, Massachusetts.

Provenance: The Thomas Mittler Scrimshaw Collection. Eldred’s, Spring Americana, April 6, 2017, Lot #1002.

2005. CARVED AND TURNED WHALEBONE FID 19th Century In the form of a belaying pin. Length 12.75”. 500/1,000

Reference: Illustrated in Through the Eyes of a Collector by Nina Hellman (2015), figs. 20 and 75.

2006. HARDWOOD FID CARVED WITH SHIP’S NAME Early 19th Century Turned ivory knop with thin banding. Carved “MS Ginn Bark Boston”. Length 12”. 300/400

2007, obverse and reverse

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2008. SCRIMSHAW WHALE’S TOOTH DEPICTING A WHALEMAN 19th Century Obverse depicts a harpooner at the bow of a whaleboat. Reverse depicts a three-masted vessel. One edge with an eagle grasping a document in its beak. Length 4.75”. 800/1,200

2008, obverse, edge and reverse

2009. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH MARITIME MOTIFS 19th Century Scenes of ships, a whale, and an American eagle with a shield, flags and drums wrap around the circumference. Length 5”. 2,500/3,500

2009, obverse and reverse

2010. SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENE Mid-19th Century Obverse with an unusual water-line view of active whaling, showing three whaleboats in pursuit of eight surfaced whales and the bow of the whaleship. Reverse with a starboard view of a whaleship. Deep intaglio-style carving. Length 5.5”. 2,500/3,500

2010, obverse and reverse

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PA G O D A / A L B AT R O S S E N G R AV E R

2011. RARE SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE PAGODA/ALBATROSS ENGRAVER Second Quarter of the 19th Century Haphazard arrangement of vignettes, as typical of the artist, depicting whaleboats, a whaling scene, port scenes featuring the eponymous pagodas, an eagle holding two American flags and a Liberty shield, a whale, a narwhal, and assorted seagoing vessels, some flying American flags. Length 7.25”. 50,000/75,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire. Notes: Examples of work by this scrimshander are exceedingly rare. In 2012 Northeast Auctions sold a tooth for a then-world record $324,000, and another tooth, from the Kobacker Collection, was sold at Eldred’s, The Marine Sale, July 19, 2018, Lot #71.

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2011, obverse and reverse

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2012, obverse, edges and reverse

2012. SCRIMSHAW WHALE’S TOOTH PERTAINING TO NANTUCKET 19th Century Obverse depicts a three-masted ship coming to port below an “Inds Nantucket” banner. Reverse depicts a three-masted vessel leaving port. Length 7”. With contemporary metal stand. 8,000/12,000 Provenance: John Rinaldi Nautical Antiques, Kennebunkport, Maine.

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The structures seen here are very similar to those depicted in “Fuegians and wigwams”, an illustration in Darwin’s Voyage Round the World. He describes them as resembling “in

2013, obverse and edge

size and dimensions, a haycock”. Fuegians are one of three tribes of indigenous inhabitants of the Tierra del Fuego region of southern Patagonia.

2013. SCRIMSHAW WHALE’S TOOTH “A WIGWAM OF PATAGONIA” Mid-19th Century Depicts three men in a canoe, one wearing a headdress, rowing past a palm tree-lined village comprised of nine wigwams at the foot of mountains or volcanoes. Titled below scene. Rich patina. Length 6.25”. 800/1,000 Provenance: A Scrimshaw Collection Originating on Nantucket Island. Private Collection.

2014. ENGRAVED OSTRICH EGG 20th Century Dramatic whaling scene wraps around the circumference. Four mythological figural masks at base. Height 5.5”. 6,000/9,000

2014

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2015, obverse and reverse

2015. SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENE 19th Century One side depicts three whaleboats, two whales and a three-masted whaleship. Other side with a portrait of a whaleship cutting in. Length 6.5”. 9,000/12,000 Provenance: John Rinaldi Nautical Antiques, Kennebunkport, Maine.

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2016, obverse and reverse

2016. POLYCHROME SCRIMSHAW WHALE’S TOOTH DATED 1846 Mid-19th Century Obverse depicts an active whaling scene of a three-masted whaleship, three whaleboats and a whale in rough seas, with some sailors in the water. Sailors and whale with red highlights. Reverse with a flag and an eagle holding a banner with “Captured January 3, 1846” in stippled lettering. Length 7”. On a custom-made stand. 12,000/18,000 Provenance: The Bob and Nina Hellman Collection, Nantucket, Massachusetts.

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2017

2017. UNUSUALLY LARGE SCRIMSHAW PANBONE PANEL Mid-19th Century Depicts an active whaling scene with a whaleship, a stoved boat and three other whaleboats, and seven whales at various stages of capture. Another whaleship on the far distant horizon. Double incised border. 10.75” x 17.5”. 15,000/25,000 Provenance: The Thomas Mittler Scrimshaw Collection. Eldred’s, The Marine Sale, July 20, 2017, Lot #60. Reference: Illustrated in Through the Eyes of a Collector by Nina Hellman (2015), fig. 110.

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2018

2018. EXCEPTIONAL POLYCHROME SCRIMSHAW PANBONE PLAQUE WITH WHALING SCENE Mid-19th Century Depicts a whaleship flying an “HRH” agent’s flag in the foreground, another whaleship in the far distance, a stoved boat plus three other whaleboats, two waifed whales, and a pod of whales at various stages of capture. 5.25” x 11.75”. 20,000/30,000 Provenance: The Thomas Mittler Scrimshaw Collection. Eldred’s, Marine Art Auction, October 15, 2016, Lot #60. Reference: Illustrated in Through the Eyes of a Collector by Nina Hellman (2015), fig. 111.

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2019. SCRIMSHAW PANBONE PLAQUE DEPICTING A FULL-RIGGED SHIP Mid-19th Century Starboard view of the vessel at sea. Engraved “M.D. Holmes” below; there are currently no records for a whaleship or master with this name. Approx. 5.25” x 7.25”. 5,000/8,000 Provenance: Skinner, Inc., Marlborough, Massachusetts, Americana, August 13, 2017.

2019

Reference: A nearly identical example is illustrated in Scrimshaw on Nantucket: The Collection of the Nantucket Historical Association by Stuart M. Frank (Nantucket, Mass.: The Nantucket Historical Association, 2019), p. 53, fig. 4.34. Frank notes there are several known examples of the same ship on plaques of about the same size, all undoubtedly by the same maker.

2020. SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENE Second Half of the 19th Century Obverse depicts three whaleboats, a sperm whale and a distant whaleship. Reverse depicts a ship in distress in heavy seas. Length 6”. 1,800/2,500

2020, obverse and reverse

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2021, obverse and reverse

2021. SCRIMSHAW WHALE’S TOOTH WITH WHALING AND BATTLE SCENES 19th Century Obverse depicts an active whaling scene with two whaleboats, three whales and a whaleship trying out. Reverse depicts a naval battle between multiple vessels partially enveloped in smoke. Length 6”. 12,000/15,000 Provenance: John Sylvia, Nantucket, Massachusetts.

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T H E PA N B O N E E N G R AV E R

2022. PANBONE ENGRAVER POLYCHROME SCRIMSHAW PANBONE SECTION Mid-19th Century Exceedingly well-rendered and finely detailed portraits of a pilot boat and a warship. The pilot boat, with “C 17” on the sail, is within a picture frame surround. The warship has a red hull and is flying a polychrome British white ensign off the stern. Water colored slightly blue. On a contemporary wooden stand. Total height 16.5”. 8,000/12,000 Provenance: Philadelphia Maritime Museum, later known as the Independence Seaport Museum. Donated by Frank Howard, museum co-founder, and Welles Henderson. Wiederseim Associates Auction. The Collection of Paul Vardeman. Eldred’s, The Marine Sale, July 25, 2019, Lot #26.

This was the centerpiece of Paul Vardeman’s collection. He believes the same artist produced the large scrimshaw panbone piece depicting a whaling scene that is part of the Nantucket Historical Society collection and a smaller piece depicting a bark and a pilot cutter that is part of the New Bedford Whaling Museum collection. This piece is illustrated in Pictorial Treasury of the Marine Museums of the World by Brandt Aymar (1967), in photographs of the Philadelphia Maritime Museum.

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2022

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2023. BALEEN DITTY BOX 19th Century Lip and base joined with beautifully carved fingers. Whalebone top engraved with a whaling scene of a stoved boat, three other whaleboats in pursuit of surfaced whales, and a distant whaleship. Height 3.5”. Length 6.5”. Width 4.5”. 900/1,200

2024. PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH WITH SHIPS AND WHALING SCENES Circa 1860 One tooth depicts a whaling scene with an Americanflagged whaleship, a whaleboat and a harpooned whale, contained within a rope-like arch. Other tooth depicts a brig with a red bootstripe flying an America flag off the stern and a long pennant off the mainmast, contained within a red, green and black geometric arch. Both teeth have red and green floriform medallions containing five-pointed stars with shaded blades and a small dot in the center of the open pentagonal centers. Displayed on a custom tiered wood base. Teeth lengths approx. 3.75”. Base width 6.25”. 2,000/3,000

2024, pair

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2025. POLYCHROME SCRIMSHAW WHALE’S TOOTH 19th Century Obverse depicts a red five-pointed star within a blue fivepointed star within a red circle. Reverse depicts a snake wrapped around a tree. Length 5.75”. 700/1,000

2026. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC MOTIFS 19th Century Obverse depicts Lady Liberty, a flowing red and white flag and a three-masted ship. Reverse depicts a solider standing on rocks, with a church and other buildings above his head. Length 5.75”. With contemporary stand. 4,000/6,000

2026, obverse and reverse

Provenance: Vallejo Gallery, Newport Beach, California.

2027. SCRIMSHAW WHALE’S TOOTH FEATURING A MILITARY MAN ON HORSEBACK America, Circa 1860 Obverse depicts a man astride a large horse, wearing a uniform with tall collar, striped pants and a spotted cape. Five-pointed star with blades shaded red and black above. Reverse with “J.W.S. - Troy NY US” in different styles of lettering. Length 6”. 600/800

2027, obverse and reverse

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2028. SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC MOTIFS 19th Century Depicts crossed American flags, a cannon, a stack of cannonballs, and “Union and Liberty”, “Liberty” within a banner. Signed “From Walter” below banner. Lettering, cannonballs and some lines of the flags executed in pinpoint. Length 3.5”. 600/1,000

2028

2029, obverse and reverse

The tetraskele are ancient symbols dating to the Neolithic period, then used throughout classical antiquity, through the Middle Ages and into modern usage. The motif was popular in scrimshaw and American decorative arts in the 19th Century.

2029. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC MONUMENT America, Circa 1845 Obverse depicts a three-tier monument backed by six American flags on poles topped with Liberty caps. Monument topped with an urn dotted on the interior with red pique, somewhat emulating a flaming cauldron. Reverse with an intricate tetraskele, three of the arms half-covered with a feathery pattern and the fourth arm half-covered in a geometric pattern. Fan border encircles tip. Extensive and fine use of red sealing wax. Length 5.25”. On wood stand. 2,000/3,000 Reference: A similar tooth, probably by the same hand, is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), p. 86, fig. 6.27.

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2030. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC MONTAGE AND “LADY OF LIMA” Mid-19th Century Obverse depicts “Liberty” and “E Pluribus Unum” above a spread-wing eagle with a red collar at its neck, a shield at its breast and arrows in its talons. The eagle is perched on a stylized Liberty shield balanced atop opposing cannons and cannonballs and flanked by American flags. Reverse depicts the “Lady of Lima”, a full-length view of a woman wearing a veil, revealing just one eye. Titled in serifed lettering below. Deep patina. Length 5.75”. 6,000/10,000 Provenance: Descended in the family of Charles Freed, a Swedish immigrant who worked as a ship’s carpenter in New York City in the late 19th/Early 20th Century, then gifted to the consignor in 2002. Freed’s granddaughter believed he may have received it from a friend or as payment for carpentry work. 2030, obverse and reverse

This tooth bears several similarities and is probably by the same hand as one from the Collection of Paul Vardeman sold at Eldred’s, The Marine Sale, July 25, 2019, Lot #25. Vardeman had noted his tooth was probably by the same hand as a tooth and cane sold at Skinner, Inc., Boston, November 4, 2017, Lot #144. A tooth with a similar portrait of a woman of Lima is part of the New Bedford Whaling Museum Collection and is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 8.11. Whalers often stopped at the port of Callao and traveled to nearby Lima, one of the most sophisticated cities of the New World. The Tapada Limeñas, the denomination of women in the area who covered their heads and faces in this manner, existed from the 16th Century to well into the 19th Century and were considered a national symbol, seen in dozens of artworks and published illustrations.

2031. PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH DEPICTING LADY LIBERTY AND LADY JUSTICE America, Mid-19th Century Elegant and distinguished portraits of the allegorical personifications. Liberty, draped in an American flag and wearing a dress with stars on the sleeves, holds a staff topped with a “Liberty” cap in her left hand, and a stars and stripes shield in her right hand. Justice, barefoot and wearing a crown of laurel leaves, a long robe and a dress with a red and blue bodice, holds a balance scale in her right hand and a sword against her arm in her left hand. Both seated on plinths. Lengths 4.75”. 5,000/7,500

2031, pair

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S A M U E L T E N N E Y, T H E “ K I N G O F T H E S E A” E N G R AV E R

2032. PAIR OF SCRIMSHAW WHALE’S TEETH BY “KING OF THE SEA ENGRAVER” SAMUEL TENNEY 19th Century Obverse of one depicts Neptune holding a billowing flag emblazoned “King of the Sea”, with a school of fish in the water below him. The other depicts a helmeted Lady Liberty holding a shield at her side and a torch aloft, with an eagle and a “Liberty and Freedom” banner above her head. The scenes wrap around to the reverses, which feature port-side portraits of American triple-decker gunships. Executed in blue-green ink, like other examples attributed to Tenney. Lengths approx. 5.5”. 3,500/6,000 Provenance: Collection of Michael Gerstein. Reference: Illustrated in Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis Port, Mass.:, 2021), p. 75-76. A pair of scrimshaw walrus tusks that can also be confidently attributed to Tenney, also executed in blue-green ink and with nearly identical images of Neptune and Lady Liberty, are illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 75. Other examples by Tenney are illustrated on p. 6 and 61. A biography of Samuel Tenney in Biographical Dictionary of Scrimshaw Artists: Five Centuries of the Occupational Folk Art of the Whalers by Stuart M. Frank (2025), p. 277-278, specifically mentions this pair.

Samuel W. Tenney’s identity was discovered by scrimshaw historian Michael Gerstein through a tooth in the collection of Historic New England, which was donated by the scrimshander’s daughter in 1925. Tenney was born in Oxford, Massachusetts and served in the Navy aboard the U.S.S. Brandywine and later on the whaleship Fenelon of New Bedford.

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2032, obverse and reverse of pair

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2033, obverse and reverse

2033. SIGNED SCRIMSHAW WHALE’S TOOTH DEPICTING HOPE AND PROSPERITY Mid-19th Century Scene of the symbolic figure of Hope seated on a wharf wraps around the circumference of the tooth. She holds an anchor in her right hand and a caduceus in her left hand, and she is surrounded by casks and crates. A full-rigged ship underway is visible in the distance. Signed on a crate in the scene “CDB”. Deeply engraved and well-inked. Length 6.25”. 3,000/4,000 Provenance: Laurence Langford, London, July 1996. The Collection of Sam and Donna McDowell. Eldred’s, The Fall Marine Sale, November 21, 2019, Lot #12.

2034, obverse and reverse

2034. POLYCHROME SCRIMSHAW WHALE’S TOOTH “U.S.B. SPARK” America, Circa 1840 Obverse depicts the armed brig under sail, flying a large American flag from the gaff and a banner from the peak of the mainmast. Band of striped stylized water and “U.S.B. Spark” below. Reverse depicts the allegorical figure of Hope leaning against an anchor, holding her left hand to her face and a kerchief in her right hand. Rock-like base and “Hope” below. Length 5.5”. 2,000/3,000 Reference: Merchant Sail by William Armstrong Fairburn (Center Lovell, Me.: Fairburn Marine Educational Foundation, Inc., 1945-1955), p. 741.

The Spark was built in Sag Harbor, New York for U.S. Navy service in the War of 1812 but was completed after the war ended. Instead she sailed for the Mediterranean on May 20, 1815 as part of Commodore Stephen Decatur’s squadron against the pirates of Algiers during the Barbary Wars. After two voyages in support of that action she was assigned to suppress pirates in the Caribbean, successfully capturing several vessels and their crew. The 310-ton Spark was 103 feet in length and just over 24 feet in beam and was armed with two long 18-pound guns and ten 18-pound carronades. She was sold in New York City in 1826.

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2035. SCRIMSHAW WHALE’S TOOTH DEPICTING LADY LIBERTY 19th Century Obverse depicts Liberty seated on a pedestal, holding a staff topped with a Liberty cap in her left hand and a Union shield at her side with her right hand. Reverse depicts a partially clad child. Length 7.5”. 1,800/2,500

2035, obverse and reverse

2036. SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAITS 19th Century Both sides with starboard views of full-rigged ships. One ship set in a partially completed sea. Length 6”. 2,500/5,000

2036, obverse and reverse

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2037, obverse and reverse

2037. LARGE POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAIT Mid-19th Century Obverse depicts an American three-masted single-deck gunship. Reverse with a full-length portrait of a Victorian woman holding a basket of flowers in her right hand and a large flowering blossom in her left hand. “Melvina Wright” in banner above her head. Length 8.75”. 12,000/16,000 Provenance: The Kobacker Collection. Eldred’s, Americana, Paintings, Marine and Sporting Art, November 16, 2017, Lot #46.

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2038. POLYCHROME SCRIMSHAW WHALE’S TOOTH 19th Century Obverse depicts an American-flagged brig under dark clouds, its red hull peeking through the blue waves. Reverse with a portrait of a woman in elaborate dress above flowering vines. Drape and tassel border encircles tip. Length 5”. 3,000/5,000 Provenance: Rafael Osona Auctions, Nantucket, Massachusetts.

2038, obverse and reverse

2039. SCRIMSHAW WHALE’S TOOTH WITH FIGURAL PORTRAIT 19th Century Obverse depicts a bust portrait of a woman in a flamboyant feathered hat and bead necklace. Foliate designs along one edge. Reverse depicts a spread-wing eagle. Excellent deep patina. Length 5.5”. On a contemporary wood stand. 1,200/1,800 Provenance: Eldred’s, Spring Americana, April 6, 2017, Lot #1103.

2039, obverse and reverse

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2040

2040. SCRIMSHAW WHALEBONE DITTY BOX First Half of the 19th Century Pine lid with an inlaid carved ivory heart and a whalebone finger-lapped lip. Whalebone finger-lapped body with a baleen collar. Engraved decoration around body and continuing onto the lip of a three-masted ship flying a long streamer, a stately colonial home and its gardens, a weeping willow, a monument backed by American flags, and a patriotic montage of a spread-wing eagle with banner, draped American flags, a Liberty shield, a drum, a stack of cannonballs and a cannon on carriage. Traces of polychroming. Pine base. Includes a note indicating the box descended in the family of a Nantucket sea captain and contains several of his shirt collars. Height 3.75”. Length 7.75”. 7,000/10,000

2041

2041. SCRIMSHAW WHALEBONE BUSK WITH THREE VIGNETTES 19th Century A three-masted ship at center is bordered in a foliate garland. Landscapes at both sides, one of a fortress and the other of a coastal town. Length 14.5”. 1,800/2,500

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2042, five

2042. COLLECTION OF FIVE SCRIMSHAW WHALEBONE BUSKS 19th Century A rich array of styles and compositions. Several polychromed and wonderfully detailed. Housed together in a shadow box-style frame. Busk lengths from 9” to 14”. Framed 12.5” x 18.5”. 4,000/6,000

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2043

2044

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2045

2043. POLYCHROME SCRIMSHAW WHALEBONE BUSK 19th Century Lobed top with a heart containing a flower blossom. Eight vignettes below depict two birds atop a clasped hands monument; a whaling scene; three-masted ships; the royal arms; a bowl of flowers; Neptune in his chariot; and a sailor with his lady. Vine border. Some traces of polychroming. Length 13.75”. With custom-made stand. 2,000/3,000

2045. POLYCHROME SCRIMSHAW WHALEBONE BUSK Mid-19th Century Depicts a hex design, leafy plants and trees, a full basket, a vacant panel, and a potted plant with heart-shaped leaves and red blossoms in a handled urn. Some images separated by barber’s pole banding. Length 13.75”. 1,000/1,500

2044. POLYCHROME SCRIMSHAW WHALEBONE BUSK 19th Century Fine red and black decoration of flowers, stars, trees, a ship flying an American flag, geometric designs and more, all within an alternating black and red leafy vine border. Length 13.75”. 2,000/3,000

2046. WHALE IVORY CARVING OF A PREENING SWAN 19th Century Beautifully carved graceful lines. Length 3.5”. 400/600

Provenance: Garth’s Auctions, Delaware, Ohio, November 27, 2015, Lot #413.

2046

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2047, obverse and reverse

2047. SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE LOCKET ENGRAVER 1830s-1840s Obverse with a characteristic Locket Engraver portrait of a dark-haired young woman gazing at a locket portrait. Woman with bows in her ringlets, a Maltese cross at her neck, and a puffy-sleeved dress with bows and lace trim. The locket, suspended from her neck on a long cord, contains a portrait of a man. Reverse with a fine portrait of the Constitution in rough seas. Length 6.75”. 6,000/9,000 Provenance: Rafael Osona Auctions, Nantucket, Massachusetts.

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2048. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF A LADY Mid-19th Century Full-length portrait of a lady wearing a red beaded necklace and an extravagantly patterned red, blue and green dress standing on a checkered floor beside a large red and green flowering plant. Framed within a scrolling border. Marked “NH120H” on base. Length 8.25”. 6,000/9,000 Provenance: The “NH120H” mark on base indicates the tooth was from the collection of Meylert Armstrong of New Hope, Pennsylvania, the preeminent scrimshaw collector from the 1920s to the 1950s, and was purchased by E. Norman Flayderman, who marked the items “NH”, standing for “New Hope”, followed by a series of numbers. Eldred’s, The Marine Sale, July 25, 2019, Lot #15. Reference: Illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 68.

2048

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2049, obverse and reverse

2049. SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE EAGLE PORTRAITIST Mid-19th Century Obverse depicts a man and woman on horseback underneath an eagle grasping an “E Pluribus Unum” banner under the head of a dog and a deer. Reverse with a portrait of a young lady holding a flower contained within an elaborate frame, a distinctive characteristic of the scrimshander. Length 5.25”. With contemporary stand. 2,000/3,000

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2050. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF “KATE HARES” Second Half of the 19th Century Obverse with a seated half-length portrait of “Kate Hares”, a young woman resting her right arm against a pillow and her left hand in her lap. Her lips, beaded bracelet, and the flowers in her hair and on her dress are vibrantly red. Titled in banner below. Obverse with a bust portrait of a young woman wearing a red necklace and with red flowers and green leaves in her hair. Red flower blossom and a red, green and black swag above. Length 7.5”. 2,000/3,000 Provenance: Eldred’s, The Fall Marine Sale, November 15, 2018, Lot #151.

2050, obverse and reverse

2051. SCRIMSHAW BALEEN DITTY BOX 19th Century Engraved on lip “Ann F Cottle”. Base depicts part of the Taj Mahal, Saint Paul’s Church in London, the Great Square of Mexico City, and the American coat of arms with a spreadwing eagle with shield. Joined with carved fingers engraved with foliate vines. Top covered in a red, blue and off-green checkered fabric. Height 3.5”. Length 8”. Width 5.75”. 1,500/2,500 2051

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2052

2052. POLYCHROME SCRIMSHAW WHALE IVORY SEWING EGG Dated 1851 Threaded at center, opening to reveal a thimble and a pincushion. Exterior delicately engraved “AM” and “1851” surrounded by a ship portrait medallion, a cornucopia and a basket of flowers, a dove within a garland, alphabets, numerals, flowers, leaves and other flourishes. Length 2.75”. 5,000/8,000

2053. CARVED WHALE IVORY AND WALNUT THREAD HOLDER 19th Century Three tiers, each with whale ivory spool holders and intricately carved serrated edges. Upper tier topped with a carved whale ivory finial. Whale ivory multi-pointed stars surround the central support dowel. Height 12.25”. Diameter 8.25”. 800/1,200 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 2009.

2053

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2054. EXTREMELY FINE WHALEBONE, WHALE IVORY AND HARDWOOD ROTATING THREAD STAND Nantucket, Circa 1830 Three octagonal tiers, the upper tier topped with a larger scalloped cup flanked by two smaller cups, likely for thimbles. Middle tier with four spool holders and the lower tier with eight. Small finials on upper two tiers with red incised banding. Queen Anne-style cabriole legs end in slipper feet. Height 7.5”. Width 6”. 4,000/6,000 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, September 24-25, 1982, Lot #397. The catalog states it “embodies Nantucket craftsmanship in the elegant proportions and the restrained turnings [...]”.

2054

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2055. FINE WHALE IVORY AND INLAID WOOD SEWING STAND America, Third Quarter of the 19th Century Two tiers, the upper tier topped with a turned whale ivory stand that holds a set of six turned whale ivory bodkins. Middle tier with six spool holders. Lower tier with four wedge-shaped drawers. Tops of each tier and drawer fronts with inlaid contrasting sunbursts. Bone and ivory drawer knobs and feet. Height approx. 11”. Width approx. 6”. 1,200/1,500

2055

2056. RARE WHALEBONE AND BALEEN BASKET 19th Century Carved and pierced whalebone staves, each engraved with a letter to spell out “New York”. Rope-carved baleen hoops. Hardwood base with an inlaid whalebone star. Height 4.75”. Diameter at top 3.75”. 1,000/1,500 Provenance: Jack Fritsch, Antiques Depot, Nantucket, Massachusetts.

2056

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2057

2057. SCRIMSHAW BONE AND IVORY THREAD WINDER ON STAND 19th Century Winder topped with a yarn cup. One-drawer stand with shaped feet and engraved foliate vine decoration. J&P Coats label on interior. Height 10.5”. Width 5.75”. Depth 4.5”. 1,000/1,500 Provenance: Thomaston Place Auction Galleries, Thomaston, Maine, June 2013.

2058

2058. WHALE IVORY AND WOOD YARN WINDER Mid-19th Century Carved whale ivory yarn cup, supports, clamp and tightening screw. Clamp with inlaid mother-of-pearl and red sealing wax diamonds and triangles. Length 8”. 800/1,200 Provenance: The Collection of Paul Vardeman.

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2059. DISPLAY OF WHALEBONE AND WHALE IVORY UTILITARIAN ITEMS 19th Century Approx. 34 items including bodkins, crochet hooks, thread winders, a sewing knife, a marrow scoop and more. Housed in a shadow box-style frame. Framed 13.5” x 17.25”. 500/1,000

2060. SEVEN SMALL CARVED WHALEBONE AND IVORY IMPLEMENTS 19th Century 1) Turned whale ivory bodkin with red incised banding. 2) Whalebone bodkin with incised banding. 3) Rope-carved bone needle case with threaded lid. 4) Turned and pierced whalebone snuff spoon. 5) Brass wax seal stamp with turned ivory handle. 6) Carved bone pipe tamp with clenched fist terminal, open cage shaft and incised concentric circle design. 7) Small tamp with open hand terminal and crosshatch carving. Lengths from 1.75” to 3.75”. 300/500

2061. WHALEBONE DITTY BOX 19th Century Height 2.25”. Length 6”. Width 4”.

1,500/2,000

2062. EXCEPTIONAL WHALEBONE AND IVORY DOUBLE CAGE SWIFT 19th Century Topped with a yarn cup emulating a tea cup and saucer. Turned and carved shaft and clamp. Ebony pique inlay throughout. Height 16.5”. 2,000/3,000

2062

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2063. WHALEBONE AND WHALE IVORY SWIFT WITH CLENCHED FIST CLAMP Mid-19th Century Elaborately turned shaft with red and green sealing wax banding. Shaft topped with a diminutive yarn cup. Clenched fist clamp inlaid with mother-of-pearl diamonds. Height 16.25”. With contemporary wood stand. 3,000/5,000 Provenance: Rafael Osona Auctions, Nantucket, Massachusetts, August 2017.

2063

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2064. WHALEBONE AND WHALE IVORY DOUBLE CAGE SWIFT 19th Century Topped with an urn-form yarn cup. Clamp with inlaid baleen banding. Height 16”. With contemporary wood stand. 2,000/3,000

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2064

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the collection of

Mr.

& Mrs. John Miklos

2065. PAIR OF BANKNOTE ENGRAVER SCRIMSHAW WHALE’S TEETH Mid-19th Century Obverse of one tooth depicts a woman on horseback, wearing traditional riding habit. Reverse depicts two women, one playing a harp and the other holding sheet music. Obverse of other tooth depicts a lion parading past palm trees. Reverse with portrait medallion of a mother with her arm wrapped around her daughter. Ornate and delicate borders at tips, bases and around portrait medallion, as typical for the scrimshander. Lengths 6.75” and 7.25”. 50,000/70,000

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2065, obverse and reverse of pair

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the collection of mr. and mrs. john miklos

2066. WILLIAM SIZER POLYCHROME SCRIMSHAW WHALE’S TOOTH Circa 1835 Obverse with a medallion half-length portrait of a fashionable lady with an elaborate hairdo, holding the long ribbon of her fancy hat in her right hand. Reverse with a similar but monochrome portrait of a gentleman with a thick head of hair, possibly a maritime officer. Both medallions framed within sunbursts. Length 6”. 15,000/25,000 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, September 24-25, 1982, Lot #466. Retains lot collection sticker.

2066, obverse and reverse

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2067. WILLIAM SIZER POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH LADY’S PORTRAIT Circa 1835 Half-length portrait of a woman wearing a large hat, necklace and patterned dress, holding the tail of her shawl against her waist in her right hand. Length 6”. 10,000/15,000

These three teeth are all typical of William Sizer’s work, and one with a nearly identical portrait to these is seen in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), p. 25, fig. 3.1b. Frank describes the lady’s attire as “vaguely Renaissance [...] the characteristic trademark of William Sizer’s scrimshaw even where no ship portrait or whaling scene appears”. In Frank’s Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists (Mystic, Ct.: Mystic Seaport, 2013), p. 258-259, Sizer is described as a Franco-Azorean whaleman from New England, who was believed to have been onboard an 1834-1837 voyage of the whaleship L.C. Richmond of Bristol, Rhode Island. He produced a number of outstanding teeth, some of which had portraits of the L.C. Richmond, some of which are signed, and some of which bear portraits of women, similar to these examples. Sizer, born in 1801 in Chester, Massachusetts, died at sea in 1840 and was buried in Tahiti.

2067

2068. WILLIAM SIZER POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH LADY’S PORTRAIT Circa 1835 Depicts a stylish woman looking over her right shoulder, gently holding the long ribbon of her festooned hat in her left hand. Her richly inked hair, eyebrows and eyes contrast with the delicate precision of her other features. Length 5.75”. 12,000/15,000

2068

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2069

2069. ROLLING PIN WITH WHALE IVORY HANDLES 19th Century Bulbous handles with flattened ball knops and incised bands showing traces of red sealing wax. Hardwood roller. Length 18.5”. With stand. 800/1,200

2070

2070. HARDWOOD AND WHALEBONE ROLLING PIN 19th Century Whalebone bands at ends of roller. Length 14.75”. With stand. 800/1,200

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2071

2071. MAHOGANY AND WHALE IVORY ROLLING PIN 19th Century Turned whale ivory handles with red incised banding. Mahogany roller. Length 15.5”. 600/1,200 Provenance: The Estate of Justin Cobb. Eldred’s, The Fall Marine Sale, November 21, 2019, Lot #193.

2072

2072. MAHOGANY AND WHALE IVORY ROLLING PIN 19th Century Dense roller with whale ivory caps. Turned wood and whale ivory handles, the whale ivory components with flattened ball knops and red incised banding. Length 14.75”. 600/1,200 Provenance: The Estate of Justin Cobb. Eldred’s, The Fall Marine Sale, November 21, 2019, Lot #194.

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2073, obverse and reverse

2073. MASSIVE POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING FANNY CAMPBELL Mid-19th Century Obverse with a full-length portrait of Fanny Campbell, the female pirate captain, holding her cutlass in her right hand and a Jolly Roger flagpole in her left. Image faithfully sourced from the title page illustration of Fanny Campbell, The Female Pirate Captain by Maturin Murray Ballou, published in 1844. Reverse depicts a full-rigged ship at sea, flying a long streamer, pennants and an American flag. Similar foliate motifs above and below primary images on both sides. Length 8.25”. 20,000/30,000

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2074, obverse and reverse

2074. POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING ALWILDA Mid-19th Century Obverse with a full-length portrait of Alwilda, the female pirate captain, holding aloft her cutlass, resting her left hand on her hip, and with a dagger and a pistol tucked into her sash. Reverse with a colorful starboard stern view of a full-rigged ship with green hull and black stripe, flying a streamer, pennants and an American flag. Nicely detailed rigging and transom. Length 5.5”. 7,000/10,000 Reference: The portrait here of Alwilda is nearly identical to one in The Pirates Own Book [...] (Portland, et al: Sanborn & Carter, 1844), p. 22.

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2075. SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENE 19th Century Obverse with whaling scene showing the port side of a whaleship under shortened sail and three whaleboats in the water in pursuit of two surfaced whales. Water created by a scalloped pattern of parallel lines. Rope border below scene and a flowering vine arch above. Reverse depicts a flying fish surrounded by a matching flowering vine border. Length 8”. 15,000/20,000

2075, obverse and reverse

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2076, obverse and reverse

2076. SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE LADY WELLINGTON ENGRAVER Mid-19th Century Obverse, titled “La Griffon. Bashante.”, depicts a battle between the French navy brig Griffon and the H.M.S. Bacchante, the ships engulfed in billowing smoke and showing damage from cannon fire. Reverse, titled “Karpee[?]. And. Agrivation.[sic]” depicts a schooner and another vessel run aground. The obverse probably illustrates the capture of Griffon off Cuba on May 11, 1808 and the reverse the Royal Navy revenue schooner Gaspee running aground while chasing the packet boat Hannah off Warwick, Rhode Island in 1772. The hulls of all vessels with deep intaglio-style engraving. This, as well as the elegant script lettering, the fine detailing and the delicate geometric and foliate garlands encircling the tip and base, are all hallmarks of the Lady Wellington Engraver’s workmanship. Length 6”. 10,000/15,000

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2077. POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE NAVAL ENGAGEMENT ENGRAVER Mid-19th Century Obverse depicts “Sperm Whaling”, a panoramic scene of two whaleships and seven whaleboats at various stages of whale capture. Two of the whaleboats are under sail, heading toward the viewer as characteristic of this scrimshander’s work, and another is stoved. One of the whales is waifed and others are fin out. The blue-green water is also typical of the scrimshander. Monochrome reverse depicts “Eddystone Light House” and three vessels in a fierce storm, probably based on a period engraving. Notably, the image includes a rare depiction of lighting. Both sides titled in serifed lettering below scene. Length 8.25”. 8,000/12,000

2077, obverse and reverse

2078. POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE NAVAL ENGAGEMENT ENGRAVER Mid-19th Century Obverse depicts a battle between two American ships and one British ship. Subtle image of a fish and a geometric device in the water lower right. Reverse depicts a whaling scene with a whaleship trying out, a whaleboat engaged with a surfaced whale, and another whaleboat under sail on the horizon. The blue-green water, the composition of battle and whaling scenes on opposite sides of the tooth, and the whaleboat sailing at an angle toward the viewer are all characteristic of the scrimshander. Length 6”. 10,000/15,000

2078, obverse and reverse

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2079. POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE NAVAL ENGAGEMENT ENGRAVER Mid-19th Century Obverse depicts a battle between two ships, one believed to be British and the other flying an unidentified flag. Reverse depicts a whaling scene with a whaleship flying a “B” flag, four whaleboats and a harpooned whale. The bluegreen water and the composition of battle and whaling scenes on opposite sides of the tooth are typical for the scrimshander. Length 6.5”. 10,000/15,000

2079, obverse and reverse

2080. POLYCHROME SCRIMSHAW WHALE’S TOOTH, POSSIBLY ATTRIBUTABLE TO THE NAVAL ENGAGEMENT ENGRAVER Mid-19th Century Obverse depicts a whaling scene of two American whaleships, one cutting in, two whaleboats in the water and a surfaced whale. Reverse depicts eight ships engaged in battle, each firing their cannons and enveloped in smoke. Length 7”. 5,000/10,000

2080, obverse and reverse

Reference: Illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 71. Flayderman describes it as “ranked in the top class of scrimshaw”.

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2081. EXTENSIVELY CARVED WHALE IVORY AND WHALEBONE CANE Mid-19th Century Whale ivory Turk’s-head knot handle inlaid with a mother-of-pearl disk. Ring-turned throat with contrasting spacers, one apparently baleen and one possibly coin metal. Slightly tapered whalebone shaft with sections of ribbed, fluted and quilted diamond carvings separated by bulbous rings. Length 34.5”. 1,000/1,500

2083. WHALE IVORY BIRD CANE 19th Century Whale ivory handle carved in the form of a feathery bird with inset eyes. Perched on a baleen “nest”. Whale ivory and baleen banded throat. Island wood shaft with a horn or baleen ferrule. Length 35.5”. 3,000/5,000

2084. “NAUGHTY NELLIE” CARVED WHALEBONE CANE 19th Century Handle carved in the form of lady’s leg, boot and garter. Whalebone shaft with fluted and rope-twist segments. Whalebone ferrule. Length 33”. 1,500/2,500

2082. EXCEPTIONAL CARVED WHALE IVORY AND WHALEBONE CANE 19th Century Whale ivory Turk’s-head knot handle. Throat with three bands of baleen. Upper portion of whalebone shaft with quilted diamond panels bordered in concentric overlapping diamonds. Length 34.75”. 2,000/3,000

2082

2083 2081

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2085. CROOK-HANDLED CANE 19th Century Whale ivory handle with two baleen bands at the grip and an ebony basketweave design at the throat. Whalebone shaft. Length 35.75”. 1,000/1,500

2087. WHALE IVORY-HANDLED CANE 19th Century Knob handle with an inlaid contrasting disk at the top and turnings at the throat. Island wood shaft with brass ferrule. Length 36”. 400/600

2086. WHALEBONE CANE WITH LOOPED SNAKE HANDLE 19th Century Throat with three baleen bands. Whalebone shaft with wood ferrule. Length 38.5”. 1,000/1,500

2088. EAGLE’S HEAD CARVED WHALEBONE CANE 19th Century Eagle with finely detailed feathers, a slightly open beak and a piercing eye. Whalebone shaft. Length 31.75”. 300/500

2086

2084

2085

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2089. CANE WITH WHALE IVORY HANDLE 19th Century Handle carved as a flattened ball atop an octagonal plinth. Throat with whale ivory and island wood banding. Hardwood shaft with whalebone ferrule. Length 37.5”. 1,000/1,500

2089

2090. CLENCHED FIST CANE 19th Century Whale ivory handle carved as a clenched right fist. Baleen collar. Whalebone shaft. Length 33.5”. 1,000/1,500

2091. WHALEBONE AND WHALE IVORY CANE 19th Century Whale ivory clenched fist handle with a sailor’s knot around the wrist. Island wood band separates handle and the whalebone shaft. Upper portion of shaft with fluting. Length 36.25”. 1,500/2,500 2090

2092. SPERM WHALE CANE 19th Century Whale ivory handle carved in the form of a sperm whale with open jaw showing its teeth. Whalebone shaft tapers from an octagon to a cylinder, with a rope-carved segment at the center. Length 33.25”. 500/1,000

2093. LADY’S CANE 19th Century Bone or ivory bone shepherd’s crook handle. Hardwood shaft. Length 36.75”. 500/1,000

2094. INLAID HARDWOOD CANE 19th Century Probably ebony. Faceted knob handle inlaid with whale ivory or whalebone disks. Tapered shaft with rope-carved segment and whale ivory or whalebone pique inlay, some forming geometric patterns. Whalebone ferrule. Length 35.75”. 500/1,000

2091

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2095. OAK AND GLASS CANE DISPLAY CASE Early 20th Century Tiered arrangement of 72 slots. Labeled on front “Geo E. Allison”. Height 53.75”. Width 27.5”. Depth 24.5”. 1,500/2,500

2096. SCRIMSHAW MANTEL ORNAMENT Mid-19th Century Two large whale’s teeth with finely engraved full-length portraits of women, one reading a book, set into a lobed mahogany base fronted by four whale ivory acorn finials and raised on four turned and incised whale ivory feet. Top of base with green leather covering. Teeth flank a small turned whale ivory cup. Teeth lengths approx. 8”. Total height 9.5”. Width 15.5”. Depth 5.25”. 5,000/7,000 Provenance: John Rinaldi Nautical Antiques, Kennebunkport, Maine.

2096

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2097. PAIR OF SCRIMSHAW WHALE’S TEETH ON PRESENTATION STAND 19th Century Teeth with delicately engraved depictions of cherubs, one standing atop a column, and mythological figures beneath a nighttime sky. Beautifully turned and carved whalebone stand. Total height 8”. Width 7.75”. 2,000/3,000 Provenance: The Collection of W. Stephen Thomas, Rochester, New York.

2097

2098. SCRIMSHAW WATCH HUTCH 19th Century Santo Domingo mahogany with select whalebone and mother-of-pearl or abalone inlay. Broken arch pediment. Rope-twist columns with whale ivory caps and bases. Height 10.75”. Width 7.5”. Depth 2.75”. 1,200/1,800

2098

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2099. FINELY CARVED EBONY AND WHALEBONE SCRIMSHAW LETTER OPENER America, Third Quarter of the 19th Century Ebony handle carved as the head and long neck of an eagle. Gently curved whalebone blade fastens to handle with metal pins. Finely articulated and detailed eagle, notably the brow, tongue and feathers, which terminate in a scroll. Length 11.25”. Width 2.5”. 750/1,000

2099

2100. CHERRY DESK BOX WITH WHALEBONE AND IVORY INLAY 19th Century Tall galleried top, the back panel with a turned whalebone finial and inlaid dots surrounding a diamond containing a six-pointed star with a dark wood center. Bracket for pens and letter openers affixed to back panel. Box topped with a pen tray, fitted with a full-width drawer simulating two, and raised on turned feet. Drawer and drawer knobs with geometric inlay. Dated in pencil at rear of drawer “Oct 11th 1889”. Height 10.5”. Width 11.25”. Depth 6”. 1,000/1,500 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, August 1983; includes receipt. Northeast Auctions, Portsmouth, New Hampshire, March 22, 2014, Lot #701.

2100

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2101

2101. WHALE’S TOOTH AND MAHOGANY COAT RACK Late 19th Century Four similarly sized semi-polished whale’s teeth mounted to a fan-carved backboard. Teeth lengths appox. 5”. Backboard length 30”. 1,000/1,500

2103. ENGRAVING “A VIEW OF THE WHALE FISHERY AND THE MANNER OF KILLING BEARS NEAR & ON THE COAST OF GREENLAND” London, 1790 Engraved for Bankes New System of Geography. 7.25” x 10.75”. Framed 15.75” x 18.75”. 900/1,200

2102. RARE LEAD CRYSTAL CHALICE WITH ETCHED WHALING SCENE England, 19th Century Beautifully executed scene of a whaleship, three whaleboats and a whale. Folded rim. Wavy knop at center of stem. Unsigned. Height 8”. 500/1,000

2104. PAINT-DECORATED SHIP’S DOCUMENT BOX Early 19th Century Top with whaling scene. Front with a “whaleman’s coat of arms” and American flags. Height 10”. Width 18.5”. Depth 11.25”. 500/800

Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, September 24-25, 1982, Lot #359 (retains collection sticker). The catalog notes it was found in Wallingford, Connecticut and purchased from Leon F.S. Stark.

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2105. RARE WHALESHIP’S PASSPORT Dated 1841 For the barque Pantheon of New Bedford, signed by President Martin Van Buren. 15” x 11”. Framed 26” x 21.5”. 3,500/4,500

2106. WHALE IVORY AND WHALEBONE POINTER 19th Century Turned whale ivory knob handle with inlaid wood disk at the top. Matching wood collar. Whalebone shaft. Length 30”. 500/800

2105

2106

2107. WHALE IVORY AND WHALEBONE POINTER 19th Century Turned whale ivory flattened ball handle with incised red and blue banding. Whalebone shaft. Length 32.75”. 700/1,000

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2107

2108. CARVED WHALEBONE WHALE STAMP STAND With four carved whalebone and shell whale stamps. Height 7”. Diameter 4”. 3,000/5,000

2108

2109. RARE AND IMPORTANT ILLUSTRATED WHALING JOURNAL FROM THE WHALESHIP GAZELLE Third Quarter of the 19th Century Brown hardcover journal with approx. 360 pages full of illustrations, including 32 sperm whale stamps and more than 200 drawings of ships, harbors, landscapes, black fish, whales, porpoise, etc., with four full-page drawings and sketches for a pie crimper on the back inside cover. The first 22 pages contain entries for the bark Helen Augusta of Martha’s Vineyard, for a voyage captained by Daniel F. Worth that commenced June 19, 1856. Entries for the Gazelle begin on page 23, for a voyage also captained by Daniel F. Worth that commenced August 25, 1862. The first two entries of this voyage were made by Worth, but from then on were made by Virginia L. Foster, likely the wife or sister of Thomas Foster, who was probably the first officer. Notably includes an entry for September 21, 1865, in which the captain goes ashore and returns with news of the end of the Civil War: “boat returned and brought the glorious news of peace. May it always continue to be peace with our nation”. While Starbuck lists the end of the voyage as June 17, 1865, the last journal entry is dated April 19, 1866. Accompanied by 14 pages of handwritten notes from E. Norman Flayderman pertaining to this journal, a letter from Dr. Stuart M. Frank, and a copy of John Rinaldi’s 2004 catalog. 13” x 8.5”. 10,000/20,000 Provenance: Meylert Armstrong, New Hope, Pennsylvania. E. Norman Flayderman. John F. Rinaldi Nautical Antiques, Kennebunkport, Maine, 2004. Private Massachusetts Collection. Reference: The pie crimper drawing is illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 104.

2109

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2110. “THE MASONIC TOOTH” SCRIMSHAW WHALE’S TOOTH Circa 1885 Apparently presented to A.S. Houk, P.M.E.H.P., a 32nd degree Mason, by Webb Chapter No. 14 of the Royal Arch Masons, Cleveland, January 7, 1885, based on inscriptions incorporated into the design. Abundantly and finely engraved and richly inked depictions of a Knights Templar sword; an INRI cross; a Knights Templar Oriental Commandery 12, Cleveland badge; several types of 32nd degree double eagle insignia, etc. Mounted with a silver metal cap with decoration of scrolling acanthus leaves interrupted by medallions containing Masonic symbols including a trowel, a square and compass, a “G” and an hourglass. Short chain attached to cap. Length 7.25”. On a contemporary stand. 5,000/10,000 Provenance: Warren Delano, Oyster Bay and Fairhaven. W.W. Bennet Collection. Barbara Johnson Whaling Collection, Sotheby’s New York, April 29-30, 1983, Lot #143.

2110

Exhibited: Museum of American Folk Art, New York. The Newark Museum, Newark, New Jersey.

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2111. FINE SCRIMSHAW FALL-FRONT BOX Mid-19th Century Top, front and sides with shell panels bordered in exotic wood and whalebone veneer, with a whalebone and shell harlequin pattern around the perimeters. Bail handles at sides. Front falls open to reveal an arrangement of full-width, deep and small drawers faced in shell, whalebone and exotic wood. Interior of fall front with two shell panels bordered in exotic wood and whalebone veneer, with a whalebone and wood checkerboard pattern around the perimeter. Height 6.5”. Width 10.5”. Depth 7.75”. 4,000/8,000 Provenance: Paul Madden Antiques, Nantucket and Sandwich, Massachusetts.

2112. SAILOR-MADE ROSEWOOD AND WHALEBONE BOX 19th Century Lid with an inlaid whalebone diamond at center. Front with applied whalebone triangles at each corner. Height 4.25”. Width 10.25”. Depth 7.5”. 500/800

2111

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T H E N AVA L E N G A G E M E N T E N G R AV E R

2113. POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE NAVAL ENGAGEMENT ENGRAVER Mid-19th Century Obverse depicts a whaleship flying an agent’s flag, a waifed whale, a pod of spouting whales and four whaleboats on the horizon sailing toward the viewer. Reverse with a dynamic and deeply carved scene of a ship firing at a two-masted schooner partially hidden behind a rocky outcropping, a flock of gulls taking flight and waves crashing against the rocks. Vine tendril on edge. The sharp angle of the distant whaleboats and the blue-green water seen here are typical characteristics of the Naval Engagement Engraver. Length 6.75”. 6,000/9,000 Provenance: The Thomas Mittler Scrimshaw Collection. Eldred’s, Spring Americana, April 6, 2017, Lot #1052. Reference: Illustrated in Through the Eyes of a Collector by Nina Hellman (2015), fig. 53. 2113, obverse, edge and reverse

2114. POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE NAVAL ENGAGEMENT ENGRAVER First Half of the 19th Century Obverse depicts an Anglo-American naval battle. Reverse depicts a whaling scene with whaleship, three whaleboats in the water and three whales, one of which is waifed. Wonderful patina. Length 6”. 6,000/8,000

2114, obverse and reverse

Provenance: Nina Hellman. The Thomas Mittler Scrimshaw Collection. Eldred’s, Spring Americana, April 6, 2017, Lot #1051. Reference: Illustrated in Through the Eyes of a Collector by Nina Hellman (2015), fig. 54.

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2115. POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE NAVAL ENGAGEMENT ENGRAVER Mid-19th Century Obverse depicts a naval battle, one vessel flying a long red streamer and a red and blue flag, probably a British red ensign. Reverse depicts a whaleship cutting in, with a second whaleship off her bow and three distant whaleboats sailing toward the viewer, characteristic of the scrimshander’s work. In addition to these sharply angled boats on the horizon, the blue-green water and the arrangement of a battle scene on one side and a whaling scene on the other are hallmarks of the Naval Engagement Engraver’s oeuvre. Length 7.25”. 8,000/12,000 Provenance: The Thomas Mittler Scrimshaw Collection. Eldred’s, Spring Americana, April 6, 2017, Lot #1053. Reference: Illustrated in Through the Eyes of a Collector by Nina Hellman (2015), fig. 52.

2115, obverse and reverse

The anonymous Naval Engagement Engraver’s output was both prolific and consistent, as described by Stuart M. Frank in Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 200-201. His draftsmanship, style and use of a distinctive blue-green pigment distinguish his work from other depictions of naval battles and whaling scenes. A similar tooth to the ones seen here, attributed to the Naval Engagement Engraver, was in the Thomas Mittler Scrimshaw Collection and is illustrated in Through the Eyes of a Collector by Nina Hellman (2015), p. 65, fig. 41.

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T H E N AVA L M O N U M E N T E N G R AV E R

2116, reverse of pair

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2116, obverse of pair

2116. PAIR OF SCRIMSHAW WHALE’S TEETH ATTRIBUTED TO THE NAVAL MONUMENT ENGRAVER Mid-19th Century Obverses depict an eagle flying over a three-masted ship, one eagle with a “Concord & Amity” banner and the other with a “God And Our Country” banner. Reverses with highly detailed allegorical scenes. Both teeth with matching geometric border at bases. Lengths 6.75”. 8,000/12,000 Provenance: John Rinaldi Nautical Antiques, Kennebunkport, Maine.

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2117, obverse and reverse

2117. GOLD RUSH-ERA SCRIMSHAW WHALE’S TOOTH WITH EMBEDDED GOLD NUGGET Mid-19th Century Obverse depicts two men holding up a gold nugget. Figure on the left is dressed in miner’s garb, including a widebrimmed hat, with his miner’s pan, shovel and pick on the ground at his feet. Figure on the right, dressed in typical Mid-19th Century merchant sailor attire including a widecollared shirt and neckerchief, is holding up his sailor’s hat with his left hand. Reverse depicts a sailor wearing a “short jacket” nailing a billowing American flag to the top of a flagpole or ship’s mast. Base carved and pierced, the obverse in a cap and bell design and the reverse with wavelike scrolls. Length 4.5”. 6,000/8,000 Reference: Both sides illustrated in “What Whalemen Wore as Depicted on Scrimshaw” by Judith Navis Lund in the Scrimshaw Observer, Volume 8, Winter 2024, p. 8, fig. 13 and 14. The caption notes “Gold Rush Era tooth with gold nugget” and the article states, “Scrimshaw whales’ teeth with embedded gold nuggets were not uncommon”, but this is the only example we have examined.

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2118, obverse and reverse

2118. POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING ENGLISH-AMERICAN AMITY First Half of the 19th Century Obverse depicts a British and an American man, both holding their nation’s flag, shaking hands. The Brit, dressed in a red swallowtail coat, is also holding a laurel wreath above their heads. The American is wearing a long blue coat. The two men are surrounded by a dove, a lion and an eagle, as well as a unicorn in a rectangular cartouche. Reverse depicts an angel in flight over a female circus performer standing one-footed on the back of a running horse. The angel is holding papers or a book in one hand, and the circus performer is holding a scepter. Some elements on both obverse and reverse executed in pinpoint. Length 5.75”. 2,000/3,000 Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts. Heller Washam Antiques, Portland, Maine and Woodbury, Connecticut. The Collection of Sam and Donna McDowell. Eldred’s, April Marine Sale, April 29, 2021, Lot #121.

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T H E A L B R O B R OT H E R S

2119. SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE ALBRO BROTHERS America, Circa 1840 Obverse depicts a well-dressed man, probably a captain or sailor, standing beside a fouled anchor. Geometric pattern below his feet. Reverse with two vignettes, one of Neptune in his chariot drawn by hippocampi, and one of a bow view of a ship under sail. Tip encircled with bunting tied in bows, the tails cascading down the edges of the tooth. Length 6.25”. 800/1,200

From Scrimshaw and Provenance: A Third Dictionary of

2119, obverse and reverse

Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 4-5, we know brothers Caleb and Thomas Albro served together aboard the John Coggeshall of Newport, Rhode Island. The brothers produced several admirable pieces of scrimshaw, many of which were signed and show thematic similarities to the images seen here.

2120. SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE ALBRO BROTHERS Circa 1840 Obverse depicts a well-dressed young gentleman holding a walking stick and standing on a checkerboard ground overlooking two ships, one sailing toward shore and flying a long streamer, and the other on a starboard tack, flying a long streamer and two American flags. Small image of a sun face rising over the hills near tip. Reverse depicts a child standing beside a potted rosebush. Drapery swag above. Climbing vines on both edges. Length 4.5”. 800/1,200

2120, obverse and reverse

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CERES ARTISAN WILLIAM A . GILPIN

2121, pair

2121. PAIR OF SCRIMSHAW WHALE’S TEETH ATTRIBUTED TO CERES ARTISAN WILLIAM A. GILPIN 19th Century Formatted in the traditional manner of the Ceres artisans, with figural scenes framed within a geometric border topped with a proscenium arch containing smaller images. One tooth depicts a woman in an elaborate striped and floral dress standing on stage next to a harp and a sheet music stand. Arch with image of a woman, probably the allegorical figure of Hope, standing beside an anchor. Other tooth depicts a uniformed man wearing a tricorne, possibly Napoleon, standing beside his horse in a landscape. Arch with a spread-wing eagle with an “E Pluribus Unum” banner, a polychrome Liberty shield, arrows and olive branches. Decorative borders encircle base of both teeth. Lengths approx. 5.25”. 7,000/10,000

According to Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 121-124, William A. Gilpin, born in 1805, came from a prominent Wilmington, Delaware family. He is known to have made at least two whaling voyages, including an 1834-1837 voyage aboard the whaleship Ceres. Aboard this voyage were three other scrimshanders who produced work in a very similar style, so they collectively are known as the Ceres Artisans.

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2122

2122. RARE WHALEMAN-MADE DEMILUNE SHELF 19th Century Carved and pierced whalebone gallery in an interlocking ring pattern. Wood backboard and base. Height 3.75”. Width 14.25”. Depth 7.25”. 500/800 Provenance: Howland Scrimshaw Collection.

2123. COCONUT SHELL DIPPER 19th Century Coconut shell bowl carved with geometric designs. Whalebone handle. Length 14”. Bowl diameter 3.75”. With stand. 1,000/1,500

2123

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2124. WHALEBONE FOOD CHOPPER Mid-19th Century Handle with incised banding. Rich patina and in-use wear. Length 6.75”. 300/500

2124

2125. WHALEBONE ROLLING PIN 19th Century Acorn knops. Roller with red sealing wax banding at both ends. Length 13.5”. 800/1,200 Provenance: John Rinaldi Nautical Antiques, Kennebunkport, Maine.

2125

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2126

2126. ROLLING PIN WITH WHALE IVORY HANDLES Mid-19th Century Gently tapering dense and heavy tropical wood roller. Finely turned and incised acorn-shaped handles with a deep warm patina. Length 17.5”. With wood stand. 1,000/1,500

2127. INLAID WOODEN NUTMEG GRATER 19th Century Sliding lid, which covers the metal grater, inlaid with contrasting and marine mammal ivory geometric designs. Pique inlay along edges. Length 6.875”. 500/1,000

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2128, seven

2128. COLLECTION OF SEVEN WHALEBONE AND WHALE IVORY PIE CRIMPERS 19th Century A variety of forms that showcase the range of style and complexity seen in whalemanmade crimpers. Two with intricately carved shafts with stepped, faceted and ribbed segments. One with a pierced handle, one with an open handle, one with island wood and other contrasting banding, and one with a horse’s-head wheel mount. Includes two Nantucket examples. Housed in a shadow box-style frame. Framed 12.75” x 12.75”. 3,000/5,000

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2130

2129

2131

2129. GOOSE HEAD PIE CRIMPER 19th Century Wood shaft with baleen spacers and inlaid whale ivory triangles, diamonds and rectangles. Wheel yoke in the form of a goose’s head with an inlaid eye. Fluted wheel with an openwork star-shaped hub. Length 7.5”. 1,000/1,500

2130. CARVED AND PIERCED WHALE IVORY PIE CRIMPER America, Third Quarter of the 19th Century Curved handle with stepped segments separating pierced hearts and diamonds. C-shaped crownlike terminal with serrated edge, allowing it to function as a pastry stamp. Fluted wheel. Length 6.5”. 300/500

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2131. EXTREMELY FINE AND DELICATELY CARVED WHALE IVORY PIE CRIMPER America, Mid-19th Century One-piece handle with tiered stepped segments flanking an ovoid fluted segment, the lower stepped segment functioning as the wheel yoke. Mother-of-pearl disk at top of handle. Openwork wheel with serrated rim. Length 6”. 800/1,200

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2132. POLYCHROME SCRIMSHAW WHALE IVORY PIE CRIMPER 19th Century Pistol-grip handle engraved with a berry vine on one side, an elaborate scroll and vine design on the other side, and a slender vine on the edges. Stepped and carved wheel mount with a dark hardwood spacer and similar scroll and vine engraved decoration. Three-tine fork and wheel yoke with pique engraving. Fancy ruffled wheel. Length 8”. 1,500/2,500

2132

2133. “NAUGHTY NELLIE” WHALE IVORY AND BALEEN PIE CRIMPER America, Mid-19th Century Whale ivory handle carved in the form of a lady’s leg and diminutive boot, with a baleen band between the calf and thigh. Elaborately carved whale ivory mount for the three-tine fork and fluted wheel. Length 7.25”. 1,500/2,500 Provenance: The Collection of Sam and Donna McDowell. Eldred’s, The Marine Sale, July 25, 2019, Lot #225.

2133

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2134. PAIR OF MOUNTED POLYCHROME SCRIMSHAW WALRUS TUSKS 19th Century Both tusks with two portraits of women in elaborate dress, likely sourced from Godey’s Lady’s Book. Red highlights. Mounted on a wood and whalebone stand. Tusk lengths approx. 18.5”. Base height 2”. Width 16”. Depth 10.25”. 8,000/12,000 Provenance: Rafael Osona Auctions, Nantucket, Massachusetts, August 5, 2017, Lot #286.

2134

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2135. PAIR OF SCRIMSHAW WALRUS TUSKS WITH FIGURAL PORTRAITS 19th Century Both tusks with three finely rendered and shaded portraits, some of classical figures on plinths. Tips drilled. Lengths approx. 20.25”. 4,000/6,000

2135, pair

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2136. SCRIMSHAW WALRUS TUSK WITH FIGURAL PORTRAITS 19th Century Finely rendered views of a young bearded man holding a sword, a woman holding a bowl of fruit, and Daniel Webster standing next to a pedestal emblazoned with a Liberty eagle and topped with three books, one titled American Consitution. Includes a copy of a Gleason’s Pictorial article and a transparency of the illustration of Webster in this article, which nearly exactly overlays the image on this tusk. Length 21”. 3,000/5,000

2137. SCRIMSHAW WHALE’S TOOTH WITH FIGURAL PORTRAITS 19th Century Obverse depicts a partially clad woman seated on a rock, probably Venus or a siren from Homer’s “Odyssey”. Reverse depicts a female peasant standing on a platform, initialed “CM” near her feet. Length 7.25”. With contemporary stand. 500/1,000

2136

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2138. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH FIGURAL PORTRAITS 19th Century Probably stage actors. Obverse with a woman in an elaborately patterned dress wielding a knife and reverse with a man wearing a feathered hat with a sword at his side. Some pinpoint execution. Length 5.5”. 500/1,000

2138, obverse and reverse

2139. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH FIGURAL SCENES Mid-19th Century Obverse depicts two women engaged in lively conversation, one wearing a hat and both wearing elaborately patterned dresses. Reverse depicts a young man wrestling with an enormous bird or dragon, possibly Hercules slaying the Stymphalian birds or Beowulf and the Dragon of the Barrow. Fine, delicate workmanship. Accompanied by a Letter of Determination from the National Marine Fisheries Service. Length 4.75”. 1,000/2,000 2139, obverse and reverse

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2140, obverse and reverse

The Lady of the Lake, sometimes known

2140. SCRIMSHAW WHALE’S TOOTH “LADY OF THE LAKE” Second Quarter of the 19th Century Obverse depicts a scene from Arthurian legend, showing the Lady of the Lake poling a small boat toward King Arthur awaiting on shore. Titled near tip in a scrolling banner bordered by foliate vines. Reverse depicts a three-masted gunship flying a jack and an American flag. Well executed. Fine patina. Length 8”. On a contemporary wooden stand. 6,000/10,000

as Viviane or Nimue, is a powerful and mysterious enchantress. She is most famously known for bestowing King Arthur with the sword Excalibur, but she is also said to have eliminated the wizard Merlin, raised the knight Lancelot in her underwater realm after the death of his father, and eventually helped guide the dying Arthur to Avalon after his final battle.

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2141. SCRIMSHAW WHALE’S TOOTH “MALGHERITA SPOLETINA” 19th Century Finely detailed scene from the early Italian love story of Malgherita Spoletina, who fell in love with Theodore, a religious recluse who lived on an island. Swimming across a channel at night to visit him, Malgherita is discovered by her brothers, who then deceive her into swimming into the open ocean, where she drowns. Here Theodore finds her body washed ashore. The story was included in the book My Grandmother’s Guests and Their Tales by Henry Slingsby, published in 1825, and is retold in Paul Heyse’s 1852 narrative poem “Margherita Spoletina”. Titled in pinpoint serifed lettering at base. On custom wooden stand. Length 6”. Height on stand 7”. 1,800/2,500 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, April 29-30, 1983, Lot #253 (retains stickers). Johnson, based on communications with Dr. Fabrizio Antolini, president of Accademia Spoletina, surmised the tooth was engraved by a whaler from Trenton, New Jersey since there was a large migration of Spoletinos to Trenton. A Nantucket Collection. Eldred’s, April Marine Sale, April 29, 2021, Lot #97.

2141

2142. PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH WITH FIGURAL SCENES 19th Century Obverse of one tooth depicts a young couple in a lush garden, seated below an apple tree. Reverse depicts a man, probably an actor in medieval dress, with one arm resting across his chest, his sword at his side and one foot braced against a step. Other tooth with full-length portrait of a Turk on the obverse, a firearm tucked into his sash, and a view of a boy and his dog on the reverse. Crisply engraved, richly inked and vibrantly colored. Lengths approx. 5.5”. 2,000/3,000

2142, obverse and reverse of pair

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2143, obverse, edge and reverse

2143. POLYCHROME SCRIMSHAW WHALE’S TOOTH SIGNED BY LEMUEL F. RICH Mid-19th Century A highly detailed mourning scene wraps around the circumference, centered by a man seated astride a fallen tree under the shade of willow trees, holding an ailing or deceased woman in his arms. Scene also shows a reclining woman, a man holding a hat while peering out from behind a tree, and several stately buildings. Signed at base “Engraved by, L.F. Rich.”. Opposite side with “Love” surrounded by a garland of roses at tip and “Love 1850” at base. Length 5.5”. 2,000/3,000 Provenance: The Thomas Mittler Scrimshaw Collection. Eldred’s, Spring Americana, April 6, 2017, Lot #1011. Reference: Illustrated in Through the Eyes of a Collector by Nina Hellman (2015), fig. 88. A biography on L.F. Rich can be found in Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Mystic Seaport, 2013), p. 230.

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2144. RELIEF-CARVED WHALE’S TOOTH England, 19th Century Prince of Wales’s feathers and floral and foliate designs. Length 7”. 1,000/2,000

2144

2145. RELIEF-CARVED WHALE’S TOOTH Mid-19th Century Depicts flowers and foliage in a woven basket. Exceptionally detailed workmanship. Length 6.25”. 1,500/2,000 Provenance: The Thomas Mittler Scrimshaw Collection. Eldred’s, Spring Americana, April 6, 2017, Lot #1006. Reference: Illustrated in Through the Eyes of a Collector by Nina Hellman (2015), fig. 97.

2145

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2146, obverse and reverse

2146. POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE BANKNOTE ENGRAVER 19th Century Obverse depicts a raging battle between the U.S.S. Constitution and H.M.S. Guerriere, both flying red flags and streamers. Reverse with an oval portrait of a woman and a young girl framed within a floral garland. Fine floral and geometric borders encircle tip and base. Delicate and meticulous workmanship as typical of the Banknote Engraver. Length 5.5”. 8,000/10,000 Provenance: The Collection of Bob and Nina Hellman, Nantucket, Massachusetts.

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2147. PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH DEPICTING SAILING VESSELS Mid-19th Century Both flying colored flags, possibly British red ensigns, and long streamers. Green laurel leaf garland surrounds. Mounted on turned wooden bases. Lengths approx. 4.5”. Total heights on stands approx. 5.75”. 2,000/3,000

2149. CANE WITH CARVED WHALEBONE CLENCHED FIST HANDLE 19th Century Fist holding a long baton. Relief-carved cuff. Hardwood shaft. Length 37.5”. 500/800

2148. CANE WITH WHALE’S TOOTH HANDLE 19th Century Small whale’s tooth mounted on silver. Hardwood shaft with brass ferrule. Length 36.25”. 300/500

2150. WHALEBONE AND WHALE IVORY CANE 19th Century Whale ivory octagonal capstick handle. Banded wood throat. Whalebone shaft with nickel ferrule. Length 36.75”. 500/1,000

2147, pair

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2151. WHALE IVORY CANE 19th Century Whale ivory ball handle. Hardwood shaft with octagonal upper section. Length 37”. 400/700

2154. LADY’S CLENCHED FIST CANE 19th Century Beautifully carved diminutive whale ivory handle carved in the form of a clenched fist holding a baton, with a folded cuff and a single button. Whalebone shaft. Length 34.75”. 800/1,200

2152. MARINER’S CANE 19th Century Marine mammal ivory flattened ball handle engraved with a compass rose and ordinal points. Hardwood shaft tapers from an octagon to a cylinder. Length 32.75”. 800/1,200

2155. EAGLE’S HEAD CANE 19th Century Whale ivory handle carved as an eagle’s head with deeply inset eyes and a long beak. Wood cap at end of handle with vivid mother-of-pearl or abalone inlay. Throat with whale ivory and contrasting banding. Hardwood shaft with whalebone ferrule. Length 36.75”. 1,000/1,500

2153. TURK’S-HEAD KNOT CANE 19th Century Whale ivory handle carved as a Turk’s-head knot. Silver collar. Hardwood shaft with metal ferrule. Length 36.5”. 1,000/1,500

2154

2153 2155

2156

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2156. WHALE’S TOOTH CANE 19th Century S-form handle constructed from two whale’s teeth and a wood joint. Tropical wood shaft with silver collar and with metal ferrule. Length 34.75”. 1,000/1,500

2157. FINE CLENCHED FIST CANE 19th Century Beautifully carved whale ivory handle with detailed cuff and inlaid buttons. Throat with baleen and brass banding. Whalebone shaft with brass ferrule. Length 33.75”. 1,200/1,800

2158. CROOK-HANDLED CANE 19th Century Whale ivory handle with island wood banding. Hardwood shaft with brass ferrule. Length 36”. 1,000/1,500

2159. WHALE IVORY AND HARDWOOD CANE 19th Century Whale ivory capstick handle with an inlaid contrasting disk at top and two thick ebony bands at throat. Hardwood shaft inlaid with mother-of-pearl elongated triangles just below the handle. Metal ferrule. Length 33.75”. 1,000/1,500

2160. SNAKE CANE 19th Century Open-carved whale ivory handle in the form of a snake with a looping tail. Whalebone shaft. Length 32.75”. 800/1,200

2157

2159

2158

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2160

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2161. IVORY-HANDLED DAGGER 19th Century Ribbed handle with pique inlay and an engraved heart-shaped terminal. Overall length 8.75”. With contemporary stand. 800/1,200

2161

2162. POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING A BRITISH FIRST-RATE SHIP AND PORTRAIT OF A LADY 19th Century A 120-gun ship of the line flying an English ensign off the gaff, angled away to show its three decks of cannons. Highly detailed spars, rigging and galleries. Reverse with a beautifully rendered full-length portrait of a woman with her eyes closed, wearing a fancy bonnet, formal dress and laced shoes, and holding a purse in her left hand. Red coloring in her bonnet and belt. Tip encircled by a ribbon of flower heads. Length 7.25”. 4,000/6,000

2162, obverse and reverse

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2163

2163. SCRIMSHAW WHALE’S TOOTH “HOMEWARD BOUND” Mid-19th Century Depicts a seascape of a three-masted vessel under sail, cleverly framed within the skirts of a lady. Vessel is just off a coastal lighthouse and flies an “A” flag from the mainmast. Another ship on a similar tack is visible in the distance. Titled in pinpoint lettering at base. Length 6.75”. 2,000/3,000

2164. SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAITS Mid-19th Century Both sides with American-flagged ships under sail. Nicely detailed. Length 5”. 800/1,200

2165. SCRIMSHAW KNIFE 19th Century Walrus ivory handle engraved with multiple images including a house in a landscape, leafy branches, crossed fouled anchors, crossed hammer and trowel, etc. Some images incorporate lettering and/or reference fraternal organizations. Deep patina and visible secondary dentine. Brass collar. Unmarked bowie-style blade. Total length 10.75”. Includes stand. 500/1,000

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2166. RARE WHALEBONE BALANCE SCALE Mid-19th Century Comprised of a whalebone beam and fulcrum and baleen pans. Stand constructed from a baleen dowel topped with a whalebone finial, and a figured hardwood base with whalebone feet. Set of weights fitted into a whalebone block that insets into the base. Height 11.5”. Width 6.5”. Depth 3”. 800/1,200

2167. WHALEBONE BUCKSAW 19th Century Lyre-form frame. Height 19”. Length 25.5”. 500/1,000

2166

2167

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2168. * SPERM OIL BOTTLE 20th Century With original paper label “Stainless Sperm Sewing Machine Oil [...] Equitable Refining Co. Cleveland, Ohio.”. Height 4.5”. 400/600

2169. * NARWHAL TUSK Nicely proportioned spirals and exceptional patina. Length 50.5”. 5,000/10,000

2170. * LARGE SEMI-POLISHED WHALE’S TOOTH Length 8”. 600/900

2171. * NEAR-MATCHED PAIR OF SEMI-POLISHED WHALE’S TEETH Lengths approx. 7.25”. 1,000/1,400

2169

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

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2172

2172. LEMUEL D. ELDRED Massachusetts, 1848-1921 “On the Whaling Grounds”. Signed in pencil lower right “L. D. Eldred”. Etching 4.5” x 15.75”. 900/1,200

2174. WILLIAM GILKERSON Wisconsin/Canada, 1936-2015 Print portfolio “American Whalers in the Western Arctic”, 1983. Contains 13 prints. Portfolio 16.25” x 20”. 300/500

2173. TWO BUFFALO POTTERY PITCHERS “THE WHALING CITY SOUVENIR OF NEW BEDFORD MASS” First Half of the 20th Century Brown transfer decoration of whaling scenes, the city waterfront, etc. Heights 6”. 300/500

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2175. MINIATURE TURNED WHALE IVORY MORTAR AND PESTLE Late 19th Century Mortar height 2”. Pestle length 2.5”. 200/300

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2176. SCRIMSHAW WHALEBONE PUZZLE BOX 19th Century Top with finely engraved flower basket. Height 0.875”. Length 2.375”. Width 1.5”. 1,000/1,500 Provenance: John Rinaldi Nautical Antiques, Kennebunkport, Maine. Reference: Illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 154.

2176

2177. SCRIMSHAW WHALEBONE CRIBBAGE BOARD IN THE FORM OF A WHALE Mid-19th Century Engraved and pierced game board surrounded by an engraved scene of a whaleship and three whaleboats in pursuit of a pod of whales. Each whaleboat is carrying six men and at least two of the boats are fast to a whale. Foliate garland along perimeter. Signed “John Schiff” at end and “J” and “S” above whaleship. Other initials, possibly “O”, “F”, “T” and “C” on underside. Board raised on four metal pins. Length 16”. 6,000/10,000 Provenance: Paul Madden Antiques, Sandwich, Massachusetts. The Collection of Paul Vardeman. Eldred’s, The Marine Sale, July 25, 2019, Lot #94. Reference: Illustrated in Scrimshaw: The Whaler’s Legacy by Martha Lawrence, p. 176.

2177

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2178

2178. CARVED BONE MODEL OF A WHALEBOAT Late 19th/Early 20th Century Plank-on-frame construction. Complete with sails, spars, harpoons, line buckets, oars, etc. and rigged with a sail. Displayed on two carved whalebone whales that function as a cradle. Height on cradle 16”. Length 21”. Width on cradle 6.75”. 1,800/2,500

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2179

2179. SAILOR-MADE OAK AND WHALE IVORY BOX 19th Century Lid with a section of a whale’s tooth at center and inlaid whale ivory disks and applied whalebone or whale ivory teardrops around the perimeter. Front with three inlaid whale ivory disks. Height 5.5”. Width 11”. Depth 7”. 500/800

2180. ABALONE INLAID MAHOGANY BOX WITH CHRISTMAS THEME Circa 1909 Dovetailed two-drawer box with hinged lid and bracket base. Bone side handles, drawer knobs and bun feet. Original top and drawer locks with keys. Abalone inlay throughout. Front of hinged lid with “H-McC-XMAS-1909”. Top, front, drawer fronts and pendant drop with various decorative shapes, mostly geometric but includes a four-legged animal and a few fish. Shapes on top form a snowflake. Interior of lid with painted decoration of a coat of arms with a helmet crest, crowned rampant lion supporters, a rampant lion charge and a “God - Send - Grace” banner. Interior lined in purple velvet and fitted with a lift-out compartmented tray. Height 10.75”. Width 13.25”. Depth 9.25”. 2,000/3,000 2180

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2181. SCRIMSHAW WHALEBONE BUSK 19th Century Depicts five finely engraved vignettes: a sailor on deck; an eagle with a Liberty shield, arrows and olive branches; a large estate; an Americanflagged three-masted ship; and a young girl reading a book while standing on a checkered floor. Lobed top and curved base. Length 14”. 2,000/3,000 Provenance: Rafael Osona Auctions, Nantucket, Massachusetts.

2182. TWO SCRIMSHAW WHALE’S TEETH WITH FIGURAL PORTRAITS Late 19th Century One with a full-length portrait of George Washington on obverse and crossed flags on the reverse. Other with a half-length portrait of a Native American on the obverse and a coat of arms on the reverse. Lengths approx. 6.5”. 1,000/1,500

2183. ARTHUR MONIZ Massachusetts, 1925-2018 “Moby Dick”. Signed upper left “Arthur Moniz”. Graphite and watercolor on paper, 11.5” x 18.5”. Framed 20” x 27”. 1,000/1,500

2181

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2184. CASED BONE MODEL OF THE WHALESHIP WANDERER Late 19th Century Appears to be plank-on-frame construction. Nicely detailed, including four whaleboats on davits, tryworks, “Wanderer” lettered at the bow, etc. Displayed on a cradle within a glass and wood case. Case height 16.5”. Length 22.5”. Width 7.25”. 3,000/5,000

2184

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2185

2185. RARE SIGNED “EGGERS” PIERCE/EGGERS BREECH-LOADING SHOULDER GUN MARKED FOR THE SHIP WANDERER, AND A BOMB LANCE Late 19th Century Gun patented 1878. Barrel and skeleton stock appear to have been cast in one piece of completely non-ferrous metal, probably brass (“gun metal”). Barrel stamped just forward of breech “S. Eggers N. Bedford Mass. Pat. Feb. 12, 1878”. Marked “Wan” on left side, undoubtedly for the famous New Bedford whaleship Wanderer. Stamped under barrel “328”, likely a serial number. Circa 1869 bomb lance for a shoulder gun, unmarked but probably made by Ebenezer Pierce. Rare spiral arrangement of metal stabilizer “sails”. Gun length 36.5”. Bomb lance length 16.75”. 7,000/10,000 Provenance: The Collection of Bob and Nina Hellman, Nantucket, Massachusetts. Reference: The Collection of Bob and Nina Hellman is preserved in its entirety in an online database, hellmanwhalingcollection.org. More information about these items may be found by visiting this site and searching REH219 and REH278.

** this description amended from printed catalog **

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2186. WROUGHT IRON TOGGLE HARPOON Late 19th Century Head stamped “Charles W. Morgan”. Length 28.75”. 800/1,200 Provenance: Eldred’s, Marine Sale, April 29, 2021, Lot #194. Private Collection.

2186

2187. WILLIAM PERRY ENGRAVED WHALE’S TOOTH Early 20th Century Depicts a ship at sea. Signed on both sides “WP”. Length 6.25”. 800/1,200

William Perry (1894-1965) was quite possibly the first “contemporary” scrimshander, working in the style of 19th Century whalemen to carve, engrave and build functional objects out of whale teeth and whalebone to sell in the retail marketplace. Perry was born in Oakland, California but spent the majority of his life in and around the whaling port of New Bedford. He wanted to follow in the footsteps of his father, Frank Antone Perry, a New Bedford-born whaleman, but his Azorean mother forbade him from embarking on such a dangerous occupation. His artistic talent was recognized when he was a teenager. He held a series of odd jobs over his lifetime, some of which aligned with his drawing skills, including cutting glass at the Pairpoint factory and working as a tattoo artist. He was also a watchman aboard the whaleship Charles W. Morgan, a cook, a gardener and a janitor. He combined his love of whaling and art by scrimshanding in his free time, eventually

2187

engraving more than 1,000 pieces. He was able to sell many pieces through Albion Stone, who owned a jewelry and fine gift store in New Bedford, and William Kranzler, an antiques dealer with a shop across the street from the New Bedford Whaling Museum. Perry’s work is now included in the collections of the Nantucket Whaling Museum, Mystic Seaport Museum and the New Bedford Whaling Museum.

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MICHAEL VIENNEAU

2188. * MICHAEL VIENNEAU POLYCHROME ENGRAVED WHALE’S TOOTH DEPICTING THE WHALESHIP CHARLES W. MORGAN Nantucket, Massachusetts, Contemporary Obverse with a starboard stern quarter view, showing an American flag flying off the gaff. “Charles W. Morgan” in banner below. Reverse with a bow quarter view of the whaleship. Signed and dated “M. Vienneau 2008 Nantucket”. Length 6.25”. With stand. 1,500/2,500

2188, obverse and reverse

2189. * MICHAEL VIENNEAU POLYCHROME ENGRAVED WHALE’S TOOTH Nantucket, Massachusetts, Contemporary Obverse with a stern quarter view of the whaleship Wanderer, showing whaleboats on davits and an American flag flying off the gaff. “Wanderer” banner below. Reverse with a bow quarter view of the whaleship. Signed and dated “M Vienneau 2008 Nantucket”. Length 6.5”. With stand. 1,500/2,500

2189, obverse and reverse

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2190. * MICHAEL VIENNEAU POLYCHROME ENGRAVED WHALE’S TOOTH PERTAINING TO THE WAR OF 1812 Nantucket, Massachusetts, Contemporary Obverse depicts the naval battle “U.S.S. Constitution vs. H.M.S. Guerriere August 19, 1812”, titled in banner below. Reverse with an oval portrait of Captain Issac Hull set within crossed American flags, cannons, etc. Signed and dated “M.J. Vienneau 2008 Nantucket”. Length 7.5”. 2,000/3,000

2190, obverse and reverse

2191. * MICHAEL VIENNEAU POLYCHROME ENGRAVED WHALE’S TOOTH “NANTUCKET HARBOR 1840” Nantucket, Massachusetts, Contemporary Signed and dated “M.J. Vienneau 2008 Nantucket”. Displayed on a bone and wood stand mounted with an engraved title plaque. Length 7”. 1,200/1,800

2191

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

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2192. * ENGRAVED WHALEBONE AND FIGURED WOOD DITTY BOX Circa 1970s Bone swing handle reinforced with wood. Wooden hinged lid with a bone peg clasp and a bone lip engraved with a line of rope. Finger-lapped bone body engraved on one side with a map of Nantucket Island, a sperm whale and a compass rose. Nailhead trim. Metal compressed ball feet. Interior lined in brown suede. Engraving signed lower right “ADJ”, possibly for contemporary scrimshander A. Douglas Jacobs. Box is otherwise unmarked although it is nearly identical to examples signed and numbered by Tony Marmol. Height 4”. Length 7.25”. 3,000/5,000

2192

2193. * POLYCHROME ENGRAVED WHALE’S TOOTH DEPICTING THE “LITTLE NAVIGATOR” 20th Century Profile full-length view of a man in a top hat holding an octant. Height 4.5”. 800/1,200

2193

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

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2194

2194. * ENGRAVED WHALEBONE STAND FOR A PAIR OF WHALE’S TEETH 20th Century Together with four miniature carved ivory whaling tools. Stand’s whalebone back panel carved as a heart nestled in the lobes of a larger heart, with a scalloped edge, a deeply incised exterior border and a pierced inner border. Engraved by David Lazarus (England/Nantucket, 1953-) with a fouled anchor and a whaling scene of two whaleships, a stoved boat, a whaleboat under sail approaching a breaching whale and a third whaleboat rowing toward a surfaced whale, the harpooner poised at the bow. Mahogany base with light wood inlay and whalebone trim. Base raised on four turned ivory feet and surmounted by turned whale ivory pillars at each corner and a cup at the center flanked by wooden wedgeshaped supports for two teeth. Height 6”. Width 10.5”. Depth 3.75”. 1,000/1,500

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2195. * ENGRAVED WHALE’S TOOTH DEPICTING A LARGE SIDE-WHEEL STEAM/SAIL VESSEL With a smaller sailboat in the foreground. Signed on edge “RL” with an anchor. Length 6.75”. 1,000/1,500

2196. * ENGRAVED WHALE’S TOOTH WITH FIGURAL SCENE After Winslow Homer’s “Shipbuilding”, depicting a vessel at dry dock and two small children playing with pond models. Signed “P Hayde”. Length 6.5”. 800/1,200

2197. * CHARLES MANGHIS POLYCHROME ENGRAVED WHALE’S TOOTH Nantucket, Massachusetts, Contemporary Depicts the whaleship Navarch trapped in the ice near Point Barrow, Alaska. Length 4”. With stand. 500/800

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2198

2198. * LARGE ENGRAVED WALRUS TUSK 20th Century Depicts a walrus hunting scene off St. Lawrence Island. Length 30”. With walnut base. 3,000/4,000

2199. * FINE POLYCHROME ENGRAVED WHALE’S TOOTH “HOMEWARD BOUND SOUTH SEA FISHERY” 20th Century Obverse depicts a whaling scene with two whaleboats, a whaleship cutting in and a waifed whale. Reverse depicts a ship with a steam vessel off her bow. Titled below. Length 7.5”. 800/1,200

2199, obverse, edge and reverse

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

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2200. EXCEPTIONAL CARVED WHALE IVORY AND WHALEBONE CANE 19th Century Whale ivory Turk’s-head knot handle and hexagonal throat. Whalebone shaft with carved herringbone and rope-twist segments. Nickel ferrule. Length 33.5”. 1,500/2,500

2200

2201. BALEEN-BANDED CANE 19th Century Whale ivory knob handle and whalebone shaft with baleen banding down the length. Nickel plated cap and ferrule. Length 33.75”. 1,200/1,500

2201

2202

2202. EAGLE’S HEAD CANE 19th Century Handle carved from a small whale’s tooth into the form of an eagle’s head with open beak, showing its tongue, and inset eyes. Hardwood shaft with two whale ivory bands at throat. Horn ferrule. Length 37.75”. 1,500/2,500

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2203. CANE WITH CARVED IVORY WHALE-FORM HANDLE 19th Century Hardwood shaft. Length 34.75”. 800/1,200

2208. CANE WITH CARVED WHALE IVORY HANDLE 19th Century Melon-form grip atop a turned plinth. Whalebone shaft with metal ferrule. Length 34.75”. 500/800

2204. CLENCHED FIST CANE 19th Century Whale ivory handle carved as a clenched fist holding a baton. Heavy whalebone shaft. Length 42.75”. 1,500/2,500

2209. CANE WITH SMALL WHALE’S TOOTH HANDLE 19th Century Handle deeply incised and colored “MJK”. Throat with whale ivory banding. Hardwood shaft with whale ivory ferrule. Collection numbers on underside of handle. Length 36.75”. 400/600

Provenance: The Barbara Johnson Whaling Collection.

2210. CLENCHED FIST CANE 19th Century Whale ivory clenched fist handle and throat. Whalebone shaft. Length 34”. 500/800

2205. WHALE IVORY-HANDLED CANE 19th Century Ribbed whale ivory capstick handle with a silver metal cap and collar. Hardwood shaft. Length 34.5”. 300/500

Provenance: The Estate of Paul and Diane Madden, Sandwich, Massachusetts.

2206. CARVED BONE CANE 19th Century Derby-style handle nicely carved in the form of a sea monster baring its teeth. Contrasting ring and faceted throat. Whalebone shaft with brass ferrule. Length 35.25”. 1,000/1,500

2211. CARVED WHALE IVORY AND WHALEBONE CANE 19th Century Whale ivory mushroom-form handle. Whalebone shaft. Length 32.25”. 500/1,000

2212. WHALE IVORY-HANDLED CANE 19th Century Knob handle with an inlaid mother-of-pearl disk at top and three incised bands showing traces of red and blue coloring. Hardwood shaft with inlaid baleen diamonds near the handle; two missing. Length 35.75”. 500/1,000

2207. WHALE’S TOOTH-HANDLED CANE 19th Century Handle carved as a sperm whale amongst waves. Hardwood shaft with metal ferrule. Length 35”. 1,200/1,800

2203

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2205

2204

2208

2207

2206

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session two

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2301

2301. RARE ROWLAND FOLGER NANTUCKET BASKET Nantucket, Massachusetts, 1803-1883 Swing handle attached to beveled wooden ears that project above the rim, typical of Folger. Stamped mark on interior base “[...] Folger Maker Nantucket Mass.”. Branded on underside for R.H. Morgan. Excellent condition with a dry patina. Height to rim 4.5”. Diameter 6.75”. 1,200/1,800

Rowland Folger is one of the earliest identified Nantucket basket makers. He may have possibly made a whaling voyage in his youth, but census records identified him throughout his life as a jail keeper, printer, paper hanger and basket maker. Never part of a lightship crew, Folger produced his baskets on-shore for sale in his own store.

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2302. NANTUCKET BASKET Late 19th/Early 20th Century Shaped walnut handles. Turned walnut base plate. Height to rim 3.25”. Diameter 9”. 700/1,000

2302

2303. NEST OF THREE NANTUCKET BASKETS Early 20th Century Swing handles. Unmarked. Height to rims from 4.75” to 6.25”. Diameters from 6” to 8”. 1,000/2,000

2303

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2304. MICHAEL KANE NANTUCKET BASKET PURSE Nantucket, Massachusetts, Contemporary Double swing handles. Polychrome engraved panels by Robert Spring mounted on both exterior and interior of lid, the exterior depicting a dramatic whaling scene with a stoved boat and the interior with the owner’s name surrounded by a patriotic border of flags, a cannon and a spread-wing eagle grasping an “R Spring 1980” banner. Handle knobs carved as scallop shells. Decoratively carved clasp. 1980 penny affixed to interior base. Signed and dated on underside “Made By Michael Kane 1981 Nantucket Island”. Height 7”. Width 11”. 3,000/4,000

2304

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2305. STANLEY ROOP NANTUCKET BASKET PURSE Nantucket, Massachusetts, 20th Century Carving of Nantucket Island mounted to lid. Basket signed and dated “Nantucket, Mass 1968 Stanley M. Roop”. Height 7”. Width 10”. 800/1,200

2305

2306. STANLEY ROOP NANTUCKET BASKET PURSE Nantucket, Massachusetts, 20th Century Engraved oval plaque mounted to lid depicts a ship passing a lighthouse, signed and dated lower right “N.A. Chase 1966”. Basket signed and dated “Nantucket, Mass 1965 Stanley M. Roop”. Height 8”. Width 10”. 700/1,000

2306

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2307

2307. NIEK VAN DER PLAS The Netherlands, 1954Regatta, probably Nantucket, Massachusetts. Signed lower right “Van der Plas”. Oil on panel, 21” x 35”. Framed 27” x 41”. 2,500/3,500

2308. CHARLIE SAYLE CARVED AND PAINTED SPERM WHALE WHIRLIGIG Nantucket, Massachusetts, 1908-1994 With open mouth, incised eyes and flippers, and a spinning tail. Mounted on a newer metal and wood stand, with typewritten note on underside “Whale whirlygig[sic] made by Charlie Sayle, Nantucket, circa 1950. formerly on the garage of the Collins family at 17 Broad St. Forager House Collection 22 Broad Street, Nantucket”. (Forager House was an art and antique shop operated by Richard Kemble and George Korn on Nantucket from the early 1980s until 2003.) Height on stand 8.75”. Whale length 16.75”. Stand length 17”. 2,500/5,000

2308

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2309

2310

2309. BRIAN MITCHELL CARVED AND PAINTED SPERM WHALE PLAQUE Boone, North Carolina, Contemporary Signed on reverse “Brian Mitchell”. Height 8”. Length 35”. 500/800

2312. BRIAN MITCHELL CARVED AND PAINTED BLUE WHALE WITH CALF PLAQUE Boone, North Carolina, Contemporary Signed on reverse “Brian Mitchell”. Height 9”. Length 30”. 500/800

2310. BRIAN MITCHELL CARVED AND PAINTED NARWHAL PLAQUE Boone, North Carolina, Contemporary Signed on reverse “Brian Mitchell”. Height 8”. Length 32”. 500/800

2313. ROGER MITCHELL CARVED AND PAINTED HUMPBACK WHALE PLAQUE Massachusetts, Contemporary Signed on reverse “R.C. Mitchell”. Height 11”. Length 17”. 300/500

2311. BRIAN MITCHELL CARVED AND PAINTED SWORDFISH PLAQUE Boone, North Carolina, Contemporary Signed on reverse “Brian Mitchell”. Height 14”. Length 35”. 500/1,000

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2314. MODEL OF THE SIDEWHEEL STEAMER NANTASKET 20th Century Charming folksy model flying flags and pennants. Mounted on a chip-carved wooden base. Total height 29.5”. Length 49”. 1,800/2,200

2315. TWENTY-FOUR ISSUES OF THE HAWAIIAN NEWSPAPER THE FRIEND 1856-1857 Published by Rev. Damon, The Friend began as a monthly newspaper for seamen in 1845 and included news of Hawaii and other Pacific islands, the whaling industry, naval activity, ship arrivals and departures, and marriages and deaths. Professionally preserved in an archival clamshell box. Box 12.75” x 10”. 800/1,200

2314

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2316. TWO ITEMS PERTAINING TO JOHN BARRETT Mid-19th Century A bust portrait pencil drawing “Born 1795 Drawn 1850” and a carved wooden panel with “JB”, geometric designs and trees on the obverse, and four sailing vessels and a lighthouse on the reverse. Housed in a common double-sided frame showing both sides of the panel. Framed 18.5” x 17.75”. 500/800

2318. SHIPBOARD JOURNAL AND EPHEMERA 19th Century Journal recounts a merchant voyage to the northwest coast, the first entry dated September 8, 1812 and the last September 14, 1813. Inscribed on rear cover “Daniel Bacon”. Lot also includes typed accounting records of the ship Winged Hunter, a “Ship ‘Leading Wind’ of Boston, F.M. Hinckly, Master” booklet filled with pencil notes and figures, a “Statement of Partial Loss Ship ‘Leading Wind’ [...]” handwritten ledger, a handful of letters and newspaper clippings, and a copy of the book Barnstable and Yarmouth Sea Captains and Ship Owners / List of Sailings from New England to San Francisco, 18491856 by Francis William Sprague and Leavitt Sprague (privately printed, 1913). Also includes a June 1994 handwritten letter pertaining to the journal from Stuart M. Frank, at the time the director of the Kendall Whaling Museum, Sharon, Massachusetts. To 13.75” x 9”. 1,000/1,500

2317. EUGENE CHARLES LE GENDRE Belgium, 1827-1900 Portrait of Captain George Fred Williams and his family. Signed lower right “Eug. LeGendre”. Note affixed verso typewritten “The sea captain, born in Germany, ran away to sea as a young boy - unofficially adopted by an American sea captain, he took his name and thereafter was known as George Fred Williams. He grew up to become captain of a ship (name unknown), married a New England woman (Rice) and had three children - daughter Henrietta, later Mrs. Louis Lutz, Dedham - George Fred, Boston lawyer, Ambassador to Greece under Wilson and while there offered crown of Albania. A brother had an early demise. Like a good captain, he went down with his ship when after returning from a trip to China a bad storm arose in Boston Harbor and the ship was destroyed.”. Oil on canvas, 26.5” x 33”. Framed 35” x 42”. 4,000/6,000

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2317

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129

2319. AMERICAN SCHOOL 19th Century House and signal flags, likely from Nantucket, Massachusetts. Lists several members of the Coffin family. Mixed media, 13” x 15.75” sight. Framed 14.25” x 17”. 800/1,200

2319

2320. WALTER FOLGER, JR. DRY CARD COMPASS Nantucket, Massachusetts, Circa 1790 Hand-hammered copper case with attached swing handle. Interior painted white. Compass printed in black and white with eight points. Written in script around the center “Walter Folger Jr. Maker Nantucket”. Height 2.75”. Diameter 4.5”.` 2,000/3,000

2320

2321. GORHAM STERLING SILVER PRESENTATION GOBLET OF NANTUCKET INTEREST Providence, Rhode Island, Second Half of the 19th Century Engraved “Presented to John Hamblin by Frank M. Cronise, Arthur Perrin, W.E. Russell, G.W. Allen, R.C. Allen in remembrance of his gallant efforts in rescuing the donors from drowning. Nantucket July 11th, 1876”. Marked for Gorham on base. Height 6”. 1,000/1,500

2321

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A Nantucket Estate

2322. SEA CHEST BELONGING TO NANTUCKET SHIP OWNER HENRY COFFIN Nantucket, Massachusetts, Mid-19th Century Branded “H Coffin” on top and interior base. Exterior painted mossy green. Simple cleats and rope beckets. Includes photographs, newspaper obituaries and other ephemera pertaining to Coffin and Nantucket. Height 16.5”. Width 43.5”. Depth 17.25”. 1,200/1,800 Provenance: Henry Coffin, Nantucket, Massachusetts.

2322

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A Nantucket Estate

2325

2323. ODD LOT OF MARITIME ITEMS Early 20th Century Includes a macrame bag, a boxed set of 28 carved dominoes, a set of carved whalebone letters, and a carved hardwood shaft with a bone ring. Box height 2”. Length 7”. Width 2.75”. 300/500

2325. FRANK VINING SMITH Massachusetts, 1879-1967 Portrait of an American sailing ship. Signed lower right “Frank Vining Smith”. Oil on canvas board, 12” x 16”. Framed 19” x 23”. 2,000/2,500

2324. MINIATURE OR CHILD’S-SIZE FEDERAL MAHOGANY CHEST Circa 1830 Surmounted by a boldly scrolled backsplash with central foliate carving. Recessed upper tier with half drawers. Case with an overhanging drawer over three drawers. Half columns at sides of case with fine acanthus carvings and paw feet. “Walsh” paper label on back. Height 19.75”. Width 14.5”. Depth 7”. 400/600

2326. ANTIQUE BLANKET BOX WITH LATER PAINTED DECORATION OF THE SHIP FALCON 19th Century Lid depicts the “Falcon of St. Lucia” at sea. Front with “Falcon” and American flags. Decorated on all sides. Height 19”. Width 36”. Depth 19.75”. 500/700

Provenance: Purchased from the Grant/Walsh family of Nantucket, Massachusetts.

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2327. CASED MODEL OF THE GAFF-RIGGED VESSEL PROVIDENCE, IN THE MANNER OF WILLIAM E. HITCHCOCK Early 20th Century Displayed on a cradle within a glass and wood case. Case height 31”. Length 37.75”. Width 14.75”. 1,200/1,800

2327

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A Nantucket Estate

2328. ALEXANDER A. DZIGURSKI California, 1911-1995 California seascape. Signed lower right “A. Dzigurski”. Oil on canvas, 26” x 42”. Framed 37” x 53”. 1,000/2,000

2329. CHARLES PAUL GRUPPE Massachusetts/New York/The Netherlands/ Canada, 1860-1940 Dutch canal scene. Signed lower right “Chas P. Gruppe”. Oil on canvas, 22” x 18”. Framed 28.5” x 24.5”. 800/1,200

2329

2330. MARJORIE VERY Massachusetts, 1895-1985 Northshore harbor. Signed lower right “M. Very”. Watercolor on paper, 15” x 22” sight. Framed 24.5” x 31”. 500/1,000

2331. CHARLES GORDON MARSTON Massachusetts, 1898-1980 “Sunny Morning, Rockport Yacht Club”. Signed lower left “Charles Gordon Marston”. Titled verso. Oil on canvas, 18” x 34”. Framed 26” x 42”. 800/1,200

2330

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2332. POND MODEL OF A RACING SLOOP First Half of the 20th Century Plank-on-frame construction. Displayed in an impressive tall wooden stand. Height on stand 48”. Length approx. 82”. Width 14.5”. 1,000/1,500

2332

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A Nantucket Estate

2333

2333. CARVED AND POLYCHROMED EAGLE PLAQUE IN THE MANNER OF JOHN HALEY BELLAMY 20th Century Intently gazing toward its left. Beak open to show its tongue. Red, white and blue stars and stripes banner wrapped around its neck. Height 9.75”. Length 65”. 2,000/3,000

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2334

2334. BOSTON ARTISTIC CARVING COMPANY CARVED AND POLYCHROMED SPREAD-WING EAGLE PLAQUE Mid-20th Century Grasping an “E Pluribus Unum” banner in its beak and a Liberty shield in its talons. Height 26.5”. Length 72.5”. 3,000/4,000

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2335

2336

2335. CAMPHORWOOD CAMPAIGN CHEST 19th Century Upper portion with two paneled doors enclosing a single shelf. Lower portion with a secretary drawer over half drawers over two full-width drawers. Fitted with wooden casters. Traditional brass hardware, including inset drawer handles and brass carrying handles at sides. Height 65”. Width 35.5”. Depth 17”. 1,500/2,500

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2336. TWO-PART CAMPHORWOOD CAMPAIGN CHEST 19th Century Upper case with a full-width secretary drawer over half drawers. Lower case with two full-width drawers. Drawers with traditional inset brass hardware. Brass bail handles at sides of cases. Fitted with casaters. Height 42”. Width 39”. Depth 19.5”. 1,500/2,500

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2337. FRENCH DOCKYARD MODEL OF AN 18TH CENTURY VESSEL 19th Century or Earlier Brown and black hull with gilt trim and white bottom. Carrying 62 guns over two decks of gunports fitted with red-painted lids. Beautifully carved and gilt crowned figurehead. Finely carved stern. Displayed on a later mahogany and brass stand. Height on stand 19.5”. Length 52.5”. 5,000/10,000

2339. ELLIOTT BRASS POCKET SEXTANT Early 19th Century Length 4.5”. Width 3.5”.

500/1,000

2340. PAIR OF NICKELED BRASS SHIP’S GIMBALED CANDLEHOLDERS Early 19th Century With blown glass chimneys. Total heights including chimneys 15.5”. 600/1,000

2338. CASED QUADRANT Probably England, 18th Century Ebony frame with brass fittings and ivory degree scales. Index arm with engraved decoration as common during this time period. Housed with an extra peep sight within its original keystone-shaped mahogany case. Case 18.5” x 16.25”. 500/1,000

2337

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139

2341

2341. WILLIAM RAYMOND DOMMERSEN The Netherlands, 1850-1927 View of Vlissingen Harbor. Signed lower left “Dommersen”. Dated 1881 verso. Oil on canvas, 32” x 50.5”. Framed 40” x 57”. 5,000/7,000

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2342. NICHOLAAS RIEGEN The Netherlands, 1827-1889 Rowboat approaching a ship at anchor. Signed lower left “N. Riegen”. Oil on canvas, 14” x 20”. Framed 21” x 27”. 2,500/3,500

2342

2343. AFTER WILLEM VAN DE VELDE THE YOUNGER Continental Europe, 18th Century Battle of Solebay, after Van de Velde the Younger’s “The Burning of the Royal James at the Battle of Solebay”. Depicts the British flagship Royal James on fire after being attacked by the Dutch during the 1672 battle off Southwold, Suffolk, part of the Third Anglo-Dutch War. Oil on canvas, 12.5” x 18.75”. Framed 18” x 24”. 1,500/2,500

2344. BRITISH SCHOOL Early 19th Century The sinking of the Royal George. Unsigned. Oil on canvas, 12” x 16”. Framed 15.5” x 19.5”. 800/1,200

2343

2345. BRITISH SCHOOL Early 19th Century Three vessels at sea, possibly by the White Cliffs of Dover. Unsigned. Watercolor, 7.5” x 9.75” sight. Framed 14” x 16.25”. 500/800

2344

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2346

2346. ATTRIBUTED TO JOHN WARD OF HULL United Kingdom, 1798-1849 An assembly of rowboats and ships, with the fullrigged ship Amazon, built 1811 at Greenock, at the center, as well as a gaff-rigged cutter, a brig at anchor (probably the Maese, built at Yarmouth in 1841), the Hull-owned topsail schooner Dandie Dinmot, two gaff-rigged vessels and a brig under sail. Unsigned. Oil on canvas, 28.5” x 32.5”. Framed 36” x 40”. 6,000/8,000

John Ward was born in Hull, the son of a master mariner of Hull. He was apprenticed as a house painter, a trade he worked at all his working life, even when he became a successful artist. He remains the best known and most admired of the Hull School of Marine Painters. Ward exhibited at the Royal Academy between 1840 and 1847 and at the British Institution between 1843 and 1847. He also made engravings of several of his own

Provenance: Paul Mason Gallery.

works, many of which were published. Some of his most successful compositions are scenes of the Arctic, of

Reference: For another illustration of the Amazon see Merchant Sailing Ships 1815-1850 by David MacGregor (1984).

which he had first-hand knowledge from sailing with a whaling fleet. He also enjoyed painting becalmed vessels, as seen here.

Alternative versions of this scene, in oil, watercolor and lithograph, albeit with some of the vessels rearranged, can be found in the Hull Maritime Museum. 142

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2347

2347. ATTRIBUTED TO THOMAS BUTTERSWORTH United Kingdom, 1768-1842 A gunship and other vessels. Unsigned. Oil on canvas, 11.5” x 17.5”. Framed 18.25” x 24.25”. 4,000/6,000 Provenance: Private Massachusetts Collection.

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J O H N S COT T United Kingdom, 1802-1885

2348

2348. JOHN SCOTT United Kingdom, 1802-1885 ‘’Ellergill in the Dover Straits”. Depicts the bark Ellergill in two positions entering the Dover Straits amidst other shipping against a background of the White Cliffs and Dover Castle. Signed and dated lower right “J. Scott 1856”. Housed in a fine gilt frame. Oil on canvas, 30” x 41.5”. Framed 36” x 48”. 10,000/15,000

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The Ellergill was built in Hull in 1814 for J. and R. Gill. Registered at 360 tons, she sailed from Hull and other English and Irish ports to the eastern coast of Canada and America. She is recorded as having carried immigrants from Londonderry to Philadelphia in 1834 and from Hull to Quebec in 1843. John Scott lived and worked in Newcastle-on-Tyne, painting mainly vessels shown in one or two positions at sea with either Dover or Tynemouth in the distance. Scott’s paintings are in the collections of the National Maritime Gallery in Greenwich, England, the Peabody Essex Museum in Salem, Massachusetts, among others.

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2349

2349. ENGLISH WOOLWORK PICTURE OF A STEAM-SAIL SHIP 19th Century Flying a red streamer from the mainmast and a red ensign off the gaff. Beads at the center of each gunport to simulate cannons. 13.25” x 21” sight. Framed 16.75” x 24.5”. 1,000/1,500

2350, three

2350. THREE NAPOLEONIC WAR-ERA ITEMS Britain/France, Early 19th Century 1) Carved wooden shoe-form snuff box, probably Sissinghurst Castle prisoner-of-war. Top and sliding lid with a foliate design. Length 4.25”. 2) Fine prisoner-of-war straw work needle case with bone knobs at both ends. Geometric design in shades of deep purple and bright green. Length 3.75”. 3) Wooden snuff box with engraved copper plaque on hinged lid “Relic of H.M.S. Victory”. Length 3”. 600/1,200

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2353

2351. NAPOLEONIC PRISONER-OF-WAR STRAW WORK CYLINDRICAL CASE Britain/France, Early 19th Century Possibly made at the Norman Cross prison for use as a spectacles case, necessaire or sailmaker’s needle case. Design of eight-pointed stars, chevrons and other geometric patterns in shades of green, amber and brown. Opens at both ends. Paperboard interior. Length 9.25”. 500/1,000

2353. NAPOLEONIC PRISONER-OF-WAR CARVED BONE SHIP MODEL IN A STRAW WORK CASE Britain/France, 19th Century Model of a British three-decker gunship flying a Union Jack at the bow and rigged with sails. Displayed on a straw work marquetry plinth behind white drapes within an exceptional straw work marquetry case. Case with a brass bail handle at top and turned bone feet. Case height 9”. Model length 8”. 8,000/12,000

2352. NAPOLEONIC PRISONER-OF-WAR STRAW WORK SEWING BOX Britain/France, Early 19th Century Exterior with landscape medallions and a coastal scene on the lid of a ship off a large building. Interior with several compartments. Height 3.25”. Width 9”. Depth 6.75”. 200/300

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147

2354. NAPOLEONIC PRISONER-OF-WAR STRAW WORK BOX Britain/France, Early 19th Century Domed lid and fall front. Interior with a lift-out tray, several lidded compartments and a drawer. Turned bone feet. Height 11.25”. Width 11”. Depth 7.5”. 800/1,200

2354

2355. NAPOLEONIC PRISONER-OF-WAR CARVED BONE GAMES BOX Britain/France, Early 19th Century Peaked sliding lid with inset still life and figural watercolor paintings under glass. Additional watercolor still life and landscape paintings around the sides of the box, for a total of 14. Contains dominoes and polychrome playing cards. Height 3.25”. Length 9.5”. Width 3.75”. 1,500/2,500 2356. NAPOLEONIC PRISONER-OF-WAR CARVED BONE GAMES BOX WITH DOMINOES Britain/France, Early 19th Century Sliding cover with pierced hearts and clovers. Sides with red and blue concentric circles. Contains 21 dominoes with red dividing lines. Height 1.25”. Length 5.25”. Width 1.375”. 500/800

2355

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2357. NAPOLEONIC PRISONER-OF-WAR CARVED BONE GAMES BOX AND A TEETOTUM Britain/France, Early 19th Century Box engraved with floral vines and parallel banding showing some traces of polychroming. Sliding lid with a cribbage board and a scroll-carved thumb tab. Wood base. Contains 50 bone dominoes with black pips and red and blue-green dividing lines. Octagonal teetotum, each face engraved with numbers 1 through 8. Box height 1”. Total length 5.75”. Teetotum length 2.25”. 800/1,200

2357, two

2358. TWO RARE NAPOLEONIC PRISONER-OF-WAR FORGED BANKNOTES Circa 1811-1814 A Bank of Scotland one guinea note dated August 1, 1812 and a Bank of Scotland one pound note dated October 11, 1810, produced by French prisoners at the Valleyfield depot in Scotland. Both with a handwritten payee of “Geo [?]andy” and the forged signatures of the bank directors. Stamped with the seal of the bank, which would have been carved from stockyard bones. Housed together in a common frame. Notes approx. 4.75” x 5.5”. Framed 11.25” x 15”. 300/500 Provenance: The Lloyd Collection of Napoleonic Prisoner-of-War Artifacts (retains collection sticker). Reference: Illustrated in The Lloyd Collection of Napoleonic Prisoner-of-War Artifacts presented by John F. Rinaldi Nautical Antiques, Kennebunkport, Maine, 1986, numbers 102 and 103. Rinaldi notes capital punishment for forgery wasn’t abolished until 1832, so producing these types of notes could cost a prisoner his life if found and convicted. 2358, two

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149

2359

2359. NAPOLEONIC PRISONER-OF-WAR CARVED BONE SPINNING JENNY Britain/France, 19th Century Mechanized model with a single woman working at a spinning wheel on the upper platform, and a hand crank and two wheels on the lower platform. Lady with the traditional large bonnet and polychrome facial details. Platforms joined by turned columns and raised on four knob feet. Displayed on a wooden base within a mirror-backed glass case. Carving height 4”. Case height 10”. 3,500/4,500 Provenance: The Lloyd Collection of Napoleonic Prisoner-of-War Artifacts (retains collection sticker). Reference: Illustrated in The Lloyd Collection of Napoleonic Prisoner-of-War Artifacts presented by John F. Rinaldi Nautical Antiques, Kennebunkport, Maine, 1986, number 34.

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2360. RARE NAPOLEONIC PRISONER-OF-WAR CARVED BONE CHANDELIER Britain/France, Circa 1790-1820 The only such example we have examined. Finely carved and detailed two-tier chandelier with two scrolled candle arms on the top tier, four on the lower tier, petal-form candle cups, taper candles, pierced galleries, “pendalogues” and a baluster-turned stem terminating in a ball pendant. Threaded with a wire hanging loop. Height 6”. With wood and wire stand. 750/1,200

2360

2361. NAPOLEONIC PRISONER-OF-WAR CARVED BONE SPINNING JENNY Britain/France, Circa 1800 Mechanized model of typical form, with a child standing beside two ladies seated at a spinning wheel on the upper platform, and a hand crank and three wheels on the lower platform. Ladies with the traditional large bonnet, polychrome facial details and tall-back chairs. Child with top hat, polychrome facial details and movable arms. Some additional polychroming on the wheel components. Platforms joined by turned columns and are raised on a turned foot. Displayed under a glass dome. Carving height 5.5”. Total height including dome and base 6.5”. 3,000/5,000

2361

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151

Items deaccessioned by the Museum of Fine Arts, Boston for the benefit of the collection, February 2026

2362

2362. BONE AND WOOD MODEL OF THE H.M.S. VICTORY IN THE STYLE OF PRISONER-OF-WAR MODELS Early 20th Century Constructed of bone and wood. Three decks of gunports fitted with guns and lids. Exquisitely carved and detailed deadeyes, deckworks, gilt figurehead and stern, etc. Height 28.5”. Length 35”. Width 11”. 7,000/10,000 Provenance: Basil Dighton, New York. Acquired from the above by Forsyth Wickes, New York and Newport, Rhode Island, circa 1940. Bequest of Forsyth Wickes (1876-1964), noted art collector and philanthropist, to the Museum of Fine Arts, Boston, 1965.

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2363. MODEL OF A SHIP OF THE LINE England, Circa 1730 Planked over a hollow block hull, constructed of polychromed boxwood, rosewood and pine, with steel, linen, mother-of-pearl, pearwood, ivory, brass, ebony, glass and mica fittings. Displayed on a wooden cradle. Height on cradle 42.5”. Length 55”. Width 11”. 12,000/18,000 Provenance: Gift of John Templeman Coolidge to the Museum of Fine Arts, Boston, 1932.

2363

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mfa

2364

2365

2366

2364. BOARDING PIKE Probably America, Early 19th Century Iron pike on oak pole. Length 95”. 800/1,200 Provenance: Gift of John Templeman Coolidge to the Museum of Fine Arts, Boston, 1932. 2365. BOARDING PIKE Probably America, Early 19th Century Iron pike on oak pole. Length 95”. 800/1,200 Provenance: Gift of John Templeman Coolidge to the Museum of Fine Arts, Boston, 1932. 2366. BOARDING PIKE Probably America, Late 18th/19th Century Iron pike on oak pole showing traces of red paint. Length 95”. 800/1,200 Provenance: Gift of John Templeman Coolidge to the Museum of Fine Arts, Boston, 1933.

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This model is believed to be the French

2367. RARE MODEL OF THE PRIVATEER FRIGATE BELLONA France, After 1810 Three-masted vessel flying a flag off the gaff. Constructed from oak, with cedar, copper and glass fittings. Hull painted green. Displayed on a cradle. Height 92”. Length 116”. Width 92”. 10,000/15,000 Provenance: Gift of John Templeman Coolidge to the Museum of Fine Arts, Boston, 1932.

privateer Bellone, which was a successful raider until her capture by the British in 1806 and incorporated into the Royal Navy as the HMS Bellona. Governments commissioned privateers to attack enemy merchant vessels in times of war, having been issued “letters of marque” that licensed the privateers’ owners to take prizes and cargo from enemy vessels. The taken goods were usually shared by the government and the owner of the privateer.

2367

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155

mfa 2368. MODEL OF A THREE-MASTED SHIP France, After 1855 Painted wood with whalebone, ivory, brass, silk, linen and lead fittings, including bone or ivory spars, bowsprit, boom and boats on davits. Height 10.25”. Length 14.5”. 2,000/3,000 Provenance: Gift of John Templeman Coolidge to the Museum of Fine Arts, Boston, 1932.

2368

2369. MODEL OF THE THREE-MASTED SHIP MARY THOMAS Probably Rockland, Maine, Mid-19th Century Possibly by Captain Sylvanus C. Spaulding (America, 1843-1896) or Fred Sweetland. Hull painted black and light green, and deck painted blue and tan. Lettered “Mary Thomas Rockland” at the stern. Displayed on a wooden cradle on plinth. Height 27.5”. Length 40”. Width 13”. 2,000/3,000 Provenance: Gift of John Templeman Coolidge to the Museum of Fine Arts, Boston, 1932.

2369

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2370. TEN-SPOKE SHIP’S WHEEL FROM THE STEAMSHIP DANIEL DREW America, Circa 1884 Mahogany veneer on plywood with teak and light wood inlay. Brass hub. Diameter 71.5”. 2,000/3,000 Provenance: Gift of Cornelius C. Vermeule III in memory of Benjamin Carpenter to the Museum of Fine Arts, Boston, 1996.

2370

2371. EDWARD S. RITCHIE & CO. SHIP’S BINNACLE AND COMPASS Boston, Circa 1877 Brass hood. Walnut stand with bun feet. Height 68”. 3,000/5,000 Provenance: Purchased by Richard M. Norton, Lake Forest, Illinois, from a hunting lodge in Ontario, 1992. Gift of Richard M. Norton in honor of Richard F. Norton to the Museum of Fine Arts, Boston, 1997.

2371

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157

mfa

2372. HALYARD TUB America, Circa 1850-1900 Constructed of black ash, per microanalysis. Height 24”. Diameter 26.5”. 800/1,200 Provenance: Gift of John Templeman Coolidge to the Museum of Fine Arts, Boston, 1932.

2372

2373. WALTER SIMONDS MODEL OF A 1775 NAVY CUTTER Pasadena, California, 1900-1982 Plank-on-frame construction in painted cedar and mahogany, with leather, brass and linen fittings. Displayed on a walnut base. Height 4.5”. Length 19”. Width 6.25”. 2,000/3,000 Provenance: Purchased by the Museum of Fine Arts, Boston in May 1934 for $175 through the John Wheelock Elliot and John Morse Elliot Fund.

2373

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2374. WALTER SIMONDS MINIATURE MODEL OF A SHIP’S CANNON Pasadena, California, 1900-1982 Circa 1935 model of the 24-pound long guns and carriages used on the U.S.S. Constitution. Copper and steel gun on a polychromed wood carriage. Signed on underside “Maker W.A. Simonds Pasadena California”. Height 3.5”. Length 8”. 2,000/3,000 Provenance: Gift of John Templeman Coolidge to the Museum of Fine Art, Boston, 1935.

2374

2375. MINIATURE MODEL OF A SHIP’S CANNON England, Early 20th Century Brass gun on an oak carriage. Length 10”. 1,500/2,500 Provenance: Gift of John Templeman Coolidge to the Museum of Fine Art, Boston, 1932.

2375

2376. SECTION OF A JACOB’S LADDER FROM THE U.S.S. CONSTITUTION Late 18th/Early 19th Century Collapsible wood and rope ladder. According to the Museum of Fine Arts, Boston, “This artifact was taken from the vessel in 1895 while it was at the United States Navy Yard in Portsmouth, New Hampshire”. Length 62”. Width 16”. 1,000/2,000 Provenance: Gift of John Templeman Coolidge to the Museum of Fine Arts, Boston, 1932. Jacob’s ladders are simple but practical collapsible wood and rope ladders that are particularly useful for boarding a ship, especially when it was docked or at anchor. They were also used by sailors to climb masts and rigging.

2376

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159

2377

2377. CASED MODEL OF THE U.S.S. CONSTITUTION 20th Century Copper sheathing below the waterline. Extensively rigged. Displayed on brass pedestals within an inlaid mahogany and glass case with a table stand. Model height 29”. Length 40”. Width 12”. Case height on stand 63.75”. Length 48”. Width 19”. 3,000/4,000

2378. COPPER AND LEAD PLANKING SPIKE FROM THE U.S.S. CONSTITUTION Circa 1794 The Constitution’s copper bolts and spikes were famously produced by Paul Revere, who pioneered the copper industry in America. The length and composition of Revere’s spikes provided immense structural strength to the ship’s hull. This example probably removed during the ship’s 1957 renovation. Marked “Original Planking Spike U.S. Frigate Constitution Boston 1794-1957”. Length 16.75”. 200/400

2378

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2379. FEDERAL GILTWOOD AND ÉGLOMISÉ MIRROR WITH WAR OF 1812 NAVAL BATTLE SCENE 19th Century Reverse-painted glass upper tablet depicts the conflict between the U.S.S. Constitution and the H.M.S. Guerriere off Nova Scotia, an important early victory in the war for the Americans. Height 45.75”. Width 26”. Depth 4.75”. 1,200/1,800

2380

2380. CARVED AND GILDED SPREAD-WING EAGLE PLAQUE 19th Century Holding a ring in its beak. Well-articulated feathers and bold talons. Length 36.5”. 6,000/8,000

2381. WHITALL & CO. SHIP’S MEDICINE CHEST 19th Century Fitted mahogany case contains assorted bottles and four whalebone-handled scalpels. Height 5”. Width 10.5”. Depth 7”. 400/600

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2382. AMERICAN SCHOOL 19th Century “Bark ‘Boston’ of Boston - 1822”. Unsigned. Titled lower margin. Watercolor, 15.5” x 20.75”. Framed 17” x 23”. 500/1,000

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2383. CASED MODEL OF THE GUNBOAT RATTLESNAKE 20th Century Displayed on brass pedestals within a glass, brass and wood case. Model height 19”. Length 25”. Width 9”. Case height 22”. Length 30”. Width 12”. 2,000/3,000

2383

2384. CASED MODEL OF THE NAVAL GUNSHIP FAIR AMERICAN 20th Century Brig outfitted with 14 guns, an eagle sternboard, etc. Displayed on brass pedestals within a glass and wood case, with a brass identification plaque mounted on base. Case height 26.5”. Length 12.5”. Width 29.5”. 1,200/1,800

2384

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2385. RARE AND IMPORTANT RICHARD PATTEN & SON SEXTANT IN A PRESENTATION CASE Baltimore, 19th Century Wedge-shaped mahogany case, the brass plaque on the exterior engraved “This sextant belonged to Rear Admiral George Beall Balch U.S.N. 1837-1908 Presented to him by Frederick Edmund Sears”. Balch’s storied career in the U.S. Navy included service in the Civil War and MexicanAmerican War, and executive officer of the sloop-of-war Plymouth, which sailed to Asia in 1851 and was part of Commodore Matthew C. Perry’s expedition to open Japan in 1853. Interior of case lid with Richard Patten & Son paper label. Patten was one of the few 19th Century firms producing these instruments in America and had a contract with the U.S. government. 3,000/5,000 2385

2386

2386. SPENCER, BROWNING & CO. OCTANT IN A FINE PAINT-DECORATED CASE London, Early to Mid-19th Century Wedge-shaped tiered wooden case with an image of a gold star within a red circle bordered in black, and a gold spread-wing eagle perched on a red and gold striped shield against a blue ground. Original paper label on interior for retailer F.W. Lincoln Jr. & Co., Boston, with images of an eagle, navigational instruments and seascape vignettes. Paper with pencil notations including “Cape Hateras”, “Cape Fear” and “Charleston” glueddown on interior. Octant with ebonized frame, brass fittings, and an ivory degree scale and maker’s plaque. Engraved “LBR” at the center of the degree scale, possibly for the owner. Case length 13”. 800/1,200

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2388

2387. CARVED AND INLAID WALNUT SCRIBE’S BOX 19th Century Lid with brass and mother-of-pearl inlay, including an anchor at center. Interior with two compartments for writing implements. Length 12.75”. Width 2.75”. 300/500

2388. CARVED, PAINTED AND GILDED SPREAD-WING EAGLE PLAQUE America, Circa 1880 With a Liberty shield at its breast, loosely furled American flags on poles in its talons, and a “Niagara Excells[sic]” banner in its beak. Height 12”. Length 49.5”. 15,000/20,000 The “Niagara Excells” banner here possibly pertains to the Niagara Movement, the civil rights organization headed by W.E.B DuBois that opposed racial segregation and disenfranchisement. The first meeting was held in Buffalo, New York, near Niagara, and the group used the Falls as its symbol for the “mighty current” of change it wanted to effect. Their aggressive demand for immediate political, civil and social equality for Black Americans was a direct challenge to Booker T. Washington’s “Atlanta Compromise”, which advocated for a more gradual approach. The Niagara Movement is considered the precursor to the NAACP.

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2389. EXTENSIVELY INLAID FRUITWOOD PESTLE, PROBABLY SAILOR-MADE 19th Century Turned handle inlaid with a rising sun and a bird on a branch. Grinder with initials O., E., V., A., D., J., C., R., N., B. and W., some in reverse, scattered amongst an anchor, a heart pierced by a bleeding arrow, a diamond, slender rectangles, possibly intended to be faces, and teardrop, checkered and sawtooth banding. Base with an irregular pattern of small red dots. Red inlay believed to be dyed wood. Length 8”. 500/1,000

2389

2390. CARVED WOODEN PLAYING CARDS STORAGE BOX “IDLE HOURS AT SEA” Last Quarter of the 19th Century Formed as a book, with the Jack of Hearts on the front cover, the Queen of Hearts on the back cover, and “Idle Hours at Sea”, an hourglass and “Gordon” on the spine. Pinpoint lettering on “spine labels”. Slides open at both top and tail edges. 4” x 3.5”. 1,000/1,500

2391. SAILOR-MADE PATRIOTIC INLAID DRESSER BOX Third Quarter of the 19th Century Lid with American flags, an arch of stars, a rising sun and flower-filled urns on plinths surrounding a shield emblazoned with three birds and topped with a fourth bird. Front with “CRA”, floral medallions and three arrows piercing the mother-of-pearl shield-shaped escutcheon. One side with a star flanked by altars. Other side with an American-flagged steamboat between two hillside villages populated with houses, a church, a lighthouse, a fort-like building and trees. Rear with a seascape showing houses and a lighthouse on a hill, an American-flagged ship and a large bird. Barber’s pole and geometric borders. Most of the inlay in figured woods except a wing on each of the birds on the lid and two of the arrows on the front are metal and one of the arrows is bone. Lid hinges open to reveal an adjustable mirror fitted with a bone or shell knob. Height 5”. Width 13.25”. Depth 10”. 1,000/1,500

2391

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2390

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165

2392. MODEL OF THE THREE-MASTED SHIP EMMA IVES Late 19th Century Made by the ship’s captain. Hull painted black and green. Displayed on a black-painted wooden base. Includes a map of the ship’s voyages. Height 30”. Length 37”. Width 12”. 3,000/5,000

2392

2393. A.W. HALLOWELL GRAIN-PAINTED SEA CHEST Circa 1880 Red swirling grain pattern against a black ground, with bright yellow and green banding around the perimeter of the top and front. Lid with “A * W * Hallowell” in tack lettering. Cleats with matching grain-painted decoration. Rope beckets. Natural finish interior fitted with a lidded till. Iron strap hinges. Height 19”. Width 48”. Depth 19.5”. 500/1,000

2393

166

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2394

2394. WILLIAM PIERCE STUBBS Maine/Massachusetts, 1842-1909 The schooner Frank Walter. Signed and dated lower left “W.P. Stubbs 1879”. Oil on canvas, 24” x 36”. Framed 31” x 43”. 3,000/5,000

2395. TEN SIGNAL FLAGS FROM THE BARK NEMO 19th Century Contained within a cotton bag handwritten “Nemo” and stamped “International Code”. Bag length 19”. 300/500

The April 15, 1884 edition of the New York Times notes “The schooner Frank Walter, of New-Haven, Capt. Charles Brown, from New-York for Boston, with 325 tons of coal, sprang a leak and sunk off Cape Cod on Saturday afternoon. The crew were taken off and landed at Dennis.”.

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167

2396. “LITTLE NAVIGATOR” CARVED AND POLYCHROMED TRADE SIGN FIGURE Early 20th Century A man in a top hat holding an octant. Height 24”. 3,000/4,000

2397. SPENCER, BROWNING & RUST SINGLE-DRAW TELESCOPE London, 19th Century Mahogany barrel. Retains sliding lens and eyepiece covers. Marked on tube. Length closed 20.5”. 300/500

2398. REID & SONS MAHOGANY-CASED CHRONOMETER England, 19th Century Bezel diameter 5”. Case height 8”. Width 7.5”. Depth 7.5”. 800/1,200

2399. ITALIAN SCHOOL Late 19th Century A steam-sail ship off Naples, flying an American flag off the gaff and a jack at the bow. Other sailing vessels and a steaming Mount Vesuvius in the distance. Unsigned. Oil on canvas laid down on board, 19” x 28.75”. Framed 22” x 31.75”. 800/1,200

2396

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2400

2401

2400. FRANCOIS JOSEPH FREDERIC ROUX France, 1805-1870/74 The ship Jeune. Unsigned. Roux label verso. Watercolor, 17” x 22” sight. Framed 22” x 27.25”. 1,000/1,500

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2401. FRANCOIS JOSEPH FREDERIC ROUX France, 1805-1870/74 Portrait of the Corrine. Signed and dated lower right “Frederic Roux 1829”. Watercolor, 15.5” x 22.75” sight. Framed 21” x 27.5”. 1,000/1,500

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169

2402

2402. SAMUEL WALTERS United Kingdom, 1811-1882 Portrait of the ship Pharsalia, 1844. Signed lower right “S. Walters”. Oil on canvas, 28” x 42”. Framed 33” x 47”. 7,000/10,000

170

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2403

2403. ATTRIBUTED TO CHARLES J. WALDRON United Kingdom, 1836-1891 Ship Acturus. Unsigned. Artist identified on frame plaque. Oil on canvas, 30” x 42”. Framed 37” x 49”. 8,000/12,000

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171

JOHN ERIK CHRISTIAN PETERSEN Massachusetts / Denmark, 1839-1874

2404

2404. JOHN ERIK CHRISTIAN PETERSEN Massachusetts/Denmark, 1839-1874 The packet ship Robert D. Brown outward bound. Signed and dated lower right “John E.C. Petersen 1869-1872”. Oil on canvas, 42” x 72”. Unframed. 20,000/30,000

172

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2405

2407

2406

2408

2405. AMERICAN SCHOOL 19th Century Portrait of the the ship Eliza Mallory, built in 1851 at Mallory Shipyard, Mystic, Connecticut for the Hurlburt Line. Oil on canvas, 25” x 36”. Unframed. 3,000/5,000

2407. WILLIAM EDWARD NORTON Massachusetts/United Kingdom, 1843-1916 Ships off the coast. Signed lower left “W.E.N.”. Oil on canvas, 18” x 24”. Framed 24.5” x 30.5”. 1,500/2,500

Provenance: Russ & Company Auction of the contents of the Charles H. Mallory house, 2012. The Estate of Glenn C. Randall, Stonington, Connecticut.

2408. HENRY SCOTT United Kingdom, 1911-2005 “Fair Winds off Devon”. Signed lower left “Henry Scott”. Titled verso. Oil on canvas board, 14” x 20”. Framed 23” x 29”. 1,500/2,500

2406. AMERICAN SCHOOL 19th Century The ship Wolga of Boston. Unsigned. Oil on canvas, 19.25” x 25”. Framed 28” x 33”. 1,000/1,500

174

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2409. CURRIER & IVES HAND-COLORED LITHOGRAPH “CLIPPER SHIP ‘FLYING CLOUD’” 19th Century After the painting by James Edward Buttersworth. Housed in a burlwood frame. Conningham 1970. 14” x 18” sight. Framed 17” x 21”. 250/350

2410. LOG OF THE FAMOUS AMERICAN CLIPPER SHIP FLYING CLOUD 19th Century Kept daily by Captain Winsor, outlining the seventh voyage of the Flying Cloud from December 9, 1859 through January 5, 1862. Her track was from New York to London, to Hong Kong, to London, to Melbourne, to Hong Kong, and to London, where she was sold upon arrival to British interests. An informative and interesting log. Notable remarks include the sighting of the Robin Hood and the good deal of money bet on which of the two ships would reach Hong Kong first. Winsor writes The Flying Cloud was unquestionably the most famous of all the clipper ships. on May 21, after his arrival in Hong Kong, that Flying Built by Donald McKay at East Boston in 1851 and weighing 1,782 tons, she Cloud “beat the Robin Hood seven days on the passage. proved herself to be one of the fastest ships afloat. She set the world record The smartest English ship in the China trade”. He also for the fastest sailing passage between New York and San Francisco: 89 days, notes that at least one bet of 400 English pounds was 8 hours, a record she held until 1989, a period of more than 135 years. The placed on the Robin Hood and several of lesser amounts. navigator on her record-setting voyage was Eleanor Creesy, wife of the clipper’s On August 7, 1860 Flying Cloud ran into a typhoon after captain Josiah Perkins Creesy. The couple retired in 1857. leaving Hong Kong. The ship was on a lee shore, and “it blew the most violent continuous thirty-six hours. I have been going to sea for thirty-five years and never saw such a gale as this before. It has made the Flying Cloud look a wreck. Still, no ship could behave better. Made very little water, lost no spars, but any quantity of sails”. Approx. 46 printed double pages. Kept in a large oblong folio volume in wraps printed by M.F. Maury of the United States Hydrographical Office. Contained in a modern folding box with gilt calf spine. 1,000/1,500 Provenance: The Collection of Benno Brenninkmeyer.

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175

2411. LARGE NANTUCKET BASKET Late 19th/Early 20th Century Swing handle. Unmarked. Height to rim 5.75”. Diameter 13”. 1,000/2,000

2411

2412. JOSE FORMOSO REYES NANTUCKET BASKET “FRIENDSHIP” PURSE Nantucket, Massachusetts, 1902-1980 Charlie Sayle carved black whale mounted on lid. Basket signed on underside “Made in Nantucket Jose Formoso Reyes” with an outline map of Nantucket Island. Height 7”. Width 9”. 700/1,000

2412

2413. NANTUCKET BASKET Late 19th/Early 20th Century Swing handle. Walnut base plate. Height to rim 4.75”. Diameter 12.25”. 700/1,000

2413

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2414. NANTUCKET BASKET PURSE 20th Century Carved whale mounted to top of lid attributed to Charlie Sayle. Basket possibly by Sherwin Boyer. Height 7”. 1,000/1,500

2415. NANTUCKET BASKET Late 19th Century Shaped swing handle attached with metal ears. Interior base plate with incised concentric rings. Unmarked. Height to rim 4”. Diameter 8.75”. 200/300

2414

2415

2416. PAUL WHITTEN NANTUCKET BASKET PURSE Massachusetts, 1908-1997 Engraved oval plaque mounted on lid depicts a threemasted ship, signed lower right “F. Hale”. Basket signed and dated “Paul F. Whitten Nantucket Island Mass 1980”. Height 7”. Width 11”. 700/1,000

2416

2417. NANTUCKET BASKET 19th Century Swing handle. Unmarked. Height to rim 5”. Diameter 10.5”. 600/800 2417

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177

2418. EXQUISITE SAILOR’S VALENTINE Barbados, 19th Century Composed of multicolored shells in a floral and rounded star design. Housed in a deep octagonal wooden case. Original paper label verso for the New Curiosity Shop, McGregor Street, Bridgetown, Barbados. Case width 17”. 6,000/10,000

The New Curiosity Shop was owned by two brothers from England and was a favorite stop for sailors to purchase souvenirs. The brothers hired native women to create valentines using local shells and beads.

2418

2419. SHELLWORK PICTURE Barbados, Circa 1910 Composed of white shells and sand dollars in a heart, concentric ring and flower blossom design. Housed in its original gilt shadow box frame. Label verso for the New Curiosity Shop, Barbados. Frame 13.5” x 17.25”. 2,000/3,000

2419

2420. LARGE SAILOR’S VALENTINE Barbados, 19th Century Composed of multicolored shells, with a rose blossom at the center of concentric circles and stars. Housed in an octagonal wooden case. Case width 13.75”. 2,500/3,500

2420

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2422

2421. SAILOR’S VALENTINE Barbados, 19th Century Composed of multicolored shells in a heart and flower blossom design. Housed in an octagonal wooden case. Case width 8.5”. 1,000/1,500

2422. SAILOR’S VALENTINE Probably Barbados, Circa 1905 Composed of multicolored shells, with a central flower blossom, concentric rings and stars, and geometric designs. Housed in an octagonal wooden case. Case width 14.25”. 2,000/2,500

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2423

2423. LARGE SAILOR’S VALENTINE Barbados, 19th Century Composed of multicolored shells, with a design of a rose at the center of concentric stars. Housed in an octagonal wooden case. Case width 13.75”. 2,500/3,500

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2424

2425

2426

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2424. DOUBLE SAILOR’S VALENTINE “TO MY MOTHER” Barbados, Late 19th/Early 20th Century Composed of multicolored shells, the left side with “To My Mother” within a geometric pattern and the right side with a heart within an eight-pointed star accented with floral designs. Housed in a hinged octagonal wooden case. Case closed 9” x 9”. 2,500/5,000

2425. DOUBLE SAILOR’S VALENTINE Barbados, Circa 1904-05 Composed of multicolored stars in heart and star designs. Housed in a hinged octagonal wooden case. Case closed 13.5” x 13.5”. 1,500/2,500

2426. DOUBLE SAILOR’S VALENTINE Probably Barbados, Circa 1905 Composed of multicolored shells, the left side with a floral design and the right side with “Love”. Housed in a hinged octagonal wooden case. Case closed 11.5” x 11.5”. 3,000/4,000

2427. DOUBLE SAILOR’S VALENTINE Barbados, 19th Century Composed of multicolored shells, the left side with a flower and star design and the right side with an anchor within a diamond within a star. Housed in a hinged octagonal wooden case. Case closed 9.5” x 9.5”. 2,000/3,000

2427

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2428

2428. DOUBLE SAILOR’S VALENTINE Probably Barbados, Circa 1905 Composed of multicolored shells, the left side with “Forget Me Not” and the right side with a heart and flowers. Housed in a hinged octagonal wooden case. Case closed 9” x 9”. 2,000/3,000

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2429

2429. DOUBLE SAILOR’S VALENTINE Probably Barbados, Circa 1905 Composed of multicolored shells, the right side with “Think of Me”. Housed in a hinged octagonal wooden case. Case closed 8.75” x 8.75”. 2,000/3,000

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183

2430. RARE GIANT CLAM SHELL (TRIDACNA GIGAS) WITH BASE Native to the South Pacific and Indian Oceans. Discovered in Fairhaven, Massachusetts, having been in a collection for about 50 years. Fine custom-made mahogany base with metal supports. Shell height approx. 25.5”. Width 36”. Stand height 6.5”. Width 29”. Depth 19”. 3,000/5,000

The largest tridacna gigas specimen, 48” wide and weighing more than 500 pounds, was discovered around 1817 and is now on display at a museum in Ireland.

2430

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This high-status adornment was derived from the British military gorget, a piece of plate armor or an ornamental collar designed to protect or adorn the throat and neck, which were worn until about 1830. The gorget would have been first introduced to Solomon Islanders by British marines attached to exploration expeditions. Solomon Islanders considered frigatebirds, large seabirds with hooked beaks, angular wings and forked tails, as symbols of power and messengers to the spirit world.

2431

2431. RARE SOLOMON ISLANDS PANBONE FRIGATEBIRD GORGET 19th Century Crescent-shaped piece of panbone, the ends carved as frigatebirds, with an applied baleen frigatebird at center and a bull’s-eye pattern around the perimeter. Suspended from its original shellwork necklace. Height 4.25”. Width 8.25”. 1,800/2,500

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2432. JAPANESE WHALE’S TOOTH CARVING Meiji Period Carved as a sage holding a peach and accompanied by a crane. Signed “Tomoharu”. Length 4”. 800/1,200

2433. TIFFANY & CO. CARVED IVORY DESKTOP THERMOMETER Late 19th Century Engraved Fahrenheit degree scale. Spiral mercury bulb. Marked on base “Tiffany & Co. Union Square”. Height 11.25”. 500/1,000

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185

2437

186

2434. ESKIMO WALRUS IVORY CARVING First Half of the 20th Century Depicts five sled dogs and an Eskimo hauling a seal on a walrus tusk base. Signed on underside “John Alawa”. Height 4”. Length 18.5”. 700/1,000

2436. HERB NAYOKPUK ENGRAVED WALRUS TUSK Alaska, 20th Century Depicts a seal hunting scene. Signed lower right. Length 19”. 1,000/1,500

2435. ESKIMO RELIEF-CARVED AND ENGRAVED WALRUS TUSK CRIBBAGE BOARD Early 20th Century Cribbage board surrounded by relief-carved birds, a rabbit, a fox, seals and a kayak. Edges and opposite side with relief-carved kayaks, fish and other animals, and engraved animals and plant life. Length 15”. 500/700

2437. AMERICAN SCHOOL 19th Century Arctic scene with a polar bear and hunters. Unsigned. Oil on canvas, 16” x 22”. Framed 23” x 27”. 800/1,200

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2438

2439

2438. MOUNTED “BREAD AND BUTTER” BUILDER’S HALF HULL MODEL Late 19th/Early 20th Century Built up in six alternating dark and light wood lifts. Backboard 7” x 29.25”. 700/1,000

2440. MOUNTED HALF HULL MODEL OF THE PLYMOUTH Early 20th Century Natural finish hull painted black above the waterline with green topsides. Shaped backboard with “Charnwood” in gilt lettering and “Plymouth” and “110 tons” in white. Backboard 8.5” x 35.75”. 1,000/1,500

2439. MOUNTED BUILDER’S HALF HULL MODEL Late 19th/Early 20th Century Built up in mahogany lifts. Framed walnut backboard. Backboard 9.25” x 29.25”. 300/500

2441. MOUNTED HALF HULL MODEL “NO. 6” Early 20th Century Natural finish model built up in lifts and painted black above the waterline. Framed backboard painted light blue, with “No. 6” in gilt lettering. Backboard 11” x 34.75”. 2,000/3,000 2442. MOUNTED HALF HULL MODEL “NO. 3” Model built up in lifts and painted teal above the waterline and white below. Framed backboard painted light gray, with “No. 3” in gilt lettering. Backboard 11” x 39.5”. 800/1,200

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187

MARSHALL JOHNSON, JR. Massachusetts, 1850-1921

2443

2444

2443. MARSHALL JOHNSON, JR. Massachusetts, 1850-1921 “Getting Under Weigh”. Signed and dated lower left “Marshall Johnson 89”. Titled on a Boston Art Club label verso. Oil on canvas, 28” x 48”. Framed 35” x 54.5”. 5,000/7,000

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2444. MARSHALL JOHNSON, JR. Massachusetts, 1850-1921 Heading out past the pilot boat. Signed lower left “Marshall Johnson”. Oil on canvas, 25” x 30”. Framed 33.5” x 38.5”. 2,500/3,500 Provenance: Private Massachusetts Collection.

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WA R R E N W. S H E P PA R D New Jersey, 1858-1937

2445

2445. WARREN W. SHEPPARD New Jersey, 1858-1937 Ship at sea. Signed lower right “Warren Sheppard”. Oil on canvas, 25” x 36”. Framed 30.5” x 41.5”. 5,000/7,000

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189

2446

2448

2446. PATRICK VON KALCKREUTH Germany, 1892/98-1970 Ship at sea. Signed lower right “P. Von Kalckreuth”. Oil on canvas, 24” x 35.5”. Framed 32” x 43”. 3,500/4,500

2448. GOVERT VON EMMERIK The Netherlands, 1808-1882 Vessel in heavy seas. Signed lower left “G. von Emmerik”. Oil on canvas, 23” x 29”. Framed 29” x 35”. 2,500/3,500

2447. AMERICAN SCHOOL 19th Century A ship and another two vessels on the distant hazy horizon. Unsigned. Oil on canvas, 10” x 12”. Framed 13.25” x 15.25”. 1,000/1,500 Provenance: Eldred’s, 2004. 190

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2449. COPPER LIGHTHOUSE WEATHER VANE America, Mid-20th Century Attractive verdigris patina. Mounted on a rod with finders. Height 29”. Length 21”. 750/1,000

2450. ENGLISH SCHOOL 19th Century Sun rising over ships wrecked on the coast. Unsigned. London preparers label verso. Oil on tin, 7” x 9”. Framed 14.5” x 17.5”. 800/1,200 Provenance: Skinner, Inc., Massachusetts, Sale 2507, Lot #248.

2451. PRINT OF A LIFEBOAT CREW, HOUSED IN A DECORATIVE FRAME Early 20th Century Oak frame with carved and gilded “The Life Boat” lower right and an applied coiled rope tethered to an applied gilt anchor. Print 11.5” x 16”. Frame 21” x 26”. 500/800

2449

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

2452

2452. JAMES EDWARD BUTTERSWORTH New Jersey/New York/United Kingdom, 1817-1894 “After the Wreck”. Signed lower right “J.E. Buttersworth”. Titled on gallery label verso. Housed in a Guido of Boston frame. Oil on board, 8” x 10”. Framed 15.5” x 17.5”. 10,000/15,000 Provenance: Vose Galleries, Boston. Private Collection, North Dakota.

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193

2453. IMPORTANT TROUGHTON & SIMMS TELESCOPE PRESENTED BY THE BRITISH GOVERNMENT TO AN AMERICAN SHIP CAPTAIN London, Circa 1865 Exceedingly rare and possibly unique example of a presentation telescope given by the English government to American captain, in gratitude for his aid to the crew of shipwreck. Engraved “Presented by the British Government to Captain Elkanah Crowell Jun. Master of the Barquentine C.E. Resenburg of Barnstable, Mass in acknowledgement of his humanity and kindness to the master and crew of the brigantine “Brisk” of Halifax N.S. whom he rescued from their sinking vessel on the 29th October 1865”. Brass tube with leather wrap. Marked “Troughton & Simms London”. Housed in its original case mounted with a brass plaque engraved with the captain’s name. Length collapsed 26.25”. 10,000/15,000 Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts. Private Collection, Cape Cod, Massachusetts.

2453

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2454

Trinity House is the official authority for the lighthouse service throughout most of Great Britain. Trinity House

2454. TUNBRIDGE WARE BANK BOX DEPICTING A SHIP England, Circa 1890 Possibly a Trinity House box. Front with marquetry scene of a brig sailing past a coastal lighthouse. Deposit slot at center of top within a contrasting diamond bordered in barber’s polestyle inlay. Similar border around perimeter of top and at front and side panels. Height 4.5”. Width 8.25”. Depth 5.5”. 800/1,200

boxes were made in the later half of the 19th Century by lighthouse and lightship keepers while they were on station. They were marketed directly to the sailing captains and ship owners they aided.

2455. THOMAS ROBERTS PRESENTATION TELESCOPE Liverpool, England, Circa 1864 Single-draw brass tube with leather wrap. Engraved “Presented by (E.S.) shareholder in the New Steam Tug Co. to Wm. Simpson Manager. As memento for his valuable Service to the above Co. 29th April 1864”. Marked “Thomas Roberts 34 Strand Liverpool”. Length collapsed 27.75”. On stand. 500/1,000

2455

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2455A

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2455A. STERNBOARD FROM THE BARK LONGFELLOW, CARVED BY JOHN ROGERSON Circa 1874 Carved and polychromed oak, with a St. Edward’s Crown, draped flags, scrolling acanthus leaves and elements pertaining to Henry Wadsworth Longfellow’s poem “Evangeline: A Tale of Acadie”. The Longfellow was built in Quaco, New Brunswick. Carver John Rogerson (1837-1925) worked in St. John, New Brunswick in the Second Half of the 19th Century. Height 37”. Length 151”. Depth 5”. 5,000/10,000

John Rogerson was born in 1837 in Scotland but immigrated to Boston in 1849 to join his father, who was already living there. He found out upon arrival, however, that his father had died, so he moved to New Brunswick, Canada to live with his uncle. He returned to Boston for a short time to work under John D. Fowle, one of the best-known American ship carvers at the time, then moved back to St. John to open his own business. His known body of work includes a handful of figureheads in a similar lifelike style and billowing dress. Longfellow’s epic poem “Evangeline, A Tale of Acadie” follows an Acadian girl named Evangeline on her search for her lost love Gabriel after the two were separated during the British expulsion of the Acadians from Nova Scotia in the mid-1700s. The poem, published in 1847, was a massive international success and remains one of Longfellow’s most popular works.

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F R A N C I S A U G U S T U S S I LVA New York, 1835-1886

2456

2456. FRANCIS AUGUSTUS SILVA New York, 1835-1886 “Off Eastern Point Light, Gloucester, 1874”. Signed and dated lower left “F.A. Silva 74”. Oil on canvas, 18” x 30”. Framed 24.5” x 36.5”. 50,000/70,000 Provenance: Nathaniel Harris, Dedham, Massachusetts. Vose Galleries, Boston. Private collection, Vermont, acquired directly from the above, 1981. By descent in the family to a private collection, Seattle. Reference: Appeared on an episode of PBS’s “Antiques Roadshow”, Season 17, Seattle, aired May 13, 2013. Exhibited: Seattle Art Museum, Seattle, long-term loan 2012-2024.

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Marine painter Francis A. Silva was born in New York City and raised at 125 East Broadway, close to the busy East River docks. Silva revealed his artistic abilities at an early age, but despite his talent, his family did not encourage his art career. After a few disappointing tries at different trades, he eventually found success as a sign painter’s apprentice. By 1858, he had set up his own shop as an ornamental painter. At the onset of the Civil War, he enlisted with the Seventh Regiment of the New York State Militia. In 1868, he and his wife settled in New York, where Silva, who never had formal training in art, began his career as a professional artist. Beginning that year he became a regular contributor to annual exhibitions of the National Academy of Design and the Brooklyn Art Association. Silva was elected to the American Watercolor Society in 1872, and the following year, he joined the Artists’ Fund Society.

Throughout the 1870s, he traveled up and down the Eastern seaboard, from Delaware to Massachusetts, seeking inspiration. Among his favorite spots were the widest areas of the Hudson River, where he could paint calm, panoramic expanses of water with the landscape in the distance. After seeing the schooner Progress capsized in New York Harbor in 1874, he was deeply moved by a sense of loss and curiosity. He returned to the debris several times, and the shipwreck became a recurring theme in Silva’s work. Like other artists who later became known as Luminists, Silva tempered his accurate recording of a scene’s details with his personal interpretation of the lyrical effects of light and atmosphere.

This work shows several ships in Gloucester Harbor, with Eastern Point Lighthouse in the distance. Silva focuses on the choppy waves of the Atlantic and the large ship under full sail cutting through the water, imbuing the composition with a sense of motion and tension. Eastern Point Light was erected in 1832 on the east side of the Gloucester Harbor entrance. It inspired many artists painting in and around Gloucester, including Fitz Henry Lane and Winslow Homer. Silva painted additional views of Gloucester including “Evening in Gloucester Harbor”, 1871, part of a private collection, and “Ten Pound Island, Gloucester”, 1871-1872, part of the collection of Terra Foundation for American Art, Chicago.

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2457. CLEMENT DREW Massachusetts, 1806-1889 Boston Light. No signature noted. Notations verso dated May 1830. Oil on canvas, 9.5” x 12”. Framed 14.75” x 17.75”. 1,200/1,800

2457

2458. ATTRIBUTED TO CLEMENT DREW Massachusetts, 1806-1889 An American brig at sea. Unsigned. Oil on canvas, 22” x 27”. Framed 27” x 32”. 1,500/2,500

2459. ARTHUR JOSEPH MEADOWS United Kingdom, 1843-1907 Variety of vessels near shore. Oil on canvas, 18” x 32”. Framed 27” x 40”. 2,500/3,500

2458

2460. ARTHUR JOSEPH MEADOWS United Kingdom, 1843-1907 Ships in turbulent seas off the coast. Signed lower right “A. Meadows”. Oil on canvas, 11.75” x 24”. Framed 21” x 33”. 2,000/3,000 2459

2460

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2461

2461. CASED T. WALKER & SON’S “A2” PATENT HARPOON SHIP’S LOG Birmingham, England, Second Half of the 19th Century Records speed and distance of a ship by logging rotations on a dial as it is dragged through the water. Brass shaft with three fins, each marked with an anchor and “T.W.”. White enamel face with three dials, marked “Walker’s A2 Harpoon Ship Log Patented 18th Sept. 1866”. Attached tow rope. Whitepainted wood case with paper maker’s label and instructions on inside cover and pencil inscriptions on exterior. Case height 5.25”. Length 22”. Width 5.5”. 500/1,000

2462. SIMPSON & LAWRENCE MASTHEAD LANTERN Glasgow, Circa 1890 Complete with original lighting device. Untouched patina. Height 11.5”. Width 12.5”. 300/500

2462

2463. GEORGE WILSON BRASS MUSHROOM BINNACLE London, Circa 1890 On an octagonal wooden stand. Height 30”. 800/1,200

2463

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2464. COPPER AND BRASS PORT LANTERN 20th Century Wedge-shaped lantern with rounded front, bail handle and sliding access panel at rear. Red lens with clear protective glass. Appears to retain original burner. Applied brass plaque marked “Bow. Port Patt. 23”. Outer glass faintly etched in tiny lettering mid-left “A.P. 27” and “C.B. 1945”. Height 16.5”. 400/600

2465. PAIR OF CARVED AND PAINTED TRAIL BOARDS America, Last Quarter of the 19th Century Probably from a 30-foot sloop. Skillfully executed carving of fruiting grapevines and flowers. Old red and dark green painted surface with warm patina. Lengths 38”. 1,000/1,500

2464

2465, pair

2466. CASED MODEL OF A HERRESHOFF SLOOP Early 20th Century Plank-on-frame construction. Displayed on a cradle within a glass and wood case. Model height 32”. Length 33”. Width 6”. Case height 35.5”. Length 38.5”. Width 10.5”. 3,000/5,000

2466

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2467

2467. CURRIER & IVES HAND-COLORED LITHOGRAPH “MAYFLOWER SALUTED BY THE FLEET” 19th Century “Crossing the Bow of ‘Galatea’ in their First Race for the ‘America’s Cup’ over the inside course New York Bay, September 7th, 1886 [Won by Mayflower]”. 22” x 29.5” sight. Framed 32.5” x 40”. 1,000/1,500 Provenance: Donaldson, Lufkin & Jenrette corporate art collection.

2468. CURRIER & IVES HAND-COLORED LITHOGRAPH “A ‘CRACK’ SLOOP IN A RACE TO WINDWARD: YACHT GRACIE OF NEW YORK” 19th Century 22” x 29.5” sight. Framed 32.5” x 40”. 1,000/1,500 Provenance: Donaldson, Lufkin & Jenrette corporate art collection.

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2469. CURRIER & IVES HAND-COLORED LITHOGRAPH “THE YACHT ‘MOHAWK’ OF NEW YORK” 19th Century Housed in a fine-quality figured maple frame. 23” x 30.5” sight. Framed 32.5” x 40”. 1,000/1,500 Provenance: Donaldson, Lufkin & Jenrette corporate art collection.

2470. ALBUMEN PHOTOGRAPH OF THE SAILING YACHT KATIE FRAY Circa 1886 Inscribed verso “Presented to Secretary C.A. Ward from his old friend Commodore W.A. Phelps Jr. DYC 1st Nov. 1886”. 11” x 9” sight. Framed 15.5” x 13.5”. 250/350

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2471

2471. AMERICAN SCHOOL 19th Century “International Yacht Race in New York Harbor”, circa 1880. Unsigned. Oil on canvas, 24” x 34”. Framed 28” x 37.5”. 2,500/5,000

2472

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2472. NEW YORK YACHT CLUB WOOL BURGEE Circa 1930 20” x 30”. 500/1,000

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2473

2474

2473. MORRIS ROSENFELD America, 1885-1968 The yacht Atlantic. Blind-stamped lower right “M. Rosenfeld”. Reverse with photographer’s address and negative number. One of the finest and rarest of Rosenfeld’s yachting photographs. Silver bromide photograph, 16” x 20”. Framed 22.25” x 25.5”. 3,000/5,000 Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts. Private Collection, Cape Cod, Massachusetts. Reference: Sails and Sailing by Franco Giorgetti (Mystic, Ct.: Mystic Seaport, 1999), p. 32.

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2474. EDWIN LEVICK England/America, 1868-1929 “The Six American J-Boats 1930”. Rare and important view of Enterprise, Weetamoe, Vanite, Yankee, Resolute and Whirlwind. Signed lower right “Edwin Levick”. Photograph, 15” x 19.5” sight. Framed 25” x 28”. 3,000/5,000

2475. EDWIN LEVICK England/America, 1868-1929 The yacht Corsair. Signed lower right “Edwin Levick New York”. Photo reprint, 24” x 33”. Framed 36” x 45”. 700/900

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2476. ALBUM OF VINTAGE YACHTING PHOTOGRAPHS Circa 1885 Approx. 64 black and white photographs of sailing yachts, some of them America’s Cup contenders, including America, Puritan, Skauger, Gitana, Gracie, Dauntless, Mischief, Rebecca, Siren, Clio and several others. Most with handwritten captions providing name of vessel and location, the majority dated 1885. Includes racing scenes, deck views, and some with crew or passengers. Locations include New York, Boston, New London, Long Island Sound and Martha’s Vineyard. Accompanied by period clippings from The Spirit of the Times and The American Gentleman’s Newspaper about yachting and the America’s Cup, and a note “This 1885 album was given to Bob by an elderly and probably very wealthy woman [...] She may have been one of the women in the photographs. [...]”. Leather-bound album. Album 11” x 15.5”. Photographs mostly 9.75” x 8”, 9.25” x 7.25” and 8” x 6”. 3,000/5,000

2476, multiple views

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ROBERT INNIS Dennis, Massachusetts, 1893-1983

2477. ROBERT INNIS MODEL OF THE HANCOCK Dennis, Massachusetts, 1893-1983 Plank-on-frame construction. Hull painted white below the waterline. Displayed on a wooden cradle. Height 25.5”. Length 33”. Width 10.5”. 2,500/3,500

2477

2478. ROBERT INNIS MODEL OF THE RALEIGH Dennis, Massachusetts, 1893-1983 Hull painted white below the waterline. Height 26”. Length 35”. Width 10”. 2,500/3,500

2478

2479. ROBERT INNIS MODEL OF THE DOS AMIGOS Dennis, Massachusetts, 1893-1983 Displayed on a wooden cradle. Height 29.5”. Length 37”. Width 14”. 2,000/2,500

2479

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2484

2480. MOUNTED HALF HULL MODEL OF A STEAM YACHT First Half of the 20th Century Built up in seven lifts. Carved prow, skeg, propeller and rudder. Nicely detailed deck. Dark stained or painted pine backboard. Backboard 5” x 23”. 700/1,000

2483. PAIR OF COPPER PORT AND STARBOARD LANTERNS WITH FRESNEL LENSES England, Early 20th Century Both with applied plaques marked “Eli Griffiths & Sons - The Beacon - Birmingham”. One marked “Starboard” and the other “Port”. Heights 18”. 300/500

2481. BRASS STARLIGHT BINNACLE Early 20th Century Height 12”. Diameter at base 10.75”.

2484. SOLON FRANCIS MONTECELLO BADGER Massachusetts, 1873-1919 “Schr. R.I. Carter - M.R. Peak Master”. Signed lower left “SFM Badger”. Titled lower margin. Oil on masonite, 22” x 36.25”. Framed 27” x 41.75”. 2,500/3,500

500/1,000

2482. BRASS ANCHOR LANTERN England, Early 20th Century Applied London maker’s plaque at front. Height 18”. 300/500

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2485. CHELSEA “MARINER” SHIP’S BELL CLOCK Boston, Circa 1970 Brass case mounted with a ten-spoke ship’s wheel and supported by a copper pedestal. Hinged bezel with button release. Silvered face with Arabic numerals, decorative hands, slow/fast adjustment and double key wind. Marked “Chelsea Ship’s Bell”. Mounted on a mahogany base. Dial diameter 6”. Total height 18”. Width 12”. Depth 5.5”. 800/1,200

2485

2486. TONY ANTHONY MODEL OF A TWO-MASTED SHIP Maryland, 20th Century Displayed on brass pedestals on a wooden base. Height 22”. Length 27”. Width 9”. 1,000/2,000

2486

2487. SPECIAL EDITION COPY OF MARINE ART BOOK FLYING THE COLORS Flying the Colors: The Unseen Treasures of Nineteenth-Century American Marine Art by Alan Granby and Janice Hyland. Manchester and New York: Mystic Seaport in Association with Hudson Hills Press, 2009. Number 36 of a special handbound edition not to exceed 99 copies (approx. only 50 printed), signed by the authors. Explores the well-known and unsung masters of 19th Century American marine art. Most of the works illustrated are in private collections and rarely seen by the public. Navy blue leather binding with gilt lettering, anchors and double line borders. Four spine bands. All edges gilt. Slipcase with color illustrations front and back and a leather spine matching the book spine. Large quarto 11.75” x 12.25”. 800/1,200

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209

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

Built in Boston in 1851 by Donald McKay, the Daniel Webster was part of the Train Line, primarily carrying cargo and passengers between Boston and Liverpool.

2488

2488. ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 The clipper Daniel Webster. Signed and dated lower right “Antonio Jacobsen 1919”. Oil on board, 17.5” x 29.5”. Framed 21” x 33”. 3,000/5,000

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2488A. ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 Portrait of the Lonestar. Signed and dated lower right “Antonio Jacobsen N.Y. 1876”. Oil on board, 22” x 36”. Framed 29” x 34”. 8,000/12,000

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2489

2490

2489. ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 Steamship Charlotte. Signed and dated lower right “A. Jacobsen 1892 705 Palisade Av. West Hoboken, NJ”. Oil on canvas, 22” x 36”. Framed 30.25” x 44.25”. 7,000/10,000

2490. ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 Steam/sail ship underway. Signed and dated lower right “A. Jacobsen 1888 705 Palisade Av West Hoboken, NJ”. Oil on canvas, 30” x 50”. Framed 37” x 57”. 8,000/12,000

Provenance: Private Massachusetts Collection.

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2491

2492

2491. JOHN HENRY MOHRMANN California/Canada/Belgium/Germany, 1857-1916 The steam/sail ship Olympia. Signed lower right “H. Mohrmann”. Oil on canvas, 23.5” x 36”. Framed 30” x 42”. 3,000/5,000

2492. DAVID THIMGAN California, 1955-2003 “Long Days Journey”. Signed lower right “D. Thimgan ASMA”. Titled on frame plaque. Oil on canvas, 18” x 24”. Framed 26” x 32”. 1,400/1,800

The screw steamer Olympia was built by James Laing in 1889 for the Plate Steamship Co. She was involved in a collision en route to Liverpool in 1912 and beached; she was later declared a total loss.

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2493

2494

2493. AMERICAN SCHOOL 19th Century The City of Berlin in heavy seas. Signed lower left “R. Watson”. Oil on canvas, 24” x 42”. Framed 33” x 51”. 2,000/3,000

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2494. AMERICAN SCHOOL 19th Century A steam/sail ship with pilot boat #2 off her bow. Unsigned. Oil on canvas, 30” x 44”. Framed 38.5” x 53”. 3,000/5,000

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213

2495. CHELSEA U.S. MARINE CORPS EIGHT-DAY SHIP’S CLOCK Boston, 20th Century Nickel-plated case, the standard for many Chelsea clocks made for government agencies, with screw bezel. Silvered dial with Arabic numerals, a slow/ fast adjustment and a subsidiary seconds dial. Marked on dial “U.S. Marine Corps” and “Chelsea - Boston”. Stamped on back plate “L 301953”. Displayed on a contemporary wooden cradle. Dial diameter 6”. Back plate diameter 7.75”. Cradle height 9.5”. Width 14”. 1,000/1,500 2495

2496. GEORGE GIGUERE New York, 1917-1953 “The Navy Hunts the CGR 3070”. Signed lower right “Goerge Giguere”. Titled in pencil along top margin. Cover illustration for the book of the same name, included with the lot, written by Lawrance Thompson, Lieutenant, USNR, published by Doubleday in 1944. Watercolor and gouache, 12.5” x 9.75. Framed 22.5” x 18”. 1,500/2,500 Provenance: Purchased in Deep River, Connecticut (where the artist lived). This work illustrates the search for the yawl Zaida, which was part of the Coastal Picket Force, a “Hooligan’s Navy” of privately owned vessels that had been called into service during the early part of World War II to patrol coastal waters, spotting German U-boats that were wreaking havoc on Allied ships and helping search and rescue efforts for sunken vessels. The Zaida, owned by George Ratsey, the well-known sailmaker, was lost for 21 days, pummeled by hurricanes and blizzards. In one of the greatest search and rescue missions of Naval history, she was found 3,100 miles away from her original location, off the coast of North Carolina. After the Navy recovered Zaida, she went right back into service hunting down German submarines. With the help of all types of privately owned boats loaned to the Coast Guard that were then manned by hastily recruited citizen sailors, the Picket Force provided a vitally important role

2496

in protecting the seaboard during the Battle of the Atlantic.

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2497

2497. CASED SHIPYARD PRESENTATION MODEL OF THE S.S. WINDSOR HALL 20th Century The freighter, built in 1910, was torpedoed and sunk in the Mediterranean off Egypt on January 17, 1918, during World War I. Displayed on brass pedestals within a glass and wood case. Case height 19”. Length 51”. Width 11”. 1,000/1,500

2498

2498. CASED HALF HULL MODEL Early 20th Century Hull painted black above the waterline. Outfitted with deck apparatus. Housed in a shadow box case. Case height 14.5”. Width 67”. Depth 6”. 1,500/2,000

2499. PATRIOTIC RELIEF CARVING Late 19th/Early 20th Century Spread-wing eagles with banners and Liberty shields flank two crossed cannons and a cannonball within a circle topped by a flame-like element. The medallion at center bears a striking resemblance to the Springfield Armory emblem and the piece was discovered in western Massachusetts, possibly indicating it is architectural salvage from the Springfield Armory factory. Dark-stained thick pine board. 18” x 85”. 800/1,200

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2500. JOHN STOBART Massachusetts/Florida/England, 1929-2023 Sketch of a three-masted schooner. Signed lower right “Stobart”. Oil on board, 8” x 11”. Framed 9.25” x 12”. 3,000/5,000

2500

2501. THEODORE VICTOR CARL VALENKAMPF Massachusetts/Sweden, 1868-1924 Sailboat under a sunset sky. Signed lower right “T.V.C. Valenkampf ”. Oil on canvas, 20” x 30”. Framed 27” x 37”. 1,500/2,500

2501

2502. GALEN JOSEPH PERRETT Illinois/Massachusetts, 1875-1949 “Sea Crossed Our Bow”. Signed lower right “Galen J. Perrett”. Titled on label verso. Oil on canvas, 27” x 36”. Framed 36” x 45”. 1,500/2,500

2502

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2503 According to the daughter of a

2503. TRADE SIGN “FAIR HAVEN FISHING CLUB INC.” 20th Century Black lettering on a circa 1950 life ring buoy mounted with a painted tin silhouette of a striped bass lettered “Salt Water”. Life ring buoy retains original rope tether threaded through grommets on reverse. Height 29”. Length 42”. 2,500/3,500

president of the Fairhaven Fishing Club, the organization was founded in the early 1950s. It had its own building in Fairhaven, Massachusetts, and the membership of about 50 men would meet regularly there for events. As its members aged the club folded and its building was sold around 1990.

2504. MODEL OF THE SHRIMP BOAT MARIA 21st Century From Hilton Head, South Carolina. Made by a shrimp boat captain. Height 25”. Length 28”. Width 7.5”. 500/800

2504

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2505

2506

2505. SWORDFISH BILL SWORD Early 20th Century Carved walnut hilt and crossguard. Bill with painted decoration of “1908”, “ESC”, an American eagle with two crossed flags, and an oval island landscape within a foliate surround. Length 37”. Maximum width 8.5”. 1,000/1,500

2506. DECORATED SWORDFISH BILL 20th Century Patriotic motifs down the length interrupted by a scene of a swordfish sparring with a shark. Length 35.5”. 1,000/2,000

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2507

2507. PETER LAYNE ARGUIMBAU New York/Connecticut/Italy, 1951“New York Harbor”. Signed lower right “Layne”. Titled on frame plaque. Oil on board, 14” x 24”. Framed 19.5” x 29.5”. 2,000/3,000

2508. CASED MODEL OF THE AMERICAN STEAM TUG BROOKLYN” 20th Century Built in 1911 by William Cramp and Sons for the New York Dock Co. Displayed on brass pedestals within a glass, brass and wood case. Case height 21”. Length 33”. Width 13”. 2,000/3,000 Provenance: Private Massachusetts Collection.

2508

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2509

2511. ALBUMEN PHOTOGRAPH OF THE SCHOONER MINDORO Circa 1910 Depicts the Pacific Coast lumber schooner at dock, probably in its home port of San Francisco. Marked lower left “Made by Swadley 268 Market St. San Francisco”, believed to be W. Wesley Swadley, a prominent Bay Area photographer in the first part of the 20th Century. 7” x 9.25” sight. Framed 13.75” x 15.75”. 300/500

2509. CASED MODEL OF THE SIDEWHEELER CITY OF KEY WEST Contemporary Displayed in a contemporary glass and wood case. Case height 29”. Length 44.5”. Width 25”. 1,500/2,500

2510. HARRY AIKEN VINCENT Massachusetts/New York/Illinois, 1864-1931 Double-sided marine sketch: obverse with figures on a dock around a ship, signed lower left “H.A. Vincent”, and verso with a sailboat. Graphite on paper, 6.5” x 8” sight. Framed 12.5” x 14.5”. 200/250

The 642-ton Mindoro was built in 1901 at Alameda. She was 184 feet in length, 38 feet in beam, and carried a crew of nine.

2512. BUFFALO POTTERY PITCHER WITH MARINE MOTIFS First Half of the 20th Century Blue transfer decoration of sailors, vessels, lighthouses, etc. Height 9.25”. 300/500

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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 on the following page.

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

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

B. 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.

3. If you are unfamiliar with auction procedure or terminology, please ask for assistance from our staff. 4. You may bid in person for this auction. Online, phone and absentee bidding are also available. If you wish to leave an Absentee Bid or request a Telephone Bid, please call 508-385-3116 or visit www.eldreds.com. Online bidding is available at www.eldreds.com. Prospective bidders must register and be approved prior to placing bids or bidding live online. Bidding through third-party auction platforms may incur additional fees beyond the buyer's premium.

C. 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.

5. 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.

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.

Terms and Payment A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 26 percent of the hammer price up to and including $2 million, 20 percent on the portion of the hammer price between $2,000,001 and $8 million, and 15 percent on the portion of the hammer price exceeding $8 million. Bidding online through third-party auction platforms may incur additional fees beyond the buyer's premium.

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.

Bidders holding a resale number must provide a copy of their certificate or otherwise will be required to pay Massachusetts or other applicable state and local taxes.

Dimensions

We require prompt payment. We accept checks, cash, money orders, electronic transfers and domestic credit cards. Credit cards may only be used for up to $5,000 of the invoice total, and we will not accept credit card payment for any jewelry lot. We reserve the right to hold merchandise until payment has cleared.

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.

Shipping Information We require prompt removal of your purchases.

Condition Reports

If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready.

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.

For those needing purchases shipped, we will provide you a list of shipping agents if we are unable to provide shipping services.

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

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THE MARINE SALE

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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. ABSENTEE 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 absentee 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. 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

THE MARINE SALE

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 or 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. 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. Those shipping purchases out of state directly from Eldred's by a bona fide shipping agent may be exempt from sales tax depending on whether we have met that state’s nexus requirements, per the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair. Please contact us to find out if your purchase would be subject to applicable sales taxes. 11. RESERVES: Unless otherwise advertised, all items may be 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: Pick up or shipping arrangements of all purchases must be made within seven (7) days of the close of the auction. 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 more than thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees. 13. SHIPPING: Shipping is not included in the purchase price, and the buyer is responsible for arranging shipment. Eldred's is happy to coordinate and recommend shipping agents. 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. 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.