THE MARINE SALE July 25, 2019

THE MARINE SALE JULY 25, 2019

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THE MARINE SALE Thursday, July 25, 2019 at 10 a.m. Eastern

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THE MARINE SALE Robert C. Eldred Co., Inc. Headquarters 1483 Route 6A P.O. Box 796 East Dennis, MA 02641 (508) 385-3116 fax: (508) 385-7201 MA License #155

Thursday, July 25, 2019

Terms

A buyer’s premium will be added to all purchases.

The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000.

Payment must be in the form of a check, money order or wire transfer. We accept all major credit cards for auction purchases provided the total bill is $5,000 or less and the credit card has a U.S. billing address. PayPal is not an accepted form of payment.

Connecticut Office 5 Roosevelt Avenue Mystic, CT 06355 (860) 912-8169

Bidders holding a valid Massachusetts or out-of-state resale number must provide the certificate or a copy thereof when registering or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in our Mystic office or shipped to Connecticut are subject to 6.35% Connecticut sales tax. Items shipped to New York are subject to 4% New York sales tax, plus any applicable local sales taxes.

info@eldreds.com w w w. eldre ds .com

Auction

10 a.m. Eastern at our East Dennis Headquarters

Important notices

Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot.

It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us.

Exhibit Wednesday, July 24, from 10 a.m. to 5 p.m.

And the sale day beginning at 8:45 a.m.

Absentee and Telephone Bidding

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

Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition.

Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is.

All dimensions and weights are approximate.

Online Bidding

This auction will be held simultaneously online at www.invaluable.com and www.eldreds.com.

The buyer’s premium is 25% for purchases bought online via Invaluable or Eldred’s Infinite Bidding. Prospective bidders must register and be approved prior to bidding.

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

Obtaining these permits is the exclusive obligation of the buyer.

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

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e have had the immense privilege over the last few years to handle some of finest private collections of maritime and whaling art, including the landmark sales centered on the Mittler and Kobacker Scrimshaw Collections. The results of these sales exceeded our expectations, but, after the final gavel fell, we privately fretted about how we could follow up with such exceptional offerings.

We feel fortunate again this year to present what we feel is an auction comparable to years past, but with its own unique identity, featuring the scrimshaw collections of Paul Vardeman and Sam and Donna McDowell. It is fascinating to see how each collector, from Mittler and Kobacker to Vardeman and McDowell, each went about curating their collections, but the common bond across them all is the passion and keen scholarship exhibited by each. While individual items have achieved record prices, the collections themselves have moved not just the market, but scholarship and connoisseurship to new heights. We are honored to be a small part of the process of seeing these important and unique objects of history ushered into new collections, where they will continue to be the focus of new learning and discoveries.

I hope you enjoy the auction as much as we have enjoyed preparing it. While I am sure we will worry again after it’s over, we are already hard at work collecting items for our Fall Marine Sale, and we just might have an announcement or two after the auction! Hope to see you there.

Joshua Eldred President

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Eldred’s Staff Directory Antiques and Fine Art Specialists

Production and Administrative Staff

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

Mary Ann Giddings Eldred Appraisal and Mailing List Director maeldred@eldreds.com

John H. Schofield President Emeritus johns@eldreds.com Susan M. Schofield Treasurer The Prints of Paul Jacoulet sue@eldreds.com William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com Eric S. Mulak Assistant Vice President Head of Sporting Antiques, Folk Art & Collectibles Consignment Manager eric@eldreds.com

Wendy A. Dunford Assistant Treasurer wendy@eldreds.com Eric Hagen Shipping ehagen@eldreds.com Devyn Henry Administrative Assistant / Condition Reports dhenry@eldreds.com Kristin Kiley Client Services Manager / Shipping kkiley@eldreds.com Jessica Turbide Assisstant Head of Photography Website Administrator / Condition Reports jturbide@eldreds.com

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

Kristyn Mills Head of Photography kmills@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Madison Morris Photography mmorris@eldreds.com

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

Kathleen Morse Inventory Manager kmorse@eldreds.com Tanya E. Sargent Administrative Assistant tsargent@eldreds.com

Jennifer Lacker Mystic Representative

Caleb G. Seaver Catalog Layout and Design cseaver@eldreds.com

Gregg Dietrich Senior Consultant and Specialist Mary M. Kuhrtz, Barbara H. Cleary and Christine Leofanti Gallery Assistants

Cheryl Stewart Head of Marketing Catalog Layout and Design cheryl@eldreds.com Sarah Eldred Taylor Head of Human Resources sarah@eldreds.com

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eldredsauction

index Auction Information Page 2 Index of Artists Page 6-7 The Vardeman Collection Lots 18-237 The McDowell Collection Lots 172-260 A Long Island Collection Lots 285-339 the Collection of Dr. Richard H. Strauss Lots 407-410 Bidder Information Page 278 Conditions of Sale Page 279 New Bidder Registration Page 280 Absentee Bid Form Page 281

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Index of artists Albro, Caleb (attr.)

178

Drew, Clement

489

Archer, James

204

Drew, Clement (attr.)

485

Badger, Solon Francis Montecello

493

Dye, Charles

550

Baker, Elisha Taylor (school of )

494

Eldred, Lemuel D.

338

Beechey, Richard Brydges

446

Finney, N.S.

234

Bergen, Claus

486

Gerrodette, Henry Vincent (attr.)

Bertoncini, John Bricher, Alfred Thompson Burdett, Edward Buttersworth, James Edward

392, 393

Gilkerson, William

134, 416

478

Gilpin, William A.

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1, 14 411-413

Grant, Gordon Hope

418

Gregersen, Julius

219

Buttersworth, Sr., Thomas

414

Hamilton, James (attr.)

492

Calyo, Nicolino Vicompte

496

Hill, W. or E. (attr.)

179

Carmichael, John (James) Wilson

440

Hill, William (attr.)

104, 105

Cross, Roy

544

Hoyne, Thomas

543

Dawson, Montague J.

415

Hulett, J.G.

551

De Clerck, Aristidius (attr.)

218

Jacobsen, Antonio Nicolo Gasparo

Dodd, Louis

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29, 30

546-548

Jacobsen, Antonio Nicolo Gasparo (attr.)

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480-484 479

Index of artists

Johnson, Jr., Marshall

490

Tenney, Samuel W. (attr.)

McAuliffe, James

487

The Battle Engraver

Mecray, John

421

The Britannia Engraver

357

Nickerson, Reginald

488

The Lady Wellington Engraver

156

Race, George (attr.)

53

The Locket Engraver

Roderick, William Lewis (attr.)

69

The Naval Monument Engraver

233 20

22, 23 24, 198

Roux I, Antoine

445

The Panbone Engraver

Schmidt, John W.

549

The Star Engraver

Scott, Henry

417

Thompson, Timothy Franklin Ross

Scott, John (attr.)

443

Thornley, Charles

441, 444

Serres, John Thomas

439

Thurber, Caroline

388

Spencer, Richard Barnett

437

Tinker, James Chapman (attr.)

208

Sticker, Robert

545

Walters, Miles & Samuel

448

Stubbs, William (school of )

215

Wood, C.H. (attr.)

177

Swaine, Francis

436

Yorke, William Gay

449

Sweetster, Joseph Park

491

Young, Israel (attr.)

71

Tenney, Samuel W.

26 113, 114 542

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Featuring The Paul Vardeman Collection The Sam and Donna McDowell Collection A Long Island Collection Ship Models from the Collection of Dr. Richard H. Strauss

And Properties From IYRS A Texas Collection A Prominent New York Collection And numerous other estates and collections The Family of Captain Stephen Potter of the William Thomposon A Bucksport, Maine Estate A Maryland Collection The Folk Art & Americana Collection of Carl and Sonia Schmitt A Private Falmouth, Massachusetts Collection The Alexander MacCormick Scrimshaw Collection A Private Collection, Connecticut And Numerous Other Estates and Collections

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E N G R AV E D B Y E D WA R D B U R D E T T A B O A R D T H E W H A L E S H I P W I L L I A M T E L L

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1.

POLYCHROME SCRIMSHAW WHALE’S TOOTH BY EDWARD BURDETT

Circa 1830-1833 Inscribed on lower edge “Engraved. by Edward Burdett. of Nantucket. onboard of The Ship Wm Tell.” in script lettering. Obverse titled “Wm Thomson. Cutting.

Boiling. And Fast. To A Whale.” in serifed lettering. Depicts the American whaleship William Thomson flying a large and boldly rendered American flag off her stern. A whaleboat off her bow is in the process of capturing a surfaced sperm whale. Another American whaleship, identified as the Leonidus in script lettering, is depicted near the tip. Reverse titled “Pacific. Homeward Bound Full.” in the same serifed lettering. Depicts the American whaleship Pacific flying a large American flag, an agent’s red and blue “Pacific” flag off the foremast, a long and waving red and blue pennant off the midmast and a blue house flag off the stern mast. A coastal lighthouse and house is off the bow, and another hilly landmass is in the distance. The titles flank a cut-cornered rectangular cartouche inscribed “New Bedford Ships. S.N. Potter. Master.” in the same serifed lettering as the titles. The tooth exhibits exceptional details throughout including a lookout in a mast, a rooster-form weather vane atop the lighthouse, smoke emanating from the house’s chimney and the flurry of activity happening aboard the William Thomson.

A red berry vine, typical of Burdett’s work, wraps almost completely around the circumference of the base. Extensive use of red sealing wax in flags, whale and whale blubber. Ship hulls as well as the sperm whale, the whaleboat and assorted pennant and flags are carved in relief. Length 8”.

320,000/380,000 Provenance: Descended directly through the family Captain Stephen Potter of the William Thompson.

A letter from the family will accompany the tooth.

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From the inscription, we know the tooth presented here was created while

1822 to 1824. In successive voyages he sailed aboard the William Tell and

Edward Burdett was onboard the ship William Tell, which left New York in

the Montano. In November 1833, while serving as first mate onboard the

November 1829 and returned to port in February 1833. It is likely the William

Montano, Burdett was entangled in line, dragged by a whale overboard,

Tell encountered the ships William Thomson, Leonidus and Pacific while in

and drowned.

the Pacific whaling grounds. The William Thomson sailed from New Bedford in October 1830 and returned August 1834, therefore this tooth likely dates

This tooth is remarkably similar to another Edward Burdett tooth sold at

from 1830 to 1833. We believe the tooth was engraved by Burdett and given

Eldred’s Marine Sale, July 20, 2017, Lot #1, for the world-record price of

to the ship captain, Stephen Potter.

$456,000. That tooth bears the same maker’s inscription and also depicts the whaleship William Thomson, though it was seen “Homeward Bound”,

Edward Burdett was a pioneer of American scrimshaw, and in his short

not involved in active whaling as depicted on this example. In our opinion

but prolific career he produced what are widely considered masterpieces

this lot provides an exceptional opportunity to own a scrimshaw whale’s

of the genre. He was born on Nantucket in October 1805, the son of a

tooth with an important provenance and excellent patina engraved by one

merchant sea captain. His first whaling voyage was aboard the Foster from

of the masters of the craft.

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SCRIMSHAW WHALE’S TOOTH Circa 1845 Relating scenes of the “U.S. Sloop of War St. Louis” at sea and “The Queen of the Sea”, a long-haired woman riding the back of a sea serpent, wrap around the circumference of the tooth. The Queen is wearing a shell and feather crown and is holding a scepter in her outstretched right arm. The St. Louis is flying a long pennant from the central mast and an American flag off the stern. Executed in blue-green ink. Length 6.5”.

Includes wooden stand.

3,000/5,000 Illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 6.

The St. Louis was launched in 1828. She was part of the Pacific Squadron until 1831, joined the West India Squadron, mostly as the squadron’s flagship, in 1832, and in 1839 she rejoined the Pacific Squadron and was the first American man-ofwar to carry the flag into the port of San Francisco. In 1843 she joined the East India Squadron as flagship and was in Singapore when the first commercial treaty with China was being negotiated. During the Civil War sailors from the St. Louis went ashore to assist in operations related to Sherman’s

2, obverse and reverse

3.

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SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse with a three-quarter-length portrait of a prim lady wearing a bonnet and a striped dress. Reverse with rollicking scene of sailors drinking while seated around a punch bowl. Some revelers are holding bottles and others are ladling drinks from the bowl, and the ground around them is littered with bottles, swords and guns.

Image inspired from “Captain Roberts’ Crew carousing at Old Calabar River” from The Pirates Own Book (1837). Length 6”. Includes a lucite stand.

1,500/2,500

march across Georgia. She was laid up in 1866 and became a receiving ship and a training vessel. She was scrapped in 1907.

3, obverse and reverse

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4.

FINE AND IMPORTANT WHALE IVORY, EBONY AND COCONUT SHELL DIPPER

America, Dated 1871 Shell bowl elaborately carved with an American eagle clutching a “Union” shield above “On Board of the Whaling Bark Stafford - Sept. 1871” incorporated within an elaborate floral, foliate and bird design. Curved ebony handle inset with mother-of-pearl triangles flanking a rectangular whale ivory panel. Handle attached to bowl with a whale ivory elongated heartform mount. Length 13”.

5,000/10,000 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #366.

Described as “Perhaps the finest scrimshaw dipper to come to light; the relief-carved bowl is very unusual if not unique. The Bark Stafford was a Wing ship sailing from New Bedford in 1870 under Captain Moulton for the Indian Ocean, returning in 1873. The dipper was discovered in the middle west at a church fair.”

4, right and above

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5, obverse and reverse

5.

ELABORATELY ENGRAVED SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse depicts a building, possibly an American consulate in Africa or South America, flying an American flag off a flagpole. The scene is centered below a geometric-patterned Rococo arch, with a floral garland above, a fruit garland below and an acanthus leaf tendril down the left side. Obverse depicts angels protecting two reclining children from a fearsome man. Scene is centered below a festooned arch entwined with a fruiting and flowering vine, with a butterfly hovering above. Below the scene is a swag and tassel design. Length 7”.

4,000/6,000 Illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 64 and 66.

Marked “NH150E” on base, indicating the piece was from the collection of Meylert Armstrong of New Hope, Pennsylvania, the preeminent scrimshaw collector from the 1920s to the 1950s. When E. Norman Flayderman purchased much of Armstrong’s collection, forming the nucleus of his own collection, he marked the items “NH”, standing for “New Hope”, followed by a series of numbers. A substantial number of the items illustrated in Flayderman’s book are from Armstrong’s collection, some with the “NH” mark visible.

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6, obverse and reverse

6.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

American, Mid-19th Century Both sides engraved with multiple elaborate and finely engraved vignettes. Obverse with Prince of Wales feathers, a floral sprig, a rope-framed cartouche depicting a mother bird tending her young in their nest, and a floral, foliate and drapery swag over an interior scene of a seated woman playing a lyre, while a sheet of music and a pitcher of flowers rest on the table beside her. Reverse with a foliate and swag garland enclosing two hearts pierced by an arrow, a patriotic or possibly fraternal swag, a star and rising sun design over an American eagle clutching a shield, banner, arrows and olive branches, and a theatrical scene of winged acrobats standing on the backs of two horses. Length 7.5�.

4,000/6,000

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H I S TO R I C A L LY S I G N I F I C A N T G I L P I N TO OT H

7.

HISTORICALLY SIGNIFICANT POLYCHROME SCRIMSHAW WHALE’S TOOTH SIGNED BY WILLIAM A. GILPIN Circa 1835 Subtlety signed “W A Gilpin” within a delicate vine that forms the proscenium arch on the obverse.

Engraved on board the American whaleship Ceres of Wilmington, Delaware, circa 1835. Before the discovery of this historically significant tooth, William Aratus Gilpin was known simply as “Ceres Artist No. 1”. Because of the signature seen here, collectors and scholars were able to connect a name and history to the formerly anonymous master artist and his outstanding body of work. Says Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling Museum and founder of the Scrimshaw Forensics Laboratory, “Every now and then a watershed piece shows up that is not only an aesthetic tour-de-force but has unique and enduring historical and iconographical significance that, in addition to being ‘A Thing of Beauty,’ enlightens the genre and informs research. The so-called Ceres Teeth

by William Gilpin are just such outstanding pieces.”

Obverse depicts Jack Tar resting his right arm on an anchor and holding a wide-brimmed hat in his raised left hand. An eagle grasping three arrows in its talons and a “Free Trade And Sailors Rights” banner in its beak is perched on Jack’s right shoulder, with the banner arching above Jack. A polychrome American shield rests against Jack’s left leg, which is slightly raised. He is wearing the typical dress of the American sailor of the period, including a dark-colored shortwaisted jacket, a large collared shirt and a necktie.

The depiction of his hair, necktie and the ribbon on his hat give the appearance they are blowing in the wind. The scene is framed within a border typical of Gilpin’s style. Above the scene is the proscenium arch, a distinctive layout characteristic of Gilpin’s work. It contains a beautifully detailed portside rendering of an American merchant ship with false gunports, flying a pennant from the main mast and an American flag off the gaff.

Reverse with a large and very accurately engraved portrait of a merchant ship with false gunports, sailing away from the viewer at an angle that shows her portside and transom. A long pennant flies from the main mast. This is likely a larger and more detailed view of the ship that appears on the obverse in the arch, and it is outstandingly detailed, particularly the spars, the shading of the sails and the rigging. A sawtooth border wraps around the circumference of the tooth at the base.

This tooth, like all of Gilpin’s engravings, were created with the pinprick transfer method. The pigmentation in this tooth is bold and remarkably well preserved, due in part to Gilpin’s use of true black ink as opposed to the lamp black ink that was commonly used by whalemen.

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Accompanied by substantial genealogical research on William A. Gilpin and the family through which the tooth descended for many years, as well as research on Gilpin’s whaling voyages, a copy of an April 11, 2008 letter from Donald A. Ridley of the New Bedford Whaling Museum confirming the “Ceres” authenticity of the tooth, and copies of a slide show presentation given by Ridley at the 2008 New Bedford Whaling Museum Scrimshaw Weekend delineating the discovery of Gilpin as the missing “Ceres” artisan.

Length 6.5”.

120,000/160,000 Provenance: Descended in a family with roots in New Hampshire.

Property of a Midwestern Private Collector.

Sotheby’s New York, September 26, 2008, Lot #25.

According to Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), pp. 121-124, William A. Gilpin, born in 1805, came from a prominent Wilmington, Delaware family. He is known to have made at least two whaling voyages, including an 1834-1837 voyage aboard the whaleship Ceres. It is believed he produced at least 18 scrimshaw whale’s teeth and one busk. A similar depiction of Jack Tar, minus the proscenium arch but attributed to Gilpin, can be seen in Through the Eyes of a Collector by Nina Hellman (2015), fig. 41, and was sold as part of the Thomas Mittler Scrimshaw Collection during Eldred’s Marine Sale, October 15, 2016, Lot #23.

A similar foliate proscenium arch on a tooth by Gilpin is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 3.9. The Barbara Johnson Whaling Collection included at least two similar teeth. One with a nearly identical border and foliate proscenium arch containing a ship portrait was Lot #341 in the December 11-12, 1981 auction at Sotheby’s, and one more simply rendered but with a similar border, depiction of Jack Tar and foliate proscenium arch containing a ship portrait was Lot #395 in the April 29-30, 1983 auction at Sotheby’s.

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7, obverse and reverse

“Every now and then a watershed piece shows up that is not only an aesthetic tour-de-force but has unique and enduring historical and iconographical significance...�

Stuart M. Frank

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8.

EXTRAORDINARY CARVED, SCRIMSHAWED AND INLAID WHALE IVORY AND WHALEBONE CANE Mid-19th Century Whale ivory handle carved as a fist clenching a snake coiled about the hand and wrist above a shirtsleeve. The snake has inlaid eyes, a visible forked tongue and deeply engraved scales, and the overlapping shirtsleeve has engraved trim and applied buttons. Whale ivory collar with carved braided rope design above baleen spacers and an inlaid harlequin pattern. Tapered whalebone shaft with silver metal and shell inlay in a sawtooth and tassel design separated by a harpoon- and a lance-shaped inlay in the same materials and two silver metal geometric inlay. Silver metal ferrule. The workmanship exhibited on this cane is of the highest caliber, from the accurate and lifelike rendering of the fingers and palms of the fist, to the exquisite precision of the shirtsleeve, to the delicacy of the inlaid tassel design. A truly exceptional example of whaleman art. Length 35”.

60,000/80,000 Exhibited: de Menil Gallery at Groton School, Groton, Massachusetts: “American Radiance: Highlights of the Ralph Esmerian Gift to the American Folk Art Museum,” October 15-December 15, 2002.

South Street Seaport Museum, New York: “Compass: Folk Art in Four Directions”, June 20-October 7, 2012.

Illustrated in American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum (Harry Abrams Inc., 2001), p. 320 and 330.

Provenance: The Barbara Johnson Whaling Collection.

Rafael Osona Auctions, August 9, 1994, Lot #147.

Important American Folk Art from the Collection of Ralph O. Esmerian, Sotheby’s New York, January 25, 2014, Lot #724.

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8, multiple views

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9.

FINE WHALEBONE CANE WITH WHALE IVORY HANDLE CARVED AS A CLENCHED FIST

Mid-19th Century Handle and faceted collar carved from a single piece of whale ivory. Detailed with a scalloped shirtsleeve cuff with red and black highlights simulating cuff links. Shaft carved from a single piece of whalebone with a deeply carved sawtooth pattern near cuff and sections of fluting and stop fluting separated by bands of shell and mother-of-pearl inlay. One band of inlay in a harlequin pattern bisected by a ring of metal pique inlay. Other band of inlay in a dot pattern. Metal ferrule. Length 34.5”.

7,000/10,000

Exhibited: Snug Harbor Cultural Center, Staten Island, New York: “The Art of the Whaleman”, 1983.

American Folk Art Museum: “Folk Art Revealed”, November 16, 2004-August 23, 2009.

South Street Seaport Museum, New York: “Compass: Folk Art in Four Directions”, June 20-October 7, 2012.

Illustrated in American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum (Harry Abrams Inc., 2001), p. 330.

Provenance: The Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #297.

Important American Folk Art from the Collection of Ralph O. Esmerian, Sotheby’s New York, January 25, 2014, Lot #724.

This cane was made by the same hand as the preceding lot and the

10.

CANE WITH SUPERBLY CARVED WALRUS IVORY HANDLE IN PATRIOTIC MOTIFS Circa 1876 Grip portion of the L-shaped handle carved in the form of an eagle perched atop a tree branch. Stem portion of the handle with ring of beading above a relief-carved oval bust portrait of George Washington and a relief-carved spread-wing eagle with American shield, arrows and olive branches. Tapered malacca shaft with thin silver metal collar and original metal ferrule. The carving on the walrus ivory components is exceptionally meticulous, with details including the eagle’s sharp beak, beautifully articulated feathers and lifelike talons, and the 13 raised stars on the American shield. Length 33.75”.

4,000/6,000

two have been exhibited and sold together through the years.

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9, multiple views

10, multiple views

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11.

PAIR OF SCRIMSHAW WHALE’S TEETH WITH WALRUS IVORY AND WHALEBONE STAND

Mid-19th Century Both teeth with bust portraits of gentlemen, one of a man in uniform identified in script lettering as “Napoleon” and the other in jacket and stock, identified in similar script lettering as “W.C. ...” (chips at base obscure full name).

Both portraits with delicate floral and foliate surrounds.

Two-tier whalebone stand with ball feet and turned whale ivory spikes at the corners of the top tier. Stand topped with a turned walrus ivory column set on a square plinth with ebony separators. Whalebone arms extend from stand to support teeth. Overall height 8.5”. Width 10”. Teeth lengths approx. 6.5”.

5,000/10,000 Provenance: James Abbe.

The Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #489.

Rafael Osona Auctions, The Barbara Johnson Collection of Scrimshaw and Whaling Artifacts, August 14, 1993, Lot #92.

12.

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PAIR OF WHALEBONE CANDLESTICKS

Mid-19th Century Turned socles and stems. Rectangular feet with beveled edges. Heights approx. 5”.

800/1,200

13.

PANBONE BOX WITH POLYCHROME SCRIMSHAW DECORATION OF AN EAGLE

America, Mid-19th Century Rectangular lidded box with dovetail construction, made from panbone sections, approx. .25” to .5” thickness, and a pine two-piece base. Top of lid engraved with an arch of 13 five-pointed stars above an American spread-wing eagle perched beside a shield on an oval plinth. The eagle’s beak is open and it clutches four arrows in its right talon. The shield has 13 stripes, alternating stripes colored with red sealing wax, and is draped with an “E. Pluribus Unum” banner. Diamond and star border along perimeter of top, with a repetitive design on the front side of both the lid and the box. Front of box engraved with a spreading branch bearing leaves and flower blossoms. Retains a label affixed to the interior handwritten “Uncle Edward Almy Gave It to Majel’s Mother. Made on Whaling Ship - Considered Unusual - Has Been Exhibited” and a loose note with handwritten inscription indicating the box descended in the Howland family of New Bedford, Massachusetts. Height 4”.

Width 10.25”. Depth 7”.

8,000/12,000

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13, above and below

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25

E D WA R D B U R D E T T TO OT H D E S C E N D E D I N T H E FA M I LY O F H I S S I S T E R LY D I A

Edward Burdett had one older sister and four younger sisters. His next to youngest sister was Lydia (1812-1895), who married Captain William Hallett (1812-1882), son of Isaac and Rebecca Matthews Hallett of Barnstable. Lydia

14.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

BY EDWARD BURDETT Circa 1830-1833 Inscribed on lower edge “Engraved, By Edward Burdett.

Onboard Of The. Wm Tell.” Obverse titled “Arrabella. of Sag Harbor. In the Act of Whaling.” Depicts an active whaling scene with three whaleboats and a surfaced whale off the Arrabella. Multiple figures are seen on the deck of the whaleship and a lookout is in the crow’s nest. Reverse titled “William Tell. Of New York. Homeward Bound.” Depicts the American whaleship William Tell with a sailboat, coastal lighthouse, house and outbuilding in the distance off her bow. The lighthouse is topped by a bannerette weather vane, smoke wisps from the house’s chimney and a fence surrounds all three buildings. Some elements colored red, including the house and outbuilding, the doors and windows on the lighthouse, the sailboat’s pennant, and the figures onboard the Arrabella. A stylized foliate vine with red berries, typical of Burdett’s work, wraps almost completely around the circumference of the base, and the lettering throughout the tooth is the same serifed lettering seen on other Burdett examples. The coastline, the sperm whale and both whaleship hulls are deeply carved. Length 7.75”.

150,000/250,000 Provenance: Descended in the family of Edward Burdett’s sister, Lydia Burdett Hallett, through the Hallett family then as a gift to the current consignor. It has never before been offered for sale.

and William lived at 570 Main Street, Hyannis, which is now listed on the National Register of Historic Places.

William and Lydia had no children but William had many siblings, Allen Hallett (1809-1864) being the closest in birth order. Allen Hallett was a carpenter and woodworker on Nantucket. He married Hepsabeth Rand (1813-1859) and they had a son, Eugene, born in 1838. As Eugene grew up, Nantucket’s economy began to falter, due to the decline of the whaling industry and young men leaving the island for the California Gold Rush.

Eugene Hallett wanted to learn jewelry and watch making so he and his parents left Nantucket for Boston when Eugene was 15 years old so he could apprentice. He excelled at the craft and was deemed proficient enough to go out on his own just three years later.

Eugene and his parents became part of the great migration west so he could start his jewelry business where there was no other. They set out via stagecoach and river boats for Leavenworth, Kansas, arriving in 1856. The town was nothing more than a wild dusty crossroads and military outpost, and Eugene was indeed the first to establish a jewelry, watch and engraving business there. His father established the first lumber and hardware business and did construction in the burgeoning town.

It is believed Lydia Burdett Hallett gave her nephew Eugene this tooth before he left on his venture west, since both her brother and her young nephew were skilled engravers.

Eugene married Martha Jonson Brown (1847- 1935), and they made their

home in Leavenworth until relocating to Lincoln, Nebraska in 1871. Eugene Based on the inscription, Edward Burdett engraved this tooth while

died at age 98 in 1933. Eugene’s sons, Fred and Hugh, followed in their

onboard the ship William Tell, which left New York in November 1829

father’s successful business in Lincoln, renaming it Hallett Bros. Jewelry. Fred

and returned to port in February 1833. It is likely the William Tell

(1869-1952) and his wife, Mabel Curtis (1873-1962) had no children, but

encountered the Arrabella while both ships were in the Pacific whaling

Hugh (1878-1948) and his wife, Henrietta Hawley (1879-1949), had three

grounds between 1830 and 1833. Because this tooth depicts the

sons. The only one who continued the family jewelry business was Eugene

William Tell on its homeward voyage, it can be surmised it was done

Sheldon Hallett (1904-1971).

toward the end of Burdett’s time aboard the ship, perhaps a gift for his sister, Lydia Burdett Hallett.

Going by the name Sheldon, he married his University of Nebraska sweetheart, Frances Bolton Hallett (1906-1985) in 1929. As the next

Many elements of this tooth are similar to the Edward Burdett tooth

generation engraver, Shel and Fran took custody of the Burdett tooth

sold at Eldred’s Marine Sale, July 20, 2017, Lot #1, as well as the tooth

directly from Sheldon’s grandfather upon his passing in 1933.

presented earlier in this catalog. While the whaling scene on this tooth is more simplistic, it can be argued the coastline scene is more

Shel and Fran had no children. When Shel reached retirement age, he was

substantially developed. Given that the tooth was most likely engraved

anxious to enjoy his golden years in a warmer climate, so he liquidated the

while Burdett was homeward bound onboard the William Tell and

100-year-old Nebraska family business and retired to Scottsdale, Arizona, in

that it was intended as a gift for his sister Lydia, it is easy to imagine his

the fall of 1969. After an invigorating morning desert horseback ride on his

thoughts had turned more toward the comforts of home rather than

thoroughbred, he was lounging by the pool and suffered a fatal heart. He

the toils of whaling.

passed away at age 66 in 1971.

In the fall of 1971, Sheldon’s widow struck up a close friendship with the current consignors. Having no family of her own, Fran gave the Burdett tooth to them in 1983.

26

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14, multiple views

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27

15.

POLYCHROME SCRIMSHAW WHALE’S TOOTH Mid-19th Century Depicts a full-length portrait of a woman wearing a red beaded necklace and an extravagantly patterned red, blue and green dress standing on a checkered floor. A large red and green flowering plant is to the right. Portrait is framed within a scrolling border. Length 8.25”.

2,000/3,000 Illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 68.

Marked “NH120H” on base, indicating the piece was from the collection of Meylert Armstrong of New Hope, Pennsylvania, the preeminent scrimshaw collector from the 1920s to the 1950s. When E. Norman Flayderman purchased much of Armstrong’s collection, forming the nucleus of his own collection, he marked the items “NH”, standing for “New Hope”, followed by a series of numbers. A substantial number of the items illustrated in Flayderman’s book are from Armstrong’s collection, some with the “NH” mark visible.

15

16.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

Third Quarter of the 19th Century Obverse with portrait of a bark flying a house flag with star. Reverse with portrait of a paddlewheeler with smoke billowing from her red smokestacks. Length 4.5”.

500/700

16, obverse and reverse

17.

17

28

PINE BOX WITH WHALE IVORY, EBONY AND MOTHER-OF-PEARL ADORNMENTS

19th Century Top with central figured wood pyramid topped with a mother-of-pearl diamond and surrounded by whale ivory panels engraved with a diamond and foliate design. Pyramid is flanked by painted and relief-carved flowering branches that emanate from ebony urns with medial bands of mother-ofpearl pique inlay. At each corner is a whale ivory heart and cross. Sides with repetitive whale ivory panels at corners, carved whale ivory diamonds with a crosshatch pattern, and tiered mother-ofpearl and ebony diamonds. Interior lined in fabric.

Height 3.75”. Length 9”. Width 5.5”.

1,000/1,500 Provenance: Barbara Johnson Whaling Collection (retains collection sticker).

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The Collection of

Paul Vardeman Lots 18-137

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29

The Vardeman Collection

In 1965 I bought my first pieces of scrimshaw from Norm Flayderman’s catalog. The lot consisted of a pair of Godey lady teeth, a busk, a crimper and a simple cane. I think the lot cost $225.00. In theory this was a representative collection and I would never need more scrimshaw. Boy was I ever wrong.

Around 1970 we began spending two to four weeks on Nantucket and since have been pretty much regulars.

One of the highlights of each year was the Richard Bourne Marine Auction where once in a while I lucked out and got a good piece. I also bought from dealers who gave me a good education.

In the late 1980s The Kendall Whaling Museum at Sharon, Massachusetts started

E

the Scrimshaw Collectors’ Weekend. While ver since I was a kid, I’ve been

those events were educational, it was also the

fascinated by ships, boats and

source of long-lasting friendships with fellow

the sea. I grew up in Memphis,

collectors.

Tennessee, and I rode the old river paddlewheel excursion boats at every

Since I retired from my law practice, I have

opportunity.

taken great pleasure in scrimshaw research.

One of the highlights was the discovery of the

I’ve sailed, fished, built ship models and even

“Britannia Engraver”, whose work had been

tried my hand at scrimshaw. Just about

confused with Edward Burdett’s. A couple

everything “nautical” was of interest to me.

of other research projects included “The

In 1956, Connie and I made our first trip to

Naval Monument Engraver” and “The Naval

New England. In New Bedford I bought my

Engagement Engraver”.

first whaling artifact. It was an oarlock from the Bark Wanderer, acquired from Mrs. Edna

Now I have decided to move on and let others

Clark for $3.00. A day trip to Nantucket was

enjoy the pieces I have collected and enjoyed

also my first exposure to scrimshaw.

for so many years.

Paul Vardeman May 2019

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18

18.

POLYCHROME SCRIMSHAW WHALE’S TOOTH IN THE MANNER OF EDWARD BURDETT

Mid-19th Century Depicts a three-masted whaleship flying a large American flag off the stern and assorted colored pennants and flags from the masts. Titled in a ropebordered cartouche below scene “Japan - Bound to the USA”. Berry and foliate vine at base. Ship detailed with nicely shaded sails, a geometric trailboard and whaleships on davits. The ship’s hull and the ocean waves are deeply engraved, similar to the workmanship of Burdett. Length 5.75”.

15,000/20,000

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31

The Vardeman Collection

19.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING NAVAL ENGAGEMENTS

First Half of the 19th Century One side depicts the battle between the “Shannon” and the “Chesapeake”, and the other side depicts the “Hornet & Penguin”, based on images sourced from J.J. Smith’s 1831 American Naval Battles, which is based on Abel Bowen’s The Naval Monument. Both are dynamic battle scenes with billowing smoke, waving pennants and carefully rendered ships and rigging. Ships are identified in elegant script lettering.

The water is executed in blue-black and the ship hulls in a pale sepia. Length 7”.

10,000/15,000 Provenance: West Sea Company, San Diego, April 28, 1991, Lot 123A. The tooth was consigned by a collector who acquired it from the estate of Capt. Robert M. Mountfort, who died July 1, 1914.

19, obverse and reverse

20.

POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE BATTLE ENGRAVER

Mid-19th Century Obverse depicts an Anglo-American battle between two warships, much of the ships obscured by billowing smoke. Both ships are flying long red pennants and their nation’s flag, and figures are visible on deck.

The American ship is also flying a “Free Trade and Sailors Rights” flag from the foremast; this flag was flown from the Chesapeake when she was battling the Shannon. Reverse depicts a whaling scene with central whaleship flying a “B” house flag, two whaleboats harpooning visible whales, and other whaleboats under sail on the distant horizon. These whaleboats sailing toward the viewer are characteristic of the Battle Engraver’s work. Image of a sperm whale on edge.

Length 7.5”.

6,000/9,000 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, August 2, 1983, Lot #330.

Richard “Sam” Sylvia, Nantucket, Massachusetts.

32

20, obverse and reverse

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21, obverse and reverse

21.

The Cyane was launched in December 1837 at Boston Navy Yard and was originally under the command of John “Mad Jack” Percival, who was born in West Barnstable, on Cape Cod. She served off the West Coast during the Mexican-American War and was lauded for her significant contributions to American victory. Interestingly, seaman William H. Meyers served aboard the Cyane in the 1840s, a decade after he was onboard the whaleship Ceres. 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. 189, Meyers’s ink and watercolor journal illustrations are believed to have been the source material for the body of scrimshaw produced by the so-called “Ceres Artisans”.

SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF THE SHIP CYANE Mid-19th Century Obverse with a fine portrait of the U.S. Navy sloop-ofwar flying a long pennant from the central mast and a large American flag off the stern. “Cyane” in rectangular cartouche below portrait. Interesting worm-like depiction of the water. Reverse depicts a weeping willow flanked by memorial monuments, one topped with an urn and the other with a harpoon-like design flanking the intentionally illegible inscription. The grass has a similar worm-like pattern as the water on the obverse. A delicate vine wraps around the circumference of the tip and suspends conjoined laurel wreaths that trail down both edges. A similar vine and a faint sawtooth border encircles the base. Length 6.25”.

6,000/9,000 Provenance: Nina Hellman, Nantucket, Massachusetts.

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33

The Vardeman Collection

23, obverse and reverse

The Locket Engraver

22, obverse and reverse

Stuart M. Frank, in Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists, writes that Paul Vardeman coined the moniker “Locket Engraver” after identifying six teeth in public and private collections attributed to the anonymous artisan. Others have been more recently discovered. Most depict a lady with a locket and portraits of U.S. Navy vessels.

22.

SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE LOCKET ENGRAVER 1840s Obverse depicts a characteristic Locket Engraver portrait of a dark-haired woman holding a locket. She has bows in her ringlets, a Maltese cross at her neck and her dress has puffy sleeves and lace trim. The locket, suspended from her neck on a long cord, contains a portrait of a man. The reverse has two ship portraits, one identified as the “Swan” and the other as the “Boston”. Both ships are flying assorted flags and pennants, including an American flag flying off the stern. Length 7.25”.

8,000/12,000 Illustrated in Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 165, fig. 13.

Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts. Sylvia purchased the tooth from someone who discovered it in a newly purchased antique desk.

34

23.

SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE LOCKET ENGRAVER 1840s Obverse with two ship portraits, one identified as the “John Adams”. Reverse with a stern view of a ship sailing toward a coastal lighthouse. All the ships are flying assorted flags and pennants, including an American flag flying from the stern.

Length 4.5”.

3,000/5,000 This tooth is mentioned in Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 164, in Frank’s description of the Locket Engraver.

While this tooth does not depict a lady with a locket -- the characterization that inspired the byname -- it does have the typical portraits of U.S. Navy vessels.

Provenance: The Barbara Johnson Collection of Scrimshaw and Whaling Artifacts, Rafael Osona Auctions, August 14, 1993, Lot #86 (illustrated on cover).

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24, obverse and reverse

24.

POLYCHROME SCRIMSHAW WHALE’S TOOTH BY THE NAVAL MONUMENT ENGRAVER WITH ORIGINAL WHALING SCENE

Second Quarter of the 19th Century This is the only known tooth by the Naval Monument Engraver with an original whaling scene. Most of his work was sourced from the 1816 and 1837 editions of Abel Bowen’s The Naval Monument. Obverse, with original scene titled “Whale Scenery”, depicts two whaleships, one in the act of cutting in, and two whaleboats, one under sail, pursuing a pod of whales. Reverse titled “Despatch, Majestic, Endymion, Tenedos, President, Pomone, The President Engaging The Endymion While Pursued By the British Squadron”. Billowing smoke surrounds the ship in the foreground. Rich patina throughout. Length 7”. 60,000/80,000

This tooth is mentioned in the section on the Naval Monument Engraver in Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists

by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 202.

Provenance: Estate of Helen Palmer Lincoln, Kenneth W. Van Blarcom Auction, Wareham, Massachusetts, August 22, 1993.

Rafael Osona Auctions, Nantucket, Massachusetts, August 13, 1994, Lot #154.

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35

The Vardeman Collection

25.

PATRIOTIC POLYCHROME SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse depicts a “Liberty” banner above a spread-wing eagle clutching an “E Pluribus Unum” banner in its beak, a shield at its breast and arrows and olive branches in its talons. The eagle is perched on a stylized American shield flanked by American flags.

Below the shield is an arrangement of cannons, swords, spears, anchors and cannonballs. Reverse depicts the “U.S.F. Constitution” at sea, flying an American flag off the stern. Both sides initialed near base “JB”. Length 7.5”.

12,000/18,000 This tooth has been authenticated by Don Ridley and Dr. Stuart M. Frank at the Scrimshaw Forensics Laboratory. It is by the same hand as a similar tooth and a cane sold at Skinner, November 4, 2017, Lot #144.

Provenance: Richard A. Bourne Company, August 4, 1981, Lot #134.

Sotheby’s, May 22, 2003, Lot #752.

Hyland Granby Antiques, Hyannis Port, Massachusetts.

25, obverse and reverse

26.

POLYCHROME SCRIMSHAW PANBONE SECTION ATTRIBUTED TO THE PANBONE ENGRAVER

Mid-19th Century Depicts 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 wooden stand. Overall height 16.5”.

5,000/10,000 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.

Provenance: Philadelphia Maritime Museum, later known as the Independence Seaport Museum. Donated by Frank Howard, museum co-founder, and Welles Henderson.

Wiederseim Associates Auction.

36

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26

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37

The Vardeman Collection

27.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH EAGLE AND SHIP PORTRAIT

Mid-19th Century Probably Civil War era. Obverse depicts a spread-wing eagle, a banner, two stars, a shield, American flags, crossed canons and a laurel wreath containing an anchor, all under a decorative arch. Scalloped border at base. Reverse depicts a ship flying assorted flags and pennants, including a commodore’s pennant from the central mast and an American flag off the stern. Six figures in hats are visible on deck. Sawtooth and pique border at base. Length 4”.

2,000/3,000 Provenance: John Sylvia, Nantucket, Massachusetts.

27, obverse and reverse

28.

28, obverse and reverse

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC MOTIFS Mid-19th Century Obverse depicts an image and verse sourced from The Kedge Anchor; or, Young Sailors’ Assistant

by William Brady, published in 1841. An eagle is perched at the feet of Hope or Lady Liberty, who is standing near a cannon and a mast flying a large American flag. She is wearing a tall red cap, is draped in a robe and holds an American shield at her feet. A distant lighthouse and a ship in rolling seas are in the background to her left and right. Verse “’Ships our cradles, decks our pillows, Lulled by winds and rocked on billows; Gaily bound we o’er the tide. Hope our anchor, Heaven our guide.’” contained within a wide shield-form cartouche below image. Reverse depicts a child holding arrows and an American flag on pole while riding on the back of an eagle. The eagle’s beak is open and its wings and head wrap around the edge of the tooth and are visible from the obverse. Heavily inked and nicely detailed images that cover the majority of the tooth. Length 6.25”. 8,000/12,000 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts.

38

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Attributed to Henry Vincent Gerrodette

29.

POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO HENRY VINCENT GERRODETTE

Mid-19th Century Obverse depicts two conjoined vignettes: two hearts pierced by an arrow enclosed within a barber’s-pole style wreath, and a spread-wing eagle with a vacant red banner in its beak, an American shield at its breast, and arrows and olive branches in its talons. The eagle is perched on a rocky hill backed by the rays of a rising sun. The two vignettes are entwined with vine tendrils that culminate in two deeply engraved red roses. Reverse depicts “The Moss Rose”, a red rose on a thorny branch. Length 5.25”.

5,000/8,000

29, obverse and reverse

30.

POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO HENRY VINCENT GERRODETTE

Mid-19th Century Obverse depicts two vignettes: a red floral wreath enclosing two bleeding hearts pierced by an arrow, and a portrait of a frigate flying an American flag off the stern. Reverse depicts a dramatic scene of a lady holding her hand at her throat as a man wearing a cape and a sword runs away from her. At her feet is a small sword or dagger. Length 4.25”.

2,000/3,000 Provenance: Nina Hellman, Nantucket, Massachusetts.

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. 116, not much is known about Henry Vincent Gerrodette, other than he served in the Mexican War aboard the frigate Constitution. A collection of his personal belongings from this time, including knives, scabbards, a pair of embroidered trousers, and three pieces of scrimshaw,

30, obverse and reverse

were donated to the Smithsonian in 1956 by a descendant. This tooth bears stylistic similarities to the donated pieces, including the trousers, which are believed to have been embroidered by Gerrodette himself. Research indicates Gerrodette was born in New York in 1822 and lived in Brooklyn toward the end of his life in the 1870s and 1880s. There is no record of him serving on a whaling voyage.

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39

The Vardeman Collection

31, obverse and reverse

31.

PATRIOTIC POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO SAMUEL W. TENNEY Mid-19th Century Tenney is also known as the “King of the Sea Artist”. Scene of a spread-wing eagle, Liberty, a monument and an American-flagged ship wraps around the circumference of the tooth. Liberty, wearing an eagle helmet and holding an American shield at her side, holds aloft a torch on which the eagle is perched. In its beak it clutches a “Liberty And Freedom” banner, which wraps nearly around the entire tip of the tooth. Beside the eagle and Liberty is a columnar monument surrounded by American flags, an anchor and a pyramid of cannonballs. A warship flying an American flag and ensign, probably the U.S.S. Brandywine, is just offshore beyond the monument. Nicely proportioned and finely detailed, particularly in the eagle’s feathers, Liberty’s dress and the embellishments on the monument. Length 5.25”.

10,000/15,000

Samuel W. Tenney, the “King of the Sea” Artist

Samuel W. Tenney’s identity was discovered by scrimshaw historian Michael Gerstein through a tooth in the collection of Historic New England. 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. Examples of Tenney teeth to come to market include Lot #623 in Eldred’s November 21, 2013 auction and a scrimshaw walrus tusk presented later in this auction.

Provenance: Leslie Hindman Auctions, Chicago, January 24, 2010, Lot #162.

Nina Hellman, Nantucket, Massachusetts.

40

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32.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH LADY LIBERTY AND OTHER PATRIOTIC IMAGES

Mid-19th Century Obverse depicts Lady Liberty holding a flag in her left hand while an eagle drinks from a chalice she holds aloft in her right hand. Above the eagle is an arch of sunrays and “Liberty” in minuscule lettering. Lady Liberty is surrounded by a drum, shield, cannon, cannonballs, spears and other implements.

Foliate cartouche at base. Reverse with a stylized American flag at tip, a ship portrait at center and a fraternal montage at base. A long verse, with the lettering formed as an arch, frames the montage, which includes sunrays, a dove, a cross, an open Bible, a sword, a beehive, an anchor and olive branches.

Scalloped sunburst design at base. One edge with a sun face above three hills. Other edge with a five-pointed star above a monument or altar. Length 4”.

4,000/6,000 This tooth is by the same hand as the Walton/Creamer tooth in the Peabody Essex Museum collection. Another tooth by the same hand was part of the Barbara Johnson Whaling Collection, Sotheby’s New York, September 24-25, 1982, Lot #230.

32, obverse and reverse

Provenance: Nina Hellman, Nantucket, Massachusetts. Hellman indicated she discovered the tooth at the Brimfield Antiques Show.

33.

33, obverse and reverse

PATRIOTIC SCRIMSHAW WHALE’S TOOTH HONORING GEORGE WASHINGTON

Mid-19th Century An assemblage of patriotic imagery wraps around the circumference of the tooth, centering on a monument to George Washington. Monument with a bust of the president at top, an American shield backed by flags at front, and an eagle perched on the corner. The monument is flanked by Lady Liberty holding a phrygian cap-topped flagpole on the left and a verdant tree on the right. Other surrounding images include a dove carrying an olive branch in its beak, “GW” within a laurel wreath, a star, a spreadwing eagle, an American shield surrounded by flags and cannons, a bundle of rods, and a rose within a laurel wreath. A fleur-de-lis and crosshatch border encircles the base. Length 5.5”.

4,000/6,000 Provenance: Skinner, Inc., 2008.

Private Collection.

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41

The Vardeman Collection

34

34.

35

BRASS MODEL OF A 24-POUND LONG GUN Based on plans for cannons used on the U.S.S. Constitution.

Wooden carriage with wooden wheels and copper and brass mounts. Length 16”.

1,000/1,500

36.

Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts.

35.

BRASS MODEL OF A CARRONADE Based on plans for cannons used on the U.S.S. Constitution.

Wooden carriage with brass wheels and copper and brass mounts. Length 9.25”.

800/1,200 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts.

SMALL BINNACLE 19th Century Wood case with brass carrying handle at top, a glasspaned slanted lid, and a brass lantern at side. Contains an unmarked compass with fleur-de-lis. Height 9.25”.

Width 6.25”. Depth 7”.

200/300 Provenance: Jack Fritsch, Nantucket, Massachusetts.

37.

LIGNUM VITAE DEADEYE

Late 19th/Early 20th Century Mounted as a table lamp on a sheave base salvaged from the whaleship Wanderer. The lamp was assembled by Bill Snow, the grandson of Mrs. Edna Clark of New Bedford, Massachusetts. Clark’s shop on Water Street sold many pieces salvaged from the wreck of the Wanderer. Overall height including lamp fixtures 25”.

150/200 Provenance: The Stock Exchange Antiques, Nantucket, Massachusetts.

42

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39

38.

SILVER PLATED PRESENTATION SPEAKING TRUMPET 19th Century Inscribed “Presented By A Friend To Captain Josh. A. Bailey”. Bailey was purportedly captain of the whaleship Champion during an 1850 voyage and died in Hong Kong in 1852. Length 9”.

300/500

40.

LARGE COLLECTION OF RICHARD A. BOURNE COMPANY AUCTION CATALOGS Approx. 57 catalogs dating from October 16, 1965 through February 13, 1993. Believed to be a complete or nearcomplete set within those date ranges. Sizes vary. 500/700

41.

SET OF BARBARA JOHNSON WHALING COLLECTION AUCTION CATALOGS Catalogs from Parts I, II, III and IV of the Sotheby’s auctions held in New York from December 1981 through December 1983. Some include prices realized. Includes custom slipcase with stamped image of a spouting “Delector in Balaenis” on front.

300/400

Provenance: Antique Pavilion, Houston, Texas.

39.

SINGLE-DRAW TELESCOPE BY NEGUS 19th Century Brass tube with canvas wrap. Engraved “Negus New York”.

Purportedly belonged to a whaling captain. Length extended 37.25”.

500/700 Provenance: The Spy Glass, Chatham, Massachusetts.

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43

The Vardeman Collection

42

42.

INLAID AND COPPER-BOUND OAK LIFT-TOP BOX

19th Century Whale ivory and alternating wood inlay creates a compass rose, heart and banded design on top, a compass rose design on both sides and a star and diamond design on front and back. Height 7”. Width 15”. Depth 9.5”.

800/1,200 Provenance: Nina Hellman, Nantucket, Massachusetts, who indicated it came from New London, Connecticut.

43.

DOUBLE-SIDED SCRIMSHAW WHALEBONE PLAQUE

Mid-19th Century Obverse depicts a whaling scene with a whaleship and four whaleboats in pursuit of a pod of six whales. Each whaleboat is carrying six whalemen, most wearing hats, and the ship is flying assorted flags from the mast. Unique depiction of the vapor emanating from the whales’ blowholes. Reverse with portrait of a whaleship, with two whaleboats on davits and two lookouts in the masts. The depiction of the ocean and the waves lapping against the hull is particularly well-executed.

Fine line border along the perimeter of both sides. Plaque 6.75” x 9.25”. Includes custom stand. Height overall 8”.

10,000/15,000 The ship portrait on this plaque was reproduced by Artek.

Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, April 29-30, 1983, Lot #462.

Richard A. Bourne Company, Hyannis, Massachusetts, August 5, 1986, Lot #79.

Private Collection.

44

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43, obverse and reverse

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45

The Vardeman Collection

44.

DOUBLE-SIDED SCRIMSHAW WHALEBONE PLAQUE

Mid-19th Century Obverse with scene of a whaleship cutting in above an active whaling scene with at least three visible whales and three whaleboats, one of which is stoved. The reverse depicts a warship at sea. Both the whaleship and the warship are flying a variety of flags and pennants, and both have similar large figureheads. A great primitive example. Approx. 7.5� x 5.5�.

3,000/5,000 Provenance: Maritime Auctions, York, Maine, March 28, 1992, Lot #188.

Easton Maritime Antiques, Easton, Maryland, November 30, 1996.

44, obverse and reverse

46

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45.

PAIR OF SCRIMSHAW WALRUS TUSKS 19th Century Both with an elaborate floral vine above four vignettes. One tusk depicts a puppy jumping on a child in a carriage, a woman feeding chickens, a polar bear facing off with a man wielding a dagger, and the ship “Victoria”. (The Victoria was lost in the Arctic in the 1871 disaster.) Other tusk depicts a young couple and their dog, a mother and her two children bundling sticks, a man poised to harpoon a walrus, and a man smoking a pipe while seated on a crate surrounded by barrels. Lengths 30.25”.

3,000/5,000 Similar examples by the same hand were sold by the Richard A. Bourne Company, Hyannis, Massachusetts, August 1966, Lot #279; November 10, 1988, Lot #246; August 5, 1980, Lot #36; and August 1-2, 1978, Lot #423. Another tusk by the same hand, owned by the Focke Museum in Hamburg, Germany, is illustrated in Arts of the Seafarer by Hans Jurgen Hansen (1968), p. 273.

Provenance: Private Collection. Purchased in Vancouver, B.C., August 1963.

46.

SCRIMSHAW WALRUS TUSK 19th Century Depicts the H.M.S. Blenheim and two other ships anchored off cliffs known as the Downs in southern England, a departure point for British whalers headed to the South Sea Fishery. The Blenheim is flying a Union Jack off the bow and a British ensign off the stern. The ship is identified in script lettering below scene. Length 25”.

1,500/2,500 Provenance: Cobbs Auction.

45, pair

46

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47

The Vardeman Collection

47.

SCRIMSHAW WHALE’S TOOTH DEPICTING A HARPOONED MERMAID Mid-19th Century A whimsical scene of a whaleman standing at the bow of a whaleboat to harpoon a mermaid. The mermaid, colossal in scale to the whaleboat and the ship on the reverse, has long hair, large almond-shaped eyes, a long neck and tiny hands, and she is wearing cross-shaped dangly earrings. She has already been pierced by one harpoon as the whaleman takes aim with another, and both harpoons are tied by looping lengths of rope. The whaleboat’s six whalemen are wearing striped shirts and have delightfully expressive faces. Much of the imagery is rendered with fine parallel and concentric undulating lines, similar to traditional Japanese water patterns. Length 6.25”.

5,000/8,000 Provenance: The Bill Coffin Collection. It is said Coffin prized this tooth and kept it on his living room mantel.

Rafael Osona Auctions, Nantucket, Massachusetts, August 8, 2004, Lot #122.

47, obverse and reverse

48.

SCRIMSHAW WHALE’S TOOTH DEPICTING THE “BURNING OF MOSCO” Mid-19th Century Proscenium arches surround a scene of Napoleon on horseback leading his troops into Moscow, with a fallen horse and soldier in the foreground and buildings afire in the background. Scene wraps nearly around the circumference, save for a narrow vignette on the reverse depicting a sailor standing near an anchor and holding aloft a British flag, with a cluster of suns and stars above. A scalloped, geometric and pique border encircles the base.

Deeply engraved and thoroughly detailed. Length 7.25”.

5,000/8,000 The 1812 Fire of Moscow, which destroyed most of the city, broke out September 14. The city had been mostly abandoned as Napoleon’s troops marched into it following the Battle of Borodino.

Before leaving, Count Rostopchin gave orders to have the Kremlin and major public buildings blown up or set on fire, but the majority of historians now blame most of the fires on Russian sabotage.

49.

48, obverse and reverse

WHALE IVORY AND WHALEBONE SWIFT ON AN OCTAGONAL WOODEN BASE 19th Century Swift with turned whale ivory yarn cup, adjustment knobs and screw, whalebone staves, and a whalebone shaft with medial baleen or wood band. Base with carved whalebone gallery, contrasting trim, two working drawers and six faux drawers. Overall height 18.25”.

3,000/5,000 Another swift by the same maker is in the New Bedford Whaling Museum Collection (number 2001.100.942).

Provenance: Rafael Osona Auctions, Nantucket, Massachusetts, August 7, 1993, Lot #76.

48

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49

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49

The Vardeman Collection

50.

WHALEBONE AND WHALE IVORY SWIFT WITH COIN SILVER ACCENTS

Mid-19th Century Turned whale ivory yarn cup, adjustment knob and clamp, all with coin silver bands.

Clamp also mounted with an unengraved coin silver plaque. Adjustment screws with coin silver pique inlay. Whalebone shaft and staves. Length 17�. Includes wooden stand. 2,500/3,500 A nearly identical swift attributed to Capt. James M. Clark of Rochester, Massachusetts is part of the New Bedford Whaling Museum collection and was illustrated in Scrimshaw Artists by Dr. Stuart M. Frank.

Provenance: Otto Wasserman, New York.

50

50

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51.

WATERCOLOR PORTRAIT OF THE WHALESHIP GEORGE & ALBERT OF LE HAVRE Circa 1820 Broadside larboard portrait of the whaler, depicted flying a “W” house flag from the foremast and two other agent flags from the central mast, and with three whaleboats on davits.

The ship was owned and managed by Jeremiah Winslow, an American, and was commanded by several American whaling captains including Shubael Russell and Seth Worth, both of Nantucket. She whaled out of Le Havre from 1820 to 1832. Signed and dated lower right “L.V. del, 1820”. Ship identified in lower margin.

11” x 13” sight. Framed 14.25” x 16.5”.

1,400/1,800 Provenance: Estate of author and whaling historian Edouard Stackpole of Nantucket, Massachusetts.

Richard “Sam” Sylvia, Nantucket, Massachusetts.

51

52.

PHOTOGRAPHS OF THE WHALESHIPS WANDERER AND PROGRESS Photo of the Wanderer is a rare view of the ship run aground, not seen in Albert Cook Church’s Whale Ships and Whaling. Photo of the Progress depicts the bark being towed out of New Bedford for the Chicago World’s Fair. Inscribed in ink in margin “The Arctic Whaler Progress 1842-1892”.

7.5” x 9.5” sight and 6” x 8” sight. Framed 11.5” x 14” and 11.75” x 13.25”.

300/400

53.

ATTRIBUTED TO GEORGE RACE United Kingdom, 1872-1957 Portrait of the ship Craigmore of Glasgow, housed in a lifebuoy-style frame. Figures visible on the deck of the ship. Frame with British ensigns and “Craigmore” and “Glasgow” in gilt banners.

Overall diameter 12”.

150/250 Provenance: G.K.S. Bush, Nantucket, Massachusetts.

54.

SET OF FOUR HAND-COLORED WHALE SCENE ENGRAVINGS Published by Edward Orme, Bond Street, London, 1813. Each depict a different stage of whaling. Nicely framed and matted. 7.5” x 9.5” sight. Framed 14.25” x 16.25”.

500/700 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts.

52, two

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51

The Vardeman Collection

55

56

55.

MOUNTED BUILDER’S HALF HULL MODEL OF A FULL-RIGGED SHIP, POSSIBLY A WHALESHIP

19th Century Hardwood laminated hull with eleven lifts and applied bow and skeg. Pine backboard 10.25” x 51.5”.

1,800/2,500 Provenance: Nina Hellman, Nantucket, Massachusetts.

57.

56.

MOUNTED BUILDER’S HALF HULL MODEL OF A SCHOONER 19th Century Hardwood laminated hull with five lifts and applied bowsprit and skeg. Pine backboard 7” x 31.5”. 700/1,000 Provenance: Kahn Antiques, Chatham, Massachusetts.

WALNUT SEA CHEST WITH PAINTED LID

19th Century Dovetail construction. Rope handles attached to beckets. Interior of lid depicts the Cutty Sark with a pilot cutter at her stern. Interior fitted with two covered tills. Height 17.25”. Width 40”. Depth 18”.

800/1,000 Provenance: Purchased in England.

52

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58 60

59 61

62

58.

WROUGHT IRON DOUBLE FLUE HARPOON

19th Century Marked “JB Morse” for maker and “WW”, probably for ship William Wirt. Length 34”.

1,800/2,200 Provenance: Morgan Levine, Nantucket, Massachusetts.

59.

61.

WROUGHT IRON TEMPLE TOGGLE DARTING GUN 19th Century Marked “Macy”. Also punch marked “BK KN”, probably for the bark Kathleen, and “LB” for larboard boat.

Length 38.75”.

1,500/2,000

Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, January 23, 1991, Lot #156.

WROUGHT IRON SINGLE FLUE HARPOON

19th Century Marked “D & A” for Ezra Dyer and Nathan Adams, who worked at 3 Hazard’s Wharf in New Bedford. Also marked “B. S...n”, believed to be the brig Solon of Mattapoisett and Westport, Massachusetts. Another marking, shaped like an arrow, is believed to be for waistboat. Length 32.5”.

The Kathleen was rammed and sunk by a whale, the story of which 1,500/2,000 is in Bark Kathleen Sunk by a Whale by Thomas H. Jenkins (H.S.

Provenance: Captain Bixby Collection.

Bob Hellman, Nantucket, Massachusetts.

60.

WROUGHT IRON TOGGLE HARPOON 19th Century Marked “JB” for James Barton, who worked on City Wharf in New Bedford from 1852/1856 until 1882, then on N. Water Street until 1887. Also punch marked “LB” for larboard boat and “G City”, believed to be the schooner Golden City of New Bedford, which sailed from 1875 to 1905. Length 32.5”.

800/1,200

Hutchison Co., 1902).

62.

WROUGHT IRON TEMPLE TOGGLE DARTING GUN HARPOON 19th Century Marked “D & D” for maker Dean and Driggs. Also marked “HCR”, probably for ship Herald or Hercules, and with a diamond shape for bow boat. Length 30”.

700/1,000

Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, June 24, 1981, Lot #134.

Provenance: Tom Mello, Nantucket, Massachusetts.

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53

The Vardeman Collection

63

64

65.

DIAMOND POINT HARPOON HEAD 19th Century Marked “J. Tinkham” for a Fairhaven, Massachusetts shipsmith. Length 9.5”.

200/400 Provenance: Michael Vienneau, Nantucket, Massachusetts.

63.

WROUGHT IRON LANCE WITH EARLY STYLE HEAD 19th Century May have been used for sea elephants, although this size lance was also used in whaling. Length 35.5”. 1,000/1,500 Provenance: Nina Hellman, Nantucket, Massachusetts.

64.

54

66.

IRON SWORDFISH DART Circa 1920 Spring-activated dart patented by Frank Gilbert Hinsdale, number 1344693, issued June 29, 1920. Marked on shaft “Patent Applied For” and “H.O. Hillman” for maker.

Overall length 6”. Includes wooden stand.

300/500

67.

THREE WHALING IRON SHEATHS 19th Century All canvas-covered wood and retaining lengths of rope.

Lengths 7.75”, 8.5” and 9”.

400/600

68.

WHALEBOAT OARLOCK Late 19th/Early 20th Century WROUGHT IRON TOGGLE HARPOON 19th Century Believed to come from the whaleship Wanderer. Oarlock is Marked “JD” for maker James Durfee. Also marked “B Java” padded with rope to muffle sound. Length 8.25”. 100/200 for the ship Java and “....” for bow boat. Length 36”.

1,500/2,000 Provenance: Mrs. Edna Clark, New Bedford, Massachusetts, July 1956.

Provenance: Paul Vardeman said this was the second piece in his collection.

Nina Hellman, Nantucket, Massachusetts.

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69

69.

SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO WILLIAM LEWIS RODERICK

First Half of the 19th Century Depicts a whaling scene of a whaleship, three whaleboats and two visible whales. One whaleship is under sail and another has been stoved, tossing whalemen into the water.

The whaleship is flying a British ensign and another unidentified flag, and the hull is deeply engraved. Like all Roderick’s work, this scene is exceptionally detailed, from the careful rendering of the whalemen, to the individual teeth visible in a whale’s jaw, to the undulations of the water. Scene framed within a double line border at left and right.

Reverse is unpolished. Length 8”.

25,000/50,000 This tooth is almost identical in size, shape and subject to two pieces signed by Roderick that are part of the Mystic Seaport collection.

Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts, who indicated in 1979 that the tooth had been part of Ed Stackpole’s collection for 35 years.

Private Collection.

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55

The Vardeman Collection

70, obverse and reverse

70.

RARE SCRIMSHAW WHALE’S TOOTH WITH ANTI-SLAVERY IMAGERY

Mid-19th Century Obverse, sourced from the frontispiece of Abel Bowen’s The Naval Monument, depicts Liberty carrying an American flag while riding a horse-drawn chariot past a monument to “Washington Independence Manly Jones” and a banner with “We have Met the Enemy and They are Ours” draped over a tower of cannons and cannonballs. Upper half of the reverse depicts standing Liberty holding a large olive branch in one hand and a staff topped with a phrygian cap in the other. She is identified below the portrait and above the Biblical verse “Christ hath made us free.

Gal. 5:1”. Lower half with a circular cartouche depicting a slave kneeling before Lady Justice, surrounded by “Am I Not a Man And A Brother Remember them that are in bonds as bound with them”. Below the cartouche is the verse “Natives of a Land of Glory, Daughters of the good and brave! Hear the injured Negro’s story; -- Hear and help the kneeling slave. Follow! -- faithful, firm confiding; -- Spread our wrongs from shore to shore; Mercy’s God your efforts guiding, Slavery shall be known no more.” Elements on both obverse and reverse executed in pinpoint. The base of the tooth has nearly grown together, indicating it was from a very old whale.

An exceptionally detailed and fascinating tooth. Length 7.5”.

10,000/15,000 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts, who acquired it from a Nantucket collector who indicated it came from a collection in Duxbury, Massachusetts.

56

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Israel Young of Scituate, Massachusetts

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. 317, Israel Young was born in 1826 in Scituate, Massachusetts. He had familial connections with Killingly, Connecticut, and at some point it’s believed he and his family lived on Nantucket, from where he left on a single whaling voyage in the 1840s or 1850s. He produced five known works during this single voyage.

71

71.

SCRIMSHAW WHALE’S TOOTH DEPICTING KELLY THE PIRATE

Mid-19th Century Attributed to Israel Young of Scituate, Massachusetts. A sawtooth and harlequin border surrounds an image of a pirate on the deck of a ship wielding a sword and a pistol. He has knives and other swords tied around his waist, and skull and crossbones emblems can be seen on his plumed tricorne hat and tunic. Behind him is a cannon, billowing smoke, the sails and rigging of another ship, and small figures that appear to be running away in fear. Identified as “Kelly” in lower border. Image is sourced from the frontispiece of the circa 1840 “Forget Me Not Songster”. 3,000/4,000 Provenance: Cowan’s, Cincinnati, November 17, 2003, Lot #777. The auction catalog stated “according to family tradition carved by Israel Young of Killingly, Ct. (whaleman).”

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57

The Vardeman Collection

72, obverse and reverse

72.

73, obverse and reverse

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING A WHALESHIP AND A WARSHIP

Circa 1845 Obverse depicts a highly detailed view of a whaleship cutting in, with the whale carcass tied up alongside the ship, a sheet of blubber suspended from the rigging, and multiple figures on deck engaged in various activities. Two whaleboats are on davits and the whaleship is flying small pennants from each of its three masts. Reverse depicts a warship in rolling seas. Extensive use of polychrome on both sides in shades of black, brown, red and blue. Rich patina.

Length 6.5”.

4,000/6,000 This tooth is similar, and certainly by the same hand, as others signed “J Robinson”, who is presumed to be Australian or Anglo-Australian, given inscriptions on other teeth. Examples of his work are in the Nantucket Historical Association Collection, and one pair was sold at Eldred’s, November 21-23, 2013, Lot #597.

73.

PAIR OF SCRIMSHAW WHALE’S TEETH DEPICTING BATTLESHIPS Mid-19th Century Both with rectangular scenes of battleships at sea, one depicting the “Enterprize and Boxer” and the other the “Argus”. The ships are flying pennants and American or British flags. Images are sourced from The Naval Temple by Horace Kimball. Above the scenes are images of spread-wing eagles, one with a shield at its breast and olive branches and arrows in its talons and the other with its wings fully outstretched as if it is in flight. Lengths 4” and 4.25”.

Includes a wooden stand made from salvage of the Charles W. Morgan. 2,000/3,000 Provenance: Nina Hellman, who indicated the previous owner had purchased the pair for $35.

Provenance: Ceely Collection, Rafael Osona Auctions, Nantucket, Massachusetts, August 3, 1996, Lot #208.

58

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74

74.

WHALE IVORY PIE CRIMPER WITH SERPENT-FORM HANDLE

Mid-19th Century Serpent’s body emanates from a curved square shaft. Shaft with deeply carved border, stepped carvings and two exotic wood bands. Serpent with engraved eyes and carved open mouth and tongue. Fluted wheel.

Deep, rich patina. Length 7.5”.

9,000/12,000 Referenced in an article by George C. Sturtevant in the January-February 1955 issue of the Nautical Research Guild Journal.

Provenance: Frank Sylvia, Sr., Nantucket, Massachusetts.

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59

The Vardeman Collection

75

75.

76

WALRUS IVORY PIE CRIMPER WITH STAR AND HEART DESIGN HANDLE Mid-19th Century Flat-sided shaft with carved geometric designs, two pierced hearts and a large medallion with relief-carved stars on both sides. Thin band of baleen between shaft and wheel mount.

Fluted wheel nearly the same size as the medallion. Shaft is curved, either following the natural curvature of the tusk or done intentionally to fit more comfortably in the hand.

Length 6.75”.

2,500/3,500 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, August 18, 1971, Lot #434.

Bourne Company, August 2, 1983, Lot #316.

The Feldman Folk Art Collection, Sotheby’s, New York, June 23, 1988, Lot #31.

Northeast Auctions, Portsmouth, New Hampshire, November 7, 1998, Lot #893.

77

76.

WHALE IVORY “NAUGHTY LEG” PIE CRIMPER WITH SCRIMSHAW DECORATION

Mid-19th Century Boldly proportioned crimper in the form of a lady’s leg and boot. Polychrome scrimshaw decoration of red flowering vines along the length of the leg and wheel mount, and a monochrome harlequin and sawtooth band encircling the calf. Boot detailed with inlaid silver buttons and a carved tread pattern on the underside. Fluted wheel. Length 7.25”.

5,000/8,000 Provenance: Wayside Antiques, Cape Cod, Massachusetts.

77.

WHALE IVORY PIE CRIMPER WITH LYRE-FORM HANDLE Mid-19th Century Central elliptical section with stepped carvings between the lyre form at one end and a simple mount for a fluted wheel at the other end. An elegant piece of whalemen craftsmanship, particularly the lyre’s gracefully carved scrolls.

Length 5.25”.

1,500/2,500 Provenance: Paul DeCoste.

60

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78

78.

WHALE IVORY PIE CRIMPER WITH SHELL AND SILVER INLAY AND STAR-SHAPED WHEEL

Mid-19th Century Tapered elliptical handle with beveled edges and geometric shell inlay. One side with an inlaid silver plaque engraved with initials, now mostly illegible. Wheel support with four scrolled arms and shell and mother-of-pearl inlay in a concentric circle design. Fluted wheel with openwork star.

Length 5.5”.

3,000/4,000

79

80

79.

WHALE IVORY PIE CRIMPER WITH EAGLE-FORM WHEEL MOUNT Mid-19th Century Square shaft with canted edges, a medial baleen or wood band, and stepped carvings at both ends. One end with a three-tine fork. Opposite end with fluted wheel pinned to an eagle-form mount. Eagle with carved pointed beak and inlaid eyes. Length 7.75”.

2,500/3,500 Provenance: Bennett Collection, Richard A. Bourne Company, Hyannis, Massachusetts, August 1966, Lot #635.

Congdon Collection.

Frank Sylvia, Sr., Nantucket, Massachusetts.

Provenance: Richard A. Bourne Company Auction, Hyannis, Massachusetts, November 10, 1988, Lot #25.

80.

WHALE IVORY PIE CRIMPER Mid-19th Century Hefty pistol grip-style handle with two medial baleen bands.

One end with a four-tine fork and simple wheel mount.

Fluted whale ivory wheel. Length 7”.

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

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61

The Vardeman Collection

81

84

62

82

85

83

86

87

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88

81.

WHALE IVORY AND WOOD YARN WINDER 86.

SCRIMSHAW WHALEBONE SEAM RUBBER

Mid-19th Century

Mid-19th Century Carved whale ivory yarn cup, supports, clamp and Flat handle and blade engraved on both sides. One side tightening screw. Clamp with diamond- and triangle-shaped with an urn and a flowering plant. The other side with the mother-of-pearl and sealing wax inlay. Length 8”. head of a dog and ferns. Deeply engraved border along the 1,000/1,500 perimeters. Length 5”.

300/500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 20, 2005, Lot #531.

Purchased at a small antique shop in Arrow Rock, Missouri, May 7, 2011.

82.

87.

WHALEBONE SNATCH BLOCK Mid-19th Century Retains old rope loop. Length 6.5”. Includes metal stand.

88.

WHALEBONE SEAM RUBBER Mid-19th Century 1,000/1,500 With flattened ball final and relief-carved spearpoint on blade. Length 4.5”.

300/500 Provenance: The Fred Gardner Collection, Rafael Osona Auctions, Provenance: Nantucket, Massachusetts, August 16, 1997, Lot #156.

Tiller Antiques, Nantucket, Massachusetts.

John Sylvia, Nantucket, Massachusetts.

89.

83.

SEAM RUBBER ENGRAVED WITH OWNER’S NAME

Mid-19th Century Engraved “T. Watts” on blade. Faceted polyhedral terminal.

Incised lines on shaft blade and shaft. Length 4.5”.

300/500

WHALEBONE JIG TACKLE DOUBLE BLOCK

Mid-19th Century With canvas-covered rope strap and bronze thimble and hook. Overall length 5.75”.

300/400 Provenance: Frank Sylvia, Nantucket, Massachusetts.

UNUSUAL INLAID WHALEBONE FID

Mid-19th Century Pique baleen inlay in geometric patterns cover nearly the length of the tapered shaft. Length 13”.

1,500/2,000 Provenance: John Sylvia, Nantucket, Massachusetts.

84.

CARVED WOODEN SEAM RUBBER

Mid-19th Century Terminal carved as a turk’s-head knot and shaft with twist carving. One side of blade with “RY” flanking a crown and a snake entwined with an anchor. Other side of blade with a diamond pattern above a male and female figure. Similar diamond patterns on edges of blade. Length 5”. 500/1,000

85.

SCRIMSHAW WHALEBONE SEAM RUBBER

Mid-19th Century One side of blade engraved with a ship and boat, contained within a rectangle with quarter moons at corners. Handle engraved on both sides. One side with a heart within a sawtooth border. The other side with a foliate design contained within a sawtooth border. Length 4.25”.

500/700 Provenance: Bill Coffin Collection, Rafael Osona Auctions, Nantucket, Massachusetts, August 8, 2004, Lot #405.

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89

63

The Vardeman Collection

92, three

91 90

90.

WHALE IVORY CLENCHED FIST BODKIN Mid-19th Century Terminal carved as a right hand clenching a stick or a scroll, with a ruffled and faceted shirtsleeve at wrist. Terminal pinned to a baluster-turned shaft with loose ring. Length 5”.

1,000/1,500 Provenance: Morgan Levine, Nantucket, Massachusetts.

91.

WHALE IVORY BODKIN Mid-19th Century Terminal carved as a turk’s-head knot. Tapered shaft with incised rings flanking a band of geometric shell inlay. Pearling throughout. Length 5.25”.

500/700 Provenance: John Rinaldi, Kennebunkport, Maine, Catalog 27, 1994, Lot #63.

93

92.

THREE WHALE IVORY AND WHALEBONE BODKINS Mid-19th Century 1) In whale ivory. Turned shaft with incised red lines. Length 4.75”. 2) In whalebone.

Scroll-form terminal relief-carved in a leaf design. Small unengraved silvered metal plaque inlaid on one side of terminal. Ring-turned shaft. Length 4.125”. 3) In whale ivory and whalebone. Faceted polyhedral terminal. Tapered shaft with two medial baleen bands.

Length 4.25”.

250/350

93.

PAIR OF WHALE IVORY, BALEEN AND WHALEBONE KNITTING NEEDLES

Mid-19th Century Tapered whalebone shafts with whale ivory acorn-form finials and baleen bands.

Lengths 14.25”.

400/600 Provenance: Rafael Osona Auctions, Nantucket, Massachusetts.

64

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94

94.

SCRIMSHAW WHALEBONE CRIBBAGE BOARD IN THE FORM OF A WHALE

Mid-19th Century Engraved and pierced game board surrounded by an engraved whaling 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.

“John Schiff” at end and “J” and “S” above whaleship. Other initials, possibly “O”, “F”, “T” and “C” on underside. Board is raised on four metal pins to allow pegs to be inserted into holes. Retains four painted wooden pegs, probably not original. Length 16”.

4,000/6,000 Illustrated in Scrimshaw: The Whaler’s Legacy by Martha Lawrence, p. 176.

Provenance: Paul Madden, Sandwich, Massachusetts

95.

PAIR OF WHALE IVORY JIG TACKLE BLOCKS

Mid-19th Century One a double block and the other a triple. Both with brass strapping and lengths of rope. Length of whale ivory components 2.5”.

1,200/1,500

95

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65

The Vardeman Collection

96

96.

CARVED AND PAINTED WOODEN FIGURE OF THE LITTLE NAVIGATOR Great Britain, Early 19th Century Easily the finest example to come on the market in decades, extremely well-carved and detailed and with a wonderful sense of dignity. Used as a ship chandler’s shop sign. Curlyhaired figure is in full dress naval uniform including a bicorne, a black neck stock, a ruffled shirt, a white vest, a swooping blue cutaway jacket, epaulets, white pants and buckled shoes. He holds an octant in his outstretched arms (octant of a later period) and is standing on an oval plinth.

Retains much of its original paint. Height 26”.

25,000/35,000 Another figure by this hand is illustrated in “The Little Men: Carved Shop Signs of the Navigating Instrument Seller” by Philip C.F. Smith, published in the American Neptune, Vol. XXXIV No. 3, July 1974, fig. M. The carving is English but the figure was used in the German port city of Hamburg, per Museum fur Hamburgische Geschicte.

Provenance: Trevor Philip & Sons, London. Purchased at the 2000 Grosvenor House Art & Antique Fair. Illustrated in the Fair’s catalog, p. 50-51. (A copy of the catalog accompanies the lot.)

66

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98 97

97.

CAST IRON UMBRELLA STAND IN 98.

THE FORM OF ADMIRAL NELSON

Early 20th Century Standing Admiral Nelson surrounded by a column, anchor, two griffin-style figures and “Nelson”. Height 30”.

500/1,000

EIGHT-SPOKE WOODEN SHIP’S WHEEL

Late 19th/Early 20th Century Cast iron hub with brass cap. Diameter 55”.

500/1,000 Provenance: Nina Hellman, Nantucket, Massachusetts.

Provenance: Tom Kaye, San Francisco.

99.

WOODEN SNATCH BLOCK 19th Century Together with a wooden belaying pin purchased from Morgan Levine, who claimed it came from the whaleship Sunbeam. Length 20.5”. Snatch block painted green and marked “MMB”. Length 9”.

500/700

100.

100

WOODEN THREE-MASTED SHIP WEATHER VANE

Late 19th/Early 20th Century Made by Kenneth Lynch of Wilton, Connecticut, and rigged by a retired seaman. Painted hull and spars showing uneven weathering. Height 25.5”. Length 34”. 700/1,000

A similar example is illustrated in Little By Little by Nina Fletcher, p. 178.

Provenance: An auction house in Ottawa, Kansas.

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67

The Vardeman Collection

101

101.

WHALESHIP FIGUREHEAD 19th Century Beautifully carved in the form of the bust of a woman supported on blue scrolls. Woman with elaborately curled hair, long dangling earrings, pink lips, a cap-sleeved dress and a red swag draped across her bust. Retains some original paint. Excellent dry patina. Height 16�.

20,000/30,000 Provenance: The Estate of Clifford Ashley.

68

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102.

102, two views

RARE AND UNUSUAL SCRIMSHAW PANBONE TUB

Mid-19th Century Constructed from a scrimshaw base plate and multiple staves, two with heart-shaped handles, bound with baleen hoops. Base plate depicts a whaling scene of a whaleship and four whaleboats in pursuit of a large pod of whales. The whaleship is flying a pennant from the central mast and the figurehead is in the form of a harpooner poised with his harpoon. Each whaleboat carries six whalemen. Approx. height 6.75”. Approx. width 9.25”.

10,000/15,000 Provenance: Private Collection, having been discovered in New York City.

103.

CARVED WHALE IVORY SAILOR FIGURE

19th Century Resembles the so-called “Boston Men” figures carved from argillite. Sailor with a flat cap, beaked nose, sideburns and long jacket and is positioned with his hands clasped behind his back. Nicely carved and detailed. Height 3.75”.

1,000/1,500 A similar figure is part of the National Maritime Museum in Greenwich, London.

Provenance: Skinner, Inc., October 27, 2013, Lot #267.

103, obverse and reverse

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69

The Vardeman Collection

104, multiple views

104.

SCRIMSHAW WHALEBONE BOX ATTRIBUTED TO WILLIAM HILL First Half of the 19th Century Sliding lid’s central panel engraved with Neptune in his chariot and inlaid with an 1832 U.S. half dime and four small Peruvian coins. Panel surrounded by an engraved diamond and circle pattern. Sides of box with multiple vignettes interspersed with symbolic imagery and geometric borders at each corner. Vignettes include a man carrying a bindle while walking past a sign marked “To Ply To. Lon”; a naval officer meeting Britannia, titled in arch above vignette “Britannia Inviting the Sons of Her Navy 1834”; an obelisk monument erected in honor of Admiral Lord Nelson by his agent Alexander Davison in 1807; a couple seated on a garden bench below a rose-covered trellis, titled in banner above “Love Among the Roses.”; a couple in a hilly landscape with distant house and church; a sailor surrounded by a globe, British flags, cannons and cannonballs, titled in banner above “Defiance”; and a portrait of a warship flying a British ensign off the stern, titled in banners held aloft by trumpeting angels “Nelson Ship” and “Victory”.

Small images include a sun face, Cupid aiming his arrow, a Masonic handshake, and two conjoined hearts pierced by an arrow. Underside of box depicts the Colossus of Rhodes, holding aloft a torch while a ship sails between his legs. Titled in banner above “Collossus”. Box with dovetail construction and mitered corners. Height 2.5”. Length 6”.

Width 3.75”.

6,000/8,000

Two teeth with similar engravings to this box, both attributed to William Hill or his brother Edward, are illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), figs. 3:19a and 6:13.

The monument to Nelson seen here still stands where it was originally erected at Swarland in Northumberland, England.

Provenance: Butterfield & Butterfield, San Francisco, October 29, 1996.

70

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105, obverse and reverse

105.

SCRIMSHAW WHALE’S TOOTH WITH BRITISH PATRIOTIC IMAGERY ATTRIBUTED TO WILLIAM HILL 1840s Multiple patriotic images and vignettes cover the circumference of the tooth, centering on a portrait of “Nelson’s Ship Victory”, identified in a banner above. The banner, entwined within a central crown, is being held aloft by two trumpeting angels. The ship is flying a Royal Navy ensign off the stern, and a Union Jack, a Royal Standard and the flag of England off the masts. A coastal lighthouse is in the distance off her stern. The reverse depicts a ship with figures visible on deck and a British red ensign flying off the stern. Other images include Britannia surrounded by a flag, shield and recumbent lion, the Colossus of Rhodes, a man in the moon, a heart pierced by two arrows, two compass roses, William Hill and a large alligator consuming a man as he tries to escape onto an awaiting boat.

Images are deeply engraved and heavily inked. Length 7”. Includes stand.

Stuart M. Frank describes Hill as “one of the 4,000/6,000 earliest known practitioners of pictorial scrimshaw” in his Dictionary of Scrimshaw

Teeth with many of the same images are illustrated in Scrimshaw and Artists on p. 68.

Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 13, as well as in The Handicrafts of the Sailor by Steven Banks (1974), p. 16. Others are in the collection of the New Bedford Whaling Museum (numbers 2001.200.1354 and 2001.100.1079).

Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, August 4, 1987, Lot #214.

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71

The Vardeman Collection 106.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH EAGLE AND WHALING IMAGES Mid-19th Century Obverse depicts a spread-wing eagle clutching olive branches and arrows in its talons hovering above a coastal scene of a ship flying an American flag off the stern. A large American ensign frames the scene at left, with buildings, another ship and a lighthouse in the background. Reverse, titled “Aug. 7. 1844 Took 90 Barrel. Whale.”, depicts a whaling scene with whaleship and two whaleboats, one of which is being stoved by a sperm whale. Imagine inspired from the 1844 masthead of “The Whalemen’s Shipping List”. Length 4.25”.

4,000/6,000 Provenance: Estate of author and whaling historian Edouard Stackpole of Nantucket, Massachusetts.

Richard “Sam” Sylvia, Nantucket, Massachusetts.

106, obverse and reverse

107.

SCRIMSHAW WHALE’S TOOTH WITH SAILOR ON SHORE

Mid-19th Century Scene of a sailor holding a large American flag and waving his hat at two ships setting sail wraps around the circumference of the tooth.

The distant ship flies a long pennant from the central mast and an American flag off the stern. The near ship, probably a brigantine, flies an agent’s flag from the aft mast and an American flag off the stern. The sailor is wearing traditional attire and his flag is billowing in the wind. A floral garland encircles the tip. Mounted in a silver base. Height 5”.

1,800/2,500 Provenance: Collection of Alan Nolan, Indianapolis.

John Rinaldi, Kennebunkport, Maine, Catalog 39, 2016, Lot #120.

108.

SCRIMSHAW WHALE’S TOOTH DEPICTING A BRITISH SAILOR Mid-19th Century Sailor stands on the deck of a ship, holding a Union Jack on pole in one hand, a sword in his other hand, and with a cannon and cannonballs at his feet. Mounted in a silver base. Height 3.75”.

800/1,200 Provenance: Collection of Alan Nolan, Indianapolis.

John Rinaldi, Kennebunkport, Maine, Catalog 39, 2016, Lot #103.

107, obverse and reverse

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108

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109.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING AN ACTRESS AND MAZEPPA

Mid-19th Century Obverse depicts the famous actress Mdm. Celine Celeste in her favorite role as “Miami, Huntress of the Mississippi”, sourced from a print published in The Illustrated London News in 1845. (A similar view of Madame Celeste as Miami was also published by Currier & Ives.) She is depicted standing on a pattered carpet, with a headdress and feather in her hair, a rifle slung across her back and wearing a tiered short dress. Reverse is an illustration of Lord Byron’s 1819 poem “Mazeppa”, based on the legend of Ivan Mazepa (1639–1709), a military leader of Ukraine. Scene depicts a dark cloud and red lightning bolts above a raven hovering over a man tied naked to a steed as it crosses a river while being chased by fearsome wolves. Length 5.75”.

3,000/4,000 This image of Mazeppa appears on at least two other teeth, one sold at Eldred’s, July 29, 2005, Lot #524, and one sold at Northeast Auctions, Portsmouth, New Hampshire, August 1819, 2012, Lot #716. All three are believed to be from the same hand and same jaw.

Provenance: Frank Sylvia, Sr., Nantucket, Massachusetts.

109, obverse and reverse

In the poem, Mazeppa is tied to the steed as punishment for consummating his love with the beautiful Theresa. The horse is taunted and set loose, galloping across Eastern Europe with boundless energy. Mazeppa nearly dies twice, but one time is restored when the horse swims across a river. He also has a vision of a raven flying overhead, ready to feast on his corpse

110.

PAIR OF SCRIMSHAW WHALE’S TEETH DEPICTING BRITISH THEATRICAL FIGURES

Mid-19th Century Attributed to the Juvenile Theater Engraver. Both teeth depict men in dramatic poses, poised on the deck of a ship, pointing pistols at the other and with cannons at their feet. One man is a sailor holding a British flag on pole. The other is a pirate holding a sword, an image sourced from the theatrical print “Mr. Yates as The Red Rover” published by John Kilby Green in 1842. Both mounted on stepped whale ivory bases. Overall heights 6”. 3,000/5,000 Provenance: Walpole Antiques, London.

According to Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling Museum and founder of the Scrimshaw Forensics Laboratory, the Juvenile Theater Engraver’s work, in addition to stylistic similarities, is also characterized by highly polished teeth with sharply pointed tips.

110, pair

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The Vardeman Collection

111, obverse and reverse of pair

111.

PAIR OF PATRIOTIC POLYCHROME SCRIMSHAW WHALE’S TEETH Mid-19th Century Obverses depict vignettes of ships at sea above a patriotic design of a spread-wing eagle and a portrait medallion flanked by American flags. One tooth depicts two ships, while the other depicts a single ship flying an American flag off the stern. The eagles are clutching “Constitution Liberty” or “Liberty Constitution” banners in their beaks, have American shields at their breasts, and olive branches and arrows in their talons. The portrait medallions differ, though both are believed to depict U.S. Presidents.

The reverse of one tooth depicts two standing ladies above a basket of fruit. Both edges depict floral vines. The reverse of the other tooth depicts a red floral sprig, a whaleship cutting in, and two whaleships sailing toward a pod of whales. One edge with a repetitive floral vine. The other edge with image of a whaleship and a sperm whale. A sawtooth border encircles the base of both teeth. Though the decoration coordinates and the two teeth are nearly identical in size and shape, the two were probably not intended as a mated pair. Lengths 5.5” and 5.75”.

10,000/15,000 Several examples by this unnamed scrimshander exist, including one in the USNM. A nearly identical example was sold at Skinner, March 4, 2012, Lot #423, and at Rafael Osona Auctions, August 6, 2016, Lot #208.

Provenance: Tooth with two women: Rafael Osona Auctions, Nantucket, Massachusetts, August 14, 1993.

Tooth with multiple vignettes on reverse: Eldred’s, July 23, 2009, Lot #422A.

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112.

SCRIMSHAW BALEEN PLAQUE Dated 1815 In the shape of a lobed busk, though far too large to be used for that purpose. Signed and dated on reverse “J.B. AD 1815”. Obverse depicts five vignettes: an array of whaling implements, a ship, a palace, a heart surrounded by flowers, and a whaling scene of a whaleboat fast to a right whale. The whaleboat is carrying seven men, all wearing hats, and a flag is flying off its stern. Vignettes are separated by sawtooth borders. Length 18.5”.

2,000/3,000 Provenance: Karl Wede, Saugerties, New York, 1968.

113, pair

112

113.

PAIR OF SCRIMSHAW WHALE’S TEETH ATTRIBUTED TO THE STAR ENGRAVER Mid-19th Century Both depict a stylized American flag above a spread-wing eagle with a banner in its beak and a shield at its breast. Between the flag and eagle are two five-pointed stars, and the same style star is in the flag’s canton. The flag, stars and eagle are surrounded by climbing vines and tendrils bearing berries and blossoms. Lengths 4.5”.

2,500/3,500 Provenance: Cudahy Family.

Michael Vienneau, Nantucket, Massachusetts.

The Star Engraver As discussed in Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 269, the Star Engraver is so named because of the distinctive five-pointed

114

stars seen on his known work. Five of his teeth are part of the Nantucket Historical Association collection, and one, with an identical shield and a portrait of a woman, was sold at Eldred’s, July 19, 2013, Lot #623. (This same tooth was sold again at Rafael Osona Auctions, August 4, 2018).

114.

POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE STAR ENGRAVER Mid-19th Century Depicts an American shield below crossing flags, one the British red ensign and the other a stylized American flag. A laurel wreath with red flowers and berries surrounds the shield and the flagpoles. Mounted to a wooden base. Overall height 8.75”.

5,000/10,000

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75

The Vardeman Collection

115

115.

FINE ENGLISH WOOLWORK PICTURE

Second Quarter of the 19th Century Central round cartouche contains a portrait of a ship under sail in wavy seas, flying a red pennant from the central mast and a British red ensign off the stern. Cartouche with decorative border and surround of international flags. Above cartouche is Britannia with shield and scepter, surrounded by a crown, angels and a rampant lion and unicorn. Below cartouche is a rose garland. Anchors at each corner.

20.75” x 21.75” sight. Framed 31.5” x 33.5”. 1,200/1,800

116.

ENGLISH WOOLWORK PICTURE OF THE “H.M.S. AGINCOURT” Second Half of the 19th Century Central round cartouche contains a portrait of the ship flying the Royal Navy ensign off the stern. Ship identified in banner above. Cartouche surrounded by international flags.

17.75” x 24.25” sight. Framed 20” x 27”.

800/1,200

116

117

117.

ENGLISH WOOLWORK PICTURE OF A BRITISH SHIP Second Quarter of the 19th Century Ship portrait contained within an oval cartouche with decorative border and tassel. Ship flying a red and white pennant from the central mast and the Royal Navy ensign off the stern. 12” x 13.75”. Framed 16.5” x 19”. 500/800

118.

ENGLISH WOOLWORK PICTURE OF THE “H.M.S. EMERALD” Second Half of the 19th Century Ship flying a long white pennant from the central mast and a Royal Navy ensign off the stern. Whitecaps lap against the hull. Ship identified on needlepoint canvas below.

11.5” x 15.75” sight. Framed 16” x 20.25”.

400/700

118

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119

119.

ENGLISH WOOLWORK PICTURE OF A BRITISH SHIP OFF THE COAST Second Half of the 19th Century Ship flying a long pennant from the central mast and a British red ensign off the stern. Coast at right with lighthouse and trees. Two other ships in the distance at left.

Heavily threaded and geometric composition. 11.5” x 21” sight. Framed 15.5” x 25.5”.

1,000/1,500

120.

ENGLISH WOOLWORK PICTURE

Second Half of the 19th Century Central oval cartouche contains a portrait of a ship flying a long red pennant from the central mast and a large British ensign off the stern. Cartouche topped with a crown and is surrounded by varied international flags and flowering branches. 15” x 16.5” sight. Framed 19.5” x 21.25”.

700/1,000

120

121

121.

ENGLISH WOOLWORK PICTURE OF THE “H.M.S. HERO” Second Half of the 19th Century Ship flying a long red pennant, British ensigns and many other flags and burgees. Finely detailed rigging. Ship identified in banner below. 12.5” x 14” sight. Framed 17” x 18.5”.

500/700

122.

ENGLISH WOOLWORK PICTURE OF THE “H.M.S. HERO” Second Half of the 19th Century Ship flying multiple British ensigns and has smoke emanating from the stack. Ship identified in red banner below. Scene framed within swagged red drapery.

13” x 16.75” sight. Framed 18” x 21.5”.

500/800

122

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77

The Vardeman Collection

123.

ENGLISH WOOLWORK PICTURE OF THREE VESSELS

Second Half of the 19th Century Two three-masted ships, both flying a long red pennant from the central mast, and a smaller sailboat. 6.25” x 13.5” sight. Framed 10” x 17”.

400/600

124.

ENGLISH WOOLWORK PICTURE OF A SHIP IN ROUGH SEAS Second Half of the 19th Century Waves crash against the hull of a ship flying a Royal Navy ensign off the stern, and a Union Jack and two other flags off the central mast. 10.25” x 13”. Framed 13.25” x 16”.

400/600

125.

ENGLISH WOOLWORK PICTURE OF A SHIP

Second Half of the 19th Century Ship flying a Norwegian flag off the stern and other flags and pennants from the masts and rigging. 8.5” x 10.75” sight. Framed 12.25” x 14.75”.

300/500

126.

CANE WITH WHALE IVORY HANDLE CARVED AS A SAILOR’S HEAD Mid-19th Century Sailor wearing a wide-brimmed hat and shirt collar.

Engraved hair, eyebrows and eyes. Collar comprised of bone and ebony spacers. Wooden shaft with whale ivory tip.

Length 36.5”.

4,000/6,000

127.

CANE WITH WHALE IVORY HANDLE CARVED AS A FIST CLENCHING A SNAKE Mid-19th Century Snake with inlaid eyes and engraved scales wraps around the hand and wrist above a faceted shirtsleeve. Thin metal collar.

Faceted whalebone shaft tapers to a cylinder. Length 34.25”.

5,000/8,000

128.

CANE WITH EXTENSIVE INLAY AND WHALE IVORY CLENCHED FIST HANDLE

Mid-19th Century Handle carved as a clenched right fist, with triangular mother-of-pearl inlay and sawtooth baleen or shell inlay at area of wrist. Collar comprised of bands of baleen, whale ivory and exotic wood; wood segments with alternating diamond-shaped mother-of-pearl and contrasting wood inlay. Wood shaft with sawtooth mother-of-pearl inlay at top. Whale ivory ferrule separated from shaft with a thin baleen band. Length 33”.

1,000/1,500 Provenance: Nina Hellman, Nantucket, Massachusetts.

129.

Two canes with similar sailor head handles are illustrated in Graven by the Fishermen Themselves by Richard Malley, p. 91.

Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts.

WHALE IVORY AND WHALEBONE CANE WITH TURK’S-HEAD KNOT DESIGNS

Mid-19th Century Whale ivory handle with turk’s-head knot on a cylindrical stem with shell bands flanking a carved foliate design.

Whalebone shaft with crosshatch and twist carvings separated by carved rope designs. Length 33.25”.

3,000/4,000 An almost identical cane sold at Northeast Auctions, August 21, 1999, Lot #675.

Provenance: Preston’s, Greenport, Long Island, New York.

126

130.

128

130

CHILD’S CANE WITH WHALE IVORY HAMMER-FORM HANDLE Mid-19th Century Handle, a fine replica of a hammer, is affixed to an elongated collar comprised of whale ivory and ebony segments composed in an unusual elliptical design. Whalebone shaft with twist carving at upper two thirds. Length 28”.

1,500/2,000

Illustrated in Art and Antiques, February 1982, p. 71.

Provenance: Charles and Mary Grace Carpenter.

Nina Hellman, Nantucket, Massachusetts.

131.

78

SHARK VERTEBRAE POINTER 19th Century Ebony faceted knob handle. Baleen spacers and ferrule.

Length 23”.

300/500

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126

127

128

129

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130

79

The Vardeman Collection

132

132.

NAPOLEONIC PRISONER-OF-WAR CARVED COQUILLE SHIP-FORM SNUFF BOX

Early 19th Century Hinged lid with relief-carved half-length portrait of Admiral Lord Nelson. Bold figurehead at bow of ship and a reliefcarved bust portrait of a woman, probably either Marianne or Britannia, at stern. Length 4.5”. Includes custom wood and whalebone stand. Overall height including stand 3.5”.

2,000/3,000 A similar carving with an image of Napoleon instead of Nelson was in the Lloyd Collection of Prisoner-of-War Artifacts, Rinaldi #66, and was sold at Eldred’s, The Collection of Benno Brenninkmeyer, November 20, 2014, Lot #266.

133.

SAILOR’S WATCH HOLDER Mid-19th Century Made to hang above the sailor’s bunk. Circular hardwood holder, probably walnut, carved with a compass rose at top and bottom and a diamond design around circumference of side. Height 1.75”. Diameter 3.75”.

500/1,000 Illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 101.

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134.

WILLIAM GILKERSON Wisconsin/Nova Scotia, 1936-2015 Collection of portfolios, prints and posters. Includes bound portfolio “American Whalers in the Western Arctic”, accompanied by a suite of eleven additional prints, all depicting Arctic whaling, and “An Arctic Whaling Sketchbook”. Also includes a Barkentine Co. catalog and four Barkentine Co. loose prints, “The Last of the Spouters”, two with remarque. All but 173 of this edition of 2,000 prints were destroyed by fire. Also includes posters depicting New Bedford, Salem, Nantucket, Boston, pirates and the battle between the Constitution and the Cyane and Levant.

500/1,000 A lifelong sailor and adventurer, at age 14 William Gilkerson was a mess boy on a Norwegian freighter, at 16 he studied art in Paris and at 17 he joined the U.S. Marine Corps. The rest of his career was spent primarily alternating between painting and writing, including stints as a nightclub and marine sketch artist, a journalist, a scrimshander and an author. His art was commissioned and collected by numerous public institutions and museums, and in 2006 he won the Governor General’s Award for Children’s Literature for his novel Pirate’s Passage, described as “a benchmark of Canadian literature.” He was considered by many as the “father of contemporary scrimshaw”.

135.

TWO SILVER BOSUN’S WHISTLES

Late 19th/Early 20th Century One with Chinese dragon decoration. Other with engraved crosshatch design. Lengths 5.5” and 3.75”.

200/300

136.

TWO BLUDGEONS 19th Century 1) Double-ended with twisted baleen shaft and weighted knobs covered with twinework. Length 11.5”.

2) With canvas loop to wrap around wrist, a rope and leather leash and a weighted knob wrapped in rope. It is believed sailors would tuck this style of bludgeon up their shirtsleeve. Length approx. 19”.

500/800 Provenance: John Sylvia, Nantucket, Massachusetts, and Fred Mitchell, New Bedford, Massachusetts.

137.

TWO SHEATHED SAILOR’S KNIVES 19th Century Both knives with ebony handles. One sheath is leather and the other is sailor’s ropework. Tip is broken off on one, likely under orders from the captain. Lengths inclusive of sheaths 9.5”.

350/500

133

This type of knife is illustrated in Clifford Ashley’s Book of Knots, p. 20, fig. 93.

CO N C LU S I O N O F T H E VA R D E M A N CO L L E C T I O N Provenance: One knife from John Rinaldi, Kennebunkport, Maine, Catalog 35, 2004, Lot #30.

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81

138

138.

RARE AND UNUSUAL SCRIMSHAW WHALEBONE PLAQUE

First Half of the 19th Century Carved whalebone figure of Neptune mounted on an oval piece of whale vertebrae. Neptune holds a trident in his right hand, a cloth in his left hand and is riding a clamshell drawn by two seahorses. Below Neptune is the face of a mythological creature. Overall 12.25� x 10.25�.

1,000/1,500 Provenance: The Whaling Collection of the Late Richard J. Wehle, Richard A. Bourne Company, Hyannis, Massachusetts, May 30, 1990.

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139.

CARVED WHALE IVORY SEAM RUBBER IN THE FORM OF A WHALE 19th Century Considerable pearling throughout. Length 4.25”.

500/1,000

139

140, obverse and reverse

140.

SCRIMSHAW WHALE’S TOOTH “PREPEAR TO MEET THY GOD”

Mid-19th Century Obverse depicts a couple, possibly Abraham Lincoln and his wife Mary, in formal dress. The man is wearing a stove pipe hat and holding a cane and the woman is wearing a bonnet and a long striped dress. The couple is surrounded by a dove, signifying peace, a flowering plant, signifying prosperity, and an unusual array of five sailing ships. Reverse depicts a fullrigged ship heading out of port. The coastline is populated by two figures, a house and trees. Numerous birds in flight surround ship. One edge with “PrePear to Meet Thy God” surrounded by swags. Other edge with a “C”, a Maltese cross and a “C” above “G 1868”. Initials and date flanked by three entwined fish, signifying the Holy Trinity, a mustard seed plant, signifying faith, and palm branches, signifying regality. Length 5.25”. 4,000/6,000 Provenance: The Kobacker Scrimshaw Collection.

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83

141, obverse and reverse

141.

THE “MELVINA WRIGHT” POLYCHROME SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse 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. Identified as “Melvina Wright” in banner above her head. Reverse depicts a full-rigged three-masted single-deck American warship. Length 8.75”.

25,000/35,000 Provenance: The Kobacker Scrimshaw Collection.

84

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142, obverse and reverse

142.

POLYCHROME SCRIMSHAW WHALE’S TOOTH Mid-19th Century Obverse depicts a spread-wing eagle above a portrait of a brig above a scene of a gaffrigged sloop approaching land. Eagle with a shield dangling from its neck and arrows in its talons. Brig flying an American flag off the stern and a red pennant from the central mast. Reverse depicts floral and foliate sprays with blossoms colored with red ink. Length 7�. Includes a wooden base with silver mount in a pierced star design.

12,000/15,000 Illustrated in Through the Eyes of a Collector by Nina Hellman (2015), fig. 22.

Provenance: William Boylhart Collection.

The Thomas Mittler Scrimshaw Collection.

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85

143, obverse and reverse 144, obverse and reverse

143.

SCRIMSHAW WHALE’S TOOTH WITH CITY AND VILLAGE SCENES Mid-19th Century Overlapping scenes of densely populated villages and cities wrap around the circumference of the tooth, interspersed with images of ships, eagles, potted plants and tropical islands. The buildings vary in size and type, but many have bannerette weather vanes or American flags on poles.

Decorative border encircles tip. Much of the engraving is punctuated by deep pinpoints, some showing traces of red coloring. Length 4.75”.

1,500/2,000

144.

SCRIMSHAW WHALE’S TOOTH WITH PINPOINT EXECUTION Mid-19th Century Obverse depicts Lady Liberty resting her arm on an anchor and holding aloft an American flag on a pole topped with a phrygian cap. A ship is visible in the distance behind her.

Inscribed below “For Mator[?] H.T”. Reverse depicts a downcast woman holding a fan in one hand and a letter and handkerchief in her other. Length 6.5”.

1,500/2,500

145, two views

145.

STAMP CARVED FROM A WHALE’S TOOTH 19th Century Stamps “Asa S. Rose” above a spread-wing eagle, an anchor, stars and a laurel wreath. Tooth faintly engraved with similar laurel wreaths.

Deep rich patina and green ink stains from usage. Length 4.25”.

2,000/3,000 An Asa Rose (1742-1815) is listed by 1787 deed as a shipwright of Taunton, Bristol County, Massachusetts.

86

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146.

CANE WITH CARVED WALRUS IVORY HANDLE

19th Century Handle carved in the form of a polar bear bent over at the waist. Bear with inset wooden eyes. Collar comprised of ebony and walrus ivory bands. Fruitwood shaft fitted with whalebone ferrule. Length 36.25�.

3,000/4,000

147.

EXCEPTIONALLY CARVED WHALEMAN-MADE CANE

19th Century Whale ivory knob handle with delicate relief floral and foliate carving surrounding a vacant cartouche. Large flower blossom at top of handle and a band of acanthus leaves around circumference of stem. Elongated ebony and ivory collar with a thin fruitwood band and a relief-carved snake whose head and body wraps continuously around the circumference of both the wood and ivory components.

Fruitwood shaft with sawtooth ebony inlay at upper portion and a thin whale ivory band. Whalebone ferrule. Length 36�.

3,000/3,500

147 146

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87

148

148.

WHISK BROOM WITH WHALEBONE HANDLE

19th Century Baluster-form handle with incised and relief-carved rings. Overall length approx. 8.5”.

400/600

149.

POLYCHROME SCRIMSHAW WHALEBONE BUSK

19th Century Depicts two hearts, a geometric design, a tree, “AWS”, a sun and moon, stars, a hot air balloon with American flags, and a lighthouse and lighthouse keeper’s house.

Length 12.25”.

3,000/5,000 Provenance: Howland Scrimshaw Collection.

149

88

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150

150.

POLYCHROME SCRIMSHAW WHALEBONE BUSK

Mid-19th Century Red geometric bands separate two vignettes: a whaling scene and a patriotic spread-wing eagle. Whaling scene depicts a whaleship and a six-man whaleboat throwing a harpoon at a surfaced whale that has red blood coming out its blowhole. Eagle clasps a “Pluribus Unum” banner in its beak, has an American shield at its breast, and holds a red-striped American flag on pole in its left talon and a multi-star flag in its right talon. Both vignettes with quarter-sun design at corners. Busk with one lobed end.

Length 11.25”.

6,000/9,000

151.

SCRIMSHAW WHALEBONE BUSK Mid-19th Century Depicts an arch of stars, a foliate design, a key suspending two hearts backed by arrows, crossing British and American flags, a three-masted ship at sail, a building with twin clock towers, a ship running before the wind off a lighthouse, and a potted flowering plant. Images are separated by narrow bands, one in a serrated design, two in a crosshatch design, one in a harlequin design and two vacant. Five lower images are flanked by a barber’s-pole border. Lower edge of busk with rounded cut corners. Length 13”.

1,200/1,800

151

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89

153 152

152.

153. POLYCHROME SCRIMSHAW WHALEBONE BUSK POLYCHROME SCRIMSHAW WHALEBONE BUSK

Mid-19th Century

Mid-19th Century Depicts four finely engraved vignettes separated by floral A red and green border comprised of a floral vine, a and foliate garlands. Vignettes include a vase of flowers on diamond design and solid panels surrounds images of an urn a checkered surface, two lovebirds perched on intersecting of red flowers, a still life of a book, a horn, a harp and foliate branches, two doves carrying a floral wreath, two hearts hearts set on a garlanded monument, a blue floral sprig, and a basket of flowers. Busk with lobed top. Length 13”. nestled in foliage, two doves perched on a birdbath, sprigs of 1,000/1,500 red flowers, and the verse “She would sit and weep At what

a Sailor suffers”. Verse, a line from William Cowper’s “The Provenance: Task”, is engraved in Gothic lettering and is backed by an arrow and surrounded by arabesque scrolls. Length 12.25”.

Collection of Captain Andrew Covey, New Bedford, Massachusetts (label verso).

1,200/1,500 Provenance: The Alexander MacCormick Scrimshaw Collection.

90

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154

155, reverse above and obverse at right

154.

SCRIMSHAW WHALEBONE BUSK Mid-19th Century Central panel depicts a flower blossom set on a stepped base. Panel flanked by verses in script lettering: “Accept dear girl the best from me Carved by my humble hand I took it form a sperm whales jaw One thousand miles from land” and “In many a gale has been the whale In which this bone did rest His time is past his bone at last Must now support thy brest [sic]”. Panels separated by fine geometric bands. Foliate elements at each end and below text in left panel. Engraved “MA” on reverse. Busk lobed at one end and curved at other. Length 14”. 3,000/5,000

155.

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

Length 12.13”.

3,000/4,000

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91

156.

SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE LADY WELLINGTON ENGRAVER

Mid-19th Century Obverse titled “La Griffon & Bashante” depicts a naval battle in which the H.M.S. Bacchante captured the French navy brig Griffon off Cape Antonio, Cuba, on May 11, 1808. One ship is flying a faint French flag, one is flying a British flag and both are flying long pennants. The ships are engulfed in billowing smoke, and the sails are pockmarked with damage from cannon fire. Reverse depicts a British sidewheel steamship with a distinctive striped smokestack.

The ship is flying a British ensign off the stern, figures are visible on deck and billowing smoke is coming out of the smokestack. The hulls of the ships on both the obverse and reverse are deeply engraved, and birds are visible in the sky above the scenes. The execution of the smoke and water, the elegant script lettering and the geometric and foliate garlands encircling the tip and base of the tooth are characteristic of the Lady Wellington Engraver’s workmanship. Length 5”.

6,000/8,000

157.

SAILOR-MADE BOX WITH WHALEBONE APPLIQUÉS

19th Century Cherry box with exposed dovetails. Heart-, floral- and birdform appliqués on lid, and three heart-form appliqués on front, the central acting as an escutcheon. Scalloped panel at front of lid and scalloped trim along lower edge of front and sides. Appliqués affixed with nails, some having an engraved decorative circle around the nail hole. Interior with traces of blue-gray paint. Retains original key. Height 3”.

Width 5.5”. Depth 3.5”.

800/1,200

156, obverse, edge and reverse

157

92

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158, obverse and reverse of pair

158.

* PAIR OF ENGRAVED WHALE’S TEETH ILLUSTRATING THE BALLAD OF BILLY TAYLOR 20th Century Obverses engraved with images and reverses with lines from the ballad. One tooth depicts “A true and lamentable Ballad call’d Billy Taylor Shewing the fatal effects of Inconstancy” above a man and woman lying prostrate in the street in front of a building, probably a tavern. Other tooth depicts a portly peg-legged captain clasping the arm of a young sailor (actually a woman in disguise) who is holding a pistol. Lengths 7”.* Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state.

2,000/3,000 Provenance: Purchased at a benefit sale for an old soldier’s home in England by Bill Scollard, mid-1970s.

John R. Gangel, 1996.

Ben Nysewander.

159

159.

* NARWHAL TUSK Length 82.5”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 5,000/8,000

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93

160, obverse and reverse

160.

SCRIMSHAW WHALE’S TOOTH Last Quarter of the 19th Century Obverse depicts a finely detailed spread-wing eagle over a modified compass rose. The eagle has a distinctive eye, a sharply pointed beak and exceptional feathering, and has an American shield at its breast, olive leaves in its right talon and a quiver of arrows in its left talons. Reverse depicts an active whaling scene with whaleship, two six-man whaleboats, both fast to a whale, and three additional visible whales, one of which is waifed. Length 6.25”.

3,000/5,000

161.

SCRIMSHAW WHALE’S TOOTH DEPICTING A SAILOR AND A LADY Mid-19th Century Obverse depicts a bearded sailor in a striped shirt, wide-legged pants and flat shoes standing in an archway and holding his hat in his outstretched hand.

Above the archway is a spread-wing eagle backed by a rising sun and perched on a globe. The archway, sun and globe are possibly Masonic symbols. Reverse depicts a woman holding a flower in one hand and a handkerchief in the other while standing next to a memorial urn filled with an abundant floral arrangement. Some elements, including the woman’s eyes and armbands and the berries in the floral arrangement, are executed in very deep pinpoint.

Length 8”.

5,000/7,000 Provenance: Descended in a Martha’s Vineyard, Massachusetts family.

161, obverse and reverse

94

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162

162.

POLYCHROME SCRIMSHAW WHALEBONE PLAQUE WITH EXCEPTIONAL WHALING SCENE

Mid-19th Century Depicts a three-masted whaleship flying a black and red pennant surrounded by four whaleboats in pursuit of a pod of whales. Each whaleboat is manned by six whalemen. One boat is under sail approaching a group of five whales and three boats are actively lancing at whales that are spouting blood. Another whale is waifed. In the distance is a hilly coastline. The scene is framed within red and black borders, with an image of a harpoon and lance above and a sperm whale below. The details and subtle but effective use of coloring on this plaque set it apart as a truly fine example of the craft, equal to the workmanship of W.L. Roderick. 7.5� x 10.5�.

40,000/60,000 Provenance: Descended in the family of a Bucksport, Maine estate and has never before been offered for sale. It is believed the plaque was gifted to a family member by an elderly sailor sometime in the 1890s. It then hung in the parlor of the family home in Bucksport. A statement of provenance accompanies the piece.

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95

163.

163

164, obverse and reverse

96

WATCH HUTCH WITH WHALEBONE AND WALRUS IVORY ADORNMENTS

Mid-19th Century Carved from walnut in the form of a tall-case clock. Arched bonnet with circular aperture for pocket watch. Waist section with an inlaid whalebone faux escutcheon and an arched panel simulating a pendulum door. Base section with single drawer with whalebone trim and diamondshaped inlay. Whalebone trim along corners of clock case. Diamond-shaped whalebone and walrus ivory inlay on side panels. Turned whalebone feet. Height 11.5”.

2,000/3,000

164.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Multiple vignettes around circumference of tooth, all with red and blue/green highlights. The upper half of the obverse depicts a spread-wing eagle with a ribband in its beak, a shield at its breast and arrows and olive branches in its talons. A cloud- and star-like banner arches above the eagle. Lower half with rectangular vignette titled “Lapland” and captioned “[?] Reindeer” depicts a figure in a sled being pulled by a reindeer through a landscape with trees, mountains, other reindeer and a teepee-like structure, probably a lavvu, a dwelling used by indigenous people of northern Scandinavia. Image probably inspired by one in a book, atlas or other publication. Upper half of reverse with a basket of flowers flanked by other floral and foliate elements. Lower half with starboard portrait of an American bark flying an agent’s flag from the foremast, a long pennant from the aft mast and an American flag off the stern. Interestingly, the flag’s stripes are colored red in the upper half and blue in the lower half. Three small floral and foliate designs around circumference of tip. Length 6”. 6,000/9,000

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165

165.

VERY RARE PIECE OF PAINTED PANBONE Mid-19th Century One of the largest pieces of panbone we have ever seen. Depicts a panoramic whaling scene of a whaleship cutting in and whaleboats in pursuit of a large pod of sperm whales.

One boat has been stoved, one boat is attacking and the third is rowing away from a waifed whale. The whaleship is flying a blue agent’s flag from the central mast and smoke is visible on deck from the tryworks. A gull swims alongside the whales in the foreground and another whaleship and pod of whales are in the distance. Scene framed within a flowering acanthus leaf border. Oil paint executed in shades of green, blue, black, red and sienna. 10.75” x 20”.

30,000/50,000 Provenance: The Collection of Robert Dowd, Richard A. Bourne Company, Hyannis, Massachusetts, August 7, 1984, Lot #240.

Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, July 31, 1989, Lot #113.

A Maryland Collection.

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97

168.

WHALE IVORY JAGGING WHEEL WITH SNAKE-FORM HANDLE Mid-19th Century Elegantly curved snake with inset eyes. Square shaft supports a fluted whalebone wheel and has a band of baleen at joint between shaft and snake. Nice deep patina. Length 7.75”.

8,000/12,000 A similar example, probably by the same hand, is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 10.38.

Provenance: Mrs. Clark’s Shop Antiques, Little Compton, Rhode Island, August 2, 1965.

The Alexander MacCormick Scrimshaw Collection.

169.

ARTICULATED WHALE IVORY JAGGING WHEEL

Mid-19th Century Double handle with heart, diamond and cross design.

Fluted whale ivory wheel. Deep rich patina. Length 7.75”.

3,000/4,000

A similar example of this popular form is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 10.27.

Provenance: The Alexander MacCormick Scrimshaw Collection.

166

166.

167.

170.

HIPPOCAMPUS-FORM CARVED WHALE IVORY PIE CRIMPER Mid-19th Century Head supports a fluted wheel. Inset eye. Twisted tail with inset dots and sawtooth fluke. Pearling throughout.

Length 6”. Includes stand.

4,000/6,000

CARVED WHALE IVORY JAGGING WHEEL WITH SNAKE-FORM HANDLE Mid-19th Century Looped snake with delicately carved mouth, inset eyes and support for head. Star-form fluted wheel below an additional crimping tool with a distinctive ruffled carving.

Ebony bands between handle and shaft, and near crimping tool. Length 7”.

12,000/18,000 Illustrated: The Decorative Arts and Crafts of Nantucket by Charles H. and Mary Grace Carpenter (N.Y.: Dodd, Mead & Company, 1987), p. 180, fig. 170.

Provenance: Collection of Charles H. Carpenter.

98

SCRIMSHAW JAGGING WHEEL WITH RETICULATED WHALE IVORY HANDLE

Mid-19th Century Handle with three baleen spacers. Fluted openwork wheel pinned to a bird-form support, whose legs are positioned to form a heart. Replacement crimping fork. Length 6.75”.

500/1,000 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, October 22, 1985.

171.

TWO SCRIMSHAW UTILITARIAN ITEMS

Mid-19th Century 1) Carved whalebone stamp with clenched fist-form terminal, tiers of ogee carvings and two medial pique bands.

Stamps “P.J”. Traces of red and green coloring. Length 2.5”.

2) Carved whale ivory sewing knife or grooming tool with four differing folding whale ivory blades. Handle with clenched fist design on both sides, accented with mother-ofpearl. Length 1.75”.

400/600

Provenance: Paul Madden, Nantucket, Massachusetts/Pickett Family of New Bedford, Massachusetts.

The Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot # 599.

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167

168

169

170

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171, two

99

The Sam and Donna McDowell Collection Lots 172-260

Sam McDowell was an art teacher, painter and highly regarded scrimshaw artist. He was introduced to scrimshaw by then-senator John F. Kennedy in 1955. He and his wife Donna, who joined him in forming their collection, were good friends with Dr. Stuart Frank, who vetted this collection in its entirety. Sam was a beloved member of the scrimshaw collecting community, speaking at the annual Scrimshaw Weekend at the New Bedford Whaling Museum.

With their discerning eyes, Sam and Donna formed a notable collection, representative of their taste and interests.

100

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172, obverse and reverse

172.

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 one of the crates in the scene “CDB”.

Length 6.5”.

4,000/6,000 Provenance: Laurence Langford, London, July 1996.

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101

173, pair

173.

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH DEPICTING A SOLDIER AND HIS LADY ON HORSEBACK Mid-19th Century One tooth depicts a soldier wearing a plumed helmet, epaulettes, fourragère and medallions riding a horse in tandem with another. Other tooth depicts a woman riding sidesaddle dressed in a fancy riding costume. Mounted together on a mahogany base.

Overall height including base approx. 7”.

3,000/4,000 Exhibited: Pennsbury Manor, 1973.

Provenance: Breckinridge-Long Collection.

Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #283.

W.H. Dinges Collection, Huntsville, Alabama.

John Rinaldi, Kennebunkport, Maine, 1998.

174.

WHALE IVORY AND BALEEN FID WITH CARVED FIST DESIGN 19th Century Whale ivory terminal carved in the form of a fist clenching a small snake that wraps around the hand and wrist. Ring of shell carved in a rope design encircles wrist below the snake’s tail. Whale ivory carved in a turk’s-head knot design separates terminal from shaft, which is comprised of alternating bands of exotic wood, baleen and whale ivory.

Whale ivory tip retains its sharp point. Length 6.5”.

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

175

175.

174

102

WHALE IVORY CANE HANDLE CARVED AS A CLENCHED FIST 19th Century Handle carved as a right hand clenching a stick or a scroll, with a ruffled design at wrist.

Collar section carved as coils of rope. Attached to a wooden dowel that protrudes from collar section. Overall length 5.75”.

2,000/2,500

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The McDowell Collection

176.

POLYCHROME SCRIMSHAW PANBONE PORTRAIT OF A CAPTAIN Circa 1860 Oval slice of panbone with a red and green zigzag border surrounding a three-quarter-length portrait of “Captn.

Vine. Hall “ dressed in a cap, neckerchief, a red and green patterned vest and a black jacket with red cuffs. John Vine Hall (1813-1892) was captain of the Great Eastern, with his name appearing on advertisements for the famed steamship. The portrait is based on an engraving published in the Illustrated London News after a photograph by Maull & Polyblank. He is identified in script lettering in a rectangular cartouche below the portrait. 7.25” x 7”.

5,000/7,000 Provenance: Mylert Armstrong Collection.

Parke-Bernet, New York, October 5, 1963, Lot #250.

John Rinaldi, Kennebunkport, Maine, October 2004.

176

177.

TURBAN SHELL WITH ENGRAVED PORTRAIT OF THE GREAT EASTERN ATTRIBUTED TO C.H. WOOD

Dated 1861 Depicts a broadside portrait of the British transatlantic steamship Great Eastern, titled in script lettering “The Grt Eastern Stm Ship” below image. Dimensions of the ship below title and inscription “Purchased on board by Willm Stranaghan June 14th 1861” above image, all in the same script lettering as the title. Length 5.75”.

1,000/1,500 Provenance: Bonhams, London, Sale 11706, Lot #152.

According to Dr. Stuart M. Frank, C.H. Wood is known for finely engraved steamship portraits on nautilus and turban shells. He was aboard the Great Eastern on her maiden voyage to New York, during which he produced personally inscribed souvenirs for other passengers. Early versions of his engraved shells were presented to Queen Victoria and Prince Albert.

177

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103

178, obverse and reverse

178.

POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO CALEB ALBRO

Circa 1835-1847 Obverse depicts three vignettes. Upper vignette depicts an eagle perched on an anchor resting on a floating log, with an American flag on pole to the left. Central vignette is titled “Sperm Whaling In the South Sea” in script lettering and depicts a whaling scene with whaleship and three whaleboats in pursuit of a diving sperm whale. Lower vignette depicts a spouting sperm whale. Reverse depicts an attractive woman wearing a bonnet and gown holding an open parasol in her right hand and a handkerchief in her left hand. She is standing on a parquet floor beneath swagged draperies. Length 7.25”.

30,000/50,000 In his appraisal of this tooth, Stuart M. Frank “confidently attributes” it to Caleb T. Albro of Jamestown and Portsmouth, Rhode Island, who sailed aboard the John Coggeshall of Newport from 1834 to 1847. According to Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists written by Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), Albro was born probably in 1816 and served on one whaling voyage.

Provenance: Barbara Johnson Whaling Collection.

West Sea Company, 1997.

104

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The McDowell Collection

179.

SCRIMSHAW PANBONE BUSK ATTRIBUTED TO W. HILL OR E. HILL

First Half of the 19th Century Depicts six vignettes: an array of Masonic symbols, a whaling scene, a scene of a seated Britannia with a recumbent lion at her side and a ship in the distance, a view of Neptune riding a shell chariot drawn by two seahorses, a portrait of a sailor and his sweetheart in a farm landscape, and a starboard stern-quarter portrait of Lord Admiral Nelson’s flagship, the H.M.S. Victory, flying a Royal Navy ensign. Below the lowest vignette is a four-leaf clover with anchor-form tendrils. 6,000/9,000 According to Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Mystic Seaport Museum Inc., 1991), W. Hill or E. Hill are presumed to be British brothers William and Edward Hill. Not much is known about them other than the stylistic consistencies seen in their scrimshaw output. A tooth with similar images to this busk, undoubtedly by the same hand, is illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 13.

Provenance: West Sea Company, San Diego, 2003.

179

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105

180.

SCRIMSHAW WHALE’S TOOTH DEPICTING THE CIRCUS PERFORMER “ZAZEL”

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

4,000/6,000

Provenance: Laurence Langford, London.

The English-born “Zazel”, whose real name was Rossa Matilda Richter, was the first female human cannonball. She performed at the Royal Aquarium in London in 1877, then toured in the United Kingdom and the United States until 1891.

180

181.

SCRIMSHAW WHALE’S TOOTH MOUNTED AS A SNUFF BOX

Mid-19th Century Base mounted to a silver metal hinged box with applied stylized crest and engraved inscription “Presented to Chas.

Roguier By R. Richardson.” Obverse with starboard portrait of a full-rigged ship with six gunports, flying a long pennant from the central mast and a British ensign off the stern. Reverse with a larboard portrait of a similar ship. Overall length including snuff box 7.25”. 6,000/9,000

181, obverse and reverse

Provenance: Sotheby’s, London, May 3, 2000, Lot #258.

106

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The McDowell Collection

182.

PAIR OF UNUSUAL WHALE’S TEETH WITH LACQUER DECORATION IN CHINESE MOTIFS

19th Century Both teeth with scenes of Chinese figures in a landscape that wrap around the circumference. One depicts a man playing a flute and the other a woman fanning herself with a bough while seated by a screen.

Carved in shallow relief on a lacquer appliqué and painted in shades of gold, green, red, brown and black.

Mounted on black painted wooden bases. Heights including bases 6.25”.

7,000/10,000

182, pair

183.

SCRIMSHAW WHALE’S TOOTH DEPICTING A FRIGATE AND A FARMSTEAD

Mid-19th Century Obverse depicts a stern-quarter view of a warship underway. Reverse depicts a rural scene with a tree in the foreground, and farm buildings, a fence and vegetation in the background. The tree is broken off at the top and has a hollow at the center. The shutters on one of the buildings are closed. Length 6.5”.

3,000/5,000 Provenance: Ken Brown, Frank’s Fisherman, San Francisco.

183, obverse and reverse

184.

SCRIMSHAW WHALE’S TOOTH DEPICTING A WOMAN

Mid-19th Century Half-length portrait of a topless woman arranging her long hair.

Above the portrait is a bow and flowers. Some pinpoint and stippled elements. Length 6.25”.

1,500/2,000

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

107

185.

RARE AND POSSIBLY UNIQUE SCRIMSHAW CHURCH-FORM BOX

Circa 1840 Rectangular wooden box with sliding lid, whalebone trim, and whalebone and baleen facades in the shape of a church. The front facade, constructed of a layer of carved and pierced whalebone over a layer of engraved baleen, projects beyond the height of the box. Engraved baleen “windows” mounted on both sides of box. The rear facade with the same construction as the front. Height 7”.

Length 6.75”.

5,000/7,000 Exhibited: The Museum of American Folk Art, 1967.

Mystic Seaport Museum.

The Smithsonian.

Boston University.

Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, September 24-25, 1982, Lot #488.

Richard “Sam” Sylvia, Nantucket, Massachusetts.

West Sea Company, San Diego, circa 2002.

Although this box had been described as a tithing box throughout most of its provenance, Dr. Stuart M. Frank believes it is an Azorean Portuguese box for storing religious articles like a crucifix or a rosary. It closely resembles Roman Catholic churches seen throughout the Azores.

185

108

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The McDowell Collection

186, pair

186.

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH, KNOWN AS THE “LIGHTNING TEETH”

First Half of the 19th Century Two teeth from the same jaw but not a symmetrical pair. Together they depict a scene of a naval engagement between American and British 16-gun ships-of-war during a storm. The full-rigged British ship under partial sail, flying a long pennant from the central mast and a red ensign off the stern, is firing the larboard bow gun. The full-rigged American ship under plain sail, flying a long red pennant from the central mast and an American ensign off the stern, is also firing the larboard bow gun, but her fore topgallant mast is parted and about to fall away. Both teeth have storm clouds and bolts of lighting above the ships and the turbulent seas on both is distinctively rendered. Believed to depict the capture of the U.S. frigate Essex during a heavy storm March 28, 1814 off Valparaiso, though two British ships, the Phoebe and the Cherub, were involved in the capture, not just one as seen here. Two teeth making a single scene is unusual in scrimshaw, and the depiction of lighting is rare if not unique. Lengths 7.25” and 7.5”.

10,000/15,000 Provenance: West Sea Company, San Diego, 2008.

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109

187

188

189

110

187.

MOUNTED BUILDER’S HALF HULL MODEL OF A MOTOR LAUNCH

Late 19th/Early 20th Century Hardwood model with eight lifts. Complete with skeg, shaft mount and rudder.

Walnut backboard 12.75” x 37.5”.

1,000/1,500

188.

MOUNTED BUILDER’S HALF HULL MODEL OF A SLOOP Circa 1903 Hardwood model with keel. Brass plaque affixed to pine backboard engraved “Designed and Built by Rice Boat Works Boothbay, Maine for Dr. E.V. Moffot.

M.D. Orange, N.J. 1903”. Backboard 8.5” x 29”.

1,000/1,500

189.

MOUNTED BUILDER’S HALF HULL MODEL OF A SAILING VESSEL

19th Century Hardwood model with five lifts. Pine backboard 7” x 25”.

500/800

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The McDowell Collection

190.

MOBY DICK OR THE WHALE THREE-VOLUME SET ILLUSTRATED BY ROCKWELL KENT

By Herman Melville (Chicago: The Lakeside Press, 1930).

Wood engravings throughout by Rockwell Kent, considered a masterpiece of 20th Century book illustration. Large Q. Original black cloth with silver title and vignette on spine and volume number and abstract design on front. Beveled boards. Top edges black. Aluminum slipcase. 3,000/5,000

191.

FIRST AMERICAN EDITION OF MOBY-DICK; OR, THE WHALE

By Herman Melville (N.Y.: Harper & Brothers / London: Richard Bentley, 1851). 635 pp including Epilogue. O. Brown cloth with gilt lettering on spine and embossed circular publisher’s device on front and rear boards. Orange endpapers. Six pages of publisher’s ads at rear. Newer slipcase.

5,000/10,000 Although now considered one of the greatest works of American literature, Moby-Dick was widely panned by critics when it first debuted. The first American edition was about 3,000 copies, but the book sold poorly and many unsold copies are believed to have been destroyed in a fire at the publisher’s warehouse, making this a very scarce printing.

190

192.

BOOK SUSAN’S TEETH AND MUCH ABOUT SCRIMSHAW

By Everett U. Crosby (Nantucket, Mass.: Tetaukimmo Press, 1955). Large O. Boards with red cloth spine. A scarce volume.

500/1,000

193.

BOUND SET OF THE BARBARA JOHNSON WHALING COLLECTION AUCTION CATALOGS Catalogs from Parts I, II, III and IV of the Sotheby’s auctions held in New York from December 1981 through December 1983. Some include prices realized. Black boards with image of a whale that wraps from spine to front.

400/600

191

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111

194.

NAPOLEONIC PRISONER-OF-WAR SPINNING JENNY

French/English, Early 19th Century Mechanized carved bone model. Upper platform with a female figure in a hat seated at a spinning wheel. Lower platform with hand crank and wheels that activate the figure and the spinning wheel. Platforms joined by turned columns and are raised on a turned foot. Some traces of polychroming, particularly on the figure’s chair and face. Height 4.75”.

1,500/2,000 Provenance: Laurence Langford, London.

195.

194

NAPOLEONIC PRISONER-OF-WAR POLYCHROME STRAW WORK CABINET CONTAINING A MINIATURE BONE SHIP MODEL

French/English, 19th Century Cabinet with carved bone finials, feet, door latch and door knobs, and a brass carrying loop at top. Straw work in a multicolor herringbone and basketweave pattern.

Doors open to reveal a secondary glass door that drops down for access to the ship model. Detailed model with three masts, rigging (possibly made from human hair), multiple gunports and red and black highlights. Raised from cabinet floor on a rectangular bone plinth. Cabinet’s interior back and sides lined with mirror. Height 7.25”.

Width 7.25”. Depth 3.75”.

5,000/8,000

195

112

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The McDowell Collection

196, obverse and reverse

196.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

Mid-19th Century A finely engraved South Seas whaling scene of a whaleship and four whaleboats off a pair of small islands wraps around the circumference of the tooth. The full-rigged whaleship, viewed from the larboard stern quarter, is under sail, flying a long pennant from the center mast and an American flag off the stern, and its davits are empty. Three whaleboats, one under sail, are in pursuit of two visible whales, while another whaleboat has been stoved. Six men are visible in each whaleboat, save for the stoved boat, where the men and gear are seen tossed in the air and in the water around the boat. The islands are covered in palm trees and lush vegetation.

A distinctive diamond, zigzag and dotted border encircles the base.

Length 5.75�.

15,000/20,000 Provenance: Mr. George, Hawaii.

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113

197.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF A FRIGATE

Mid-19th Century Obverse depicts a larboard portrait of a 44-gun American frigate under full sail, flying a pennant from the central mast and an American flag off the stern.

Reverse with a pyramid of American flags topped with a billowing oversize American flag. On the edge is a small and crudely rendered crucifix. Length 5.5”.

3,000/5,000 Provenance: John Rinaldi, Kennebunkport, Maine.

197, obverse and reverse

198, obverse and reverse

198.

POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE NAVAL MONUMENT ENGRAVER

First Half of the 19th Century Depicts a naval engagement between six American and English ships, three of which are firing guns. Billowing smoke surrounds the two ships in the foreground, which are flying long red pennants from their central masts and their nation’s ensign off the stern. Based on the engraving “The President engaging the Endymion, while pursued by the British Squadron” by Abel Bowen after Michel Felice Corne, seen in Bowen’s Naval Monument. Length 8”.

20,000/30,000 Provenance: Ken Brown, Frank’s Fisherman, San Francisco.

114

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The McDowell Collection

199, obverse and reverse of pair

199.

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH WITH PATRIOTIC MOTIFS

Second Half of the 19th Century One tooth signed on edge “E.A.G.” Obverse depicts a standing Columbia draped in an American flag, with another American flag on pole as well as an eagle and a shield behind her. To her right is a partial view of a ship. Reverse depicts Hope standing and leaning against an anchor, with an American flag on pole behind her and a partial view of a ship to her left. She is identified in a banner above her head. Obverse of other tooth depicts a sailor standing on deck, holding a sextant in his outstretched right arm and resting his left hand on a cannon. He is surrounded by an American flag on pole, an eagle, a shield, netting, cannonballs, etc. Inscribed “1877” above his head. Reverse depicts seated Liberty wearing a Liberty cap and holding a cornucopia and a scepter. She is surrounded by a bow, a quiver of arrows and an eagle perched upon a column.

Work is monochromatic save for vibrant red highlights. Lengths 4.5”.

7,000/10,000 Provenance: West Sea Company, San Diego, July 2000. According to West Sea, the pair was purchased from Michael Nice, whose grandfather Joseph Browning and great uncle Jack Browning served aboard American whaleships. The connection between the Browning family and the initials “EAG” is not known.

200.

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”.

3,000/5,000

200, obverse and reverse

Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts.

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

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115

201.

WOODEN SEWING BOX MOUNTED WITH A PAIR OF SCRIMSHAW WHALE’S TEETH

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

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

Overall height inclusive of teeth and box 11.5”.

Width 8.75”. Depth 6.25”.

2,000/3,000

201

116

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The McDowell Collection

202

202.

CARVED WALRUS IVORY CRIBBAGE BOARD IN THE FORM OF A SPERM WHALE

19th Century Inlaid baleen diamonds at each side of game track. Articulated jaw attached with ivory pegs; jaw comes loose to reveal compartments for game pegs (pegs absent). Pierced on whale’s back to thread a carrying loop. Length 9”.

1,000/1,500 Provenance: Sotheby’s London.

203.

SCRIMSHAW DITTY BOX

Mid-19th Century Oval box with wooden top and bottom and baleen sides. Top with whale ivory, whalebone and contrasting wood inlay in the shapes of a pig, two birds and a running horse. Top’s baleen apron engraved with a fruiting vine design.

Two-finger joint with brass caps. Box’s baleen sides engraved around the circumference with a standing gentleman holding a cane and a book, a bird perched on a leafy branch, a basket of flowers, a memorial monument flanked by shrubs within a fenced enclosure, a leafy tree, a standing woman gesturing with her arms and looking behind her, and a native figure by a palm tree. Three-finger joint with brass, whale ivory and mother-of-pearl geometric designs.

Additional brass diamonds affixed around circumference of base. Constructed with copper rivets. Inscribed on underside “C. Rogers [?] Nantucket 1830”. Height 4”. Length 8”.

Width 5.5”.

1,500/2,500

203

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117

204.

WOODEN SEWING BOX SURMOUNTED

BY A DOUBLE SWIFT ATTRIBUTED TO CAPTAIN JAMES ARCHER Mid-19th Century Two-tier box with wooden spikes at the corners, inlaid polychrome scrimshaw whalebone or mother-of pearl panels, and polychrome engraved trim along the perimeter of the top of both tiers. Trim is of an unknown substance, possibly baleen, shell or wood, and is engraved with a red flowering vine design. Lower tier’s single drawer with central diamond panel engraved “MA” in black script lettering surrounded by a red border. Front legs with rectangular panels engraved with a red and green flowering vine design.

Semicircular upper tier’s lift top with seven diamond panels engraved with a red and green floral sprig. Tier fitted with nine interior spikes for holding thread, which is dispensed through nozzle-style apertures mounted to exterior. Swift’s whalebone shaft is mounted to the interior of the upper tier, penetrates through the box top, and is topped with a turned whale ivory yarn cup. Whalebone cage with unusual adjustment mechanism utilizing a turned whale ivory and steel post that is inserted into a series of holes on the shaft. Swift’s whale ivory components, including yard cup, post and adjustment rings, all with red sealing wax inlay.

Inscribed on underside of box “James Archer Captain, Ship Afton For my wife Mary. 1854”. Retains slip of paper with handwritten inscription “Captain James Archer of Nantucket for wife Mary on Bark Afton Between 18531856”. Overall height including box and swift approx. 19”.

Cage diameter approx. 14”. Box width 9.25”. Depth 6”.

4,000/6,000 Provenance: Purchased at an antiques show at St. Mary’s Church, Carmel, California.

According to Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling Museum and founder of the Scrimshaw Forensics Laboratory, James Archer was born on Nantucket in 1810 and served aboard New Bedford whaling vessels, as first mate on the Benjamin Tucker and Barclay, and as master of the bark Afton for an 1853-1856 voyage. In addition to this piece, he is known to have made a dressing case inlaid with ivory and ebony for his wife Mary.

204

118

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The McDowell Collection

205

205.

WOODEN SEWING BOX SURMOUNTED BY A DOUBLE SWIFT

Mid-19th Century Mahogany chest-style box with two drawers and flattened ball feet. Top and front inlaid with abalone wedges, arcs, diamonds, quarter-moons, stars, rectangles, etc. Drawers with baleen trim about perimeter. Top with small inlaid panbone cartouche, possibly intended as a nameplate but is unengraved. Top surmounted by a pincushion centering the swift’s whalebone shaft. Finely ribbed whalebone knop where swift attaches to pincushion/box, and a similarly carved whale ivory yarn cup at top of shaft. Staves and fittings also made from whale ivory. Overall height including box and swift approx. 11.5”. Box width 10”. Depth 5.75”.

3,000/5,000 Provenance: West Sea Company, San Diego, 2001.

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119

206.

206, pair

207.

208.

PAIR OF RED, WHITE AND BLUE BECKETS 19th Century Wrapped in twine with intermittent coils of braided twine. Rope axles with turk’s-head knots. Coloring is probably painted. Lengths 7”.

500/700

PAIR OF ROPEWORK BECKETS

19th Century Two differing patterns of ropework separated by braided rope coils. Axles with turk’s-head knots. Lengths 7.25”.

300/400

PAIR OF SCRIMSHAW WHALE’S TEETH “MEDITATION” AND “THE SHIPWRECK’D TAR” ATTRIBUTED TO JAMES CHAPMAN TINKER

Mid-19th Century Both signed “J.C.T. Sculp”. Titles in pinpoint lettering.

“Meditation” depicts a forlorn woman, probably the tar’s sweetheart, sitting on a coastal rocky outcropping, with the ocean and a distant sailing vessel behind her.

She is wearing a beaded necklace with pendant and is resting her head in her right hand and holding her hat in her left hand. “The Shipwreck’d Tar” depicts a barefoot sailor standing near a similar coastal rocky outcropping, with his shipwrecked vessel visible in the distance. He is wearing a neckerchief and a striped shirt, and his arms are outstretched as if he is bracing against the wind, which is ruffling his hair and his neckerchief. Lengths 5.25”.

1,800/2,500 According to Stuart M. Frank’s Dictionary of Scrimshaw Artists, James Chapman Tinker (1827-1868), of Groton, Connecticut,

208, pair

is said to have made a baleen ditty box engraved with a ship portrait that is now in the New Bedford Whaling Museum. Family lore claims the box was made on board the whaleship John P. West of New Bedford, which was commanded by relative Daniel Tinker from 1858 to 1863 and 1863 to 1867. Given that Tinker died in 1868, it is likely he engraved this pair of teeth during one of these voyages.

120

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The McDowell Collection

209.

HADLEY QUADRANT ATTRIBUTED TO WILLIAM WILLIAMS OF MARBLEHEAD AND BOSTON Massachusetts, Circa 1780 Includes wedge-shaped wooden case inscribed “Schr Goodwin”; Goodwin is an old Marblehead seafaring name. Mahogany frame and index arm with brass fittings and ivory degree scales. Case height 4.25”. Length 21”.

Width 18”.

3,000/4,000 William Williams was born about 1748, the son of a merchant. It’s not known how he became an instrument maker, but by 1770 he was advertising his business. It’s believed he signed his pieces “WW” hidden on interior surfaces.

209

210.

210

JOHN CARTER MARINE CHRONOMETER 19th Century Metal face marked “John Carter, Maker to the Royal Navy, Cornhill, London.” Numbered 688.

Roman numeral dial with “Down” and “Up” flanking the “XII”. Arabic numeral subsidiary dials. Brass case mounted on a brass gimbal within a two-tier brass-bound mahogany case.

Unengraved ivory plaque mounted to exterior of case. Case height 8”. Width 8”. Depth 8”.

1,800/2,500

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121

212 211

211.

GROVES & BARKER POCKET SUNDIAL AND THERMOMETER London, Circa 1864 Includes domed circular leather case. Carved ivory sundial with glass dome, paper dial and a triangular steel gnomon blade centering a purple glass jewel. Marked on underside “For Good Conduct H.M.S. Britannia. 1864” surrounding a monogram. Sundial fits within a carved ivory disk-form thermometer, missing its mercury tube.

Disk marked “Groves & Barker Clerkenwell London”.

Paper label with sundial information affixed to interior of case. Overall diameter 3.25”. Case diameter 3.75”.

1,000/1,500

212.

213.

J.G. KLINGER POCKET GLOBE

Nuremberg, Mid-19th Century Includes cylindrical box with colored lithograph “Die Erde. The Earth.” affixed to top. Globe marked “The Earth published by J.G. Klinger in Nuremberg”. Twelve colored gores with equator, meridians, continents, major rivers and some specific locations. Brass axis pins. Circumference approx. 7.25”. Box height 3”.

Diameter 2.75”.

500/1,000

CONTINENTAL SCHOOL 18th Century Whaling scene of several smaller vessels, whaleboats and whales surrounding a large central whaleship in the act of cutting in. Figure clad in armor at upper left corner.

Unsigned. Watercolor on paper, 15” x 20” sight.

Framed 22” x 27”.

1,000/1,500

213

122

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The McDowell Collection

214

215

214.

ENGLISH WOOLWORK PICTURE OF A THREE-MASTED SHIP 19th Century Ship flying a long red and white St. George’s pennant from the central mast and a red ensign off the stern.

15” x 22.5” sight. Framed 20” x 27”.

800/1,200 215.

SCHOOL OF WILLIAM STUBBS America, Late 19th Century Two-masted schooner at sea. Unsigned. Oil on canvas, 24” x 36”. Framed 31” x 43”.

1,000/1,500

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123

216.

ENGLISH SCHOOL 19th Century A ship under sail off Dover. Unsigned. Oil on canvas, 20” x 30”. Framed 27” x 37”.

1,000/1,500

217.

ENGLISH SCHOOL 19th Century The brig Sophia. Unsigned. Oil on canvas, 24.5” x 34”.

Framed 30” x 39.5”.

600/800

218.

ATTRIBUTED TO ARISTIDIUS DE CLERCK Belgium, 1841-1899 A barque off a lighthouse. Unsigned. Gouache, 22.75” x 32.5”.

Framed 26” x 36.25”.

500/800

219.

JULIUS GREGERSEN Germany, 1860-1953 “Brigg Jlmatar frain Njstad [?] Kptn. D.F. Palmos.” Portrait of a brig flying a Russian flag, with a coastline, lighthouse and other sailing vessels in the distance. Signed lower right “Jul. Gregersen Flensborg. 12/8 1901”. Oil on board, 18.25” x 25.5”. Framed 20.5” x 27.5”.

400/600

216

217

218

219 124

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The McDowell Collection

220

220.

SCRIMSHAW PANBONE SECTION WITH WHALING SCENE Mid-19th Century Panoramic scene with a full-rigged ship flying an American flag at center, surrounded by three whaleboats in varying pursuit of the six visible whales. Another whaleship is in the distance. The whaleboats are each manned by six whalemen. Carved scalloped design along left and right edges of panbone section. Approx. 8” x 14.25”.

5,000/8,000 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts.

221

221.

SCRIMSHAW PANBONE PLAQUE WITH STOVED BOAT SCENE Circa 1840 After a painting by James Stewart. Depicts a whaling scene with a whaleship, a harpooned whale and three whaleboats, one of which is stoved. Nicely detailed to include six whalemen in each upright whaleboat, whalemen in the water surrounding the overturned boat, waves lapping against the whale, teeth visible in the whale’s jaw, a British flag flying off the stern of the whaleship, and another surfaced whale in the distance. Plaque with canted top corners and pierced with two holes for mounting. 4.75” x 10.5”. 3,000/5,000 Provenance: West Sea Company, 2000/2001.

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125

224

222

223

225

126

226

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227

The McDowell Collection

222.

SMALL WHALE IVORY AND 225. WHALE IVORY AND BALEEN BALEEN PIE CRIMPER, POSSIBLY PIE CRIMPER 19th Century MADE FOR A CHILD Whale ivory handle carved in the form

Mid-19th Century of a lady’s leg and boot, with a central Handle terminal carved in the form of baleen band. Elaborately carved whale an eagle’s head grasping a shell ring in ivory mount for three-tine fork and fluted its beak. Red sealing wax used for eagle’s wheel. Length 7.25”.

1,500/2,000 eyes. Shaft constructed of a layer of baleen sandwiched between two layers of whale ivory pierced with hearts and eightpointed stars. Layers fastened together 226. WHALE IVORY PIE CRIMPER with nonferrous pins. Wheel mount

Mid-19th Century carved in the form of a dove’s head with Two-part geometric and architectural inset eyes. Fluted wheel with openwork carved handle with faceted terminal. pinwheel design. Length 4.5”.

Fluted wheel. Some pearling.

2,000/3,000 Length 7.25”.

2,000/3,000 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts.

223.

WHALEBONE PIE CRIMPER WITH OPENWORK HANDLE

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

Length 8.75”.

4,000/5,000 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts.

224.

227.

WHALE IVORY PIE CRIMPER WITH HAND-FORM HANDLE

Mid-19th Century Hand with finely rendered shirt cuff, palm and fingernails grasps a grooved shaft in its outstretched thumb, index and middle fingers. Shaft terminates in a U-form mount for pierced and fluted wheel. Three brass studs applied to area of shirt cuff. Length 6.5”.

4,000/6,000

WHALE IVORY PIE CRIMPER

Mid-19th Century Pistol grip handle constructed from five pieces of whale ivory separated by four shell bands. Handle terminates in a gracefully curved mount for fluted whale ivory wheel. Length 7”.

1,000/2,000 Provenance: Richard “Sam” Sylvia, Nantucket, Massachusetts.

228.

SCRIMSHAW BALEEN BUSK

Mid-19th Century Depicts ten vignettes: a tree, a church flying a Union Jack from the tower, a garden gate, a geometric sunburst design, a verse, a house with central chimney and nearby tree, a three-masted schooner, entwined pierced hearts over leafy plants, a vacant cartouche and a repetitive geometric sunburst design. Verse “Let not Absence Banish Love While I to you Do constant prove” in fine script lettering.

Vignettes bordered and separated by sawtooth and other geometric designs.

Lower edge of busk with rounded cut corners. Piece of baleen is unusually thick for a busk. Length 13.5”.

800/1,000

This crimper is similar to two illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 10.33.

228

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127

231

229

229.

230

BALEEN BLUDGEON OR 230. PAGE TURNER WITH “BLACKJACK” 19th Century WHALE’S TOOTH HANDLE Double-ended bludgeon with shaft

19th Century made from eight twisted strands Whale’s tooth handle carved with of baleen bound at the ends with a heart containing a hex sign on twine. Mushroom-shaped weighted one side, an anchor with rope on knobs at each end covered in the other side, a rope design at the ropework. Length 12.25”. base, and geometric chip-carvings 1,000/1,500 throughout. Baleen and shell dots inlaid at tip, base and within the Provenance: heart. Shell blade affixed to handle Joseph Vallejo, with exotic wood mount; mount Newport Beach, California. decorated on both sides with a carved mythical eye inlaid with whale ivory and baleen.

Length 13.75”.

2,000/3,000

231.

Provenance: Acquired at an antiques show in San Francisco.

128

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

800/1,200 Provenance: Finch & Co., London, 2007.

The McDowell Collection

232.

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH DEPICTING THE WHALESHIP LINDSEYS OF SYDNEY

Australian, Circa 1845 One tooth depicts a starboard bow-quarter view of two fullrigged ships sailing in tandem, the near ship flying a British red ensign off the stern and a red pennant from the central mast.

The other tooth depicts a larboard bow-quarter view of a bark under plain sail passing a coast, probably Manley, NSW. The bark is flying a British red ensign off the stern and a pennant with illegible lettering from the central mast. Additional sailing vessels are visible along the coastline. Titled below scene “Whaling Barge Lindseys of Sydney. Leaving the Heads on a Cruise. 1845.”

Signed “J Robinson”. Extensive use of polychrome in shades of black, brown, red and blue. The lapping blue waves, the billowing sails and the position of the ships provide a wonderfully dynamic sense of motion. Lengths 6.75”.

18,000/25,000 A similar pair, undoubtedly by the same hand, was sold at Eldred’s, November 21-23, 2013, Lot #597.

Provenance: Laurence Langford, London, July 1996.

232, pair

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129

233.

SCRIMSHAW WALRUS TUSK WITH CARVED EAGLE’S HEAD AND ENGRAVED DECORATION, ATTRIBUTED TO SAMUEL W. TENNEY Dated 1865 Tenney is also known as the “King of the Sea” artist. Tip of tusk carved as an eagle’s head, with rounded beak and carved and engraved feathers. The circumference of the tusk is covered with engraved decoration including three snakes, a patriotic vignette with Columbia, a hunter on horseback being attacked by a mountain lion or similar, and a full-length figure of a classical or mythological woman.

Around the base is a scene of Neptune holding a trident and a “The King of the Sea” banner while standing on a rock and looking out upon a full-rigged ship at sea flying an American flag off the stern. The patriotic vignette depicts a helmeted Columbia holding an American shield in her left hand and a chalice aloft in her right hand. An eagle clutching a “Liberty and Freedom” banner in its talons sips from the chalice. Columbia is standing next to a column banked with American flags and flanked by an anchor and cannon. Dated “1865” within the sails of the full-rigged ship at base. Length 31”.

8,000/12,000

233, obverse, reverse and detail

130

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The McDowell Collection

234, pair

234.

PAIR OF SCRIMSHAW WALRUS TUSKS

BY N.S. FINNEY

Second Half of the 19th Century Both engraved with multiple derivative vignettes of women, mostly nudes, and signed on obverses “Engraved - by - N.S. Finney S.F. Cal.” One tusk depicts from tip to base a girl in a tutu, a seated woman, a standing Andromeda in chains, and a cherub embracing a standing woman. Other tusk depicts a woman emerging from a flower blossom, a woman in her boudoir, a standing woman, and a reclining woman attended by Cupid. Interspersed between vignettes are images of cherubs, kissing doves and pierced hearts. Both tusks with identical foliate band at base. Mounted on round wooden bases.

Overall heights including bases approx. 25.5”.

50,000/100,000

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131

235

235.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING A WHALING SCENE

Mid-19th Century Depicts a stoved whaleboat near a pod of whales and a broadside view of a bark hove-to and cutting in.

Scene details include a house flag flying from the bark’s central mast and whalemen clinging to the capsized whaleboat. Engraved in the manner of Foster of Grimsby. Length 6.75”.

6,000/9,000

236.

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

7,000/10,000 Exhibited at the New Bedford Whaling Museum, New Bedford, Massachusetts.

Provenance: William Tripp Collection.

Private Collection, Massachusetts.

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

236, obverse and reverse of pair

132

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The McDowell Collection 237.

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH WITH BUST PORTRAITS OF WOMEN

Second Half of the 19th Century Both women in period dress, one with a bow in her hair and the other wearing a necklace. Above both portraits is an arch composed of a slender vine bearing leaves and five-pointed stars.

Lengths 5”.

2,000/3,000

238.

PAIR OF SCRIMSHAW WHALE’S TEETH DEPICTING A SAILOR’S FAREWELL AND RETURN Mid-19th Century Both teeth with wonderfully detailed scenes that wrap around the circumference. One depicting the sailor’s farewell shows a sailor saying goodbye to his wife and small child, while another sailor stands in a punt, poised to deliver him to the brig anchored in the harbor. Two small birds fly above the lighthouse located at the mouth of the harbor, and a woman is carrying two buckets near the town well. The other tooth, depicting the sailor’s return, shows the sailor walking with outstretched arms toward his wife and visibly older child, while the family dog races to greet him. Above them flies two birds, and the same brig is again anchored in the harbor. On both teeth, an American flag flies off the brig’s stern. While the topography of the surrounding hilly landscape remains the same, the town’s architecture differs between the two teeth, as if to show the growth and financial prosperity of the town during the sailor’s 237, pair absence. In the scene of the sailor’s farewell, the houses are small and the town appears mostly agrarian, but in the scene of the sailor’s return the houses are larger and more elegant, and the distant hill is topped with a windmill. Lengths approx. 7.75”.

5,000/10,000 Provenance: Joseph Vallejo, Newport Beach, California.

238, obverse and reverse of pair see photos of all lots and view condition reports at www.eldreds.com

133

239

239.

SCRIMSHAW WATCH TOWER COMMEMORATING THE H.M.S. FURY

Probably Scottish, Mid-19th Century Constructed of two scrimshaw whale’s teeth flanking an engraved whalebone tower, all mounted on an exotic wood base with whale ivory and mother-ofpearl geometric inlay. One tooth depicts a stern quarter view of the “H.M.S. Fury” and the other tooth depicts a broadside larboard view of the “H.M.S. Liddon”. Both ships identified in script lettering below images, and both teeth have a sawtooth border encircling the base. Central whalebone tower with broken arch pediment centering a surmounted disk. Engraved throughout with a vine and thistle design. Rectangular chamfered base with rounded cut corners and inlay in diamond, triangle and circle designs. Retains label on underside with handwritten inscription “History of Ivory Watch Stand North, East, + West Passages Captain Parry + Lyn in ‘Fury’ and ‘Liddon’ May 8th 1821-23 St. Vincent, W.I.” Height approx. 5”. Width 10”. Depth 4.5”.

5,000/8,000

William Edward Parry (1790-1855) commanded three naval expeditions to the Arctic in search of a Northwest Passage, the last two aboard the H.M.S. Fury. The H.M.S. Liddon is an apparent mistake as there was no such ship, but a Matthew Liddon served with Parry on an earlier expedition, and Parry was godfather to Liddon’s son, Henry Parry Liddon.

Provenance: Laurence Langford, London, August 10, 1998.

134

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The McDowell Collection

240.

SCRIMSHAW WATCH TOWER Mid-19th Century Shaped wooden base with whalebone trim supports a central panbone panel flanked by scrimshaw whale’s teeth, one depicting a shipwrecked sailor kneeling in prayer and the other a full-rigged ship in stormy seas. Central panbone panel with carved steeple-like top, a round aperture to accommodate a watch and shell and wood inlay. Additional whalebone segments, some with shell inlay, are mounted atop the base, which is raised on five fluted whale ivory feet.

Overall height 8”. Width 9”. Depth 4.5”. 7,000/10,000 Provenance: John Rinaldi, Kennebunkport, Maine, June 1998.

240

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135

242

241, two views

241.

136

SAILOR’S VALENTINE MOUNTED AS A SIDE TABLE

Early 20th Century Octagonal valentine composed of multicolored shells in floral and star design. Conforming walnut stand with slender legs joined with cross stretcher. Height 22.5”.

Top 14.75” x 14.74”.

1,800/2,500

242.

COPPER FOUR-MASTED SHIP WEATHER VANE

20th Century Complete with finders and wrought iron base. Overall height 76.5”. Length approx. 44”.

1,000/1,500

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The McDowell Collection

243

243.

244

COMMEMORATIVE FILIPINO NEEDLEWORK

Early 20th Century American flags flank a spread-wing eagle perched on an anchor and grasping an olive branch in its talons. Centered on anchor is a life ring intended for use as a picture holder; currently holding an oval black and white photo portrait of a sailor. 15.25” x 19.5” sight. Framed 18.25” x 22.5”.

400/600

244.

WOOLWORK PICTURE OF THE “H.M.S. PHAETON. 1865 OFF BERMUDA” 19th Century Portrait of the ship in stormy seas within an oval cartouche framed by drapes pulled back with red, white and blue ties.

An unusual example with nice details including threadwork rigging and the execution of the water and drapes.

13.5” x 19”. Framed 18.75” x 24.5”.

600/900

245.

245

WROUGHT IRON TOGGLE HARPOON 19th Century Stamped on toggle “PB & Son”. Length 34.5”.

600/900

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137

246.

BRITISH SCHOOL Late 19th Century Portrait of a four-masted British ship flying numerous flags and pennants. Unsigned. Oil on canvas, 24” x 36”. Framed 28.25” x 40.25”.

900/1,200

247.

TWO-DRAW DAY/NIGHT TELESCOPE

Late 19th/Early 20th Century Brass tube wrapped in sailor’s braided ropework. Partial inscription for Osborne, London. Length extended 37.25”.

250/350

248.

WHALE IVORY AND NARWHAL TUSK CANE

Second Half of the 19th Century Whale ivory knob handle, thin contrasting collar and narwhal tusk shaft. Atypically, the narwhal tusk has been polished and carved to widen and accentuate the natural spiral turning. Three concentric bands carved into top of shaft near handle. Length 39.5”.

1,500/2,000 Provenance: John Rinaldi, Kennebunkport, Maine, September 1998.

249

250

249.

NARWHAL TUSK AND WHALE IVORY CANE

Second Half of the 19th Century Modified “L”-shaped whale ivory handle. Narwhal tusk shaft with its natural spiral form. Length 35”. 2,000/3,000

250.

CARVED WHALE IVORY AND WHALEBONE CANE

Mid-19th Century Whale ivory handle carved in the form of a turk’s-head knot. Octagonal whale ivory collar with exotic wood bands and concentric ring carvings. Upper half of shaft carved from a single piece of whalebone in rope and spiral designs separated by a medial collar in a braided rope design. Lower half of shaft in exotic wood, fitted with a whalebone ferrule. Whale ivory components with significant pearling.

Length 35.5”.

2,000/3,000

248

138

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The McDowell Collection

251, obverse and reverse of pair

251.

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH WITH PORTRAITS OF WOMEN

Mid-19th Century An asymmetrical pair, with nearly identical portraits of the same woman on the obverse. She has flowers in her curled hair, is wearing a double-strand necklace and a dress with ruffled shoulders, and she is holding a red flower to her breast in her right hand and a kerchief in her left hand. The portraits are framed within an arch of flowering vines. The reverse of one tooth depicts a flowering potted plant within a flowering vine. The reverse of the other depicts a leafy tree.

Some elements on both teeth with stippled engraving. Tips of both teeth broken off. Lengths 5” and 5.25”.

2,500/3,500

252.

POLYCHROME SCRIMSHAW WHALE’S TOOTH FEATURING FASHION PLATE LADIES

Mid-19th Century Both sides with full-length portraits of women, one holding a folded fan and a flower and the other holding a flower.

Both women have flowers in their hair and are wearing red and green dresses. Images sourced from published fashion plates. Length 5.75”.

2,000/3,000 252, pair

Provenance: John Rinaldi, Kennebunkport, Maine.

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139

253.

RELIEF-CARVED SCRIMSHAW WHALE’S TOOTH Mid-19th Century Both sides carved with a leafy vine design. Relief-carved ring encircles base. Length 5”.

1,000/1,500 Provenance: Ken Brown, Frank’s Fisherman, San Francisco.

253

254.

SIGNED SCRIMSHAW WHALE’S TOOTH 19th Century Scenes on both obverse and reverse signed lower right “JC”. Obverse depicts a sailor on a shoreline waving his hat in his right hand and holding a large U.S. ensign on pole in his left hand. He is surrounded by a beached anchor, rocks, pilings, etc., and a ship sails in the distance. Below the vignette is an image of a spouting sperm whale. Reverse depicts a woman standing at a window, pulling back a curtain decorated with a pattern of stars, hearts, diamonds, etc. Some elements executed in pinpoint and others are deeply engraved. Length 6.25”.

3,000/4,000

255.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PORTRAITS OF A MAN AND A WOMAN Circa 1830 Obverse with monochrome profile bust portrait of a man with sideburns in formal stock and coat. Reverse with half-length portrait of a woman with dark curled hair wearing a red double-strand beaded necklace and a red patterned dress. Charmingly rendered and believed to be actual portraits, not copies of illustrations. Length 6.25”. 2,000/3,000

255, obverse and reverse

254, obverse and reverse

140

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The McDowell Collection

256.

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH FEATURING MOCK COMBAT SCENES

Mid-19th Century Obverses both with monochromatic depictions of a man in traditional Asian garb holding a sword in one hand and a chalice in the other while riding piggyback on a man wearing different Asian-style apparel. Reverses with polychrome images inspired from magazine illustrations, one depicting a woman standing near a family of birds perched on a column and the other depicting a woman and a young girl.

Lengths approx. 7.25�.

5,000/8,000 Provenance: Laurence Langford, London.

256, obverse and reverse of pair

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141

257, obverse and reverse

257.

142

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH SAILOR’S FAREWELL MOTIFS

Mid-19th Century Obverse depicts a berry vine surrounding a sailor embracing his sweetheart. Reverse depicts an 18-gun topsail schooner flying pennants from the mast and a British red ensign off the stern. Figures visible on deck and in the rigging. Length 6”.

3,500/5,000

Provenance: Laurence Langford, London.

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The McDowell Collection

259

258, obverse and reverse

258.

259.

SCRIMSHAW WHALE’S TOOTH WITH PORTRAITS OF A BRITISH SOLDIER AND SAILOR 19th Century Both figures holding a flagpole flying a large Union Jack in their left hands. Obverse depicts a sailor holding an anchor in his right hand. Reverse depicts a Highland soldier in traditional garb, including a bearskin hat, epaulettes and a kilt, holding a sword in his right hand. Length 7.5”.

2,000/3,000

DOUBLE-ENDED BLUDGEON 19th Century With exotic wood shaft and weighted knobs covered with twinework. Leather strap threaded through one knob.

Length 9.5”.

300/400 Provenance: Joseph Vallejo, Newport Beach, California.

SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF W.J. FLORENCE Mid-19th Century Bust portrait identified below as “W.J. Florence The Irish Comedian”. Portrait and lettering executed in pinpoint.

Length 6”.

1,000/1,500 Provenance: Ken Brown, Frank’s Fisherman, San Francisco.

260.

CO N C LU S I O N O F T H E M C D O W E L L CO L L E C T I O N

William Jermyn Florence (1831-1891) was the child of Irish immigrant parents living in Albany, New York. He was an actor, comedian, songwriter, playwright and producer.

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143

261, obverse and reverse

261.

144

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC IMAGERY

19th Century Reverse depicts a spread-wing eagle with an “E Pluribus Unum” banner and American shield above a three-masted ship at sea flying an American flag from the center mast and a long red pennant from the foremast. Above the spread-wing eagle’s banner is a small Eye of Providence, probably referencing Freemasonry. The eagle’s shield, with blue stars and red stripes, is flanked by arrows and olive branches. Obverse with a full-length portrait of an elaborately dressed woman backed by floral sprigs. Edges with delicate leafy floral vines. Pique and scroll border wraps around the circumference of the base.

Length 6.75”.

6,000/10,000

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262.

PAIR OF SCRIMSHAW WHALE’S TEETH DEPICTING QUEEN VICTORIA AND PRINCESS FEODORA Mid-19th Century One with a half-length portrait of Queen Victoria and the other with a half-length portrait of Victoria’s half-sister, Princess Feodora. Both women are elaborately dressed, though Queen Victoria is also wearing a large crown, long earrings and a jeweled necklace, and she holds a scepter in the crook of her left arm. She is not wearing an engagement or wedding ring, indicating the portrait possibly captures her sometime before her marriage to Prince Albert in 1840. Differing foliate garlands flank the portraits, and a differing geometric band frames the lower edge.

Lengths 5.5”.

1,800/2,500

262, pair

263.

PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH DEPICTING SAILING VESSELS Mid-19th Century Both vessels flying colored flags and pennants and are surrounded by green laurel leaf garlands. Lengths approx. 4.25”. Mounted on wooden bases. Overall heights 5.75” and 6”.

3,000/5,000

263, pair

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145

264

264.

265.

COCONUT SHELL DIPPER WITH CARVED AND INLAID WHALEBONE HANDLE 19th Century Architectural fluted handle with rectangular mother-of-pearl inlay. Horn flattened ball finial surmounted by a pewter loose-ring finial. Pewter-rimmed bowl attached to handle with pewter mount. Length 21.5”.

1,000/1,500

TWO PIECES OF MINIATURE WHALEBONE FURNITURE

19th Century A shield-back chair and a reticulated lift-top sewing table. Chair’s crest rail with deeply carved flowers flanking an applied green felt flower blossom. Seat possibly carved from coquilla, with felt “upholstery”. Sewing table’s top opens to reveal tiny sewing tools including scissors, a needle case, bodkin and thimble. Turned legs and stretcher. Heights 3.5” and 1.75”.

500/700

265, two

266.

MINIATURE EMPIRE CHEST, PROBABLY WHALEMAN-MADE

American, Circa 1840 In walnut with inset whale ivory escutcheons and turned whale ivory drawer pulls. Two half drawers over three full-width drawers flanked by turned half columns. Flat bracket feet.

Height 15”. Width 15.5”. Depth 6”.

600/900

266

146

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267.

FINE WHALEBONE AND WHALE IVORY DOUBLE SWIFT

Mid-19th Century Whalebone shaft with turned and incised whale ivory yarn cup, collars, adjustment knob and clamp. Both adjustment knob and clamp with threaded screws. Swift cage staves with incised exterior moldings. Height 15.75”. Cage diameter 15.5”.

2,000/3,000

267

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147

268.

268, stand not included

148

EXTREMELY RARE AND IMPORTANT SCRIMSHAW WHALEBONE, WHALE IVORY AND BALEEN DOUBLE SWIFT WITH ORIGINAL BOX

American, Circa 1840 Turned whale ivory yarn cup with incised red and green lines. Turned whale ivory clamp in the form of a whale oil keg with some incised dark green lines and a beautiful scrimshaw engraving of a spreadwing eagle clutching a red banner in one talon and an olive branch in the other. Shaft with ten sections of whale ivory separated by baleen spacers. Retains its two original turned whale ivory screws, both of which are incised and inked.

Beautifully waisted swift cage comprised of ninety-six whalebone staves that have been retied with string and what may be the original faded blue and pink ribbons.

Mahogany dovetail box with handmade copper hinges and small swing locks. Swift height 23”. Cage diameter 20”. Box height 3.25”.

Length 23.63”. Width 3.5”.

3,000/5,000 Provenance: Hyland Granby Antiques, February 2, 1998.

From the Folk Art & Americana Collection of Carl and Sonia Schmitt.

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269

269.

WHALE IVORY AND WHALEBONE DOUBLE SWIFT

Mid-19th Century Yarn holder cup at top. Upper portion of shaft with baleen bands. Extensively turned collar and clamp. Clamp’s incised lines colored with sealing wax. Length 16”. Cage diameter 18.5”.

1,200/1,800 Provenance: From a Private Falmouth, Massachusetts Collection.

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149

270

270.

150

WHALEMAN-MADE SINGLE SWIFT Mid-19th Century Turned whale ivory yarn cup and clamp with incised red bands.

Whalebone shaft and staves. Height 23.75”. Cage diameter 20”.

Includes stand.

1,500/2,500

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272, obverse and reverse

271

271.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Depicts Lady Liberty seated on a plinth holding an American shield in her right hand and a staff topped with a phrygian cap in her left hand. A red, white and blue American flag is draped from her shoulder, across her bodice and down her skirt. Some elements executed in pinpoint.

Length 4”.

3,000/5,000

272.

SCRIMSHAW WHALE’S TOOTH Mid-19th Century Obverse depicts a starboard view of a three-masted vessel with furled sails flying flags off the fore and mizzen masts, a long pennant from the central mast and an American flag off the stern. Foliate garland at tip and base. Reverse depicts four climbing vines with delicate tendrils and blossoms. Base carved in a scalloped pattern. Length 4.5”.

2,500/3,500

273.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING LADY JUSTICE

Second Half of the 19th Century Half-length portrait of a seated Lady Justice in a long cape and a red bodice holding aloft the scales of justice in her right hand and a sword against her arm in her left hand.

Portrait surrounded by a laurel wreath tied with a bow.

Length 6”.

1,000/1,500

273

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151

274.

CANE WITH WHALE IVORY HANDLE CARVED AS A CLENCHED FIST HOLDING A SNAKE

19th Century Whale ivory throat with ebony spacers. Tapered cocobolo shaft. Length 36”.

2,500/3,500

277.

INLAID MAHOGANY CANE 19th Century Turned whale ivory button handle. Mahogany shaft.

Octagonal upper half with mother-of-pearl and contrasting wood inlay in a diamond pattern. Lower half of shaft is tapered. Length 35.25”.

800/1,200

275.

CANE WITH CARVED WHALE IVORY MONKEY’S-FIST HANDLE 19th Century Ebony spacers between the neck and throat. Tapered cocobolo shaft. Length 38.25”.

1,200/1,800

278.

CANE WITH CARVED WHALE IVORY MONKEY’S-FIST HANDLE 19th Century Neck in alternating bands of lignum vitae and whale ivory.

Tapered mahogany shaft with bone ferrule. Length 34.5”.

1,200/1,800

276.

CANE WITH MOTHER-OF-PEARL INLAY

19th Century Whale ivory knob handle. Silver collar engraved with owner’s name. Upper third of tapered cocobolo shaft with abalone and mother-of-pearl geometric inlay. Length 33”.

1,500/2,500

279.

LIGNUM VITAE AND HORN WALKING STICK

19th Century Tapered shaft made up of 60 segments of varying materials including baleen, horn and lignum vitae, some as spacer disks and others as short tubes. Tapered knob handle made from horn, with an inlaid mother-of-pearl disk at the top.

Length 34.25”.

300/500

274

152

275

276

277

278

279

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280.

WHALEBONE AND LIGNUM VITAE CANE

19th Century “L”-shaped whale ivory and lignum vitae handle. Tapered whalebone shaft with 18 alternating bands of whale ivory and lignum vitae at neck. Length 35.25”.

1,200/1,800

283.

WHALEBONE CANE WITH WHALE IVORY CROOK HANDLE 19th Century Tapered whalebone shaft, with alternating bands of baleen, ebony and whale ivory at neck and throat. Length 37.25”.

1,500/2,500

281.

WHALEBONE CANE WITH “FRITZ”-STYLE ARCHED WHALE IVORY HANDLE 19th Century Handle with lignum vitae spacers. Tapered whalebone shaft, with 12 alternating bands of whale ivory, baleen and lignum vitae at neck. Length 35.25”.

1,500/2,500

284.

WHALE IVORY AND HORN CANE 19th Century Octagonal whale ivory handle with shell inlay at top, and carved staggered horizontal lines and inlaid baleen dots on sides. Shaft comprised of whale ivory and horn sections.

Ferrule missing. Length 35.25”.

500/1,000

282.

WHALE IVORY, LIGNUM VITAE AND WHALEBONE CANE 19th Century “L”-shaped whale ivory handle. Tapered whalebone shaft, with four alternating bands of whale ivory and lignum vitae at neck. Length 35.25”.

1,000/1,500

280

281

282

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283

284

153

items from a

Long Island Collection Lots 285-339

285

285.

154

SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENE

Mid-19th Century In the foreground, a harpooner stands at the bow of a whaleboat, aiming a harpoon at a surfaced whale. Four other whalemen are rowing the boat and the boatheader stands at the stern manning the steering oar. Each of the whalemen is distinctly rendered, showing the diversity and personality of the crew. In the distance is a whaleship off a hilly coastline. Length 8.25�.

2,000/2,500

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286.

POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING A YOUNG LADY

Mid-19th Century The lady leans out an arched window framed with geometric and floral borders. Colorful floral spray at tip and a foliate garland at base. Length 6.5”. Includes custom wood stand.

3,000/4,000

287.

SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC VIGNETTES

Mid-19th Century Obverse depicts a finely rendered spread-wing eagle grasping an “E Pluribus Unum” banner in its beak and arrows and olive branches in its talons. Reverse with circular medallion containing a portrait of George Washington over a rectangular medallion containing a ship portrait. Medallions conjoined with an American shield. Upper medallion encircled by a very deeply incised ring and a laurel wreath. Lower medallion with laurel wreath and line borders, mimicing a picture frame. Length 6.25”. Includes custom wood stand.

2,000/3,000

286

287, obverse and reverse

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155

A Long Island Collection

288.

EXCEPTIONAL SCRIMSHAW WATCH HUTCH

Mid-19th Century In the form of a two-story building with balconies. Made from ebony faced with pierced whalebone veneer, adorned with whalebone and whale ivory railings, columns, etc., and raised on a pierced and carved whalebone base. Domed upper tier topped with turned and heart-shaped finials.

Circular watch aperture flanked by a cross and an anchor, both raised on turned and engraved columns. Upper balcony supported on similar columns. Lower tier with central figure of a woman, posed as if she is standing in a doorway. Dropdown door at back allows for insertion of watch. Contains a later Waltham pocket watch. Height 10.75�. 3,000/4,000 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, August 2, 1988, Lot #181.

288

156

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289.

WHALE IVORY AND WHALEBONE SWIFT

Mid-19th Century Turned whale ivory yarn cup, adjustment knobs and clamp, all with red and blue incised lines. Whalebone shaft and staves. Clamp attached to a whalebone stand with three cabriole legs. Overall height 17.75�. Cage diameter approx. 18.5�.

3,000/4,000

289

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157

A Long Island Collection

290.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse depicts a woman, a child and a sheep in a garden outside a stately home flying a large pennant.

Faint and mostly illegible lettering on house facade.

Reverse depicts a multitude of plants, including palm trees and a red flowering potted plant. A zigzag border encircles base. Some elements executed in pinpoint.

Length 6”. Includes custom wood stand. 1,200/1,800

291.

SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAIT Mid-19th Century Labeled “N * B” above a banner and a portrait of a three-masted ship at sea, flying assorted pennants and flags. Decorative designs and shading to lettering and banner. Length 5.5”.

1,000/1,500

292.

INLAID WHALE IVORY SEAM RUBBER

Mid-19th Century Shaped handle with pique inlay along the perimeter and center of both faces. Additional pique inlay on edges. Rich patina. Length 4.5”.

600/1,000

293.

WHALE IVORY SEAM RUBBER Mid-19th Century Handle with faceted terminal. Length 4”.

300/400

294.

INLAID WHALE IVORY FID Mid-19th Century Ring- and rope-carved shaft with intermittent baleen bands. Faceted terminal with contrasting inlaid dots, possibly baleen or ebony. Length 6”.

1,200/1,500

295.

“NAUGHTY LEG”-FORM WHALE IVORY FID

Mid-19th Century Upper portion of shaft carved in the form of a lady’s leg. Ring carvings between leg and remainder of tapered shaft. Length 7.25”.

1,000/1,500

296.

WHALEBONE FID Mid-19th Century Engraved “D.D.L.” between two incised lines at top of shaft. Length 11.75”.

800/1,200

290, obverse and reverse

291 158

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292

293

295

294

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296

159

A Long Island Collection

300 299

297, two

297.

298

TWO UTILITARIAN ITEMS WITH WHALEBONE COMPONENTS Mid-19th Century 1) Wooden scribe with whalebone adjustment screw.

Engraved “J.D” on stock. Hash marks on one face of stem.

Length 7.25”. 2) Small hammer with metal head and whalebone handle. Length 9.25”.

300/500 Provenance: Hammer purchased from Nina Hellman, Bedford, New York, August 10, 1982. Includes photocopy of original sales receipt.

298.

WHALEBONE AND EBONY DOUBLE BLOCK

Mid-19th Century With rope strap and metal eye and hook. Overall length 6.5”.

600/900

300.

WHALEBONE DOUBLE BLOCK With whalebone eye. Length 3.5”.

301.

DARTING HARPOON ON POLE

Last Half of the 19th Century With a wrought iron Temple-style toggle harpoon.

Unmarked. Length 97.5”.

800/1,000

302.

WROUGHT IRON BLUBBER SPADE 19th Century Stamped on blade “T.E.”. Retains portion of its original wooden pole. Overall length 55.75”.

400/600

WHALEBONE SCRIBE Mid-19th Century Retains its original nicely carved heart-shaped adjustment screw. Length 15”.

1,000/1,400 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, August 2, 1978, Lot #511.

160

299.

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Mid-19th Century 400/600

303.

LOG BOOK OF THE WHALESHIP HANNIBAL OF SAG HARBOUR Titled “Log Book of Ship Hannibal of Sag Harbour John Canning Master October 17 AD 1845�. Entries dated from October 17, 1845 to March 7, 1849. Includes approx. 47 stamps. Notable entries include the ship hitting rocks January 26, 1846, with notes on repairs. The next entry is dated May 7, 1846. The Hannibal was condemned in Rio de Janeiro in early March of 1849. Entries written in multiple hands. Folio volume with calf boards wrapped in sailcloth. Front sailcloth cover with numerous whale stamps.

10,000/15,000 303, cover and other views

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161

A Long Island Collection

304

304.

EBEN PIERCE BRASS AND IRON HARPOON GUN Late 19th Century Stamped “Patented E. Pierce 82”. Bomb harpoon dart in barrel. Gun length 37.5”.

Barrel length 19.75”.

1,500/2,500

305.

WHALEBONE FOOD CHOPPER Mid-19th Century Shaped cylindrical handle with incised carvings. Handle attached to shaft with whalebone pins. Length 6.75”. Width 5.25”.

1,000/1,500 Provenance: Nina Hellman, Bedford, New York, August 10, 1982. Includes original sales receipt.

306.

305

WHALE IVORY AND EBONY ROLLING PIN Mid-19th Century Turned whale ivory handles with incised red banding and inlaid mother-of-pearl disks at ends. Roller comprised of alternating ebony and whale ivory bands.

Length 15.5”. Includes custom wood stand.

1,500/2,500

306

162

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307

308

309

307.

COCONUT SHELL DIPPER WITH CARVED AND INLAID WHALEBONE HANDLE

Mid-19th Century Top half of handle carved in a cross hatch pattern. Lower half with alternating bands of island wood, whalebone and whale ivory. Whale ivory hanging loop pinned to top of handle.

Handle attached to bowl with a whale ivory heart-form mount. Length 13.5”. 1,000/1,500

308.

COCONUT SHELL DIPPER WITH WHALE IVORY MOUNTS Dated 1878 Turned island wood handle with whale ivory terminal and bowl mount. Mount engraved “H.I.V. 1878”. Length 14.5”.

1,000/1,400

309.

COCONUT SHELL DIPPER WITH PEWTER OVERLAY AND WHALEBONE INLAY

Mid-19th Century Coconut shell bowl with pewter overlay in a concentric swag pattern. Scrolled island wood handle with whalebone dot and line inlay. Handle attached to pewter bowl mount with a whalebone collar. Length 14.5”.

700/1,000

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163

A Long Island Collection

310.

WHALE IVORY PIE CRIMPER WITH LOOPED HANDLE Mid-19th Century Carved from a single piece of ivory, with stepped carvings near three-tined fork and wheel mount. Whale ivory fluted wheel. Length 6”.

1,500/2,500

311.

INLAID WHALE IVORY PIE CRIMPER

Mid-19th Century Handle with knob terminal, stepped carvings, tapered shaft and relief-carved wheel mount. Knob with contrasting dot inlay, possibly baleen or ebony, though one dot is motherof-pearl. Whalebone fluted wheel. Deep rich patina.

Length 4.25”.

1,200/1,500

312.

CHILD’S-SIZE WHALE IVORY PIE CRIMPER

Mid-19th Century Teardrop-shaped handle with stepped carvings and a pierced diamond. Fluted whalebone wheel. Length 4”. 700/1,000

313.

WHALE IVORY PIE CRIMPER WITH VENTING TOOL HANDLE Mid-19th Century One end of handle with fluted half cylinder, used to make vent holes in pie crust. Incised banding at opposite end of handle near wheel mount. Whale ivory fluted wheel.

Length 5.25”.

500/1,000

314.

WHALEBONE PIE CRIMPER WITH MOTHER-OF-PEARL INLAY Mid-19th Century Architectural handle with a three-tine fork at one end and a shaped wheel mount at opposite end. Central square portion of handle with stepped carvings at each end and fluted carvings on two faces. Other two faces with heart- and diamond-shaped mother-of-pearl inlay and contrasting dot inlay, probably island wood. Wheel mount with diamondshaped mother-of-pearl inlay. Gracefully carved scroll at base of fork. Fluted whalebone wheel. Length 9.5”. 1,800/2,500

310

311

312

313

Provenance: Bigelow Howell Collection.

Nina Hellman, Nantucket, Massachusetts, August 17, 1986.

Includes original sales receipt.

314

164

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315.

PAIR OF POLYCHROME SCRIMSHAW WALRUS TUSKS WITH CARVED AND ENGRAVED DECORATION

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

Lower vignette depicts Lady Justice, holding the scales of justice in her right hand and a sword in her left hand. She is seated on a monumental plinth with a small American shield on one face. Tusks mounted on stone bases. Overall heights approx. 15.25”.

12,000/15,000

315, detail above

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165

A Long Island Collection

316.

166

CANE WITH WHALE IVORY TURK’S-HEAD KNOT HANDLE

Mid-19th Century Wooden shaft with bands of whale ivory near handle. Metal ferrule.

Length 35”.

1,000/1,500

317.

WHALE IVORY AND WHALEBONE CANE Mid-19th Century Flattened cylindrical whale ivory handle with relief-carved star at top and rope carving at sides. Stepped carved whale ivory throat with thin baleen band. Whalebone shaft tapers from a square to a cylinder, with segments of columnar, crosshatch, fluted and twist carvings separated by decorative carved bands. Length 34”.

3,000/4,000

318.

LADY’S CANE WITH CLENCHED FIST HANDLE

Mid-19th Century Whale ivory handle carved in the form of a clenched fist. Collar comprised of island wood bands flanking a whale ivory and island wood elliptical design. Whalebone shaft with metal ferrule. Length 34”.

1,000/1,500

319.

WHALE IVORY AND EXOTIC WOOD CANE Mid-19th Century “L”-shaped handle comprised of whale ivory and exotic wood bands.

Metal collar. Striated exotic wood shaft. Length 35.25”. 500/1,000

320.

WHALE IVORY, MAHOGANY AND WHALEBONE CANE

Mid-19th Century Whale ivory knob handle. Mahogany collar with small inlaid whale ivory dots. Hefty whalebone shaft. Length 33.5”.

700/1,000

321.

WHALE IVORY AND WHALEBONE CANE WITH EBONY INLAY

Mid-19th Century Whale ivory knob handle with inlaid ebony disk at top. Octagonal throat with ebony banding. Upper half of tapering whalebone shaft is octagonal; lower half is cylindrical. Length 34.25”.

700/1,000

322.

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

800/1,200

323.

INLAID WHALE IVORY AND WHALEBONE CANE

Mid-19th Century Band of ebony pique inlay at base of bulbous whale ivory handle and top of tapered whalebone shaft. Large inlaid ebony disk at top of handle. Thin metal collar. Length 33.25”.

500/700

316

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317

318

319

320

321

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322

323

167

A Long Island Collection

324, obverse and reverse

324.

325.

168

SCRIMSHAW WHALE’S TOOTH VASE

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

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

3,000/4,000

SCRIMSHAW WHALEBONE BUSK Mid-19th Century Lavishly engraved with multiple vignettes including hex signs, a sun face, a spread-wing eagle with banner, arrows and olive branches, and a fan with a central oval profile bust portrait. Vignettes on a stippled background surrounded by foliate, half-circle and other decorative borders. Busk is lobed at top. Length 12.25”.

4,000/6,000

326.

INLAID WHALE IVORY AND WHALEBONE KNITTING NEEDLES Mid-19th Century Long whalebone needles with alternating bands of island wood and whale ivory. Ribbed whale ivory terminals with island wood tips. Lengths 16”.

1,000/1,500 Provenance: Sign of the White Whale, Inc., Port Washington, New York, July 1972. Includes original sales receipt.

327.

POLYCHROME SCRIMSHAW WHALEBONE BUSK

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

800/1,200

328.

SCRIMSHAW BALEEN BUSK Mid-19th Century Abundantly and delicately engraved with a rising sun, entwined hearts, hex signs, potted plants, an elephant, and other foliate and geometric designs. Busk is arched at top and canted at bottom. Length 14.25”.

800/1,200

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325 327

328

326, pair

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169

A Long Island Collection

329.

SCRIMSHAW WHALE’S TOOTH WITH A FULL-LENGTH PORTRAIT OF A WOMAN Mid-19th Century Woman stands with her right arm outstretched as she pulls up the hem of her dress with her left hand. Length 4.75”. Includes custom wood stand.

700/800

330.

BOXED SCRIMSHAW SPELLING ALPHABET 19th Century Mahogany box with beveled sliding top, inset with a whalebone plaque marked “Spelling Alphabet”. Contains approx. 109 whalebone tiles with an uppercase letter on one face and the corresponding lowercase letter on the opposite face. Possibly commercially produced in London. Box height 2”. Length 5.25”.

Width 3.75”. Tiles approx. .75” x .5”.

1,000/1,500 A similar example is illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 240.

Provenance: Steve Miller, New York.

Jeffrey Cohen.

Paul Madden Antiques, Sandwich, Massachusetts. Includes original sales receipt.

329

330

170

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331.

TWO WHALE IVORY LETTER OPENERS Mid-19th Century One with shell-form carving and the other with incised banding.

Lengths 7.5” and 9.25”.

250/350

332.

TWO BOTTLES OF SPERM WHALE OIL 19th Century One bottle molded “Sperm Sewing Machine Oil” and retains traces of paper label for Wm. F. Nye. Other bottle with simple paper label marked “Crude Sperm Whale Oil”. Heights approx. 6.5”. 600/900

333.

THREE WHALEBONE CLOTHESPINS Mid-19th Century All with similar concentric incised banding. Lengths from 6.25” to 6.75”.

200/300

334.

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

800/1,500

334

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171

A Long Island Collection

335

337.

335.

SOFT-PASTE PITCHER WITH MARITIME TRANSFER DECORATION England, Circa 1825 Obverse depicts “Bidston Light House & Signals” and reverse depicts a three-masted British sailing ship. “CM” under spout. Gilt trim and highlights. Height 9.25”.

800/1,200

336.

THREE PIECES OF MARITIME-THEMED BUFFALO POTTERY Early 20th Century 1) “Souvenir of The Whaling City New Bedford Mass” pitcher with blue transfer decoration of “Sperm Whaling; ‘The Capture’.” on one side and “The Niger -The Last of the Famous Full Rigged Ships Formerly Engaged in Whaling” on the other side. Panoramic view of New Bedford Harbor on the inner rim. Marked on underside. Height 6.5”. 2) Jug with blue transfer decoration of a lighthouse, two old salts, a coastal sailing scene, etc. Marked on underside. Height 9”. 3) “New Bedford Massachusetts” souvenir plate with blue transfer decoration of “New Bedford Fifty Years Ago”, the city and state seals, and assorted thematic emblems.

Marked on underside. Diameter 10.5”.

500/800

CASED CHARLES TABER & CO. OCTANT

19th Century Ebony frame with brass fittings and ivory degree scale. Ivory label marked “C. Taber & Co New Bedford”. Wedge-shaped wooden case retains paper label marked “Charles Taber & Co., Importers and Manufacturers, ... New Bedford ...”. Case height 3.75”. Length 14”.

500/1,000

337

172

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338

338.

LEMUEL D. ELDRED Massachusetts, 1848-1921 Whaleships being refitted. Signed “L.D. Eldred”. Pencil remarque lower left margin of a capstan and a whaleboat.

Etching, 14” x 23” sight. Framed 28.25” x 36.25”.

800/1,200

339.

COPPER MASTHEAD LIGHT 20th Century With Meteorite label and Fresnel lens. Height 22.5”.

Width 14”. Depth 11”.

500/700

CO N C LU S I O N O F T H E LO N G I S L A N D CO L L E C T I O N

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173

340.

POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PORTRAITS OF THREE-MASTED SHIPS

Mid-19th Century Obverse depicts a three-masted ship at sea, flying a long red pennant from the central mast. Reverse depicts a three-masted ship flying a long blue pennant from the center mast and a French flag off the stern.

A distinctive scalloped ocean wraps around the circumference of the tooth. Length 5.5”. 2,000/3,000

340, obverse and reverse

341

341.

342.

342

174

LARGE SCRIMSHAW WHALE’S TOOTH DEPICTING A FAR EASTERN HARBOR

Circa 1840 A detailed view of an exotic harbor, with boats in the foreground and a Byzantine cathedral dominating the skyline. Length 9.5”.

1,800/2,500

POLYCHROME SCRIMSHAW WHALE’S TOOTH

19th Century Full-length portrait of a man wielding a sword in his right hand, possibly a pirate king or a Middle Eastern soldier. His elaborate tunic is adorned with images of stars and crescent moons, his pants have blue and red stripes and his tall hat is embellished with a red plume.

Length 5”. Mounted on a pierced brass base. Overall height 6”.

700/1,000

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344, obverse and reverse

343, pair

343.

PAIR OF SPERM WHALE TEETH PERTAINING TO 344. SCRIMSHAW WHALE’S TOOTH WITH MOURNING MARY, QUEEN OF SCOTS Circa 1850 SCENES Mid-19th Century One tooth depicts Mary with her husband Lord Darnley, Obverse with an oval cartouche depicting “The Tragical who was later murdered. The other tooth depicts Death of the husband of Alexandria”, an interior view of a two nobleman wielding daggers and swords, possibly man falling on his sword. Reverse with a round cartouche attempting to assassinate Mary, as instigated by her rival, depicting a grieving woman and her two young children Queen Elizabeth. The figures are lavishly dressed in attire in a landscape. The cartouche is topped by an image of appropriate to their rank and stature. Lengths 6.25”. a child holding a lamb, a traditional Christian symbol 1,000/1,500 of vulnerability and purity. Cartouches with differing geometric surrounds. Wide crosshatch band encircles the base. Length 6”.

1,000/1,500 According to Scrimshaw and Scrimshanders Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), “Scottish motifs are often found on

In the mid-1850s, Harper’s Magazine published an article on

British teeth, since a number of British whaling vessels sailed from

the tradition of “Hari-kari” in Japan, one of the first instances

Scottish ports”. Mary, Queen of Scots jockeyed for a place on the

the concept of “falling on your sword” was widely publicized to

throne with Queen Elizabeth and was eventually beheaded. Her

Americans, capturing their fascination and giving rise to fictional

husband, Lord Darnley, was said to be the most handsome man

tales of self-sacrifice.

in England. His house was destroyed in an explosion and he was found murdered in his garden.

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175

345.

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

1,000/1,500

345, obverse and reverse

346.

RELIEF-CARVED SCRIMSHAW WHALE’S TOOTH DEPICTING A POLAR SCENE

19th Century Depicts penguins, seals and distant jagged peaks. Length 6.25”.

1,000/1,500

346

176

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348

347.

SCRIMSHAW DOUBLE-SIDED BALEEN BUSK

Mid-19th Century Obverse depicts a town scene with houses, church, trees and an obelisk memorial. Reverse depicts a vine surrounding images of a heart, “Mary C. Wright” and a planted tree.

Length 12”.

300/500

348.

SCRIMSHAW WHALEBONE BUSK Circa 1850 Depicts an active whaling scene with four ships, five whaleboats and several whales. Scene is flanked on the left by the “Whalemen Coat of Arms”, comprised of crossed whaling implements and a shield, and on the right by an anchor. Very fine triple line border around the perimeter.

Signed on reverse “Angiline”. Length 14”.

1,500/2,000 Provenance: Hyland Granby Antiques, January 30, 1996.

From the Folk Art & Americana Collection of Carl and Sonia Schmitt.

349.

* HEXAGONAL WALNUT AND WHALEBONE BOX Lift top with brass bail handle and whalebone panels with contemporary engravings of whaling and other maritime scenes. Whalebone feet. Height 5”. Width 11.25”. Depth 10”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 500/800

350.

WHALEBONE FID AND A CARVED WOODEN SEAM RUBBER 19th Century Fid with three incised lines at top. Length 7.5”. Seam rubber with faceted terminal, rope-turned handle and carved potted plants on each side of blade. Length 5.25”.

400/600

351.

FOUR WHALE IVORY BODKINS 19th Century Three with geometric carvings and one with clenched fist.

Lengths from 2.25” to 3”.

300/500

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177

352.

SCRIMSHAW WHALE’S TOOTH

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

Length 5.5”.

1,000/1,500

353.

CARVED WALRUS IVORY PARROT FIGURE

Third Quarter of the 19th Century Height 3.5”.

700/1,000

354.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse with scene of a three-masted sailing ship at sea. Scene is framed within a foliate arch with a shield and two American flags at top. Reverse with scene of a Scotsman in a landscape with tree and structure. The traditionally attired Scotsman is dressed in a checkered hat and tunic and holds a shield and sword. Scene is framed within a pique banner with a thistle at top.

Jagged sawtooth banner encircles base. Length 5.75”.

2,500/3,500

352

353

354, obverse and reverse

178

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355.

SCRIMSHAW WHALE’S TOOTH IN THE MANNER OF N.S. FINNEY

Mid-19th Century Both sides with finely engraved and incredibly detailed religious scenes. Obverse titled “Flight, Into Egypt” depicts Mary holding Jesus while riding a donkey led by Joseph through a lush landscape with distant hills and pyramids. Three human faces hover over Mary and Jesus. Scene is flanked by caryatids supporting a frieze covered with stylized hieroglyphics. Facing sphinxes sit at the foot of the column bases, which are also covered in stylized hieroglyphics. Reverse titled “Le Redempteur” depicts Jesus on the cross, with a Roman soldier on horseback and a building in the distance, and a snake wrapped around the base of the cross. Scene is contained within a tabernacle-like frame. Scalloped border encircles base. Length 6.25”.

2,500/3,500 The stippled shading and scalloped border on this tooth are similar to a tooth attributed to N.S. Finney illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), figs. 3.14a, 3.15a and 3.15b.

355, obverse and reverse

356, obverse and reverse

356.

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POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PORTRAITS OF LADIES

Mid-19th Century Both sides with a full-length portrait of a standing lady in a patterned dress, ankle length so that their feet are visible.

One has a red flower in her hair, has one arm wrapped around her waist and the other arm and finger raised in a beckoning motion. The other has a red and green ribbon in her hair and her arm and finger raised in a scolding position. Both with some elements executed in pinpoint. Length 6”.

800/1,200

179

357, obverse and reverse

357.

POLYCHROME SCRIMSHAW WHALE’S TOOTH BY THE BRITANNIA ENGRAVER

First Half of the 19th Century Titled on edge “Elizabeth of London”. Obverse depicts a whaling scene with whaleship, three whaleboats and four whales, some spouting red, colored with sealing wax. Ship is flying an agent’s flag with central red dot. Reverse depicts a detailed scene of the whaleship cutting in, including the whale carcass pulled alongside the hull of the ship and a manned whaleboat off the stern. The ship is flying a British naval ensign with red highlights, and some of the blubber and water surrounding the ship is colored red. Both sides of the tooth exhibit deeply carved hulls and whales and a unique geometric depiction of waves, all characteristic of the Britannia Engraver. Length 4.75”.

20,000/30,000 Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts, May 13, 2002.

The Alexander MacCormick Scrimshaw Collection.

180

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358, obverse and reverse

358.

SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse with a bust portrait of a portly gentleman. Reverse with profusely engraved interior scene of two male figures, one female figure and a dog. The men appear to be engaged in a confrontation, one poised as if he is about to strike the other. Length 6.25”.

800/1,200 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, August 7, 1990, Lot #139.

359

359.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Depicts a bearded lady in an evocative blue and black dress seated on a fancy red, blue and black chair.

Possibly an image of Julia Pastrana, Krao Farini, Josephine Clofullia or another one of the “Bearded Ladies” who toured as circus sideshows throughout the 19th Century. Her beard is executed in pinpoint work.

Length 7.25”.

800/1,200

360.

FOUR ROPEWORK BLUDGEONS

19th Century In varied forms. One with carved whalebone handle. Lengths from 14.5” to 16.5”.

1,000/1,500

360, four

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181

361.

EXCEPTIONAL ROSEWOOD CAULKING MALLET

19th Century Handle with whale ivory terminal and a nickel band inscribed “Ralph A. Loveland”. Beautifully relief-carved grip. Mallet head with nickel ends, one with inset whale ivory. Length 15”. Width 8”.

250/350

362.

RARE SEA CAPTAIN’S DAGGER Early 19th Century Belonged to Benjamin Crowninshield, master of the yacht Cleopatra’s Barge of Salem, Massachusetts. Carved and pierced walrus ivory handle with floral design and crest of the Crowninshield family. Includes original leather sheath with silvered metal mounts engraved with design similar to the dagger’s handle. Retains old tag indicating the dagger was donated by a member of the Crowninshield family to a Boston thrift shop to benefit the city’s Children’s Medical Center. Dagger length 8.25”.

500/1,000 Provenance: West Sea Company, May 2, 1993, Lot #91.

The Crowninshields were considered one of the “Boston Brahmin” families, influential in American politics, military matters, literature and seafaring industries. Benjamin Crowninshield (1758-1836) served aboard the privateer Black Watch during the Revolutionary War and the Alexander during the War of 1812 before taking command of the Cleopatra’s Barge, owned by a family member.

(Another Benjamin Crowninshield served as Secretary of the Navy from 1815 to 1818). The ship was a luxuriously appointed hermaphrodite brig and was the first pleasure craft to cross the Atlantic. After the owner’s death it was used as a trading vessel and the royal yacht of the Hawaiian king.

362

363.

SAILOR-MADE INLAID TRAY

19th Century Walnut tray with ebony and whale ivory inlay spelling out “Good Wishes From I.W. Yala”.

Inscription surrounded by an inlaid “R” and “E”, as well as foliate and heart designs.

Marquetry and pique borders.

Height 1.25”. Length 20”.

Width 12”.

400/600

363

182

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364

364.

365.

SCRIMSHAW BILLY CLUB First Half of the 19th Century Stippled sawtooth design at base, two foliate sprigs at end and a star on the tip. Fitted with metal hanging loop. Length 10”.

500/700

IRON BLUBBER HOOK WITH WHALEBONE HANDLE

19th Century Handle with incised concentric rings. Pierced at end for rope hanging loop. Length 12”.

800/1,200 Provenance: Rafael Osona Auctions, The Barbara Johnson Collection of Scrimshaw and Whaling Artifacts, August 14, 1993, Lot #101.

365

366.

RARE WHALE IVORY SNATCH BLOCK

19th Century Retains much of the shape of the tooth it was carved from. Length 4.25”. Width 1”.

500/800

Provenance: The Alexander MacCormick Scrimshaw Collection.

366

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183

367

367.

368

WHALE IVORY PUZZLE BOX IN THE SHAPE OF A WHALESHIP HULL Mid-19th Century With large bowsprit and carved billethead. The top panel swings to the left, exposing a second panel that slides back on a notch to expose the carved-out hull.

Beautiful age patina. A rare and desirable example.

Length 3.5”. Includes later wooden cradle.

1,500/2,500

368.

WHALE IVORY DOUBLE BLOCK

Third Quarter of the 19th Century Length 2.5”.

500/700 Provenance: Sotheby’s Americana Auction, June 17, 1998, Lot #709.

From the Folk Art & Americana Collection of Carl and Sonia Schmitt.

Provenance: Hyland Granby Antiques, January 22, 2008.

From the Folk Art & Americana Collection of Carl and Sonia Schmitt.

369.

PANBONE BASKET Mid-19th Century Flared sides comprised of crisscrossed staves. Staves affixed to whalebone rim and wooden base plate with metal pins. Height 5.5”. Diameter 8”. 1,000/1,500

Provenance: Sotheby’s Americana Auction, June 17, 1998, Lot #751.

From the Folk Art & Americana Collection of Carl and Sonia Schmitt.

369

184

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370.

CARVED WHALE IVORY PIE CRIMPER

Circa 1860 Curved whale ivory handle with multiple geometric carvings. Fluted whale ivory wheel. Deep rich patina. Length 7”.

250/400 370 Similar examples appear in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 182-183.

Provenance: From the Folk Art & Americana Collection of Carl and Sonia Schmitt.

371.

POLYCHROME SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse depicts a brig at sea flying a large British ensign with a red field and a Union Jack in canton. Reverse depicts a whaling scene of two whaleboats attacking a sperm whale whose tail is visible. Six figures are visible in each boat, including helmsmen, rowers and harpooners. Length 5.25”.

2,500/3,500 Provenance: The Parker Gallery, London, May 6, 1970.

The Alexander MacCormick Scrimshaw Collection.

371, obverse and reverse

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185

372.

SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse with full-length portrait of a long-haired mustachioed frontiersman resting a long gun against one leg and holding a pistol in his right hand. He is wearing a hat and tasseled cloak, and he has a knife tucked into the top of his laced boots. Reverse depicts a fort at the bend of a river, with another building and hills in the distance.

Length 7”. Includes wooden stand. 1,000/1,500 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #108.

372, obverse and reverse

373.

SCRIMSHAW WHALE’S TOOTH

Mid-19th Century Obverse with a bust portrait of a man, possibly an American Native or African, wearing a distinctive feathered hat. Reverse with a half-length portrait of a seated woman. Both portraits are masterfully executed, particularly in the shading of each subject’s face. Length 7”.

1,200/1,800

374.

PAINTED WHALE’S TOOTH

Mid-19th Century Depicts two interlocking vignettes, one of a woman and child carrying baskets while walking along the shore and the other of a man and woman embracing on a harbor’s shore. Vignettes with fine red borders and acanthus leaf embellishments.

Length 5.5”.

300/500 A similar example, most certainly by the same hand, is illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 67.

373, obverse and reverse

186

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375

375.

DOUBLE SAILOR’S VALENTINE

Late 19th/Early 20th Century Composed of multicolored shells. Left side with a heart.

Right side with “Forget Me Not”. Octagonal hinged walnut case. Each side 9” x 9”.

1,200/1,800

377.

TWO NYE SPERM WHALE OIL BOTTLES

Late 19th Century Retain original labels showing whaling scenes. Completely full and capped with original corks. Heights 5”. 500/700

376.

BUFFALO POTTERY SOUVENIR PITCHER OF NEW BEDFORD INTEREST Dated 1907 Sepia transfer decoration of “Sperm Whaling; ‘The Capture’.” on one side and “The Niger -The Last of the Famous Full Rigged Ships Formerly Engaged in Whaling” on the other side. Panoramic view of New Bedford Harbor on the inner rim and “The Whaling City Souvenir of New Bedford Mass” inside spout. Marked “Buffalo Pottery 1907” on underside. Height 6.5”.

300/500

378.

TWO BOTTLES OF SPERM WHALE OIL

19th Century Together with a glass oil lamp. One bottle molded “Sperm Sewing Machine Oil”. Other retains partial paper label for Nye’s “Sewing Machine And Bicycle Oil”. Heights approx. 5.5”.

300/400

Provenance: The Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #608. (Retains Barbara Johnson Whaling Collection tag on underside.)

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187

380

379.

188

WHALEBOAT MODEL ON DAVITS

20th Century Complete with implements. Height 7.25”.

Length 15”. Width approx. 6”. 400/600

380.

CASED MODEL OF THE WHALESHIP CHARLES W. MORGAN 20th Century Case height 27.5”. Length 33.75”.

Width 12.75”.

1,000/1,200

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381

381.

NANTUCKET-MADE WROUGHT IRON ARCTIC DOUBLE FLUE HARPOON

19th Century Stamped “GS” for blacksmith George Swain, Jr. (1791-1880). Swain was an ex-whaleman, having sailed on the New Bedford ship Winslow in 1815. His shop was on New North Wharf (Steamboat Wharf ) on Nantucket. Length 48”.

2,000/3,000 See Nantucket Historical Association Collection #1992.0160.001 for another example.

382.

RARE WOODEN DECK WATER CASK FROM THE WHALESHIP WANDERER

Late 19th Century Includes canvas tag inscribed “Deck Drinking Water Bucket from the Whaler Wanderer. Last out. One of the Whalers to Leave New Bedford Harbor” and stamped “C.C. Weed”. Inscribed in pencil on underside of cask “The Wanderer Was the Last Whaler The Last One to Leave the Port of New Bedford”. Height 10.5”. Diameter 9”.

700/1,000 382

383.

WHALESHIP AGENT’S WOODEN DOCUMENT BOX FROM THE WHALESHIP OMEGA

Mid-19th Century “Ship Omega.” in mustard yellow lettering on a brown grain-painted ground. Nice patina with some craquelure. Height 12.75”. Width 20”. Depth 12.75”.

1,000/1,500

383

384.

384

WHALESHIP AGENT’S WOODEN DOCUMENT BOX FROM THE SHARON Mid-19th Century “Ship Sharon.” in mustard yellow lettering on the original red grain-painted ground. The Sharon sailed out of Fairhaven, Massachusetts from 1837 to 1861 and from New Bedford from 1857 to 1861. Height 12.75”.

Width 19.75”. Depth 14”.

1,000/1,500 Provenance: John Newton Marine Antiques, Maine.

Burroughs Collection, Topsfield, Maine.

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189

385.

PROFUSELY ILLUSTRATED JOURNAL OF A WHALING VOYAGE OF THE SHIP RODMAN Titled on first page “Journal of A Voyage to the Pacific Ocean Kept By Joseph Tobin Jun on Board the Ship Rodman”. Similar inscription on first page of entries. Entries dated from November 24, 1827 to June 7, 1830. Includes approx. 290 watercolors of whales, ships, islands, suns, moons, fish, birds, etc., as well as watercolor ship portraits on endpapers. One island drawing is identified as “Woahoo” and is similar to an example from Cook’s Voyages. Folio volume in brown boards with leather spine and corners.

25,000/35,000 Provenance: Barbara Johnson Whaling Collection, with blind embossed collection label on two pages.

Gifted by Barbara Johnson to the consignor.

385, multiple views

190

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191

386.

WHALING JOURNAL OF THE BARK PIONEER OF NEW BEDFORD Titled on first page of entries “A Journal kept onboard the Bark Pioneer of New Bedford During a Voyage to the Pacific Ocean Commenced November 2nd 1834”. Entries dated from November 2, 1834 to April 28, 1837. Kept by R. Russell, with his name on front free endpaper. List at rear of whales taken, with date, coordinates and barrels of oil. Illustrated with approx. 79 whale stamps and six drawings of ships, plus a watercolor of a ship on front endpaper and a line drawing at rear, believed to be a schematic of the bow storage hold. One passage from July 25 describes a heated 3 a.m. argument with the cook.

Also includes two pieces of related ephemera, one of which is addressed to “Mr. Chas. W. Morgan” regarding $600 used to purchase supplies. Folio volume in green-black boards with leather spine.

6,000/9,000

387.

WHALING JOURNAL OF THE SHIP ASIA OF HAVRE Titled on first page of entries “A Journal kept onboard the Ship Asia of Havre during a whaling voyage to the Coast of Patigonia [sic] and Elsewhere July 7th 1829”. Entries dated from July 7, 1829 to May 1, 1831. Kept by H. Russell and signed by him at conclusion of last entry. Records taking 2,700 barrels of oil and 2,000 pounds of whalebone and includes a list at rear of whales taken, with date, area, barrels of oil, and the crew member who struck.

Illustrated with approx. 122 whale stamps and small drawings, mostly of ships and coastlines, but also including a map of Berkley Bay in the Falkland Islands in the entry for February 23, 1830. Page-size maps/charts at rear for “Talcahuano Port”, Chile, “East Falkland” and “Chile”, all with a compass rose with north indicated with a fleur-de-lis. Folio volume in brown boards with leather spine and corners.

6,000/9,000

386, multiple views

387, multiple views

192

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Caroline Thurber Massachusetts/Washington, D.C./Ohio/France, 1864-1950 Lot 388

388

Caroline Thurber (Mrs. Dexter Thurber) is primarily known as a portrait artist, capturing children and wellknown authors and academics. She was born in Ohio and studied throughout Europe, including at the Academie Julian in Paris. She was a member of the Copley Society and the Guild of Boston Artists, and she exhibited at the National Academy of Design.

388.

“Cutting In The Whale -- From the Log Book of the Charles Phelps”.

Signed lower left “C Thurber”. Titled on handwritten label verso. A rare example of a whaling scene painted by a female artist. Oil on canvas, 18” x 24”. Framed.

1,000/1,500

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193

389.

FABULOUS TRAVEL JOURNAL OF MILO CALKIN, WHO SERVED ABOARD A NANTUCKET WHALESHIP Inscribed on first page “To his esteemed, and valued friends, & relatives in Elizabethtown, N.Y. the following Chapter of Accidents, incidents, and other events, taken down as they occurred during ten years of travel by land, and sea; is respectfully dedicated by the author” and signed “Milo Calkin”. An engrossing and highly legible account, interspersed with nine exceptional watercolor and pencil drawings, including a whale and other sea life, “Ice Islands in the South Atlantic”, a whaling scene with stoved boat, a “Neptune’s Greeting” for having crossed the equator, etc. Early pages recount his childhood, making mention of his poverty and the many floggings he received. “On the 23rd day of September 1833 I cut loose from my moorings, and set out to seek my fortune, and go up and down in the Earth. I reached Nantucket and attached myself to a Whale Ship bound into the Pacific Ocean. This I was advised to do by my Physician, who said I might take my choice either to go to Sea, or go to the Grave, ...”. He became crew of the whaleship Independence and notes the whaler Lydia burned at sea and the ship Susan was damaged by fire. Included are wonderful passages about whaling, including the capture of a whale, being in a whaleboat, icebergs in the South Atlantic and a stoved boat incident, as well as descriptions of natives and savages in the South Seas, whaling off the coast of Japan, and the return home to Elizabethtown. Octavo volume in paper wraps. Includes contemporary slipcase.

10,000/15,000 Provenance: Barbara Johnson Whaling Collection, with blind embossed collection label on cover and at least one other page.

Gifted by Barbara Johnson to the consignor.

389, multiple views

194

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390

390.

WHALING LOG BOOK OF THE SHIP TELEGRAPH OF SAG HARBOR John Egbert Howell, master. Inscribed on inside front cover “John Egbert Howell Rio. de. Janeiro. Jan. 24th. 1834”.

Entries dated from October 21, 1834 to May 21, 1836, the day she was lost on the rocks on the Island of Ohilahou[?] in the South Pacific. That day’s entry provides a gripping account of Natives boarding the ship, “threatening instant Death to all making their horrid Yells”. Notable other entries include February 15, 1835, when the Telegraph saw the ship Planter of New Bedford, and April 11, 1835, when a whaleboat was stoved and three irons were lost. Following

the loss of the Telegraph, crew made arrangements aboard the ships Mount Vernon and Gen. Glover for passage home, and later entries in the log book are written aboard those two ships, the last dated mid-October, 1836. Includes approx. 29 impressive whale stamps. At rear is a half-page essay, mostly on the flora and fauna of Pacific Islands, as well as “A List of the Whales taken onboard ship Telegraph in the Years of 1835, 1836 and 1837 when & where”, and “An account of the oil and where stored in the Telegraph”, and pages with pencil inscriptions and figuring. Folio volume in marbled boards with calf spine and corners. 9,000/12,000

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195

391

391.

196

WHALING JOURNAL OF EDWARD S. TUCKER OF THE BARQUE MARCELLA OF NEW BEDFORD Covers a whaling voyage in the Atlantic and Indian Oceans from April 5, 1847 to February 23, 1850. Contains 25 whale stamps, indicating whales caught, and 77 whale tail stamps, indicating whales chased and lost. Edward S. Tucker, the recorder of the journal, was listed as a “boatsteerer”, the whaleboat crew member who pulls the forward oar until reaching striking distance, harpoons the whale, and then steers while another crew member lances the whale. The Chief or First Mate would have kept the official log of the voyage, thus this journal is an unofficial record of the whaleship’s activities, though, similar to a logbook, it records the date, the position of the vessel, the sail she was under, the wind speed and direction, activities of the crew, vessels encountered, and whales seen and taken. Approx. 200 pages of entries, 54 pages blank. Tall folio volume (13.5” x 8.25”) in marbled boards with leather spine and corners.

9,000/12,000

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John Bertoncini England, 1872-1947 Lot 392-393

392

393

392.

Whaling vessels in the ice, Herschel Island.

393.

Signed lower left “John Bertoncini”. Oil on canvas, 18” x 31”. Framed 23” x 37”.

4,000/6,000 Provenance: Alfred Walker Fine Art, Boston, 2002.

The Collection of Morgan Levine.

“Herschel Island, 1893-1894”.

Depicts whalers in the ice.

Unsigned. Identified on label verso.

Oil on canvas, 22” x 33”. Framed 27” x 38”.

4,000/6,000 Exhibited: St. Botolph Club, Boston: “Romance of the Sea”, April 10-June 7, 2002.

Provenance: The Collection of Morgan Levine.

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197

394, two

394.

198

TWO HAND-COLORED ENGRAVINGS OF WHALING INTEREST 18th Century One titled “A whale female and the Windlass whereby the Whales are Brought on shore”. The other an untitled whaling scene. 7” x 10” sight. Framed 14” x 17”.

500/1,000

395.

1855 VOLUME OF CHARTS, INCLUDING AN EARLY WHALE CHART Explanations and Sailing Directions to Accompany the Wind And Current Charts, Approved By Commodore Charles Morris, Chief of the Bureau of Ordnance and Hydrography; And Published By Authority of Hon. J.C. Dobbin, Secretary of the Navy by M.F. Maury, LL.D., Lieut. U.S.N. (Philadelphia: E.C. and J. Biddle, 1855).

7th ed., revised and enlarged. Includes appendix, plates, charts, and extensive explanations of the chart plates. Charts include track, trade wind, pilot, thermal, storm and rain, and whale. This was the first work tracking whale migration, based on whaleship logbooks. Described on p. 252, “The object of this Chart is to show at a glance where this fish has been most hunted; when, in what years, and in what months it has been most frequently found ...”. Large Q. Sailclocth covers.

300/500

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396.

NAPOLEONIC PRISONER-OF-WAR STRAW WORK “LOVE TOKEN” OR SEWING BOX

French/English, Early 19th Century Exterior straw-work in a parquetry pattern, with a paterae, garland and quarter-fan design on mansard cover. Cover fitted with a secret lift-top, which conceals an open compartment with watercolor drawings and ink love notes under glass. Interior of lid with découpaged red bird. Interior contains a needlework pincushion and an assortment of removable boxes and covered compartments, most with a straw-work sunburst design on exterior and watercolor drawings under glass on interior. Two drawers at front of box and two drawers at side, also with watercolor drawings and printed love notes under glass. Includes translation of French love notes. Height 4”. Width 7.5”.

Depth 5.75”.

3,000/4,000

396, two views

397.

NAPOLEONIC PRISONER-OF-WAR STRAW WORK WRITING BOX French/English, Early 19th Century Exterior with floral and geometric design.

Compartmented interior holds two ink bottles. Turned bone feet. Height 4.25”. Width 12”. Depth 9.5”.

600/900

397

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199

398.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE SPINNING JENNY French/English, Early 19th Century Mechanized model; turning the handle activates the spinning wheel and windmill on upper platform. Two bonnet-clad women stand at the wheel, one holding a child and the other a bunch of flax. Lower platform with hand crank and wheels. Platforms joined by turned columns and are raised on a turned foot. Some traces of red coloring.

Includes period and possibly original box. Height 5.5.�

4,000/6,000

398

200

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399.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE SPINNING JENNY French/English, Late 18th/Early 19th Century Mechanized model; turning the handle activates the spinning wheel and moves the head of the bonnet-clad woman seated at the wheel on the upper platform. Lower platform with hand crank and wheels. Rope-twist carving along perimeter of platforms. Platforms joined by turned columns and raised on a turned foot. Height 5.25”.

1,200/1,500

400.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE GAME CASKET French/English, Late 18th/Early 19th Century Triangular sliding cover with watercolor full-length portraits of men and women under glass. Sides of box with watercolor landscapes under glass. Cribbage board along perimeter of top. Contains a set of dominoes. Height 3”.

Length 6.75”. Width 2.75”.

1,200/1,500

401.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE SPINNING JENNY French/English, Late 18th/Early 19th Century Mechanized model; turning the handle activates the spinning wheel and moves the head of the bonnet-clad woman on the upper platform. Lower platform with hand crank and wheels.

Platforms joined by turned columns and are raised on four shaped feet. Red and blue incised lines on woman’s dress and along the perimeter of platform. Height 4.5”. 1,500/2,500

399

401 400

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201

402

402.

202

CASED NAPOLEONIC PRISONER-OF-WAR BONE MODEL OF A BRITISH 1ST RATE OF 110-GUNS

French/English, Early 19th Century Hull built up from the solid and planked in bone, with baleen bands between the gun ports, waist and sheer line. Cut and pierced gun ports fitted with blackened brass cannons and red-painted fixed covers. Detailed with carved figurehead, carved and pierced stern and quarter galleries, rigging, a Royal Navy ensign, metal anchors and chains, deck fittings, etc. Displayed on a pair of bone cradles resting on a wooden base with polychrome carved bone foliate mounts at corners and a bone gallery carved in a swag and tassel design. Wood and glass case. Case height 14”. Length 14.75”. Width 6”.

10,000/14,000

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403.

NAPOLEONIC PRISONER-OF-WAR CARVED BONE SPINNING JENNY French/English, Early 19th Century Mechanized model; turning the handle rotates the figures. Woman in a bonnet feeds yarn to the wheels, while a polychrome couple dances on her left and a polychrome bearded man smokes a pipe on her right. Height 6.25”.

1,500/2,000

404

403

404.

NAPOLEONIC PRISONER-OF-WAR POLYCHROME BONE GAMES BOX French/English, Early 19th Century Domed cover with concentric circle design opens to reveal a secondary sliding lid with painted portrait of a woman wearing a blue hat and dress standing in a landscape, with red drapery at upper right corner. Cribbage board along perimeter of top. Contains approx. 54 dominoes and three pegs. Scalloped trim around edge of footed base. Some polychrome elements throughout.

Height 2.25”. Length 6”. Width 3.25”.

800/1,200

405

Provenance: Kobacker Collection.

Purchased at a Rafael Osona Auction, Nantucket.

405.

406.

NAPOLEONIC PRISONER-OF-WAR BONE GAMES BOX French/English, Early 19th Century Polychrome geometric engraving on edges of box. Sliding top with cribbage board and extended thumb tab. Contains 26 non-matching bone dominoes. Height 2.13”. Length 6.5”.

Width 1.25”.

1,000/1,500

NAPOLEONIC PRISONER-OF-WAR BONE DOLL’S ROCKING CRADLE French/English, First Half of the 19th Century Engraved with stars and flower blossoms.

Height 4”. Length 5”. Width 3”.

500/800

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203

Ship Models from the

Collection of Dr. Richard H. Strauss Dr. Richard H. Strauss (1937-2014) was an orthodontist in Rochester, New York. His interest in the age of sail and square riggers began as a young boy while reading Horatio Hornblower, which led to a fascination with Lord Nelson and the Napoleonic era. He traveled to many of the Lord Nelson historic sites in the Caribbean and England and he began collecting ship models, specifically Napoleonic Prisoner-of-War models, with a couple of exceptions, such as the H.M.S. Delight and a diorama of the frigates U.S.F. Constitution and H.M.S. Java. He built a custom display in his private office, with climate and lighting controls to preserve his collection. His love of his collection and passion for ship models continued throughout his life.

204

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407.

NAPOLEONIC PRISONER-OF-WAR BONE MODEL OF THE BRITISH FRIGATE H.M.S. UNICORN

French/English, Circa 1800 Hull built up from the solid and planked in bone, with a baleen waist and sheer line. Cut and pierced gun ports with fixed covers and blackened brass cannons. Carved bone figurehead of a “unicorn”, and carved and pierced stern and quarter galleries as well as other decorative motifs. Detailed with head rails, metal anchors, boneplanked decks, pin and fife rails, belfry, capstans, well deck with railings and bas-relief carved foliate decoration, hatch gratings, guns on carriages, taff rail, etc. Numerous

delicately carved elements on the hull, stem, railings and other areas of the ship. Rigged with chain plates and dead-eyes, masts, yards, standing and running rigging with bone blocks, spars and other details. Displayed on a later mahogany board within a glass and mahogany case with cathedral top and brass handle. Case height 20”.

Length 18.5”. Width 9”.

6,000/8,000 Provenance: William Blair Ltd., Bethesda, Maryland, 1976.

Purchased from the above by Richard H. Strauss, DDS, and thence by descent to the current owners.

407

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205

Ship Models from the Collection of Dr. Richard H. Strauss

408.

408, detail on p. 202

NAPOLEONIC-STYLE MODEL OF THE THIRD RATE SHIP OF THE LINE H.M.S. CONQUEROR

Early 20th Century Hull built up from the solid and planked in bone, with a waist band planked in baleen, applied baleen bands between the gun ports and a rope-twist bone band at the sheer. Detailed with blackened brass cannons, chain plates and dead-eyes, a carved bone figurehead of a Roman warrior, carved and pierced stern and quarter galleries with foliate and swag decoration, head rails, bone-planked decks fitted with pin and fife rails, three mast steps, capstan, stove pipes, belfry with bell, well deck open with ladders and support posts, water casks, hatch gratings, guns on carriages, etc. Numerous delicately carved elements on the hull, stem, railings and other areas throughout the entire model. Displayed on a pair of mahogany cradles on an oval base. Mahogany and glass case with mahogany base. Case height 11.25”. Length 26.5”.

Width 8.5”.

7,000/10,000

Provenance: William Blair Ltd., Bethesda, Maryland, 1977.

Purchased from the above by Richard H. Strauss, DDS, and thence by descent to the current owners.

The H.M.S. Conqueror was a 74-gun Royal Navy ship, launched October 10, 1773 at Plymouth. She was commanded by Captain George Balfour in the Battle of the Saintes in 1782, and was broken up in 1794.

409.

DIEPPE MODEL OF A 10-GUN THREE-MASTED NAVAL BRIG Circa 1820 Hull carved in ivory, with incised sheer line from the stem to the transom. Detailed with basic deck fittings, several figures, ten cannons, bowsprit, masts, standing and running rigging, ivory veneer sails, etc. Mounted directly to the wooden base of the maple and glass case. Case height 5”. Length 6.25”. Width 3”.

1,500/2,500

Provenance: William Blair, Ltd., Bethesda, Maryland, 1978.

Purchased from the above by Richard Strauss, DDS, and thence by descent to the current owners.

409

206

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410

410.

ADMIRALTY-STYLE MODEL OF THE 6TH RATE OF 24 GUNS H.M.S. DELIGHT Circa 1709 Hull built up in plank-on-frame construction, with the planking left off below the waist to show the construction.

Topsides are planked in pear wood and the waistband in ebony. Gunports are cut and hinged and decorated with gilt gunport wreaths. Deck is partially planked in veneers, with some planking left off to show the deck framing. At the bow is a gilt figurehead of a lion, and there are numerous other carved gilt decorations at the bow, interior of the waist, quarter galleries and transom. The deck is well-detailed with anchors, pin and fife rails, belfry with bell, capstan, steps to the upper decks, etc. Displayed on a pair of contemporary carved wooden cradles on a contemporary base contained within a period case. Case with walnut and fruitwood diamond-pattern inlay at base. Case height 21.75”.

Length 27”. Width 12.25”.

7,000/10,000 Provenance: Sir John D’Oyly, 6th Baronet (1790-1796), and thence by descent within his family.

William Blair, Ltd., Bethesda, Maryland, 1978.

Purchased from the above by Richard Strauss, DDS, and thence by descent to the current owners.

The H.M.S. Delight launched in 1709 and was sold in 1712. While we have catalogued this model as “Admiralty Style”, meaning that it is later than the period, many of the details show the hull to be of the period, with some later additions (the masting and rigging), and later restorations that may have covered some of the original detail. Certainly, the provenance, which is documented from correspondence between Dr. Strauss and the dealer William Blair, leads one to believe the hull of the model is older.

See: Navy Board Ship Models 1650-1750 by John Franklin (Naval Institute Press, 1989), p. 116-120 for a similar model to the H.M.S. Delight, the H.M.S. Lizard, a 6th rate of 24 guns from 1697.

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207

James Edward Buttersworth New Jersey/New York/United Kingdom, 1817-1894 Lots 411-413

411.

Shipping off Fastnet Rock.

Fastnet Rock is prominently depicted, with a large schooner yacht to the right and other shipping in the foreground and background. Signed lower right “J.E. Buttersworth”. Oil on board, 6” x 12.5”.

Framed 12” x 18.5”.

20,000/30,000

412.

A partially dismasted packet ship coming out of a storm.

Signed lower right “J.E. Buttersworth”.

Oil on board, 6.125” x 9.25”.

Framed 12.25” x 15.25”.

15,000/25,000

413.

The American ship Macedonian.

Signed lower right “J.E. Buttersworth”.

Oil on panel, 8.5” x 13.75”.

Framed 13.5” x 18.75”.

15,000/25,000

411

412

Provenance: Kennedy Galleries, New York, Registration #A14329.

413

208

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414

414.

THOMAS BUTTERSWORTH, SR. United Kingdom, 1768-1842 Shipping off Eddystone Light. Signed lower right. Oil on canvas, 18” x 24”.

Framed. 6,000/8,000

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209

210

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Montague Dawson Great Britain, 1890-1973 Lot 415

415

415.

“The Stone Jetty”.

Signed lower left “Montague Dawson”.

Titled on label verso. Oil on canvas, 40” x 50”. Framed 47” x 57”.

70,000/100,000 Illustrated in The Maritime Paintings of Montague Dawson by Ron Ranson (David & Charles, 1993), p. 38.

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211

416, three

416.

WILLIAM GILKERSON Wisconsin/Nova Scotia, 1936-2015 Three sketches: “Getting in sail on U.S.S. Constitution”, “Commander Mike Buck”, and “Marines aboard U.S.S. Constitution”. All titled in pencil and signed lower right “Wm. Gilkerson”.

Watercolors on paper, the largest 9” x 6.5” sight.

Framed 15.5” x 12”.

700/1,000

417.

HENRY SCOTT United Kingdom, 1911-2005 “Sunset off of Land’s End - The Cutty Sark”. Signed lower left “Henry Scott”. Oil on canvas, 20” x 24”.

Framed 26.5” x 30.5”.

2,500/3,500

418.

GORDON HOPE GRANT New York/California/United Kingdom, 1875-1962 “The King’s Ship”. Signed lower left “Gordon Grant”.

Titled verso. Oil on canvas, 50” x 60”. Framed 57.5” x 67.5”.

5,000/7,000 Provenance: Christie’s, New York, January 31, 2007, Lot #321.

417

212

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418

419

420

419.

AMERICAN SCHOOL 19th Century 1881 America’s Cup race between the Mischief and Atalanta.

Unsigned. Oil on canvas, 30” x 38”. Framed 35” x 43”.

5,000/7,000

420.

AMERICAN SCHOOL 19th Century The schooner Hannah Little off the Battery, New York.

Signed lower right “Smith”. Oil on canvas, 26” x 40”.

Framed 32” x 46”.

3,000/5,000

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213

John Mecray Rhode Island/Pennsylvania, 1937-2017 Lot 421

421

IYRS School of Technology and Trades (IYRS) is the premier marine trades and modern manufacturing school in the country.

Located on an oceanfront campus in Newport, Rhode Island, IYRS students are high school and college graduates, military 421.

The American clipper ship Flying Cloud.

Signed and dated lower right “John Mecray 1982”.

Oil on canvas, 20” x 32”. Framed.

30,000/50,000

veterans and career changers who all have one important thing in common: They are learning the art and science of building, restoring and maintaining, working to become the next generation of fine craftspeople and technicians who will preserve our marine heritage and build our collective future.

IYRS students come from across the country and the globe

THIS LOT IS BEING SOLD TO SUPPORT THE ENDOWMENT OF SCHOLARSHIPS AT IYRS SCHOOL OF TECHNOLOGY AND TRADES

for an experiential education in four accredited programs: Boatbuilding & Restoration, Composites Technology, Digital Modeling & Fabrication, and Marine Systems. Student outcomes are exceptional: over 85% of IYRS students are employed in their field within six months of graduation. Seventy percent of IYRS students require financial assistance from the school in order to attend. The funds from the sale of this painting will be used to support IYRS and the educational experience of our students.

See www.iyrs.edu.

214

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Built by Donald McKay in Boston, the extreme clipper Flying Cloud was launched in April 1851 and arrived in New York two weeks later, towed by the tug Ajax. On her first voyage she lost her main and mizzen top gallant masts, but she later became known for making fast passages, including a record 89 days from New York to San Francisco. In 1859 she was engaged to carry troops to London, and her later years were spent in the timber trade. In 1874 she went aground and broke her back, after which she was sold and broken up.

In this painting, America’s most famous clipper ship makes landfall as her crew shortens sail in a moderate breeze. Her flying jib and royals have been furled and they work on securing the main.

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215

422.

EXCEPTIONAL TWO-PART CAMPAIGN SECRETARY

English, Mid-19th Century In walnut, plum pudding mahogany and burled walnut veneer. Upper case with secretary drawer over a full-width drawer.

Interior fitted with pigeonholes, letter slots and compartments. Lower case with two full-width drawers and turned feet. All drawers with string inlay and original recessed brass hardware.

Original brass bail carrying handles at sides of cases. Height 42.5”. Width 39”. Depth 20”.

3,500/5,000

422

423.

TWO-PART MILITARY CHEST

19th Century Brass-bound case fitted with two half drawers over three full-width drawers. Recessed drawer pulls. Bun feet. Height 38.5”. Width 41.25”.

Depth 18.5”.

1,000/1,500

423

216

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424.

DIMINUTIVE TWO-PART BRASS-BOUND CAMPAIGN CHEST

English, Mid-19th Century In mahogany. Upper case with two half drawers over a full-width drawer. Lower case with two full-width drawers and removable turned ebonized feet. Iron bail carrying handles at sides. Height 38”. Width 33”. Depth 17”.

2,000/2,500

424

425.

TWO-PART BRASS-BOUND CAMPAIGN CHEST English, 19th Century In mahogany. Upper case with two half drawers over a full-width drawer. Upper right drawer functions as a secretary drawer, with fitted interior and embossed leather-covered fold-out writing surface. Lower case with two full-width drawers and removable turned ebonized feet.

Height 40”. Width 39”. Depth 17.5”.

1,500/2,500

425

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217

426.

BRASS-BOUND CAMPHORWOOD MECHANIZED TRAVEL DESK Mid-19th Century Pulling open the drawer activates the tambour to release a writing surface and a lift-up compartment fitted with pen trays and letter holders. Recessed brass carrying handles at sides and front. Height when open 13.25”.

Width 18.75”. Depth 23”. 1,200/1,800

426

427.

218

THREE ILLUSTRATED ROYAL NAVY LOG BOOKS 1868-1873 Kept by F.O. Passy, who served aboard the H.M.S. Prince Consort as a cadet and midshipman from 1868 to 1870, and aboard the H.M.S. Druid as a sub-lieutenant from 1872 to 1873.

1) “Log of H.M.S. Prince Consort 4045 Tons. 1000 H. P. Commanded by Wm. Armytage Esq. Captain and Kept

by F.O. Passy N.C. & Medn.” Details the ship’s voyages in the Eastern Atlantic and Mediterranean. Fourteen tipped-in hand-drawn maps, several with color washes.

Twelve tipped-in elevation drawings in pencil, ink wash or watercolor. Two pasted-in ship photographs. One tipped-in watercolor illustration of a Maltese boat. 246 pages. Half-morocco folio volume (12.75” x 8.25”) with embossed boards and gilt title.

2-3) Two-volume log for the maiden voyage of the H.M.S. Druid along the Gold Coast from 1872 to 1873.

Details the ship’s involvement in the Third Anglo-Ashanti war, with descriptions of the bombardments of Aquidah and Appolina and a battle at Elmina. Mentions General Garnet Wolseley aboard the ship and time spent at Cape Coast Castle. Eleven tipped-in watercolors, including the bombardment of Aquidah, Ashanti fetish swords, butterflies, ship portraits and a Portuguese man-o’-war.

Seven tipped-in hand-drawn maps, including the battle at Elmina. Five tipped-in drawings, including South African cattle, rigging and a plan of the ship’s bow. Folio volume (13” x 8.25”) bound in velum.

6,000/8,000

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427, above and at right

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219

428.

COMPLETE SET OF THE VOYAGES OF CAPTAIN COOK IN EIGHT VOLUMES, PLUS ATLAS VOLUME A uniformly bound set, all quarto volumes with threequarter calf bindings with marbled boards and morocco spine bands, save for the larger folio atlas volume bound in a similar style. All volumes contain plates, charts and maps, some folding.

1-3) An Account of The Voyages Undertaken By The Order of His Present Majesty For Making Discoveries in the Southern Hemisphere And successively performed by Commodore Byron, Captain Wallis, Captain Carteret, and Captain Cook, ... [First Voyage] by John Hawkesworth (London: W. Strahan and T. Cadell, 1773). Vols. I, II and III. Contains twenty-one plates in Vol. I, twenty-two in Vol. II and nine in Vol. III. 4-5) A Voyage Towards The South Pole, and Round The World. Performed in His Majesty’s Ships The Resolution and the Adventure, In the Years 1772, 1773, 1774, and 1775 [Second Voyage] by James Cook (London: W. Strahan and T. Cadell, 1777). Vols. I and II. Contains thirty-seven plates in Vol. I and twenty-six in Vol. II. 6-8) A Voyage To The Pacific Ocean. Undertaken, By The Command Of His Majesty, For Making Discoveries in the Northern Hemisphere. ... In the Years 1776, 1777, 1778, 1779, and 1780 [Third Voyage]. Vols. I and II by James Cook and Vol. III by James King (London: W. and A. Strahan for G. Nicol, 1784). Vols. I, II and III. Contains seven plates in Vol. I, eleven plates in Vol. II and five plus a fold-out table and an ad leaf at rear of Vol. III. 9) Atlas volume with no publication information. Titled on spine band “Cook’s Voyages Plates”. Contains eighty-six plates. 20,000/30,000 428, multiple views

220

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429

429.

SWATCH OF THE MAIN TOPSAIL OF LORD NELSON’S FLAGSHIP, H.M.S. VICTORY

18th Century Accompanied by an autographed letter signed “Henry W. Carpenter Captain U.S. Marines U.S. Flagship Olympia”. Reads in full: “This is to certify that during the month of June 1902, while paying a mess call from the U.S.F.S. Illinois, then representing the United States Navy at the Coronation Naval Review at Spithead, England, I went on board H.M.S. Victory, the flag ship of the late Admiral; Horatio Nelson R.N. at the battle of Trafalgar, and was presented with a small piece of the main topsail, used during the battle, and which received over one hundred and four tears and rents from shot. It was directly below this sail, and in its very shadow that Lord Nelson received his mortal wound. The fragment of sail, was torn from the remains of the canvas just as it had been stored in a case when the ship was brought to Portsmouth England.

It was given me by Lieutenant Roper R.N. who assured me it was absolutely genuine and who tore it from the large piece with his own hand in my presence.” Framed together under glass with a turn-of-the-century vintage 5” x 3” photograph of H.M.S. Victory in Portsmouth Harbor. Swatch approx. 2.25” x 3”. Framed 14” x 25”.

10,000/15,000

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221

430

430.

222

FINE DOUBLE EAGLE PLAQUE BY PETER Q. LIBBEY

Rockland, Maine, Circa 1975 Boldly carved and painted pine rendering of two eagles clutching a red, white and blue American shield and a blue and gilt “E. Pluribus Unum” banner in their talons.

Below the shield is a green olive branch bearing red berries.

Exquisitely detailed and with a wonderful sense of motion and tension. The eagles’ heads face different directions and their sharp beaks are open, showing their slithering red tongues. Their feathers are highly defined, unique to Libbey’s style, and their wings are raised as if they are about to take flight. The shield’s white stars are raised and a matching star punctuates the banner. Signed on reverse “Peter Q. Libbey”.

Height 20”. Width 60”. Depth 3”.

10,000/15,000

Master carver Peter Q. Libbey (1944-2018) was born in Maine and spent most of his life there, save for his time in the Air Force, when he was stationed in Japan and flew missions over Vietnam. His eagles were carved by hand in the traditional style and are considered some of the finest 20th Century carvings. Given the time it took to complete each eagle, his production was limited and examples rarely come on the market.

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431.

PRESENTATION SPEAKING TRUMPET Dated 1858 Body embossed with “Presented to Capt. James F.P. Rust By The Members of the Association August 21st 1858” surrounding an image of two men being harassed by a donkey, one saying “Sail Ho” as he is upended. Lettering and image on a faux bois ground. Bell embossed with a stormy seafaring scene of a ship flying an American flag, figures in a smaller vessel and scattered debris. Length 17”.

500/800

431

432.

IRON ARMADA CHEST Early 18th Century Intricate lockplate on interior of lid. Two additional locking clasps on front. Iron bail carrying handles at sides. Height 15.5”. Width 31.75”. Depth 17.5”.

2,000/3,000

432

433.

SCALE MODEL OF THE U.S. FRIGATE CONSTITUTION

20th Century Hull with copper-plated bottom and painted black topsides.

Stern decorated with a painted eagle and the name of the ship.

Well-detailed deck fitted with deck gratings, pin & fife rails, cannons, ship’s boats, capstan, double ship’s wheel, etc. Rigged with three masts, standing and running rigging, spars, etc.

Displayed on a pair of brass pedestals in an inlaid mahogany and glass case with custom table stand. Height 63.5”.

Length 46.5”. Width 19.25”.

2,500/3,500

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433

223

434.

AMERICAN OR ENGLISH SCHOOL Circa 1860 Ships under sunset skies. Signed illegibly lower right. Oil on canvas, 24” x 34”.

Framed 29” x 40”.

2,000/3,000 Provenance: Private Collection, Philadelphia.

434

435.

BRITISH SCHOOL 19th Century A sidewheeler in heavy seas. Unsigned.

Label verso for The Royal Mersey Yacht Club, Rock Ferry, Birkenhead, United Kingdom. Housed in a Lowy frame. Oil on canvas, 20” x 29”. Framed 25” x 33.5”.

1,500/2,500

435

436.

FRANCIS SWAINE Great Britain, 1720-1782 Shipping in the channel. Identified on frame plaque. Oil on canvas, 19” x 24”.

Framed 23.5” x 28.5”.

2,500/3,500

436

224

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437

438

437.

RICHARD BARNETT SPENCER 438. ENGLISH SCHOOL United Kingdom, active 1840-1874 19th Century Nelson’s H.M.S. Victory and the British fleet arriving at A naval engagement. Unsigned. Oil on canvas, 24” x 36”.

Gibraltar after the Battle of Trafalgar. Signed lower left “R.B. Framed 29” x 41”.

1,000/1,500 Spencer”. Oil on canvas, 24” x 36”. Framed 30” x 41”.

3,000/5,000 After the Battle of Trafalgar, a storm hit the fleet, scattering the remaining ships. The few remaining French and Spanish ships sailed into Cádiz, and the British ships sailed into Gibraltar for repairs.

After the Battle of Trafalgar, the British Navy was never challenged again and dominated the seas for the remainder of the Napoleonic Wars for the next ten years. see photos of all lots and view condition reports at www.eldreds.com

225

439.

JOHN THOMAS SERRES United Kingdom/France, 1759-1823/25 A view of the coast of Jersey. Oil on canvas, 24” x 34”. Framed 29.25” x 39.25”. 4,000/6,000

439

440.

JOHN (JAMES) WILSON CARMICHAEL Great Britain, 1800-1868 Shipping off Portsmouth Harbour. Oil on canvas, 23.5” x 36”. Framed 28.25” x 41”.

4,000/6,000

440

441.

CHARLES THORNLEY, R.A. Great Britain, 1833-1918 Return of the haul. Signed lower right. Oil on canvas, 10” x 18”. Framed 15.75” x 23.75”.

2,000/3,000 This artist worked under a number of pseudonyms including “W.A. Thornberry”.

441

226

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442.

ENGLISH SCHOOL Late 19th Century The Devonshire Lass at Port, a scene of the Thames River, London. Signed lower left “CR”. Oil on canvas, 17.5” x 23”. Framed 27” x 32.5”.

1,000/2,000

442

443.

ATTRIBUTED TO JOHN SCOTT England, 1802-1885 “The Brig ‘John Alice Brown’ off Tynemouth”. Unsigned. Titled on frame plaque. Label verso for Parker Gallery, London. Oil on canvas, 22.5” x 34.5”. Framed 27.5” x 37.5”.

2,500/3,500

443

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227

444

445

444.

228

CHARLES THORNLEY, R.A. Great Britain, 1833-1918 A view of Scarborough. Signed lower right.

Oil on canvas, 16” x 24”. Framed 24.5” x 32”.

1,000/1,500

445.

ANTOINE ROUX I France, 1765-1835 Ship entering a port. Signed lower right “Antoine Roux”. Inscribed in title bar “Martiniquais Nantes”. Watercolor on paper, 17” x 22” sight. Framed 20” x 26”.

3,000/5,000

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446

446.

ADMIRAL RICHARD BRYDGES BEECHEY United Kingdom, 1808-1895 Dramatic marine scene under dark skies.

Signed lower left “R. Beechey”. Oil on canvas, 36” x 53.25”. Framed 43” x 58.5”.

10,000/15,000

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229

447

448

447.

ENGLISH SCHOOL Circa 1875 Portrait of a Pacific Steam Navigation Company mail ship.

Likely a John Elder-designed steam/sail vessel, possibly the Aconcagua, with the company’s flag flying from the central mast. Unsigned. Oil on canvas, 24” x 46”. Framed 29” x 51”.

1,500/2,500

448.

MILES & SAMUEL WALTERS United Kingdom, 19th Century The brig Mary Ann of Liverpool in two positions while entering Mersey. Faint remnants of a signature lower right.

Oil on canvas, 22” x 34”. Framed 25” x 37.5”. 3,000/5,000

The Pacific Steam Navigation Company was contracted by the Crown for mail delivery service to South America and Australia.

230

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449

449.

WILLIAM GAY YORKE New York/Canada/England, 1817-1892 Portrait of the schooner John L. Merrill. Signed and dated lower left “Wm G. Yorke 1878”.

Oil on canvas, 26” x 36”. Framed 30” x 40”.

5,000/8,000

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231

450.

BILLETHEAD ATTRIBUTED TO THE SHOP OF SIMEON SKILLIN OF BOSTON

Late 18th/Early 19th Century Beautifully carved scroll and foliate design. Shows remnants of gilt and ebonized finish. Superb patina.

Mounted to a later pine support for display purposes.

Height 22.5”. Width 8.5”. Depth 16.5”. 4,000/6,000

450

451.

CARVED BILLETHEAD, POSSIBLY ATTRIBUTED TO JOHN BELLAMY

Third Quarter of the 19th Century Beautifully scrolled and acanthus carvings. Inset iron mounting hook on back.

Height 13.5”. Length 27”. Width 6.25”.

3,000/4,000

451

232

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452.

AFRICAN LADY FIGUREHEAD

Last Quarter of the 19th Century Three-quarter-length woman with a teal blue cloth draped across her chest and a yellow-trimmed skirt. Scroll-carved base. Given the size, it is believed this figurehead would have been used on a brigantine. Height 66.5”. Width 18.5”.

Depth 18”.

7,000/9,000

452

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233

453

454, two

455, pair

234

453.

HALF A SHIP’S FIGUREHEAD IN THE FORM OF A RUNNING DOG Mid-19th Century With extensive relief-carved fur, foliate carvings below dog’s rear leg and a scroll carving. Retains some of its original gilt finish. Height approx. 12”.

Length 77”.

7,000/10,000

454.

TWO MATCHING RELIEF-CARVED SHIP’S TRAILBOARDS 19th Century In mahogany. Foliate designs throughout. One trimmed shorter than the other. Lengths 63.5” and 83.25”.

800/1,200

455.

PAIR OF WALNUT GANGWAY BOARDS

19th Century Each with applied five-point star and anchor. Brass mounts. Heights 34”. Widths 21”.

3,000/4,000

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456.

ILLUSTRATED SHIP’S JOURNAL Circa 1810 “Journal of Seth Barlow for his own Amusement” kept onboard the brig Nancy, one part covering a “Voyage from New York Towards Gottenbourg, Began Monday March 26th AD 1810”, then later “a passage from Christien Sound in Norway to Newry in Ireland”, all under captain Nathan Briggs. Written in a flourished calligraphy with ink drawings of ships, fish, whales, porpoises, birds and other sealife throughout. Barlow, from Rochester, Massachusetts, also included a list of items he purchased and brought onboard, including shoes, paper, knife, tobacco, cigars, etc., with the price he paid for each item. Other crew members include Timothy Hillar, Allen Dexter, Silas Briggs, Silvanus Briggs, Thomas Hendrick, Joseph Smith and two boys. Other locales mentioned include Mull of Cantire, Isle of Man, Carlingford and Warren’s Point. The last entry is dated May 20, 1811. Retains what appears to be its original handstitched canvas cover, approx. 13.75” x 8.75”. Pages approx.

12.5” x 8”.

3,000/4,000

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235

458

459

236

457.

SEAMAN’S JOURNAL ABOARD THE SCHOONER GEORGIA 1856-1870 Detailing three different voyages along the east coast of the United States, sailing out of Ipswich, Massachusetts. In two different hands, and reporting weather, ship repairs, routes and ports.

Eighty-three pages of entries. Paper label on inside front cover for Frederic W. Lincoln, Jr. Navigation Store, Boston. Folio volume (13.5” x 8.5”) in marbleized paper boards. Includes a contemporary cloth-bound sleeve.

500/800

458.

LOG BOOK OF THE BRIG SURF 1857-1859 Detailing merchant voyages along the east coast of the United States, New Orleans, the Caribbean and Brazil. Entries in a least three hands detail ports, weather, ship speed, vessel sightings, cargo and notable events, including the sudden death and burial of a crew member. Pencil drawings of ships, including an ironclad flying the Union Jack, pigs, numerous doodles and rubbings of circus acts. 174 pages. Folio volume (13.5” x 8.25”) in marbleized paper boards.

1,000/1,500

459.

MODEL OF THE AMERICAN TOPSAIL SCHOONER THE EAGLE

By William Hitchcock (1928-2006). Built up in plank-on-frame construction, with exposed frames and mahogany planking. Planked deck with fine cabin details. Rigged with standing and running riging. Displayed in a mahogany and glass case.

Case height 26.5”. Length 36.25”. Width 16.5”.

800/1,200

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461

460.

HOURGLASS MADE WITH TIMBER FROM THE BRIG CEDRIC The 193-ton brig Cedric was built in 1828 in Duxbury, Massachusetts and registered in New York in 1837.

Hourglass frame marked at top “Brig Cedric 1835”.

Includes a cylindrical cardboard box and a handwritten note on Mystic Seaport Museum letterhead. Height 4.5”.

Diameter 3”.

200/300

461.

SPECTACULAR DOUBLE SHADOW BOX MODEL

Last Half of the 19th Century Upper section depicts two vessels and a lighthouse.

Lower section depicts an active scene of five vessels and a lighthouse. Vessels set in plaster seas. Backboard of both sections painted to resemble a cloudy blue sky. Overall height 34”. Width 43.25”. Depth 6.25”. 2,000/3,000

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237

462

462.

EXCEPTIONAL MARITIME SHADOW BOX DIORAMA

19th Century Depicts a two-masted topsail schooner with white hull and nicely detailed decks and figures. Schooner set in a whitecapped ocean. Painted sky background. Walnut shadow box with carved surround. Height 35”. Width 50”. Depth 12.5”.

2,500/3,500

463

463.

238

SHADOW BOX MODEL OF TWO SHIPS COMING INTO A HARBOR

Circa 1880 The ships, both flying an American flag and a pennant, are being led by pilot schooner number 2. Vessels set into a painted plaster sea. Painted sky and cloud background. Original Victorian walnut frame with gold liners and mirrors lining the angled interior sides. Overall height 21.5”. Width 42”.

1,500/2,500

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465

464

464.

465.

U.S. LIGHT HOUSE ESTABLISHMENT WALL REGULATOR CLOCK BY E. HOWARD OF BOSTON Late 19th Century Quarter sawn oak case. Painted Roman numeral dial marked “U.S.L.H.E.”. Red and black reversepainted throat glass. Includes weight, pendulum and key. Height 31.25”. Width 15.5”. Depth 5”.

2,000/3,000

RARE ALAN STEVENSON VOLUME ON LIGHTHOUSES Report to the Committee of the Commissioners of Northern Lights, Appointed to Take into Consideration the Subject of Illuminating the Lighthouses by Means of Lenses by Alan Stevenson, M.A. (Edinburgh: Neill & Company, 1835). Includes six folding plates with detailed diagrams of lights. Large Q. Textured boards with green title label. Includes contemporary clamshell case.

1,000/1,200 Internationally renowned lighthouse engineer Alan Stevenson (1807-65) was a member of the illustrious Stevenson family of Scotland, which included other noted engineers and author Robert Louis Stevenson. He constructed at least a dozen lighthouses, most notably the Skerryvore Lighthouse, considered a feat of Victorian engineering. In this volume he reports on his observations of newly developed French lenses including Fresnel.

466.

ALBUM OF NEW ENGLAND LIGHTHOUSE POSTCARDS

19th and 20th Century Approx. 201 colored and black and white postcards depicting lighthouses throughout New England, organized by state. (Some New York and other locales also included.) A few pertinent newspaper clippings or other notations tipped in. Folio album with black boards.

200/400 Provenance: A personal gift to the consignor from Barbara Johnson at least 25 years ago.

467.

467

U.S. LIGHTHOUSE ESTABLISHMENT SEXTANT

Early 20th Century Paper label for “T.S. & J.D. Negus Chronometers & Nautical Instruments” affixed to interior of case. Etched on degree scale “A. Hurlimann Paris 1187”. Fitted mahogany case. Case height 4.25”.

Width 9.25”. Depth 8.5”.

400/600 The Smithsonian has a Hurlimann sextant in its permanent collection (PH*309660).

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239

468, two views

468.

RARE NAVIGATIONAL SLATE First Half of the 19th Century Folding wooden case with painted decoration of two American flags and a pennant on pole, and carved decoration of a star, sun, crescent moon and “John W. Mickle”. Fitted with two slates. 18” x 12.75”. 2,000/3,000

469.

FINE QUADRANT BY WILLIAM MANN Liverpool, Circa 1775 Engraved on brass index arm “Wm Mann Fecit Liverpool” in fancy script lettering. Ebony frame with ivory degree scale. Complete with index and horizon mirrors, four sun filter shades, peep sight and adjustable mirror box hardware.

Also includes an inlaid ivory “notepad” on underside for marking readings and the original ivory-mounted pencil.

Index arm with 0-centered vernier scale, referred to as “A type”, introduced around 1770 but replaced about five years later by a 0-right scale, referred to as “B type”. Length 17.5”.

Width 13.75”.

2,000/3,000

469

William Mann (d. 1782) was listed as a “mathematical instrument maker” at 3 East Side George’s Dock Passage, Liverpool.

240

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470

470.

BACKSTAFF BY CHARLES DIGBY

London, Circa 1740 Inlaid boxwood label marked “Made by Charles Digby near the Hermitage Stairs London”. Ebony frame with two arched boxwood scales, with the earliest types of degree scales. Larger arch with hook-shaped handle. Both arches decorated with tiny stars and flower blossoms. Rich age patina. Length 25.25”. Width 14.25”.

4,000/6,000 Backstaffs were invented by English navigator Captain John Davis and were used to measure the altitude of the sun or moon.

471

471.

BRASS POCKET SEXTANT BY WATKINS OF LONDON

19th Century Engraved “Watkins, Charing Cross, London”. Height 1.25”.

Diameter 3”.

800/1,000

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241

472.

RARE NAVIGATIONAL TEXT THE NAVIGATOR The Navigator Shewing and explaining all ye Chiefe principles and parts both Theorick & Practick, that are contayned in the famous Art of Navigation.

With A new and Admirable way of Sayling by the Arch of one of the greatest Circles. Contayning excellent Tables most exactly Calculated, Shewing the true Proportion of all Paralels in respect of the Meridian. With the proper Phraises used in Working of a Ship according to all Weathers by Captain Charles Saltonstall (London: Geo. Herlock, 1636). Believed to be a first edition. Contains one volvelle (wheel chart), still in working order, as well as other charts and graphs. Decorative title page. 12 mo.

Old calf (rebacked).

1,000/1,500 Charles Saltonstall was a captain in the West Indies trade and a mathematics teacher.

242

472, multiple views

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473.

OCTANT Early 19th Century Ebonized frame with diamond-shaped ivory inlay. Arm’s brass components with foliate engravings. Length 19”. Width 15.25”.

1,000/1,500

473

474.

474

475.

475

476.

DECAGONAL ONE-DRAW TELESCOPE BY DOLLOND

London, Late 18th Century Reverse-tapered hardwood tube, probably walnut. Signed on draw “Dollond London”. Optics in working order. Length closed 25”.

900/1,200

CASED PANEGRAPH BY W. & S. JONES OF LONDON

First Half of the 19th Century Inscribed “W. & S. Jones Holborn, London”. Mahogany case height 3.75”. Length 7.75”. Width 5.25”.

700/900

CASED PANEGRAPH BY DOLLOND

London, Mid-19th Century Marked “Dollond London” and “W. Beckitt”. Mahogany case height 3”.

Length 13”. Width 5”.

500/700

477.

H. DUREN SEXTANT New York, 19th Century Ebony frame with brass mounts and ivory degree scale. Nameplate engraved “H. Duren New-York Retailed by E. & G.W. Blunt”. Length 12.75”.

Width 11”.

300/500

Provenance: John Newton Marine Antiques, Maine.

Peabody Museum.

476

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243

478.

244

ALFRED THOMPSON BRICHER New York/New Hampshire, 1837-1908 Sailing off the coast. Signed lower left “AT Bricher” with initials forming a monogram. Oil on canvas, 18” x 30”.

Framed 25” x 36.75”.

25,000/35,000

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478

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245

479

480

479.

ATTRIBUTED TO ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 Portrait of the American tug Abram P. Skidmore. Unsigned.

Oil on canvas, 18” x 31”. Framed 23” x 37.5”.

7,000/9,000

480.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 The R.M.S. Royal George at sea. Signed, inscribed and dated “Antonio Jacobsen 31 Palisades Av. West Hoboken, N...

1909”. Oil on board, 28” x 48”. Framed 36.75” x 56.75”.

4,000/6,000 See Antonio Jacobsen - The Checklist by Harold S. Sniffen (Smith Gallery, 1984), p. 248-249, #4.

246

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481

482

481.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 The S.S. Cornwall at sea. Signed, inscribed and dated lower right “A. Jacobsen 257 8th Av. NY 1880”. Oil on canvas, 22” x 36”. Framed 28” x 42”.

10,000/15,000

482.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 The steam/sail vessel Niagara. Signed, dated and inscribed lower right “Antonio Jacobsen NY 1877 237 8th Avenue”.

Oil on canvas, 22” x 36”. Framed 27” x 41”. 8,000/12,000

See Antonio Jacobsen - The Checklist by Harold S. Sniffen See Antonio Jacobsen - The Checklist by Harold S. Sniffen (Smith Gallery, 1984), p. 82-83, #28.

(Smith Gallery, 1984), p. 218-219, #11.

Provenance: The Niagara was built by John Roach & Sons, Chester, Pennsylvania The Smith Gallery, New York, 1987. in 1877. The U.S. Navy acquired her in 1898 for service in the Purchased by the current owner.

Spanish–American War.

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247

483.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 The ship Harmonia at sea. Circa 1880. Signed and inscribed lower right “A. Jacobsen 257 8 Ave. NY”. Oil on canvas, 18” x 30”. Framed 25” x 36.5”.

12,000/18,000 See Antonio Jacobsen - The Checklist by Harold Sniffen (Smith Gallery, 1984), p. 140-141, #32 for a listing of the drawings for this painting in the collection of the Mariner’s Museum, Newport News, Virginia.

The Harmonia was built by J. Currier in Newburyport, Massachusetts for Schilling & Meinke of G’stemnde, Germany. She had a long career spanning from 1874 to 1893.

483

484.

ANTONIO NICOLO GASPARO JACOBSEN New York/New Jersey/Denmark, 1850-1921 “The Lightning”. Signed lower right “Antonio Jacobsen”. Titled lower left “Lightning 1854 Don McKay 244 F. Australia Trade”. Oil on board, 12” x 20”. Framed 18” x 27”.

3,000/5,000 See Antonio Jacobsen - The Checklist Addenda List Number 2 by Harold Sniffen (The Mariner’s Museum, 1994), p. 40-41, #27.

484

485.

ATTRIBUTED TO CLEMENT DREW Massachusetts, 1806-1889 A ship in high seas. Unsigned. Oil on canvas, 21” x 29”. Framed 32” x 24”.

1,500/2,500

485

248

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486.

CLAUS BERGEN Germany, 1885-1964 The Lonely Sea. Signed and dated lower right “Claus Bergen 1930” and indistinctly inscribed verso. Oil on canvas, 39.5” x 71”. Framed.

6,000/8,000 Provenance: Dr. Mulligan, New York.

The Seaman’s Church Collection of Marine Paintings and Decorative Arts.

Bonhams, Sale 19192, Lot #2096.

The current owner.

486

487.

JAMES MCAULIFFE Massachusetts, 1848-1921 A heeling brig. Signed lower right “J.J. McAuliffe”. Oil on canvas, 18” x 28”. Framed 24” x 34”.

1,500/2,500

487

488.

REGINALD NICKERSON Massachusetts, 1915-1999 The two-masted schooner Lewis A. Edwards.

Signed lower right “R.E. Nickerson”. Oil on canvas, 22” x 28”. Framed 25” x 31”.

2,000/3,000 Provenance: Eldred’s, July 25, 2003, Lot #323.

Private Collection, Pennsylvania.

488

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249

489.

CLEMENT DREW Massachusetts, 1806-1889 “Long Island, Boston Harbor”. Signed lower right “C. Drew”. Inscribed verso “Long Island, Boston Harbor. By C. Drew 1885”. Oil on canvas, 18” x 30”. Framed 22” x 34”.

3,000/5,000 Provenance: Private Collection, Wisconsin.

Eldred’s, July 17, 2008.

Private Collection, New York.

489

490.

MARSHALL JOHNSON, JR. Massachusetts, 1850-1921 A tug and a full-rigged ship. Possibly a scene of Boston Harbor. Signed faintly lower left “Marshall ...”. Oil on canvas, 18” x 30”. Framed 32” x 44”.

3,000/5,000

490

491.

JOSEPH PARK SWEETSTER United States, 1831-1889 The Alice Montgomery. Signed lower right “J.P. Sweetser”. Oil on canvas, 24” x 40”. Framed 25.5” x 41.5”.

2,000/3,000 The Montgomery is listed as being lost at sea in “The Great Storm Off the Atlantic Coast of the United States March 11-14, 1888”.

491

250

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492

493

492.

ATTRIBUTED TO JAMES HAMILTON Pennsylvania, 1819-1878 “Fishing Smacks of [sic] Coast of Ireland”. Unsigned. Artist and title identified on label verso for Chapellier Galleries.

Oil on canvas, 28” x 40”. Framed 35” x 47”. 3,000/5,000

493.

SOLON FRANCIS MONTECELLO BADGER Massachusetts, 1873-1919 Portrait of the Harvard. Signed lower left “S.F.M. Badger Charlestown, Mass”. Also signed verso. Oil on canvas, 26” x 42”. Framed 35” x 50”.

6,000/8,000

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251

494

495

494.

SCHOOL OF ELISHA TAYLOR BAKER United States, 19th Century The two-master schooner G. Carman. Unsigned.

Accompanied by a letter from William Avery Baker, naval architect and historian, who attributes the work to Elisha Taylor Baker. Oil on canvas, 24” x 32”. Framed 28” x 36”.

4,000/6,000

495.

AMERICAN SCHOOL 19th Century Portrait of the ship A.B. Thompson of Brunswick, Maine.

Unsigned. Oil on canvas, 20” x 30”. Framed 26” x 36”.

4,000/6,000 The A.B. Thompson was captured by the Confederacy off Savannah, Georgia in 1861. She was later “condemned as a prize” and sold.

252

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Nicolino Vicompte Calyo Italy/United States, 1799-1884 Lot 496

496

496.

“Sunset over Boston Harbor”.

Faint pencil inscription on upper stretcher bar “N. Calyo”.

Oil on canvas, 26” x 36”. Framed 32” x 43”.

8,000/12,000 Provenance: Mystic Fine Arts, Mystic, Connecticut.

Paul Grimm, Providence, Rhode Island.

Grogan and Company, Boston.

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253

497.

SEA CHEST Mid-19th Century In pine under old green paint. Dovetail construction.

Lid inset with a U.S. large cent. Underside of lid carved “Richard Lincoln Creesy” and with a drawing of a threemasted ship. Interior fitted with a lift-top till, a single drawer and an open storage compartment. Manila rope handles at sides. Height 16”. Width 37.5”. Depth 18”.

1,200/1,500

497

498.

EXCEPTIONAL PAINTED SEA CHEST

Mid-19th Century Under deep blue paint. Dovetail construction. Bold cleats with sailor’s ropework beckets. Plaque marked “Joseph Davis Dexter Seekonk, Mass. 1853” affixed to interior of lid. Contains maritimerelated papers, scientific newsletters, several implements, a cotton Union Jack flag, etc.

Height 18”. Width 44”. Depth 20”.

1,500/2,500

498

499.

SAILOR-MADE LIFT-TOP SEA CHEST

19th Century Exterior painted black. Lid attached with iron hinges. Painted decoration on interior of lid of American flags, one marked “Free Trade”, flanking a seascape with a three-masted steamship and a distant sailboat. Interior fitted with ditty box. Ropework beckets.

Height 16.5”. Width 36”. Depth 17.5”.

1,500/2,500 499

254

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500, pair

500.

501.

PAIR OF SHIP’S PAPERS CHESTS

Second Half of the 19th Century Both painted green with black lettering on front. One with “Steamer City of Bath Papers.” and the other with “Ship Idaho Papers.” Heights 12”. Widths 34.5”. Depths 12.5”.

1,000/2,000

LIFT-TOP SEA CHEST MADE FROM WENGE WOOD

19th Century Wenge is a tropical wood mostly found in the Congo. Dovetail construction, with canted front and back. Carved cleats with sailor’s ropework beckets.

Height 17”. Width 37”. Depth 18”.

600/900

501

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255

502

503

504

505

502.

BUILDER’S HALF HULL MODEL OF AN AMERICAN SHIP 19th Century Hardwood model with nine lifts. Hull painted black with mustard yellow bottom. 6.75” x 38”.

1,200/1,800

504.

BUILDER’S HALF HULL MODEL OF A POWER VESSEL First Quarter of the 19th Century With five lifts. Hull painted white with green bottom.

8.25” x 42”.

1,000/1,500

503.

BUILDER’S HALF HULL MODEL 505. BUILDER’S HALF HULL MODEL OF A STEAM-POWERED SAILING VESSEL OF A MOTOR VESSEL Circa 1930

Last Half of the 19th Century With eight lifts. Hull with painted white bootstripe and With nine lifts. Screw shaft molding at stern. 9.5” x 50.5”. gold bottom. 5.75” x 39.25”.

900/1,200 1,800/2,500 Provenance: Hyde Park Country Auctions, Salt Point, New York, January 8, 2011, Lot #116.

256

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506

507

508

506.

LARGE MOUNTED BUILDER’S HALF HULL MODEL

19th Century Hardwood model with fifteen lifts. Pine backboard painted black. Discovered by the consignor’s family in Pembroke, Massachusetts, and believed to be a model for one of the large sailing vessels made at a North River shipyard.

Backboard 12.5” x 83”.

5,000/10,000

507.

MOUNTED BUILDER’S HALF HULL MODEL OF A MOTOR VESSEL Late 19th/Early 20th Century With six lifts, applied skeg and rudder. Pine backboard 8.25” x 36.5”.

1,000/1,500

508.

SAIL/STEAM HULL MODEL

American, Late 19th Century Molded steel hull with four cross frames, two with mast partners, and a rudder, propeller, propeller shaft, steering quadrant and chain plates. Remnants of black and red paint on the exterior. Possibly built as a working model. Height from keel 9”. Length 82”. Beam 12”.

500/700

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257

509.

AMERICAN STEAM GAUGE CO. SHIP’S CLOCK

Last Half of the 19th Century Case probably bell metal. Brass dial. Marked on face “American Steam Gauge Co Boston” and “Bath Iron Works.

Bath, ME”. Overall diameter 11”. Crystal diameter 8”.

1,200/1,500

510.

SHIP BUILDER’S BRASS PLAQUE Dated 1906 Marked “G.G. Deering Builder, Bath, Maine”.

10.25” x 10.25”.

500/800

511.

PAIR OF BRASS AND COPPER PORT AND STARBOARD LANTERNS Early 20th Century Labeled port and starboard. Retain original red and green Fresnel lenses. Electrified. Heights 18”. Widths 15”.

Depths 11.5”.

500/700

512.

CASED AX COMMEMORATING THE LAUNCH OF THE S.S. ANGOLA Circa 1870 Silvered metal cap at end of wooden handle engraved “S.S. Angola Launched November 22nd 1870” on one side and “R. & J. Evans & Co. Ship Builders, Liverpool” on other side. Blade marked “W. Marples & Sons”. Ax length 15”.

Wooden case height 4”. Width 15.75”. Depth 9.5”.

500/800

509

511, pair

258

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513.

SHIP’S BINNACLE Last Quarter of the 19th Century Brass balloon cover with side lantern.

Kelvin & Baird compass. Octagonal walnut base mounted with cast iron compensating cylinders. Height 56”.

Width 26”. Depth 26”. 2,000/3,000

514.

HEXAGONAL WHEELHOUSE LANTERN Early 20th Century Taken from a passenger ferry wheelhouse and accompanied by a photograph of the lantern atop a ferry, photocopied from the book The Railroad Ferries of the Hudson. Gilded copper frame with glass panels. Affixed to an ebonized wooden base. Fitted with two interior shelves for use as a display case. Overall height 79.5”. Overall width 30”.

3,000/5,000

515.

SHIP’S BINNACLE Circa 1942 Plaque marked “Compensating Binnacle Type MBF The Lionel Corporation New York N.Y. Serial No 10048” and dated 1942.

Brass hood contains an unmarked compass. Mahogany base with chart tube and brass arms for green and red iron compensating balls.

Height 52”. Width 37.5”.

Depth 18.5”.

2,000/3,000

515

513

514

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259

516.

SUNDERLAND PITCHER AND BOWL

English, 19th Century Decorated with maritime scenes and the Iron Bridge. Pitcher height 5.5”. Diameter 13”.

Bowl height 4.75”. Diameter 13.25”.

500/700 Provenance: A Prominent New York Collection.

516, two

517.

TWO-BOTTLE WINE COOLER FROM THE STEAMSHIP YORK

Late 19th/Early 20th Century Copper body with brass handles, base and cover. Marked “S.S. York”. Height 9”.

Width 13.5”. Depth 10.5”.

300/500

518.

CASED MODEL OF THE STEAMSHIP SABINO Contemporary The Sabino is the oldest operational coal-fired steamship in the United States.

Built in 1908, she served as island ferry off the coast of Maine. She now calls Mystic, Connecticut home and takes patrons on cruises of the Mystic River.

Case height 10”. Length 14”.

Width 8.25”.

600/900

518

519.

MODEL OF THE TUGBOAT KYOKO

20th Century Mechanized with an electric motor, which is accessed through the pilothouse.

Displayed on a wooden cradle. Overall height on cradle 38”. Length 55”.

1,000/1,500

519

260

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520

520.

521.

LAMINATED MODEL OF A COMMUTER LAUNCH

Late 19th/Early 20th Century Removable wheelhouse painted with a scene of a sailor at the helm on a gold ground. Includes stand. Height on stand 5.5”.

Length 49”.

600/900

TWO-PART DROP-LEAF TABLE FROM THE S.S. GOVERNOR COBB OF THE EASTERN STEAMSHIP LINE

Early 19th Century In mahogany. Rectangular molded-edge top fitted with recessed covered pen and ink holders and a pair of double brass and glass candleholders. Shaped apron. Ring-turned legs joined by cross stretchers. Ornate brass key-form locking floor bolts at center of stretchers. Height 30”. Length fully extended 101”. Width 40”.

1,000/2,000 Provenance: Originally owned by Eastern Steamship employee Edward Waldron, who acquired the table in the late 1930s during an overhaul of the Governor Cobb.

By descent in the Waldron family.

The Governor Cobb was America’s first turbine-powered steamboat. Named for Maine governor William T. Cobb, the 289-foot ship launched in 1906. From her homeport of Bath, Maine, she sailed the New England coast until 1937, when she was recruited for naval service during World War II. In June 1944 she was converted to the first helicopter launching ship.

She was scrapped in 1947.

521

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261

522.

PHOTOGRAPHS OF AMERICA’S CUP YACHTS PURITAN AND RELIANCE Circa 1885 and 1903 Period silver bromide print of the Puritan by Nathaniel L. Stebbins and a period silver gelatin print of the Reliance by F.A. Walter. 7.5” x 9.5” and 7.5” x 9.25”. Framed 11.75” x 15.75”. 2,500/3,500 Puritan was the successful defender in the 1885 America’s Cup, easily defeating the challenger Genesta. Reliance was the defender in the 1903 America’s Cup, and was the largest yacht to ever race for the Cup. She easily defeated Sir Thomas Lipton’s Shamrock III.

522

523.

GROUP OF PERIOD AMERICA’S CUP YACHT PHOTOGRAPHS Circa 1901 Attributed to James Burton (American, fl. 18931903). Includes a total of six images, including views of Constitution (1901), Resolute (1903), the schooner Gitana, Columbia (1901), Columbia (1901), and another of a one-design yacht Tunipo from about the same period. Each matted and contained within an archival box. Box 13.25” x 16.25”.

800/1,200

523

262

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524 525

524.

STRONG FIREARMS YACHT CANNON

New Haven, Connecticut, Early 20th Century Brass barrel and mounts. Mahogany and lignum vitae carriage. Barrel marked “Manf. D The Strong Firearms Co. New Haven Conn U.S.A.” Height 11”.

Length 18”. Width 10”.

2,000/3,000

525.

SNOW AND STRONG FIREARMS YACHT CANNON

New Haven, Connecticut, Early 20th Century Brass barrel and mounts. Mahogany carriage. Barrel marked “L.T. Snow The Strong Cannon Mfr. New Haven Conn. U.S.A.” Height 8”. Length 16”.

Width 9”.

1,500/2,000

526.

BRASS DOLPHIN-FORM TILLER YOKE

Late 19th/Early 20th Century Mounted on a conforming ebonized oak plaque.

Height 8.5”. Width 24.25”.

600/800

Provenance: Descended from Andrew L. Riker (1868-1939) of Riker’s Island, New York. Used at the Black Rock Yacht Club and the Pequet Yacht Club.

526

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263

528

527.

PAIR OF ROYAL HIGHLAND YACHT CLUB BRASS BADGES Circa 1890 With painted burgees of the club, located on the western coast of Scotland. 6” x 7”.

100/200

529.

WHITING STERLING SILVER YACHTING TROPHY Obverse with “Presented to the Minnetonka Yacht Club Commodore H. J. Burton for First Class Cat Boats - 1891 -” in raised Art Nouveau lettering surrounding a central raised image of a cat boat. Engraved on reverse “Won by Atalanta in Regattas of July 7th and August 1st”. Handles with foliate and scroll decoration. Height 7.25”.

Approx. 23.2 troy oz.

800/1,200

528.

NEW YORK YACHT CLUB STERLING SILVER TRAY-FORM TROPHY London, 1916 Crichton Brothers (Lionel Alfred Crichton), maker.

Engraved “New York Yacht Club Annual Cruise 1916 RearCommodore’s Cup 2nd Division Sloops Won by ‘Jessica’ Presented by Rear-Commodore H.S. Vanderbilt”. Oval handled tray with four conforming feet and a pierced rim heavily cast with floral medallions and laurel swags. Length handle-over-handle 29”. Approx. 156.7 troy oz.

3,000/4,000 The Jessica was a New York 40 built by Nat Herreshoff for Wilson Marshall in 1915. Harold Stirling Vanderbilt (1884-1970) was an accomplished sailor and three-time winner of the America’s Cup. His first win, in 1930, earned him the cover of Time Magazine.

264

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530.

FOLDING CHAIR OFF A YACHT Circa 1900

By J. Herbert McNair. Mahogany frame with brass mounts and tufted black leather upholstery. Height when folded 52.5”.

600/800

530

531.

NINE VOLUMES LLOYD’S REGISTER OF AMERICAN YACHTS For 1954, 1957, 1958, 1959, 1962, 1963, 1964, 1965 and 1970. Published by Lloyd’s Register of Shipping and printed by Waverly Press, Baltimore. 16 mo volumes (9” x 7.25”).

250/350

532.

“THE CAMBRIA YACHT QUADRILLE” HAND-COLORED SHEET MUSIC COVER London, Circa 1870 T.G. Dutton, lithographer. Dedicated to Sir James Ashbury, owner of the Cambria, by his friend L.H. Shirley, as a “reminiscence of a Very Pleasant Cruise Round Spain”. 12.5” x 9.5” sight. Framed 20” x 17”.

250/350

532

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265

533

534

535

266

533.

MOUNTED BUILDER’S HALF HULL MODEL OF THE SAILING YACHT AGATHA Identified on plaque affixed to mahogany backboard “Agatha Designed By F.D. Lawley Built By Geo. Lawley & Son Corporation South Boston For William S. Eaton 1902”.

Hull painted white with green bottom and gold highlighting around deck. Backboard 11.5” x 42.75”.

1,800/2,500

534.

MOUNTED BUILDER’S HALF HULL MODEL OF A TWO-MASTED BRIG Attributed to Hugh McIntyre and Co. of Paisley, circa 1878. Hardwood model with six lifts, two cut-away masts and bowsprit. Backboard made of two different colored woods, simulating a waterline. Numbers “14”, “15” and “16” affixed under hull. Backboard 9.5” x 29.5”.

1,000/1,500

535.

YACHT BINNACLE Late 19th/Early 20th Century Acanthus-molded cast iron base with hexagonal glass hood. Contains an unmarked compass. Height 35”.

1,200/1,500

536.

YACHT COMPASS IN A HEXAGONAL NICKEL-PLATED CASE

First Quarter of the 20th Century Height 11”. Overall diameter 9”.

500/700

537.

DIMINUTIVE BRASS YACHT BINNACLE Late 19th/Early 20th Century Balloon-shaped cover mounted with sidelight. Retains original compass by Robert Oliver of New York. Height 7.5”. Width 7.25”. Depth 6.5”.

300/500

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538.

HALF HULL MODEL OF THE ENSIGN CLASS YACHT ELECTRA Circa 1962 In mahogany. Length 22”.

300/500 The Ensign Class was designed by Carl Alberg and had an overall length of 22 feet.

539.

RARE SMALL VESSEL BINNACLE 19th Century Mahogany case with copper top and a drop-down door to access compass. Compass marked “Star, Boston”. Pasted label for “Preston’s Liquid Compass” on back of case. Height 20”.

Width 9.5”. Depth 9.5”.

300/500

540.

BRASS BALLOON-HEAD BINNACLE

Last Half of the 19th Century Complete with unmarked compass, side lamps, and compensating balls. Plate on top engraved “M.V. O’Neil, Balt. Md.”. Height 26.5”. Width 25”.

Depth 16”.

600/900

541.

538

BRASS BALLOON-HEAD BINNACLE

Last Half of the 19th Century Contains a large Ritchie compass. Complete with side lamps. Height 16.5”. Width 20.75”. Depth 17”.

700/1,000

541

539

540

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267

Timothy Franklin Ross Thompson Great Britain, b. 1951 Lot 542

542

542.

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“Escape from the Brig ‘Florida’”.

Signed lower right “T. Thompson”.

Oil on canvas, 24” x 40”. Framed 32” x 48”.

12,000/18,000

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Thomas Hoyne Illinois/Massachusetts, 1924-1989 Lot 543

543

543.

“Steel to Starboard”, a dramatic scene of the yacht Admiral Dewey of Gloucester.

Signed and dated lower right “Tom Hoyne 1986”. Titled verso. Oil on canvas, 26” x 38”.

Framed 36” x 48”.

15,000/25,000 Provenance: Mystic Maritime Gallery, Mystic, Connecticut.

Private Collection, Texas.

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269

544

545

544.

ROY CROSS 545. ROBERT STICKER United Kingdom, b. 1924 Pennsylvania, 1922-2011 “The Baltimore Clipper Swallow”. Signed and dated “Before the Wind”. Titled and signed lower right “Robert lower left “Roy Cross 1976”. Titled on gallery label verso.

Sticker”. Oil on board, 29” x 37”. Framed 36” x 44”.

Watercolor and gouache, 20” x 29” sight. Framed 29” x 37”.

1,500/2,500 4,000/6,000 Provenance: Private Collection, Connecticut.

270

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Louis Dodd United Kingdom, 1943-2006 Lots 546-548

546.

“The U.S. Frigate Constitution off the Cape of Good Hope 1820”.

Signed lower right “Louis Dodd”.

Titled on frame plaque.

Oil on board, 14” x 20”. Framed 21” x 27”.

4,000/6,000

546

547.

“The U.S. Frigate United States off New York 1812”.

Signed lower right “Louis Dodd”.

Titled on frame plaque.

Oil on board, 14” x 20”. Framed 21” x 27”.

4,000/6,000

547

548.

“Capture of the Guerriere by USS Constitution - Captain Isaac Hall - 1812”.

Signed and titled lower center.

Oil on panel, 15” x 23”. Framed 18” x 26”.

4,000/6,000

548

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271

549.

JOHN W. SCHMIDT Massachusetts, Contemporary “U.S.S. Congress”. Signed lower left “J.W. Schmidt”. Titled on frame plaque. Oil on canvas, 25.5” x 33”. Framed 29” x 37”.

1,500/2,500

549

550.

CHARLES DYE United States, 1906-1973 Moonlight sail. Signed lower right “Charles Dye”.

Gouache on paper, 12” x 14.25” sight. Framed 20.75” x 23”.

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

550

551.

J.G. HULETT United States, 19th/20th Century Nor’easter. Signed lower right “J.G. Hulett”.

Oil on canvas, relined, 30” x 50”. Unframed.

1,000/2,000

551

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552.

CASED CHRONOMETER BY EGGERT & SON, NEW YORK Brass-bound mahogany case with carrying handle.

Chronometer dial marked “Eggert & Son New York No 419”. Case height 6.75”. Width 6.5”. Depth 6.5”.

3,000/5,000

552

553.

554.

554

STICK BAROMETER WITH EXCEPTIONAL BARLEY-TWIST MAHOGANY CASE

Mid-19th Century Barometer by James Bassnett, Liverpool.

Complete with original gimbal. Height 27.5”.

3,500/4,500

BOXED WEMPE CHRONOMETER

German, 1982 Battery-operated with electric quartz works. Serial #15182. Dial diameter 4”.

Box height 7.5”. Width 7.5”. Depth 7.5”.

700/1,000 Provenance: A Prominent New York Collection.

553

555.

CASED GERMAN SILVER ALLOY ROLLING RULE Marked “Stanley, Great Turnstile, Holborn, London.” Walnut case stamped “Max Ott”. Case height 1.75”.

Length 19.75”. Width 3.75”. 400/600

555

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273

556.

WOOLWORK PICTURE English, 19th Century Multiple flags and standing figures of Britannia and a British sailor flank a crown, swords, a fleur-de-lis, a family crest and a rectangular portrait of a British man-o’-war. Both figures with applied painted paper details, including faces and arms. 17.25” x 18.5” sight.

Framed 22” x 23”.

800/1,200

557.

WOOLWORK PICTURE OF A BRITISH THREE-MASTED SHIP

English, Late 19th Century With a lighthouse off her bow. Beautifully executed bowsprit and figurehead. 17.5” x 24.25” sight. Framed 22.75” x 29.5”.

1,200/1,800

558.

WOOLWORK PICTURE OF A BRITISH THREE-MASTED WARSHIP

English, 19th Century Ship with olive green hull is flying the British flag and a long red pennant. 11.5” x 14.25” sight. Framed 15.25” x 18”.

600/900

556

557

558

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559.

MINIATURE MODEL OF THE H.M.S. BOUNTY’S LAUNCH

By Lloyd McCaffery. Plank-on-frame construction.

Detailed with standing and running rigging. Housed in a domed case. Height including case 5.5”. Diameter of base 3.5”.

5,000/7,000 Provenance: A Prominent New York Collection.

559

560.

TWO WELL-DETAILED MINIATURE MODELS

English, 20th Century The British steam launch Revenge and the African Queen.

Largest length 6”.

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

560, two

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275

561.

DIVER’S BELLOWS Early 20th Century Used to supply air to deep-sea divers.

Operated via a side-mounted iron wheel.

Marked on plaque “Diving Apparatus A.J. Morse & Son Boston Mass. U.S.A.” Central gauge marked “Andrew J. Morse & Son Boston”. Case height 41.25”. Width 53”.

Depth 31”.

4,000/6,000

561

562.

PERIOD PHOTOGRAPH OF THE U.S.S. ALDEN, A CLEMSON CLASS DESTROYER Circa 1918 With hand-tinted coloring. Signed lower right “G.W. Waterman”. Inscribed lower center with the ship’s name.

10.25” x 17.25” sight. Framed 18.5” x 26”.

300/500 The U.S.S. Alden played an integral role in the rescue of passengers from the Dollar Lines ship President Hoover. In 1938, at the outset of World War II, she was assigned to the South China patrol. She continued operations in Asia and the South Pacific through 1943.

In 1944 she was operating off North Africa in an anti-submarine operation with the carrier U.S.S. Guadalcanal. After that she was on

562

563.

convoy duty through the end of the war. She was decommissioned in July 1945 and broken up that same year.

PERIOD SEPIA PHOTOGRAPH OF THE U.S.S. AYLWIN Circa 1914 Depicts her in New York Harbor with other naval ships.

The U.S.S. Aylwin (DD-47) was the lead ship of her class of destroyers, commissioned in 1914, served in World War I, and decommissioned in 1922. 8.25” x 23.25” sight. Framed 12.25” x 27.25”.

400/600 563

276

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564.

PAIR OF ETCHINGS DEPICTING THE R.M.S. MAURETANIA

20th Century Together with a circa 1909 silver gelatin print of the R.M.S. Lusitania off lower Manhattan. 7.5” x 9.5” sight. Matted 11” x 14”.

Pair of etchings by Charles J. A. Wilson (United States, 18801965). “Mauretania” depicts the ship at sea. Signed lower right.

Titled lower left. Numbered 5/250. 7.75” x 10.75” to the plate.

Framed 14.75” x 18.75”. “Mauretania Inbound” depicts the ship passing the Nantucket Lightship. Titled, signed with initials and dated 1933 in plate. Also signed lower right. 7.25” x 10.25” to the plate. Framed 14.75” x 18.75”.

250/350

565.

FIVE BRITISH WATERLINE MODELS BY VAN RYPER

Vineyard Haven, Massachusetts, Circa 1965 Each built up in wood, and painted and detailed in the company livery. Includes the Aquitania, the Britannic, the Mauretania II, the Queen Mary, and the Queen Elizabeth. Length of the longest 11”.

300/500

566.

EIGHT WATERLINE MODELS OF SHIPS BY VAN RYPER

Vineyard Haven, Massachusetts, Circa 1965 Each built up in wood and painted and detailed the company livery. Includes the freighter NewTex, the Independence, a ship of the Moore McCormack line, the Manhattan, the America, the United States, and a Liberty ship. Some are French Line or HollandAmerica Line ships. Length of the longest 11.25”.

250/350

567.

TEN WATERLINE MODELS OF SHIPS Circa 1965 Each built up in wood and painted and detailed in the company livery. Includes the Lafayette, the Ile de France with two funnels, the Champlain, the Paris, the Liberte, the Normandie, the Ile de France with three funnels, the France (by Triang), the France IV and the Nieuw Amsterdam. Some are French Line or Holland-America Line ships. Length of the longest 11.25”.

500/700

564, three

567, ten

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278

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BIDDER INFORMATION ADVICE TO BIDDERS 1. Carefully read the Conditions of Sale.

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

3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff.

4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/Telephone Bid Procedure and complete the Bid Form.

5. A buyer’s premium will be added to the hammer price of all property sold, to be paid as part of the purchase price. The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000.

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

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

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

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SHIPPING INFORMATION We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale.

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

We provide shipping services directly from our gallery for select merchandise including small items, small paintings and rugs. We do not ship glass items or items framed under glass. Our staff can assist with determining if your items qualify for in-house shipping. Shipments from our gallery may take four to six weeks from receipt of payment.

You will be charged for the shipping or carrier fees, packing and handling fees, and required insurance. There is a minimum handling charge of $15.00 for all shipments.

Depending on the carrier, insurance limits may exist (i.e., Federal Express will only insure up to $500).

If we are unable to ship your items we will provide you a list of alternative shipping agents. Upon your approval we will transfer your items to your chosen shipping agent.

We require seven to ten business days for your payment to clear our banking system before releasing purchases to your chosen shipping agent.

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

BIDDING INCREMENTS $0-$49: $5 $50-$199: $10 $200-$499: $25 $500-$999: $50 $1,000-$2,999: $100 $3,000-$4,999: $250 $5,000-$9,999: $500 $10,000-$29,999: $1,000 $30,000-$49,999: $2,500 $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion

Please adhere to the above bidding increments.

Eldred’s reserves the right to adjust absentee bids to the nearest increment below the bid.

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CONDITIONS OF SALE 1. CORRECTNESS OF DESCRIPTION: Robert C. Eldred Co., Inc. (hereinafter referred to as Eldred’s) has exercised reasonable care to catalog and describe correctly the property to be sold, but neither Eldred’s nor its consignors warrant the correctness of description, attribution, authenticity, or condition of said property.

No statements shall be deemed such a warranty or representation or an assumption of liability with respect thereto, but are to be construed as opinions only. Bidders are encouraged to personally examine all property to be sold prior to the beginning of the auction.

2. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered.

3. Eldred’s reserves the right to withdraw any property before the sale.

4. DETERMINATION OF HIGHEST BIDDER: The highest bidder accepted by the auctioneer shall be the buyer. In the event of any dispute between bidders, the auctioneer may determine who is the successful bidder or the auctioneer may re-offer the article in dispute and his decision shall be final.

5. REJECTION OF BIDS: The auctioneer reserves the right to reject any nominal raise or any bid or raise which, in his opinion, is not commensurate with the value of the article being offered. At his discretion, he may also reject any nominal raise or any bid that he may determine as having a detrimental effect on the item in question or the sale as a whole. Eldred’s may refuse to issue bidding privileges to any person not in good credit standing with Eldred’s, or to any person who is deemed by Eldred’s in its sole discretion, to be disruptive of or harmful to established auction practices, either before or after the acceptance of bids or the fall of the hammer.

6. TITLE: Except as herein otherwise provided, title will pass to the highest bidder as determined by the auctioneer, and the property is thereafter at the purchaser’s sole risk and responsibility.

7. PAYMENT: On title passing to the highest bidder acknowledged by the auctioneer, and subject to all the conditions set forth herein, such bidder will thereupon pay the full purchase price. Payment in full is due at the time of sale. Any bills not paid in full within 25 days of the date of the sale will accrue interest at a rate of 1.5% per month. In addition, the purchaser may be subject to one or more of the following actions: a) Any and all legal remedies available to Eldred’s and its consignors by law including without limitation the right to hold the purchaser liable for the total purchase price; b) Immediate cancellation of the sale, with Eldred’s retaining as liquidated damages all payments made by the purchaser; c) Resale of the property at public auction, wherein the original purchaser shall be liable for any deficiency, costs, and Eldred’s commission on both sales. At Eldred’s option, payment will not be deemed to have been made in full until Eldred’s has collected funds represented by checks, or in the case of bank or cashier’s checks, their authenticity has been confirmed.

A buyer’s premium will be added to the hammer price to be paid by the buyer as part of the purchase price.

8. ORDER BIDS: Subject to these Conditions of Sale and to such terms and conditions as it may prescribe, but at no charge to the customer, Eldred’s will undertake to execute all order bids submitted to it by a customer who has established credit with said company. Requests for such bidding must be given in writing with such clearness as to leave no room for misunderstanding as to the amount to be bid and must state the catalog number and the name or title of the article to be bid on. Telephone bids must be confirmed in writing or by cable. All bids are kept in strict confidence. In the event of identical bids, the earliest received by Eldred’s will take precedence. Eldred’s shall not be held responsible for errors or failure to execute bids. A deposit of 10% of the total amount bid is required. TELEPHONE BIDS: While the sale is in progress, bidding by telephone may be allowed by the auctioneer at his discretion. A deposit of 10% of the anticipated top bid is required.

Eldred’s shall not be held responsible for any failure to properly execute

such a bid whether it be due to equipment failure, loss of connection, or failure to hear or understand the bidder’s directions. Any advice or opinions provided by Eldred’s or its employees are given strictly as a courtesy and are not a warrant of condition, attribution, authenticity, or description of said property. All bidding by telephone is solely at the risk of the bidder.

9. CONDITION: If for any cause whatsoever any article sold cannot be delivered, or cannot be delivered in as good condition as the same may have been at the time of sale, due to a failure or damage on the company’s part, the sale will be cancelled, and any amount that may have been paid on account of the sale will be returned to the purchaser.

EXCEPTION: Eldred’s will not be held responsible for damage to picture frames or lampshades.

10. SALES TAX: All purchases are subject to the Massachusetts sales tax (currently 6.25%) unless the purchaser: A) possesses a Massachusetts sales tax exemption or resale number and registers that number with the company, B) is an out-of-state vendor who meets all the requirements of Massachusetts Department of Revenue GLC 64H 1(5) and Directive 89-10 and registers with the company prior to each purchase, or C) has purchases shipped out of state (with the exception of Connecticut and New York) directly from Eldred’s by a bona fide shipping agent.

Connecticut residents picking items up in our Mystic branch or having purchases shipped to their Connecticut address are responsible for CT state sales tax (currently 6.35%). New York residents having purchases shipped to their New York address are responsible for NY state sales tax (currently 4.0%). Due to the 2018 U.S. Supreme Court ruling in South Dakota v. Wayfair, residents of other states may be required to pay their state sales tax on purchases as we meet each state’s nexus requirements.

Dealers, museums, etc. can apply for a Massachusetts number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, MA 02204.

11. RESERVES: Unless advertised as an “Unreserved Auction”, all sales may have items subject to reserve (an agreed upon price between the auctioneer and the consignor, below which the article will not be sold).

12. COLLECTION OF PURCHASES: Delivery or shipping arrangements must be made within seven (7) days from the close of the auction for all purchases. All items must be removed from Eldred’s facilities within fourteen (14) days of the end of the auction. All items remaining after fourteen days may be subject to a $5/per item/perday storage fee.

No items will be released unless storage fees are paid in full. Items remaining over thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees.

13. PACKING: Purchasers are advised that packing and/or handling

by Eldred’s employees is undertaken solely as a courtesy for the convenience of customers. In the case of fragile articles, it will be undertaken at the sole discretion of the company. Handling and packing

by Eldred’s is at the risk of the purchaser. SHIPPING: When requested, Eldred’s may arrange shipment of paid purchases. Eldred’s will not be responsible for damage or loss once the item has been received by the shipper. In the case of fragile articles, shipping will be undertaken at the sole discretion of the shipper. Please refer to our Advice to Bidders for details.

14. These Conditions of Sale cannot be altered except in writing by Eldred’s or by public announcement by the auctioneer at the time of the sale.

15. Bidding on any article(s) indicates acceptance of the terms set forth above.

16. These Conditions of Sale and any suits arising thereunder shall be construed and governed by the laws of Massachusetts.

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

CLient inForMation Name:

Phone:

Company:

Alternate Phone:

Address:

Email:

City:

All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate or a copy thereof when registering. Failure to do so will subject the bidder to paying 6.25% Massachusetts sales tax on purchases.

MA Resale #: State:

ZIP:

FinanCiaL reFerenCes Please select one of the following options: 1. Deposit Submit a deposit representing 10% of the total order, either by mailing a check to the address below or providing a credit card number.

We accept Visa, MasterCard, American Express and Discover with domestic billing addresses in amounts up to $5,000.00.

2. Letter of creDit from your bank Please have your bank fax us at 508-385-7201. Letter must be on bank letterhead.

3. auction house reference Complete the information requested below.

Advance notice is required for this option as it is often difficult to reach the appropriate contact. You may have to authorize release of information.

Please be aware Christie’s and Sotheby’s will not divulge any credit information. auction house:

Auction House Phone:

Contact:

Account #:

auction house:

Auction House Phone:

Contact:

Account #:

auction house:

Auction House Phone:

Contact:

Account #:

signature (required):

Date:

Bids will not be accepted without your signature on this form.

By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc.

Please send form and deposit to The RobeRT C. eldRed Co., InC. P.O. Box 796, East Dennis MA 02641

www.eldreds.com info@eldreds.com Phone:C.508-385-3116 Fax: P.O. 508-385-7201 PLEASE SEND FORM AND DEPOSIT TO THE ROBERT ELDRED CO., INC. BOX 796, EAST DENNIS MA 02641

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info@eldreds.com

Phone: 508-385-3116

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Fax: 508-385-7201

ABSENTEE BID FORM 1.

Please clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow the bidding increments outlined in this catalog. Carefully check your bid form. Although we attempt to confirm the description against the lot number, bids are posted by lot number.

2.

All bids should be received prior to the day of the sale. Submitting your bids in a timely manner avoids the chance of a posting error. In the event of identical bids, the earliest received by Eldred’s will take precedence. All bids are kept in strict confidence.

3.

On the day of the auction, a member of our staff will act as your agent and bid for you, attempting to obtain the lot(s) for you for the lowest possible amount. If you have indicated the highest amount you are willing to pay, you should not be disappointed if you lose an item. Many times you will actually buy it for less than your bid.

Are you a new bidder with Eldred’s?

Yes:

4.

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

5.

A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. All invoices must be paid in full within seven (7) business days of the close of the auction. All sales subject to sales tax unless certain exemptions are met. All sales subject to the Conditions of Sale printed in this catalog.

6.

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

SALE TITLE:

No:

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

SALE DATE:

NAME: Lot #

Item Description

Maximum Bid

or “phone” for Telephone Bid

ADDRESS: check if change in address

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

Date: SHIPPING

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

No:

Ship to address above:

20% buyer’s premium will be added to the hammer price. See Item 5 above.

or Ship to:

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

Total 10% Deposit

Have you examined the items listed above? Yes

No:

PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 www.eldreds.com

info@eldreds.com

Phone: 508-385-3116

Fax: 508-385-7201

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U P CO M I N G AU C T I O N S JULY 31, AUGUST 1-2

Americana AUGUST 7

Contemporary Art AUGUST 20-24

Asian Art Week SEPTEMBER 21

Antiques & Accessories OCTOBER 19

Fine & Decorative Art 284

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SEE COMPLETE CATALOGS AT

W W W. E L D R E D S . CO M see photos of all lots and view condition reports at www.eldreds.com

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Invitation to consign To speak with a specialist, please call 508-385-3116 or email info@eldreds.com

286

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fall marine sale november 2019

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288

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You're invited . . . to join the Antiques Scrimshaw Collectors Association ASCA was established in 2014 with our mission: To promote and protect the trade, collection, and study of antique scrimshaw, the historic and culturally important folk art of the whalemen.

Annual dues are $50. Member benefits include regular mailings of our informative newsletter containing articles on ivory legislation updates, scrimshaw auction results, scrimshaw collections, scrimshaw artists, and scrimshaw shows, sales, and events.

To learn more or join, please visit our website: www.antiquescrimshawcollectors.org.

A printed version of the Scrimshaw Observer newsletter is mailed three times annually to members.

More than 300 scrimshaw source materials are available online for ASCA members.

————————————— v ————————————— Save the date:

32nd Annual Scrimshaw Weekend

at the New Bedford Whaling Museum May 15, 16, and 17, 2020 Attend the world's only regular scrimshaw forum, where enthusiasts from across the country and abroad gather to enjoy this distinctive and beautiful art form.

Details to follow: whalingmuseum.org see photos of all lots and view condition reports at www.eldreds.com

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Illustrations Cover Lot 486 Frontispiece Lots 96, 8, 222, 450, 1, 44, 408, 389, 487 Page 3 Lot 24 Artist Index Lot 551 Page 8 Lot 843 Page 286 Lot 162 This Page Lot 213

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