The Marine Sale 2022 by Eldred's Auction

The Marine Sale AUGUST 4-5, 2022

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THE MARINE SALE Thursday and Friday, August 4-5, 2022 Both sessions starting at 9:30 a.m. Eastern Location:

Headquarters: 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com I MA Lic. #155

Preview:

Wednesday, August 3 from 10 a.m. to 4:30 p.m., the sale days starting at 8:45 a.m., and by appointment

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IMPORTANT NOTICES Bidding Options In-person, online, phone and absentee bidding available. To register for absentee and telephone bidding, please visit our website or call 508-385-3116. Online bidding available through www.eldreds.com. Terms A buyer’s premium will be added to the hammer price of all purchases. The buyer’s premium is 25 percent of the final bid price up to and including $500,000, and 10 percent of the final bid price over $500,000. We accept checks, cash, money orders, wire transfers and major credit cards for payment. Credit cards can only be used for up to $5,000 of the invoice total and the card must have a U.S. billing address. Bidders holding a Massachusetts or out-of-state resale number must provide the certificate or copy thereof when registering to bid or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in or shipped to Connecticut are subject to 6.35% Connecticut sales tax. Residents of other states may be subject to state and local sales taxes. Condition Reports Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition. Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is. All dimensions are approximate. Per Federal and international regulations, items made with whale bone, ivory or other protected species will not be shipped internationally. 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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S TA F F D I R E C T O R Y ANTIQUES & FINE ART SPECIALISTS

PRODUCTION & ADMINISTRATIVE STAFF

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

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

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

Susan Eastman Client Services seastman@eldreds.com

William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com Eric S. Mulak Vice President Head of Sporting Antiques, Folk Art & Collectibles Consignment Manager eric@eldreds.com

Devyn Henry Administrative Assistant dhenry@eldreds.com Katie Lingoes Shipping klingoes@eldreds.com

Christine Berlane Prints and Multiples cberlane@eldreds.com

Beth McGoldrick Administrative Assistant bmcgoldrick@eldreds.com

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

Angela R. McParland Executive Assistant amcparland@eldreds.com

Glen Krawczyk Head of Oriental Rugs glen@eldreds.com

Madison Morris Head of Photography mmorris@eldreds.com

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

Kathleen Morse Auction Coordinator kmorse@eldreds.com Megan Nichols Shipping Coordinator mnichols@eldreds.com

Gregg Dietrich Senior Consultant and Specialist

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

Jennifer Lacker Mystic Representative Mary M. Kuhrtz and Christine Leofanti Gallery Assistants

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

Al Gray and Jim Moynihan Shipping and Inventory Assistants Breyana Newton Photography Intern

OFFICES Headquarters I 1483 Route 6A, East Dennis, Mass. I 508-385-3116 I info@eldreds.com I MA Lic. #155 Connecticut Gallery I 5 Roosevelt Ave., Mystic, Ct. I 860-912-8169 I info@eldreds.com

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y family’s history is deeply rooted in the whaling era. My father’s ancestor was Captain William Farwell of the Provincetown whaler Oread. William’s son Joseph was also a whaler who died on a voyage. Family legend has it that Joseph feared being buried at sea, so his crewmates stuffed his remains into an empty whale oil barrel and the barrel remained his coffin when he was laid to rest on land. My mother’s family has an even more illustrious whaling heritage as she is a direct relative of Charles Ramsdell, who was one the few survivors of the whaleship Essex tragedy. I often wonder if Charles, William or Joseph was a scrimshander? Is it possible that over the decades in business and the thousands of pieces of scrimshaw we have handled, did we unknowingly sell a family treasure? For me, scrimshaw is a fascinating field because, for as much brilliant scholarship and research that has been undertaken, there is still so much that remains a mystery. In the hundreds of pieces in this auction, some are signed and a fair number have solid attributions, but the majority of the makers remain anonymous -- but one new clue could unlock their history. Scrimshaw is collected not for the material it is on, but for the incredible artistic and historic stories it tells. We have been fortunate to offer an unprecedented amount of incredible scrimshaw over the last several years, but in many ways, I think this is the most diverse and unique collection yet. It is almost all fresh-to-the-market and is wonderfully diverse in its offerings. You will see the usual assortment of quality teeth and crimpers, but this year’s sale includes some of the most exceptional utilitarian whaleman artifacts we have ever had the pleasure of selling. While scrimshaw is the star of the first session, the second session of the sale is equally impressive, with a strong selection of paintings, highlighted by the best group of Chinese Trade examples we have seen in years, and important navigational instruments, many from the Kelton Collection. It is an honor and privilege to present you our annual summer Marine Sale. I think it is one of the best in our 75 years of business and we hope you agree. I hope to see you under the tent this August.

Josh Eldred President

C E L E B RAT I NG O U R 7 5 T H A N N I V E RS A RY

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INDEX Index of Artists Page 5 Session I Lots 3001-3285 Session II Lots 3501-3816 Bidder Information Page 282 Conditions of Sale Page 283 New Bidder Registration Page 284 Absentee and Phone Bid Form Page 285 Previews Pages 286-287 Illustrations Page 288

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INDEX OF ARTISTS

SUNQUA (attr.)

3521

LEVER, HAYLEY

3790, 3791

TINGQUA (attr.)

3506

LEWIS, EDMUND DARCH

3787-3789

ADAM I, EDOUARD

3699

LOOS, JOHN FREDERICK

3697

AHRENS, RICHARD VAN WICKLEN “WICK”

3643, 3644

MASON, BARRY

3803

ALLOM, AFTER THOMAS

3523

MCGURL, JOSEPH

3798

ARGUIMBAU, PETER LAYNE

3804

MCMINN, WILLIAM KIMMINS

ATHAS, DIMETRIOUS

3735

MEADOWS, JAMES W.

3553

BAKER, ELISHA TAYLOR

3687

MECRAY, JOHN

3734

BAYLIS, FIRST OFFICER

3512

MILLER, CHARLES KEITH

3783

BEAL, REYNOLDS

3670-3672

3695, 3696

MILLER, JAMES

3730

BEAULIEU, E.F.

3690

MUHLENFELD, OTTO

3782

BEAUREGARD, CHARLES GRANT

3691

NEMETHY, GEORGE

3800

BEDWELL, FREDERICK LE BRETON (after)

3525

NICKERSON, REGINALD EUGENE

3676

BIRCH, THOMAS (attr.)

3685

PAPALUCA, LUCA

3750

BLOSSOM, CHRISTOPHER

3806

PARSONS, A.

3779

BRISCOE, FRANKLIN D.

3689

PLAS, NIEK VAN DER

3799

BUTTERSWORTH, THOMAS (attr.)

3555

ROSENFELD, MORRIS AND STANLEY

3718

BUTTERSWORTH, JAMES EDWARD

3722

ROUX, FREDERIC

3686

CHAPMAN, CARLTON THEODORE

3688

RUSSELL, BENJAMIN (after)

3186

CHEONG, NAM (attr.)

3517

SANG, KIM (studio of)

3511

CHEONG, WOO

3519

SCOTT, JOHN WHITE ALLEN

3693

CHEVALIER, NICHOLAS

3527

SELBY, JOE

3739

DAVIS, WILLIAM R.

3797

SHEN, YO (attr.)

3515

DAWSON, MONTAGUE J.

3700

SMITH, C. MCKNIGHT

3780

DODD, LOUIS

3655

SMITH, JOSEPH B.

3724

DODD, ROBERT

3574

SMITH, JOSEPH B. (attr.)

DREW, CLEMENT

3766

STUBBS, WILLIAM PIERCE

3784, 3785

SUNG, LAI

3534, 3535

DREW, CLEMENT (attr.)

3767, 3768

3723

EVANS, KENNETH M.

3805

SUNG, LAI (attr.)

3504

EVERS, CARL G.

3801

TUDGAY, FREDERICK J.

3710

FONG, LAI (attr.)

3508

VAN POWELL, WILLIAM NOWLAND

3802

3654

VERBOECKHOVEN, EUGÈNE JOSEPH

3569

VOORHEES, JR., CLARK G.

3640

GIFFORD, CHARLES HENRY GRANT, GORDON HOPE

3652,3653

HUNT, JOSEPH

3646

WALTERS, SAMUEL

JACOBSEN, A. AND WILLIS, T. (attr.)

3755

WEBER, RA, JOHN (after)

JACOBSEN, ANTONIO NICOLO GASPARO

3756-3760

WHITE, RN, LT. FREDERICK J.

JOHNSON, JR., MARSHALL

3694

WILLIS, THOMAS

JOY, L.H.

3229

WINSTON, J.W.

KRAMER, RUSS

3721

YORKE, WILLIAM GAY

LEAVITT, JOHN FAUNCE

3638

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3706,3707 3590 3513 3752-3754 3648 3715-3717

PROPERTY FROM The Collection of Joe Vallejo The Kelton Collection of Marine Art & Artifacts The Collection of Michael Gill An Important Private Collection, Newport, Rhode Island Collection of Dr. Donald W. Sample of Annapolis, Maryland Collection of Ian R. MacKenzie An East Coast Collection A New England Collection And Numerous Other Estates and Collections

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SESSION I Lots 3001-3285 Scrimshaw & Whaling The Collection of Joe Vallejo Lots 3001-3086

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T H E CO L L E C T I O N O F

Joe Vallejo Eldred's is pleased to offer the personal scrimshaw collection of Joe Vallejo.

Many collectors and dealers will recognize Joe and Vallejo Gallery as a leader in the field of maritime paintings and fine collectibles throughout the Gallery’s 50 well-respected years in business. Joe also amassed a deep and impressive collection of scrimshaw, including some of the finest examples of large teeth of great variety. We are pleased to offer nearly 100 scrimshaw pieces from his collection, some of which have never before been offered at auction or have not come on the market in many years. We hope you enjoy the opportunity to bid on them.

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3001. POLYCHROME PINPOINT SCRIMSHAW WHALE’S TOOTH Mid-19th Century Depicts crossed American flags, a “US.A.” banner, and a spread-wing eagle perched on a cannon and clutching a Liberty shield to its breast. Fine execution of the pinpoint/stippling technique. Length 6.25”. With wooden stand. Height on stand approx. 10”. 3,000/5,000

3001

3002. SCRIMSHAW WHALE’S TOOTH WITH SAILING MOTIFS 19th Century Obverse depicts a fouled anchor, leafy garlands, a bearded sailor standing on a “Liberty” plinth and holding American, British and striped flags, and a port-side view of a ship, identified in banner above as the “S.S. City of London”. The ship has three masts and a single funnel and flies assorted American, British and house flags off the masts and stern. Reverse with “R.A. Allen” in a banner. Deeply engraved and heavily inked. Length 5”. With wooden stand. Height on stand approx. 7.75”. 1,500/2,500 We believe the S.S. City of London referenced here was a passenger steamship owned by the Inman Line and built in Glasgow. Her maiden voyage, from Liverpool to New York, was made in 1870. She carried immigrants from Liverpool to New York for several years and in 1878 was sold to the Thistle Line. She was lost at sea in 1881.

3002, obverse and reverse

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T H E CO L L E C T I O N O F J O E V A L L E J O

3003, pair, bverse and reverse of pair

3003. PAIR OF SCRIMSHAW WHALE’S TEETH WITH WHALING SCENES Mid-19th Century Both depict whaleships and whaleboats in pursuit of pods of whales, the scenes wrapping around the circumference of the teeth. One scene with a distant hilly coastline and the other with a stoved boat. A delicate bracelet-like border of diamonds and ellipses wraps around the teeth near tips. Lengths 4.5”. 1,800/2,500 A similar pair is illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 59.

3004. PAIR OF PINPOINT SCRIMSHAW WHALE’S TEETH Mid-19th Century Believed to depict Scottish dancers, the gent holding a large leaf and the lady flanked by thistles, a sperm whale and an overhead view of a whaleboat, the images wrapping around the tooth. Both teeth with a sawtooth border at base, though it doesn’t wrap completely around the male dancer tooth. Lengths 4.5”. 500/700 3004, pair

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3005. SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAITS Mid-19th Century Three different ship portraits, as well as views of a fancy building within a landscape and a potted leafy plant, cover nearly the entirety of the tooth, the images with geometric and leafy vine borders. All three ships flying assorted flags and pennants, including large American flags off the stern. Possibly some traces of polychroming. Length 4.5”. 1,000/1,500

3005, obverse and reverse

3006. INLAID SCRIMSHAW WHALE’S TOOTH Dated 1837 Formed as a vase, the hollow end of the tooth carved in a fan design and inlaid on one side with a shell half-circle and a silver shield and engraved on the other side “E.A.C.”. Inlaid side engraved “Oct 4 1837” in pinpoint lettering and “The whale from whose Jaw this tooth was drawn” in script lettering. Opposite side engraved “Oct. 4th 1837 From E.A.C. To J.L.B.” in pinpoint script lettering. Tooth encircled by pinpoint images of stars, a tree, a horse, assorted ships, a “Female Camel”, an “African Lioness”, a “G...antio Crane”, a “Military” figure and the verse “No earthly object to be seen But cows and geese upon the green”, believed to be from “Country and Town” by Horatio Smith. Length 5.5”. With wood and metal stand. Height on stand approx. 6”. 1,500/2,000

3006

3007. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH FLOWER BASKET AND VILLAGE SCENE Mid-19th Century Obverse depicts a foliate vine surrounding an abundant bouquet of leafy branches and red flowers in a finely detailed urn, the urn flanked by two flowering plants. Reverse depicts a differing foliate vine surrounding a village scene with rolling fields, several houses, churches and fortresses flying British flags. Some red coloring to flags. Length 5.5”. 1,000/1,500

3007, obverse and reverse

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T H E CO L L E C T I O N O F J O E V A L L E J O

3008. RELIF-CARVED WHALE’S TOOTH DEPICTING CUPID 18th Century Believed to be European. Cupid carries his bow and arrow through a lush landscape of grapes and grape leaves, while two dogs chase a bird up a tree. Length 4.5”. 500/1,000

3008, obverse and reverse

3009. POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING LADY LIBERTY Circa 1830s Liberty, wearing a festooned hat and elaborate gown, stands on a monument while holding a large American flag on pole in one hand and a rolled parchment marked “Liberty or Death[?]” in the other. The monument’s cornerstone has a ship portrait. Length 5.5”. With wooden stand. Height on stand approx. 7.75”. 1,500/2,000

3009

3010. CARVED SCRIMSHAW WHALE’S TOOTH WITH FIGURAL PORTRAITS Mid-19th Century Tip and base carved with bands of geometric designs, one incorporating a central heart. Engraved swag garland above half-length and bust profile portraits of two lovers, a lady wearing a cross necklace, a bearded man and a man in finery. Length 4”. 1,000/1,500

3010, obverse, edge and reverse

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3011. RARE AND DESIRABLE PAIR OF INLAID WHALE’S TEETH CHALICES Mid-19th Century Teeth encircled by scalloped, line and vine designs formed from abalone, silvered metal, shell and other contrasting inlay. Scalloped carving along top edges and jagged sawtooth carvings at bases. Carved and turned multi-tier stems. Turned feet with incised lines. Heights 5.5”. 12,000/18,000 Provenance: Accompanying note indicates the teeth were in the collection of William Boylhart and E. Norman Flayderman, and they were purchased in Australia in the 1930s. Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 199.

3011

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T H E CO L L E C T I O N O F J O E V A L L E J O

3012. CARVED WHALEBONE FIGURES OF A SAILOR AND HIS LADY 19th Century Charming pieces of folk art. Some inked/ colored details. Affixed to black painted wooden stands. Heights 6.25” and 7.25”. 1,500/2,000

3013. SCRIMSHAW WHALE’S TOOTH WITH BRITISH NAVAL MOTIFS 19th Century Obverse depicts Jack Tar holding a sword and a Union Jack on pole. Reverse depicts two ships at sea, one flying a British flag. Palm tree on edge. Decorative borders at tip and base. Rich patina and some traces of polychroming. Length 6”. 2,500/3,500

3012, pair

3013, obverse and reverse

3014. SCRIMSHAW WHALE’S TOOTH DEPICTING THE S.S. BRITISH QUEEN, MOUNTED AS A SNUFF BOX Dated 1852 Obverse depicts the sidewheeler flying a British flag off the stern, and an American flag, an “1839” flag and a British ensign from the masts. Reverse with an anchor surrounded by “EH”, “1852” and “C” and “B”. Apparently unmarked silver mounts at tip and base, the base in an acanthus leaf design and the snuff box’s hinged lid etched with a scene of a woman looking out to sea while sitting beside an anchor. Total length 7.25”. 3,000/5,000 The British and American Steam Navigation Company passenger liner British Queen, named in honor of Queen Victoria, was the second steamship completed for the transatlantic route and was the largest passenger ship in the world at the time she made her maiden voyage from London to New York in 1839.

3014, obverse and reverse

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3015, obverse and reverse

3015. LARGE SCRIMSHAW WHALE’S TOOTH WITH DETAILED WHALING SCENES Mid-19th Century Two latitudinal scenes wrap around the circumference of the tooth. The upper scene depicts a stern-view portrait of a whaleship and whale processing, showing cutting in, with a whale drawn up alongside the ship and whalemen on the cutting stage, and trying out, with smoke billowing from the tryworks. Lower scene depicts a whale capture, with a whaleship, a large pod of whales, and several whaleboats, one of which is stoved and another with the harpooner at the bow poised to strike. Ships flying assorted flags and pennants, notably a house flag with a white field bisected by a thick horizontal band. Length 8.25”. Includes wood stand. Height on stand 11.25”. 15,000/25,000

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T H E CO L L E C T I O N O F J O E V A L L E J O

3016. LARGE SCRIMSHAW WHALE’S TOOTH WITH MARQUESAS ISLANDER PORTRAIT 19th Century Obverse with a full-length portrait of a native, covered almost entirely with tattoos, holding a coconut shell basket and a staff, an image sourced from the engravings in “Voyage autour du monde sur la Nadjedjeda et la Neva, 1813”, the account of Krusenstern’s early Russian expedition to circumnavigate the globe. Reverse with a fulllength portrait of a woman holding a handkerchief and a flower basket. Densely inked, with some polychroming to the lower part of her skirt. Length 8.75”. With wood and metal stand. Height on stand approx. 11”. 8,000/12,000

3017. SCRIMSHAW WHALE’S TOOTH WITH EAGLE AND SAILING VESSELS Mid-19th Century Intersecting proscenium arches at tip, one containing a band of stars over a spread-wing eagle clutching a banner in its beak, a Liberty shield to its breast and arrows in its talons, and the other containing a leafy flowering plant. Arches formed by several geometric and foliate bands. Two geometric bands and images of a ship flying an American flag, a sloop and a lighthouse wrap around the tooth at base. Finely rendered. Deep patina. Length 5.25”. With wood stand. Height on stand approx. 7”. 4,000/6,000

3016, obverse and reverse

3017, obverse, edges and reverse

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3018

3018. SCRIMSHAW PANBONE PLAQUE WITH WHALING SCENE Mid-19th Century Detailed view of a whaleship and four whaleboats in pursuit of a pod of whales in various stages of capture. Possibly some traces of polychroming in whale spouts. Floral garland and line borders around perimeter. Nice patina. 6.75” x 11.25”. 10,000/15,000

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T H E CO L L E C T I O N O F J O E V A L L E J O

3019. SCRIMSHAW PANBONE PLAQUE Mid-19th Century Finely executed view of a ship flying a British white ensign off the stern, with a channel marker in the foreground and a building and lighthouse on the cliff-lined coastline in the background, possibly Dover. 4.25” x 6”. With simple plastic stand. 3,000/4,000

3019

3020. SCRIMSHAW WHALEBONE DITTY BOX 19th Century Wood lid and base, the lid a newer replacement. Whalebone sides depict a whaling scene, a sailor, ship portraits, a sun face, a coastal landscape and decorative geometric banding. Whalebone secured with three riveted fingers. Height 3.5”. Length 8”. 2,000/3,000

3020

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3021. WHALE IVORY, SHELL AND BALEEN-ADORNED BOX 19th Century Wooden lift-top box covered with shell panels and baleen bands affixed with brass tacks. Heart-shaped whale ivory escutcheon. Whale ivory corners and bands in an alternating circle and oval design; some of the baleen bands also with this pattern. Height 5.5”. Width 11.25”. Depth 6.5”. 3,000/5,000 3021

3022. BALEEN DITTY BOX 19th Century Lid with wood top, baleen sides and a color lithograph mounted under glass depicting a woman’s head, marked lower right “Memory”. Box with baleen sides and wood base panel. Baleen sides secured with riveted and serrated fingers, the lid with one finger and the box with three. Height 3.75”. Diameter 5.5”. 1,000/2,000

3022

3023. SCRIMSHAW BALEEN BOX 19th Century In the form of a dome-top trunk, made from pine with baleen panels affixed with pins and tacks and the lid attached with rudimentary wire hinges. Each baleen panel with crosshatch borders. Lid depicts an American-flagged ship with its sails furled. Side panels depict floral and foliate motifs, save for the rear panel, which has two ships flanking “The Ship Ahoy Ollah Where You From Prey Yorkwen”. Height 4.25”. Width 7.5”. Depth 4.25”. 400/600 3023

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T H E CO L L E C T I O N O F J O E V A L L E J O

3024

3025

3026

3024. ICELANDIC WHALER’S KNIFE WITH SHEATH Dark wood handle and sheath with metal, bone and mother-of-pearl inlay, the handle with geometric designs and the sheath with geometric borders, metal banding and metal inlay shaped as whaling implements, a whale and a vessel. Steel blade. Apparently unmarked. Total length of knife in sheath 13.75”. 800/1,200 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. 129.

3025. LARGE WHALEBONE BUSK WITH WHALING SCENE Mid-19th Century Depicts two whaleships and three whaleboats in pursuit of a large pod of whales. One of the ships is cutting in and several whales are fast to starboard. One of the whales appears to be breaching or in a flurry. At the ends of the busk flanking the whaling scene are floral medallions, vacant banners, Cupid and a pair of lovebirds. Reverse with “Elizabeth” in a banner, believed to refer to a whaleship Elizabeth. Length 15.25”. 5,000/7,000

3026. LARGE SCRIMSHAW WHALEBONE BUSK Mid-19th Century Obverse depicts three vignettes: a ship portrait, a stately coastal home and a floral bouquet. Vignettes are framed within a drapery border and separated by a flowerhead and vine design. Matching drapery border around perimeter of busk. Reverse with a faint but detailed coastal whaling scene flanked by drapery borders, acanthus leaves and a monogram. Busk is curved at one end and subtly canted at other end. Length 12.75”. With simple plastic stand. 1,000/1,500

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3027. TWO SCRIMSHAW BUSKS Mid-19th Century 1) Very finely engraved whalebone busk with a barber pole border surrounding images of a brick mansion, an urn of flowers, a spread-wing eagle perched on a monument and clutching a Liberty shield to its breast and arrows and olive branches in its talons, a ship portrait and a Greco-Roman soldier. Faint engravings on reverse. Dark patina. Length 11.25”. 2) Baleen busk engraved on both sides with leafy branches, potted plants, a house, a ship portrait, etc. Length 14.25”. 800/1,500

3028. SCRIMSHAW COCONUT SHELL DIPPER 19th Century Coconut shell bowl engraved with assorted hex signs, a spouting sperm whale, a sailboat and a three-masted vessel. Wooden through-tenoned handle with an incised and faceted whale ivory terminal and medial joint. Length 15.5”. 600/900

3027, two

3028

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T H E CO L L E C T I O N O F J O E V A L L E J O

3029. LARGE SCRIMSHAW WHALE’S TOOTH WITH MARITIME SCENES Mid-19th Century Obverse depicts a whaling scene with a whaleship and two whaleboats in pursuit of whales, one boat fast to a whale and the other poised to throw a harpoon. Reverse depicts three different vessels off a hilly coastline, the ship in the distance possibly a two-stack steamship. A building on the coastline, possibly a fort, as well as the ship on the reverse and the whaleship on the obverse are flying identified flags, possibly British. Length 7.25”. 5,000/7,000 3029, obverse and reverse

3030. SCRIMSHAW WHALE’S TOOTH DEPICTING THE SHIP KENT Mid-19th Century Obverse with “Kent” within a garland above a threemasted vessel flying a “B” flag from the mainmast and a British flag off the stern. A lighthouse is in the distance off her stern and a small sloop off her bow. Reverse depicts a knight's helm, a heart-shaped shield, crossing British flags on poles contained within a crown, a bird perched on a draped banner, and a plinth dated 1840. A geometric band, which possibly incorporates an “M” and other letters, encircles tooth near tip. Length 6.25”. 3,500/5,000 3030, obverse and reverse

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3031, obverse, edge and reverse

The signature, lettering and style of workmanship on this tooth are identical to a tooth by James Adolphus Bute that is part of the collection of the Western Australia Museum in Perth and two Bute examples sold at Eldred’s, The Marine Sale, July 19, 2018, Lots #76 and #109. According to the Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Mystic Seaport Museum, 1991), p. 24, Englishman James Adolphus Bute was born around 1799 and joined the Royal Navy around 1819. There was great crossover of personnel between whaling and naval service in England, much more so than in the United States, and Bute may have been introduced to scrimshaw during a whaling voyage in between stints on naval vessels. “The Journal of Syms Covington”, assistant to Darwin on his second voyage aboard the Beagle, December 1831-September 1836, lists James Bute as a crew member, one of six crew members listed as a Royal Marine. Given the similarities between images on this and other Bute teeth and drawings by Conrad Martens, the official artist onboard the Beagle, it is possible Bute was influenced by or collaborated with the artist in creating his pieces of scrimshaw.

3031. IMPORTANT SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO JAMES ADOLPHUS BUTE, CREW MEMBER ON CHARLES DARWIN’S EXPEDITION Circa Early 1830s Believed to be engraved aboard the H.M.S. Beagle during Charles Darwin’s second voyage, the 1831-1836 expedition. Obverse depicts “Natives of Tierra del Fuego.”, a scene of two figures on a mountainous coastline, one holding a spear and the other paddling a canoe. Signed lower right “J.A. Bute”. Reverse depicts a bust portrait of a “New Zealander” with barbed spears and a hatchet. Edge with “Britons United” in a banner below a floral motif. Wide feathery fan-like borders at tip and base. Length 6.25”. Includes a glass and wood case with mirrored base. Case height 5.5”. Width 8.75”. 10,000/15,000 Accompanied by copies of correspondence between William J. Boylhart and Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling Museum and founder of the Scrimshaw Forensics Laboratory, discussing the tooth’s authenticity and attribution to Bute, in which Frank writes “I do believe that it’s authentic ...”.

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T H E CO L L E C T I O N O F J O E V A L L E J O

3032. 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. Notably, a panel at the base contains “Melintha” in script lettering. Reverse with two fine ship portraits, one identified as the “James” and the other as the “York Town”. Both ships are flying assorted flags and pennants, including an American flag flying off the stern. Length 5.75”. Includes wood stand. Height on stand approx. 7.25”. 8,000/12,000

A similar example is 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. Frank writes that Judge 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. Frank also writes the Yorktown, a 16-gun full-rigged ship, made one trip to the Pacific and two from Boston to Africa to suppress the slave trade. She was in service from 1839 to 1850. Accompanying 2010 emails between Dr. Frank and Judge Vardeman discuss “Melintha” as a name in the Taber family of Fairhaven, Massachusetts, in which some members were whalemen.

3032, obverse and reverse

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3033. SCRIMSHAW WHALE’S TOOTH DEPICTING THE TOWN HO 19th Century Obverse depicts a British three-masted vessel, flying assorted flags off the masts and stern. Labeled below “Town Ho”. Reverse depicts a soldier standing beneath a large potted flowering tree in which a curious variety of birds and animals have taken up residence. Length 6.5”. 2,000/3,000

3033, obverse and reverse

3034. PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH DEPICTING FRIGATES Circa 1830 Three-quarter stern-view portraits of frigates flying several colorful pennants, flags and banners, including large American flags off the sterns. Depiction of the sea wraps around to the reverses, one tooth also showing a hilly coastline with a lighthouse and lighthouse keeper’s house, and the other a ketch flying an American flag. Geometric borders encircle teeth at bases. Lengths 4.75”. 2,000/3,000

3034, pair

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T H E CO L L E C T I O N O F J O E V A L L E J O

3035. CARVED AND DECORATIVELY ENGRAVED WHALEBONE SEAM RUBBER Mid-19th Century Wedge-shaped knop engraved “Ship Gilmore” on one side and “Johns” on the other, with a flourish below the lettering. Geometric handle engraved with an anchor, “HJ” and crosshatch patterns. Deep patina. Length 5.75”. 1,000/1,500

3035

3036. CARVED WHALE IVORY SEAM RUBBER Mid-19th Century Faceted knop. Octagonal handle and wedge-shaped blade with deeply incised banding. Some pearling. Length 4.75”. 1,000/1,500

3036

3037. CHARMING WHALEBONE AND WOOD SEAM RUBBER Mid-19th Century Faceted knop inlaid with whalebone panels engraved with letters of the alphabet. Elongated diamond-shaped handle with inlay shaped as a harpoon, lance, heart, etc. Blade with whalebone hearts on the edges. Some components with pinned construction. Length 6.25”. 1,000/1,500

3037

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3038. KNIFE WITH SCRIMSHAW WHALE IVORY HANDLE 19th Century Handle carved in the form of a bird, with engraved eyes and mouth. One side of handle engraved with a whaling scene, the whale massive in scale to the whaleboat and whaleship. Two other sides engraved with a flowering vine, the flower blossoms deeply stippled. Deep patina. Blade apparently unmarked. Length 10”. Includes leather sheath. 1,500/2,000

3039

3038

3039. KNIFE WITH CARVED WALRUS IVORY HANDLE AND SHEATH 19th Century Handle with band of circle-in-square and swirled ribbed carvings. Blade apparently unmarked. Sheath with silver metal band to suspend a leather holder, and pique, drapery and opposing hearts carvings. Not believed to have been crafted together, but knife fits nicely in sheath. Total length of knife in sheath 9.5”. 500/700

3040. SOLINGEN SAILOR’S KNIFE WITH WALRUS TUSK SHEATH 19th Century Steel blade engraved with foliage, a fouled anchor and a ship portrait medallion, and is marked near brass cross guard “Solingen”. Ivory handle relief-carved on both sides with a floral medallion. Sheath, probably sailor-made and not original to the knife, is fashioned from the tip of a walrus tusk and bound in baleen. Total length of knife in sheath 10.5”. 800/1,200

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3040

T H E CO L L E C T I O N O F J O E V A L L E J O

3041. RELIEF-CARVED WHALEBONE FID Knob end relief-carved with a crown and “John Gifford 1842” in Gothic lettering. Conical shaft with ribbed spiral carving above a relief-carved band depicting an anchor, a British-flagged ship and a fish. Length 16.75”. 5,000/8,000

3042. RELIEF-CARVED "LOANGO" TOOTH 19th Century Procession of human figures engaged in various pursuits are arranged in a spiral ascending from base to tip. Quilted pattern encircles base. Length 7.25”. With wood stand. Height on stand approx. 9.75”. 2,500/3,500 A similar example is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 8.29. Frank writes this type of figural relief carving was done on the Loango Coast of Africa and the carvings are believed to have Islamic or tribal significance. While the carvings are mostly seen on elephant ivory, sperm whales are also indigenous to the region and the teeth could be acquired from carcasses that washed up on shore or in barter with whalers. American whaling began taking place in the waters off the coast of Africa in the middle of the 18th Century.

3043. CARVED WHALE IVORY NEEDLE CASE 19th Century Spiraling ribbed carvings. Contains a large needle marked “A. Shrimpton. 7”. Length 6.25”. 800/1,200

3044. TWO WHALEBONE UTILITARIAN ITEMS 19th Century 1) Fishing lure. Length 6.25”. 2) Pipe tamp carved and turned in the form of a chalice. Metal end. Length 2.75”. 200/400

3045. TWO WHALE IVORY AND WHALEBONE PERSONAL ITEMS Mid-19th Century 1) Whale ivory heart-shaped needle holder. Slot for needles engraved “LT”. Heart with carved edge and a small pierced diamond and heart. Attached with thread to a felt backing. Total length including felt 2.5”. 2) Fine carved whalebone hook. Terminal formed as two lovebirds perched on a shield, the shield with pierced cross and the whole with intermittent circles. Shaft with stepped architectural carvings, a ball-in-cage and a quilted diamond design. Length 7”. 400/600

3041

3046. TWO WHALE IVORY AND WHALEBONE SNUFF BOXES 19th Century Both with lift tops with thumb tabs. One with a pair of reliefcarved fish and carved fish scale and rope designs on lid and two parallel rope carvings on underside. Lengths 2.5” and 2.75”. 500/800

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3042

3043

3044, two 3045, two

3046, two

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T H E CO L L E C T I O N O F J O E V A L L E J O

3047. WHALEBONE TOP 19th Century Probably used for gambling. Twelve-sided body, each face numbered 1 through 12 alternating blue and red, and with additional red and blue decoration and incised banding. Length 2.5”. 500/800 3047

3048. POLYCHROME WHALE IVORY SCRIMSHAW PUZZLE BOX Mid-19th Century Figure-8 shape, one side engraved with a flowering plant. Contains a tiny carved dog. Length 1.875”. 250/350

3048

3049

3049. SMALL WHALE IVORY FID WITH DECORATIVE STIPPLING 19th Century “G.L.” and “J.L.” surrounded by geometric bands. Length 5”. 200/300

3050. SEVEN WHALEBONE AND WHALE IVORY KITCHEN ITEMS 19th Century 1) Whalebone powder shaker marked on side “Joseph Beckett & Co Chester”. Screw-on nozzle and lid. Length 4.5”. 2-5) Whale ivory cutlery set and a knife rest. Fork, knife and spoon with an inlaid baleen dot on handles. Knife rest with faceted ends, most faces with an inlaid baleen dot. Lengths from 4” to 6”. 6) Whale or walrus ivory carved spoon with a contrasting spacer and a red coral terminal. Delicately carved bowl. Handle with ring and quilted diamond carvings. Length 9.25”. 7) Toddy ladle with coquilla nut bowl and a whalebone handle with delicate turned terminal. Length 6”. 600/800

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3050, seven

3051

3051. HORN CUP ENGRAVED WITH A WHALING SCENE 19th Century “Laurel” in a banner above a whaleboat flanked by whales' tails. Vignette framed with scrolls. Height 3.75”. Diameter 2.25”. 400/600

3052. SCRIMSHAW JAW BONE WITH MAGAZINE ILLUSTRATION IMAGES Mid-19th Century Probably a porpoise or blackfish jaw. “Ship Burlington” below a scandalous view of a woman smoking and holding up her skirt to reveal her ankles and feet. “Revista Popular Illustrada Julho de 1859” (Popular Illustrated Magazine July 1859) below two well-dressed women engaged in conversation. Length 20.25”. 1,200/1,500

3052

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T H E CO L L E C T I O N O F J O E V A L L E J O

3053

3053. WHALE IVORY LADY’S LEG PIE CRIMPER Mid-19th Century Leg with incised carvings, a contrasting inset “garter” and a carved and engraved heeled boot. Faceted terminal with contrasting inset dots and swinging bail hanging loop. Lyre-style wheel yoke. Serrated wheel with four spokes. Length 7.5”. 8,000/10,000 Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 187.

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3054. PIE CRIMPER WITH METAL PIQUE INLAY 19th Century Whale and walrus ivory, with silvered metal pique inlay throughout. Slightly curved handle with ruffled carvings along perimeter and two open-carved stars, a pierced clover and a pique diamond. Contrasting spacers, possibly wood or baleen. Architectural fluted mount with three-tier fork. Serrated wheel. Length 8.5”. 1,200/1,800

3055. WHALE IVORY PIE CRIMPER WITH BALEEN DOTS 19th Century Pistol grip-style handle with lyre-form supports and mounts studded with baleen dots. Large serrated wheel with star-shaped hub. Three-tine fork conjoined with baleen spacer. Length 7.25”. 1,200/1,800

3054

3055

3056. WHALE IVORY SERPENT-FORM PIE CRIMPER 19th Century Serpent with red eyes, carved mouth and engraved features, the head supported by a brace. Looping body with medial contrasting and ivory spacers. Architectural wheel yoke. Small serrated wheel possibly whalebone. Length 6.5”. 1,500/2,500

3057. WALRUS IVORY DOUBLE-WHEEL PIE CRIMPER 19th Century Unusually shaped handle and wheel yokes with contrasting bands, probably wood or baleen. One wheel in a ruffled flower form and the other jagged. Three-tine fork. Length 8.25”. 1,200/1,800

3056

3057

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T H E CO L L E C T I O N O F J O E V A L L E J O

3058

3058. ESKIMO RELIEF-CARVED WALRUS TUSK CRIBBAGE BOARD 19th/20th Century Commemorating the schooner A.T. Gifford, the last American schooner-rigged whaleship to cruise Hudson Bay. Relief-carved with three stars and “Sch. A.T. Gifford” within a cloud-like form. Reliefcarved cribbage track. Three baluster legs. Screw-on knob at base encloses a peg compartment. Length 14.5”. 1,000/1,500 The A.T. Gifford was built in 1883 in Essex, Massachusetts, and she had home ports of Gloucester, Massachusetts and New York City. She caught fire and sank in 1915 and none of the crew survived the disaster.

3059

3059. ESKIMO RELIEF-CARVED WALRUS TUSK CRIBBAGE BOARD 20th Century Relief-carved ship and fish flank the cribbage board track. Three knob feet. Length 9.75”. 500/1,000

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3061, obverse and reverse

3060, obverse and reverse

3060. SCRIMSHAW WALRUS TUSK WITH MOSTLY FIGURAL PORTRAITS 19th Century Obverse depicts a “Holy Bible” backed by sun rays, probably a fraternal emblem, as well as a floral wreath surrounding “DWA”, an “ASP” banner, and four full-length figural portraits. One of the portraits is of a girl holding a hoop, two of them are of women and one is of a man. Reverse with a half-length portrait of a man, a full-length view of a knight on horseback, and a patriotic vignette of American flags and a male and female figure flanking an anchor and cannon. Beginnings of another image below. Highly detailed images with fine use of the stippling technique throughout. Length 23.25”. 800/1,200

3061. SCRIMSHAW WALRUS TUSK 19th Century Petrified condition. Accompanying old label indicates it was found in the Alaskan Tundra by a bush pilot. Nearly entirely covered with a variety of deeply engraved images including a caduceus, a Scottish warrior, a bust portrait of a woman within a garland surround, two lovers kissing beneath a tree, views of American-flagged ships, a figure wearing a feathered headdress, a multi-pointed star, a spread-wing eagle with banner and arrows, an anchor and heart, etc. Length 21”. 800/1,200

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T H E CO L L E C T I O N O F J O E V A L L E J O

3062. SCRIMSHAW WHALE’S TOOTH BY THE BRITANNIA ENGRAVER Circa 1830s Depicts a merchant brig under full sail, flying a British ensign off the stern, with a fortress at right showing a smokestack, four batteries and what is possibly a central cannon. The continuous undulating lines used for the sea and the deeply incised gun ports and hull are consistent with other work by the Britannia Engraver. Tooth probably from a very old bull sperm whale, worn down in height and with visible root structure. Length 4”. Includes wood stand. 4,000/6,000 Accompanied by correspondence dated 2002 between William J. Boylhart and Dr. Stuart M. Frank, Senior Curator of the New Bedford Whaling Museum, stating the work is that of Edward Burdett of Nantucket. Later scholarship has re-attributed a significant amount of work from Burdett to the otherwise anonymous Britannia Engraver. Boylhart writes he thinks this tooth, given its size, was possibly intended to use as a knife handle, and that it is possibly unfinished. His letter also indicates the tooth was acquired at a flea market in northern England around 1986.

3062

3063. SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE BRITANNIA ENGRAVER Mid-19th Century Mounted as a powder flask with brass cap at base. Leafy vine frames images of a floral sprig, a threemasted vessel flying a striped flag at the stern, and a scene of a crown above Britannia wrapped in a British ensign standing beside an anchor and pointing toward a distant ship. Checkerboard pattern at very tip. Total length 4.5”. 3,000/4,000

3063, obverse and reverse

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3064

3064. SCRIMSHAW WHALE’S TOOTH WITH A SAILOR BOY AND OTHER IMAGES Mid-19th Century Mostly executed in pinpoint. Sailor boy stands on the deck of a ship, holding a sword at his side. Other images include a sailing vessel, a bird perched on a branch, a steer, a fish, a squirrel and a horse’s head. Length 4.25”. 500/700

3065

3066, obverse

3065. PINPOINT SCRIMSHAW WHALE’S TOOTH WITH A POLICEMAN AND HIS DOG Mid-19th Century Silver cap on base with British hallmarks. Length 4.5”. 400/600

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3066. PINPOINT SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF A LADY Mid-19th Century Obverse depicts a large flower blossom above a half-length portrait of an exotic lady holding a bouquet of flowers. Reverse depicts a sloop. Possibly faintly marked or signed below image. Apparently unmarked silver cap on base with floral and other designs. Length 4”. 400/600

T H E CO L L E C T I O N O F J O E V A L L E J O

3067, obverses and reverses of pair

3067. PAIR OF SCRIMSHAW WHALE’S TEETH WITH PATRIOTIC MOTIFS AND WHALING SCENES Mid-19th Century Obverses depict arches of stars over spread-wing eagles grasping olive branches and arrows in their talons. One eagle clutches an “E. Pluribus. Unum.” banner in its beak and hovers over a crossed American ensign and flag. Other eagle hovers over a Liberty shield, an olive branch, arrows and an “E. Pluribus. Unum.” banner. Reverses depict whaling scenes, one showing a whaleship with whaleboats in the water in pursuit of a whale, and the other a whaleship cutting in. Both ships flying large American flags off the stern. Lengths 6.5”. Affixed to wooden bases. Heights on bases 7.5”. 10,000/15,000

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3068. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC MOTIFS Mid-19th Century Obverse depicts a man and woman, labeled “MJW” and “AWB”, below an arch of four stars and American flags on poles flanking a Phrygian cap on a pole, the poles emanating from a Liberty shield. The woman is wearing a geometric-patterned dress, and the man is wearing a top hat and long jacket and holds a bouquet of flowers in his outstretched hands. Stripes on flags and shields colored with red sealing wax. Reverse depicts a nearly identical woman holding an American Cowpens flag on a pole topped with a Phyrgian cap. In her other hand she holds aloft what is possibly an olive sprig or torch, which is tethered to the Phrygian cap. Length 4.5”. 2,000/3,000

3068, obverse and reverse

3069. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH CHILEAN WOMAN AND SAILORS Mid-19th Century Obverse depicts a sailor holding an American flag, his arm entwined with a woman in traditional dress holding a Chilean flag. Components of the flag and her outfit heavily colored with red sealing wax. Above the couple is an image of a handshake, probably a fraternal emblem, and “Acuerdate[?], G.W. Brown” in script lettering. Reverse depicts a dove holding a laurel wreath above a sailor holding a star ensign and a spear and standing beside an eagle perched on an anchor. Fan-like border at tip and sawtooth border at base. Length 4.5”. 2,500/3,500 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, March 1986, Lot #289. 3069, obverse and reverse

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T H E CO L L E C T I O N O F J O E V A L L E J O

3070, obverse and reverse

3070. LARGE SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC AND MARITIME MOTIFS Mid-19th Century Obverse depicts a starboard portrait of a ship at sea below a spread-wing eagle with arrows, olive branches, a Liberty shield and a variety of draped American flags on poles, one flag with an eagle in the canton and one pole topped with a Phrygian cap. Reverse with “A.W. Green” at center. Image above of Lady Liberty holding a scrolled parchment and a large American flag on a pole topped with a Phrygian cap, standing in front of a cannon on carriage and beside an olive tree. Image below of well-dressed figures by a footbridge on a coastal promenade, looking out toward an American-flagged schooner. Some scant polychroming. Length 9”. With wood and metal stand. Height on stand approx. 12.25”. 12,000/15,000

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3071. GIRTHY POLYCHROME SCRIMSHAW WHALE’S TOOTH Mid-19th Century Obverse depicts a woman wearing a crown, probably Queen Victoria, surrounded by climbing roses and a fine double-line arch. Reverse depicts a monument topped with a classical female figure, surrounded by scrolling acanthus leaves. Acanthus leaf and sawtooth border encircles tooth at base. Length 7.5”. With lucite stand. 3,000/5,000

3071, obverse and reverse

3072. PAIR OF SCRIMSHAW WHALE’S TEETH WITH WHALING SCENES Mid-19th Century Both with prominent whaleships in the background and busy and dynamic views of whale captures in the foreground, showing surfaced whales and several whaleboats, some under sail and some fast to a whale. Whaleships flying identical house flags with scant traces of polychroming, identifying the ship as the Arab of Fairhaven. Lengths 4.25”. 1,500/2,500

3072, pair

3073. SCRIMSHAW WHALE’S TOOTH CARVED AS A COLUMBIA FIGUREHEAD 19th Century Bust of Columbia, her cap engraved with blue stars. Marked below the carving “Columbia” in red and “Boston” in blue, both within banners, and “Bunker” and an anchor in black. Length 4.5”. With wooden stand. Height on stand approx. 5.5”. 800/1,200

3073

3074. SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAIT 19th Century Ship flying multiple flags including what is believed to be the Hawaiian flag. According to the consignor, this tooth was discovered in Laguna Beach, California during an excavation; patina and state of preservation commensurate with being underground. Length 6.25”. 800/1,200 3074

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T H E CO L L E C T I O N O F J O E V A L L E J O

3075. SCRIMSHAW WHALE’S TOOTH WITH PARLOR AND OTHER SCENES Mid-19th Century Obverse depicts two lovebirds grasping a vine above a scene of a woman in a parlor, sitting on a sofa, holding a flower in one hand and reaching for a dog with the other. Scene framed by drapery swags and includes two landscape paintings on the wall behind the woman and a rich floral-patterned carpet on the floor. Possibly some traces of polychroming. Reverse depicts two scenes, one of a fisherman at a river in a bucolic setting with trees and a stone bridge, and the other of Hope resting against a fouled anchor and pointing her extended arm toward a ship at sea. Delicately rendered and finely detailed throughout all three images. Length 7”. Includes wood stand. Height on stand 10.5”. 5,000/7,000

3075, obverse and reverse

3076. PINPOINT SCRIMSHAW WHALE’S TOOTH WITH FULL-LENGTH FIGURAL PORTRAITS Mid-19th Century Obverse depicts a man wearing a hat and jacket. Reverse depicts a nude woman covering her face and genitalia with her hands. Deeply stippled execution. Length 5.25”. 700/1,000

3076, obverse and reverse

3077. POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING LOVERS Mid-19th Century A woman, possibly a prostitute, embraces a man seated on a green chair. She has red adornments in her hair, her bodice is open to her waist, and her skirt is pulled up to her knees. The man is wearing a suit, though his shirt is also unbuttoned. Length 5.25”. 1,000/1,500

3077

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3078. PAIR OF SCRIMSHAW WHALE’S TEETH DEPICTING A SAILOR AND HIS LADY Mid-19th Century The sailor stands beside an anchor and holds a Union Jack on pole. Above him is an additional Union Jack and a pierced heart. The lady, wearing a large hat and apron, holds a pierced heart and a small lyre or chalice in her outstretched hands. Above her is a British ensign supported by a heart. Somewhat crude but charming engraving. Lengths 4.5”. 800/1,200

3078, pair

3079. LARGE SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENE Mid-19th Century Depicts a whaleship and four whaleboats, two fast to a whale. Length 8.5”. With wooden base. Base width 8.75”. Height on base approx. 10.25”. 4,000/6,000

3079

3080. PINPOINT SCRIMSHAW WHALE’S TOOTH WITH JACK TAR Mid-19th Century “Cornelia” in a banner above a full-length figure of a sailor holding a large British ensign and standing in front of what is possibly a cannon. “Cornelia” could reference the H.M.S. Cornelia, a 32-gun Royal Navy frigate that launched in 1808 and was broken up in 1814. Length 5.25”. 500/700

3080

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T H E CO L L E C T I O N O F J O E V A L L E J O

3081. SCRIMSHAW WHALE’S TOOTH WITH SEVERAL VIGNETTES Mid-19th Century Depicts a woman driving a horse-drawn carriage, a man holding a baton or roll of papers and resting his arm atop a monument, and a standing woman wearing a dress with heart-shaped sleeves and striped bodice. All with some stippled/pinpoint components. Also depicts a small cross, possibly executed in a different but contemporaneous hand. Length 4.25”. 400/600

3081, obverse and reverse

3082. RELIEF-CARVED WHALE’S TOOTH Early 19th Century Believed to be French. Depicts a stylized version of the coat of arms of France, with a lictor’s fasces (fasces di combattemento) on branches. Length 5”. With wood and metal stand. Height on stand approx. 6.5”. 500/1,000 Fasces di combattement, a battle axe wrapped in rods, were a symbol of Roman magistrates and were carried over the shoulders of slaves when entering court. The symbolism was adopted by French revolutionaries and later by Napoleon Bonaparte. The emblem is often used to represent the French Republic though it holds no official status.

3082

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3083. SCRIMSHAW WHALE’S TOOTH DEPICTING QUEEN MARY 19th Century Obverse depicts a fine full-length portrait of Mary wearing a crown, ermine robe and cross, and holding an orb and scepter. Reverse with a coat of arms above “Mary 1st”. Small and subtle floral sprig above the coat of arms and elongated diamond designs to the left of and below “Mary”. Length 6”. 1,000/1,500

3083, obverse and reverse

3084, obverse and reverse

3085. SCRIMSHAW WHALE’S TOOTH WITH BIRDS OF PARADISE, CRUCIFIXION SCENE Mid-19th Century Obverse depicts an exotic bird and a butterfly in a lush landscape of flowers, foliage and a tree stump. A more simplistically rendered bird is perched on a flower blossom border, which wraps around the circumference of the tooth. Fan-like border at tip. Reverse depicts the crucifixion of Christ outside Golgotha, while a woman, probably Mary Magdalene, weeps at his side. Base cut flat and appears to be initialed “JK”. Length 4.75”. Includes wood stand. Height on stand 8”. 2,500/3,500

3084. SCRIMSHAW WHALE’S TOOTH DEPICTING A CATHEDRAL 19th Century Finely detailed and richly inked Gothic cathedral and delicately shaded puffy clouds. Reverse with “JB” script monogram, “EMU” serifed monogram and “1850”. Length 6”. 2,000/3,000

3085, obverse and reverse

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T H E CO L L E C T I O N O F J O E V A L L E J O

3086, obverse and reverse

3086. SCRIMSHAW WHALE’S TOOTH WITH FIGURAL PORTRAITS OF "HENRY" AND "EMILY" Circa 1830-1840 Obverse with portrait of a dapper young man, titled “Henry”, seated in an early 19th Century-style decorated chair, his hand resting on a letter atop a Queen Anne-style candlestand with carved pedestal. Reverse with a full-length portrait of a young lady, titled “Emily”, who appears to be gazing at Henry. Her hair is in curls and she is wearing a beaded necklace and a beautifully rendered dress, shaded with stippling. A rare example of scrimshaw portraying antique American furniture. Length 6”. With wood stand. Height on stand 6.75”. 6,000/9,000 Provenance: Richard A. Bourne Company, Hyannis, Massachusetts, March 4, 1986, Lot #64. Cover lot illustration.

conclusion of the collection

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3087, obverse and reverse

3087. SCRIMSHAW WHALE’S TOOTH WITH FIGURAL PORTRAITS OF "EDWIN" AND "MARIA" Circa 1830-1840 An interior scene of a handsome young man and a beautiful woman wraps around the tooth, the obverse with “Edwin” holding an early 19th Century-style decorated chair in one hand and a walking stick or riding crop in the other, and the reverse with “Maria”, wearing a voluminous dress, seated in a matching chair. A rare example of scrimshaw portraying antique American furniture and quite possibly the mate of a similar tooth depicting “Henry” and “Emily” presented in the Vallejo Collection of this auction. Length 6.25”. 6,000/9,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire.

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3088. BOLDLY POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING THE WHALESHIP HECTOR Mid-19th Century Obverse depicts a whaling scene with the ship cutting in and trying out, well-articulated figures visible on the cutting stage, by the tryworks and operating the pulleys, and two whaleboats in close proximity to a whale, the surrounding water colored red. The ship, with false gunports, is identified in pinpoint lettering below scene as the “Hector”. A small segment of the sea wraps around the tip. Reverse depicts a spread-wing eagle with marvelous green feathers above a stern/starboard view of a ship under sail, flying a long streamer, a swallowtail and other flags, and with figures visible in the crow’s nest. Vibrant colors on both sides and a warm mellow patina. Length 7.75”. With wooden stand. 15,000/20,000 Provenance: Paul Madden Antiques, Sandwich, Massachusetts.

3088, obverse and reverse

Two vessels named Hector made whaling voyages, one a bark out of Warren, Rhode Island that sailed to the Atlantic, Pacific and Indian Oceans in the 1840s and 1850s, and the other a New York ship that sailed from New Bedford from the 1820s to the 1860s, mostly to the Pacific.

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3089, obverse and reverse

3089. BANKNOTE ENGRAVER POLYCHROME SCRIMSHAW WHALE’S TOOTH Mid-19th Century A first-quality example of the Banknote Engraver’s work. Obverse with an exceptionally rendered battle scene, probably between the U.S.S. Constitution and the H.M.S. Guerriere, one ship flying two vibrantly colored American flags and an ensign and the other three British red ensigns. Both ships are enveloped in cannon smoke and rough seas and are flying long red streamers. The British ship, under “fighting sail”, is losing her mizzenmast, and the American ship is under shortened sail. Most details are accurate to the Constitution vs. Guerriere battle’s recorded history, and a similar image is in Abel Bowen’s The Naval Monument. Reverse depicts an oval portrait of a pensive woman seated with her book open on an Empire-style table. Portrait within a superb sunburst and pique frame with an elaborate foliate crest and a floral pendant drop. Delicate geometric and feathery borders encircle tip and base. Mellow patina and excellent state of preservation. Length 7”. 8,000/12,000 Provenance: Paul Madden Antiques, Sandwich, Massachusetts.

3090. SCRIMSHAW WHALE’S TOOTH COMMEMORATING THE U.S.S. CONSTITUTION Mid-19th Century Obverse depicts a naval battle, most likely the U.S.S. Constitution and the dismasted H.M.S. Guerriere, the ships surrounded by billowing smoke and flying their nation’s flags and ensigns. Deep, intaglio-style carving of the ships' hulls. “Constitution” in faint rudimentary lettering below scene. Reverse with a nude goddess, an eagle grasping a banner in its beak, a shield, a horn, American flags, a bundle of olive branches and arrows, and a portrait medallion of a ship, probably the Constitution. Length 6.75”. 12,000/18,000 Provenance: Paul Madden Antiques, Sandwich, Massachusetts.

3090, obverse and reverse

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T h e V i g n e tt e A r t i s t

3091. EXCEPTIONAL SCRIMSHAW WHALE’S TOOTH BY THE VIGNETTE ARTIST Mid-19th Century A wide tooth providing a sizable canvas. Obverse depicts a whaling scene with a whaleship and five whaleboats in pursuit of sperm whales, the boat in the The Vignette Engraver’s identity is yet to be uncovered, but at least two lower left with text bubble “Pull Hard Boys Stoven teeth by the same hand, all with the characteristic framed vignettes and Boat”. In the lower right, one boat is fast to a whale scenes of American whaleships, have come to market at Eldred’s. One, that has stoved another boat, the boat now teetering from the collection of Thomas Mittler, was sold at the Marine Sale, July in the whale’s jaw and the whalemen akimbo in the 20, 2017, Lot #11, is also illustrated in Scrimshaw and Scrimshanders, air and the water. In the background, two whaleboats, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. harpoons poised, flank a spouting sperm whale. A Flayderman & Co., Inc., 1972), p. 71 and 93 and Through the Eyes of a framed vignette above depicts a close-up view of a Collector by Nina Hellman (2015), fig. 5. The other was sold at the Marine whaleboat with text bubble “Box Her Down Boys”. Sale, July 22, 2011, Lot #623, and is illustrated in Wandering Whalemen To the right of the vignette is a design of concentric and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby triangles. Obverse depicts a starboard view of a (Hyannis Port, Mass.: 2021), p. 115. three-masted ship flying assorted flags and pennants, including two American flags, an ensign, a long streamer and a swallowtail. All vignettes with fine line borders and shaded arches at upper corners. Primary vignettes with intermittent vine borders. Length 6.75”. 90,000/120,000

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3091, obverse and reverse

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3092, obverse and reverse

3092. FINE SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO CALEB J. ALBRO Late 1830s Obverse with a foliate festoon and banners framing “Ship John Coggeshall” above a whaling scene. The whaleship, with a watch atop the mast, is sailing toward the pod of whales and the viewer. Three whaleboats are in the water and are in various stages of whale capture. Reverse with a sun face, typical of Albro teeth, above a busy whaling scene where several figures are visible on the deck of the whaleship and three boats are in the water in pursuit of whales. Faint and indiscernible initials lower right, possibly “E.F.G”. or “F.E.C.”. Very deeply engraved intaglio-like elements on both sides, including the serifed lettering and the whaleboats. Length 6.5”. 25,000/35,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire.

From Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 4-5, we know Caleb Albro was aboard the John Coggeshall of Newport, Rhode Island during an 1835-1839 whaling voyage, on which his brother, Thomas, also served. The brothers produced several admirable pieces of scrimshaw, many of which were signed and show thematic similarities. Their workmanship is very similar to each other’s but distinct enough to identify as “Albro”. Caleb was born in Portsmouth, Rhode Island around 1816. After his whaling voyage he worked as a mariner then took up farming.

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3093, obverse and reverse

In Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Mystic Seaport Museum, 1991), p. 162, the Thistle Engraver’s work is described as typically depicting the namesake thistle as well as portraits of British ships. It is believed he is British, though his identity has yet to be determined.

3093. POLYCHROME SCRIMSHAW WHALE’S TOOTH BY THE THISTLE ENGRAVER Mid-19th Century Finely rendered and with vivid jewel-tone coloration on both sides. Obverse with two large thistle-like flowers growing out of a two-handled urn that is set upon a checkerboard plinth. Reverse with a starboard portrait of a British-flagged vessel. Mellow patina. Sterling silver footed base with marks for Watson Co. (Watson & Newell Co.) of Attleboro, Massachusetts, probably the same maker as the mounts on teeth from the John F. Kennedy Collection. Total height 7.25”. 20,000/30,000 Provenance: Konrad Juestal Collection.

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3094. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH FIGURAL PORTRAITS Mid-19th Century Obverse with a full-length portrait of a woman holding a small bouquet in her outstretched hand. Reverse depicts a child with a hoop and a stick. Portraits separated by vine and diamond borders. Sawtooth borders encircle tip and base. Length 5.5”. 1,000/1,500

3094, obverse and reverse

3095. POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING A FEMALE PIRATE AND A WARRIOR Mid-19th Century Obverse depicts a female pirate, possibly Fanny Campbell, holding a sword above her head and a Jolly Roger flag on pole. She has a dagger and pistol tucked into the belt of her tunic and she is standing next to a small cannon. Reverse depicts a warrior in a hilly landscape, carrying a short sword and holding aloft a small figure. Fan-like design at tip. Geometric border encircles base, interrupted by a floral medallion below the pirate’s portrait. Length 5.5”. 1,000/1,500

3095, obverse and reverse

3096. PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH WITH PORTRAITS OF SISTERS Mid-19th Century Bust portraits within foliate garlands tied with a bow. Both girls with ringlets in their hair and fine clothing, and one with pinkcolored cheeks. Lengths 5.25”. 800/1,200

3096, pair

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3097. SCRIMSHAW WHALE’S TOOTH WITH CUPID AND FEMALE FIGURES Mid-19th Century On the obverse, Cupid whispers in the ear of a scantily dressed woman and wraps his arm around her neck, holding an arrow to her chest. The woman, wearing a flower in her hair, a lavish beaded necklace and bracelets on both wrists, appears to be writing in a tablet while lounging in her boudoir. Large flower blossom above the scene. Reverse with a three-quarter-length portrait of a woman wearing a tartan shawl and holding small bouquets in both hands, her left hand extended and wrapping around the edge of the tooth to the obverse. A rudimentary border encircles the base, though the remainder of the workmanship is well-detailed. Some elements are deeply stippled, particularly the eyes on both women. Deep patina. Length 6.5”. 3,000/4,000 Provenance: Paul Madden Antiques, Sandwich, Massachusetts. 3097, obverse and reverse

3098. PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH DEPICTING MOTHERS AND THEIR CHILDREN Mid-19th Century One with a mother and daughter standing on a checkerboard floor. Arabesque and ribband arch above. Scalloped border at base. Other with a mother interacting with her two young children while seated in a fancy chair and resting her feet upon a stool. Floral-patterned carpet at their feet. Both teeth with bluegreen and red-brown highlights. Lengths 6.75”. 3,000/5,000 Similar teeth, possibly the same hand, are illustrated in Scrimshaw on Nantucket: The Collection of the Nantucket Historical Association by Stuart M. Frank (Nantucket, Mass.: The Nantucket Historical Association, 2019), p. 102, figs. 7:25 and 7:26.

3098, pair

3099. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF AN EXOTIC WOMAN Mid-19th Century Three-quarter profile of a woman with pink lips and cheeks wearing a mantilla-like shawl and a green skirt, set against a background suggesting a lush landscape. Interestingly composed of stipples and patterns of parallel lines. Vine surround forms a heart shape at tip, possibly an opposing “RR” monogram. Length 5.75”. 1,000/1,500 Provenance: Ken Brown. 3099

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3100. LARGE POLYCHROME SCRIMSHAW WHALE’S TOOTH BY THE NAVAL ENGAGEMENT ENGRAVER Mid-19th Century Obverse depicts a whaling scene with two whaleships, two whaleboats in the foreground and three whaleboats under sail on the distant horizon, pursuing a pod of whales. One of the whaleships, which is flying a “B” house flag, is cutting in. The other is flying an unidentified red flag. One whaleboat in the foreground is fast to a whale, and the whale is being lanced by the second whaleboat. The boats in the distance are sailing toward the viewer, characteristic of the scrimshander’s work. Reverse depicts a three-masted vessel off a cliff-lined coast. Several figures are visible on the deck of the ship, which is flying a long streamer and what is believed to be a simplistically rendered British flag. An identical flag is flying along the coast. Off the ship’s stern is a capsized boat and three figures in the water. The crests of the waves, the seawall and the trees on shore are stippled and heavily inked, providing depth and texture to the scene. Length 8.75”. 40,000/60,000

3100, obverse and reverse

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3101, obverse and reverse

3101. SCRIMSHAW WHALE’S TOOTH DEPICTING JACK TAR AND A WHALING SCENE Mid-19th Century Obverse depicts Jack Tar holding a large Betsy Ross-style American flag. Flag pole with topper, possibly a Phrygian cap or three entwined fish. Trellis-patterned ground. Arched garland surround interrupted by a globe. Reverse depicts a whaling scene with an American-flagged whaleship and a whaleboat fast to a whale. Detailed depiction of the ship, with several figures on deck and on the cutting stage, a whaleboat on davits, and a billowing American flag at the stern. Peacock feather border encircles base. Rich, warm patina. Length 5.75”. 10,000/15,000 Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts.

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3102. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PORTRAITS OF A LADY AND A SHIP Circa 1830 A sizable tooth with fine workmanship. Obverse with a stern/starboard view of a square-rigged American gunship flying American flags off the mainmast and the gaff. Delicately detailed decorative sternboard. Flag stripes colored red. Reverse with a full-length portrait of a fashionable lady wearing a flamboyant hat, a heart locket necklace and an ornate puffy-sleeve leaf-patterned dress, and holding a flower stem in one hand and a handkerchief or purse in the other. Some elements executed in pinpoint. Length 6.75”. 4,000/6,000 Provenance: Rafael Osona, Nantucket, Massachusetts, August 1, 2015, Lot #437. 3102, obverse and reverse

3103. PAIR OF SCRIMSHAW WHALE’S TEETH WITH SAILOR’S ADIEU 19th Century Obverses depict a farewell scene, with Jack Tar holding a British flag on one tooth and his lady standing on the dock and holding a handkerchief and a bouquet on the other tooth. Titled “Adieu” in a globe above her head. Both teeth with differing views of the British-flagged Calliope on the reverses, the ship identified in a globe and a banner. Lengths approx. 4.75”. 2,000/3,000

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3103, pair, obverse and reverse

3104. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH AMERICANA MOTIFS Mid-19th Century A three-masted vessel passes a woman, possibly Lady Liberty, standing atop a rocky promontory. The woman points toward an all-seeing eye with one hand and holds an American flag on pole in the crook of her other elbow. The flagpole is topped with a Phrygian cap and the flag is loosely furled, wonderfully cascading down the side of the tooth. Below the all-seeing eye is “C. DeVetter” in bold serif lettering and “US Steamer Waters[?]” in faint script lettering. Length 5.25”. 2,500/3,500 Provenance: Skinner, Inc., Boston, American Furniture & Decorative Arts, October 26, 2014, Lot #238.

3104, obverse, edge and reverse

3105, obverse and reverse

The Pennsylvania was authorized by the U.S. Navy in 1816, the largest sailing warship ever built, and was launched in 1837. She made only one cruise, from Chester, Pennsylvania, through Delaware Bay and Chesapeake Bay to Norfolk Navy Yard. She was used as a receiving ship and was destroyed during the Civil War to prevent her from falling into the Confederacy’s hands.

3105. SCRIMSHAW WHALE’S TOOTH DEPICTING AMERICAN SHIPS Mid-19th Century Meticulous and fine workmanship, both sides with views of American ships flying bold oversize American flags. Obverse with a sunrise over a spread-wing eagle with a Liberty shield at its breast and olive branches and arrows in its talons. The three-decker ship of the line, believed to be the Pennsylvania, is flying an American flag off the stern and a long pennant off the mainmast. She is viewed from the port side off a hilly coastline and another ship is sailing in the distance. Reverse with a stern/ starboard view of a frigate flying a swallowtail pennant from the mainmast and a large American flag off the stern. Length 6.75”. 4,000/6,000 Provenance: Paul Madden Antiques, Sandwich, Massachusetts.

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3106. SIGNIFICANT "SUSAN’S TOOTH" SCRIMSHAW WHALE’S TOOTH BY FREDERICK MYRICK Dated 1829 A particularly special Susan’s tooth, showing superior workmanship, crispness of images and exceptional pigmentation, composed in the characteristic Myrick format but with rare and possibly unique elements as well as the scrimshander’s archetypal motifs. Obverse depicts “The Ship Susan of Nantucket”, titled in a banner above a scene of the whaleship cutting in and three whaleboats off her bow in pursuit of whales, at various stages of capture. The ship is flying a house flag from the mainmast. To the right above the ship is a floral and foliate arch terminating in flower blossoms and surrounding rows of stars and a spread-wing eagle grasping an “E. Pluribus Unum” banner in its beak, an American shield to its breast and arrows and olive branches in its talons. Below the eagle is a partial globe. Below the whaling scene, on the edge of the tooth, is the couplet “Death to the living long life to the killers Success to sailors wives & greasy luck to whalers”. Reverse depicts “The Susan on her homeward bound passage”, titled in a banner held within the beak of an eagle soaring above a scene of the whaleship approaching a coastal lighthouse and lighthouse keeper’s house. A rope-bordered band inscribed “Engraved by Frederick Myrick on board ship Susan February the 8th 1829” wraps around the circumference of the tip. Tip engraved with “Union”, crossed American flags and stylized rainbows on the obverse and “Hope” and a fouled anchor on the reverse. Entwined foliate vines encircle the base. Distinctive and notable elements include the eagle clutching the title banner on the reverse, the double vine border at the base rather than the typical single vine, and the refined execution of elements at the tip, particularly the rope border rather than the simple line border seen on most Susan’s Teeth, the inclusion of “Union” and “Hope”, the detailed and delicate anchor, and the shaded stripes on the flags. Included in the Kendall Whaling Museum Monograph Series No. 13 Frederick Myrick of Nantucket Scrimshaw Catalogue Raisonné, compiled by Donald E. Ridley, P.E. (Sharon, Mass.: Kendall Whaling Museum, 2000), p. 16, number 29-02-08. Length 6.5”. Includes a custom plexiglass case. 125,000/175,000 Provenance: The Kobacker Scrimshaw Collection. Hyland Granby Antiques, Hyannis Port, Massachusetts. The Myrick catalog raisonné indicates the tooth was brought to Paul Madden in 1999 by the owner, from upstate New York, in whose family the tooth had been held for several generations.

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3106, obverse, edge, reverse and details at left

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3107. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH A MOTHER AND CHILD Mid-19th Century An elegant woman seated in a Victorian chair and with an open book on her lap watches a girl playing with a jump rope. The woman’s eyes are deeply engraved and her hands are exceptionally well-rendered. Length 5”. 2,000/3,000 Provenance: Paul Madden Antiques, Sandwich, Massachusetts.

3107, obverse and reverse

3108. POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING DOMESTIC SCENES 19th Century Unusually formatted, with one scene on the diagonal at the tip depicting a contemplative woman looking away from three children who are huddled near the ground, possibly planting seeds or searching for something in the grass. Other scenes include two grazing chickens, and a young girl holding a disk while standing in long grass and flanked by tall plants. Vibrantly colored. Length 4.25”. 1,500/2,500 Provenance: Clarke Auctioneers, Larchmont, New York, December 15, 2014, Lot #184.

3108, obverse and reverse

3109. SCRIMSHAW WHALE’S TOOTH WITH FIGURAL SCENES Circa 1840 Narrative composition with a sailor’s farewell scene on obverse, the sailor and his lady embracing on a mountainous coastline, a ship and launch awaiting the sailor in the harbor, and a distant village dominated by a tall spire. Above the couple is a swirling, mystical cloud. Faint markings lower left, possibly a “W” and another letter. The reverse depicts an officer and two ladies beneath a tree’s leafy branches. The officer, with sideburns, is wearing a tricorne hat and a sword at his side. The women are seen from behind, their faces obscured, and one is seated and wearing a crown-like headpiece. Some elements on both sides in reddish-brown ink. Beautiful rich patina. Length 5.5”. 2,000/3,000

3109, obverse and reverse

Provenance: Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #162. Paul Madden Antiques, Sandwich, Massachusetts.

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3110, obverse and reverse

3110. POLYCHROME SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE NAVAL ENGAGEMENT/BATTLE ENGRAVER Mid-19th Century Obverse depicts a battle between two warships, much of the ships obscured by billowing smoke, though a corner of a flag, believed to be British, is visible. Reverse depicts a whaling scene with a whaleship flying a British flag and a red and blue quartered flag, and three whaleboats in pursuit of a pod of whales. Length 6”. 8,000/12,000 Provenance: Paul Madden Antiques, Sandwich, Massachusetts. A similar tooth, also depicting a naval battle and whaling scene, was part of the Collection of Paul Vardeman, sold at Eldred’s, The Marine Sale, July 25, 2019, Lot #20.

3111

3111. BALEEN AND ROPEWORK BLUDGEON OR BLACKJACK 19th Century Shaft made of twisted strands of baleen bound with twine. Weighted knobs wrapped in ropework. Length 12.25”. 200/250

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3112. SCRIMSHAW WHALE’S TOOTH WITH WHALING AND OTHER SCENES Mid-19th Century Whaling scene on obverse with a prominent whaleship, two whaleboats visible on davits, and birds hovering above a chaotic whale capture, the whale in a flurry and a whaleman poised at the bow of the whaleboat. Rolling sea composed of a patchwork of patterns and lines. Reverse with three distinct scenes. Left scene depicts a man wearing a top hat and long coat shaking the hand of a peg-legged Old Salt, the two standing in a harbor-side street lined with warehouses and with the masts of ships visible in the distance. Central scene with Jesus and several other Biblical figures in a lush landscape. Right scene depicts a woman in mourning seated on a bench beneath a floral arbor. Deep patina. Length 7.5”. 5,000/8,000 Provenance: Nina Hellman/Paul Madden.

3112, obverse and reverse

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3113, obverse and reverse

3113. SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAITS Mid-19th Century Obverse depicts a ship off a coastal lighthouse and a large lighthouse keeper’s building. Nicely detailed with reef points, window muntins, a chimney, fence, etc. Reverse depicts a ship in rolling seas. Length 7”. 3,000/5,000 Provenance: Paul Madden Antiques, Sandwich, Massachusetts.

3114. SCRIMSHAW WHALE’S TOOTH DEPICTING LADY LIBERTY Late 19th Century Unfinished work depicting Liberty holding a pole topped with a “Liberty” cap and an American shield at her side. Length 5”. 1,000/1,500 Provenance: Paul Madden Antiques, Sandwich, Massachusetts.

3114

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3115. SCRIMSHAW WHALE’S TOOTH DEPICTING ALWILDA AND ANOTHER FEMALE PIRATE Mid-19th Century Obverse depicts Alwilda in her typical garb, including a hat, a tunic and a dagger and pistol tucked into the sash at her waist, holding aloft a sword. Reverse depicts another pirate wearing a festooned hat, a neckerchief, a jacket with fringed epaulets, and long pants. A dagger is tucked into the long sash at her waist, she holds a sword in her right hand while another sword is hanging off her left side, and she holds her clenched left fist outstretched. Some traces of red coloring. Length 7”. With wooden stand. Height on stand approx. 8”. 5,000/10,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire.

3115, obverse and reverse

Similar examples of teeth depicting Alwilda are illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 76-77 and Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), p. 110-111. Female pirates were a popular scrimshaw motif after the publication of The Pirates Own Book ... in the 1840s.

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3116. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC MOTIFS AND FLOWER VASE Mid-19th Century Obverse with an interesting patriotic composition of a spread-wing eagle with a Liberty shield at its breast and arrows in its talons, draped American flags, anchors, cannons and cannonballs, all depicted in front of a three-masted vessel such that only the masts, furled sails, a long streamer and the bowsprit are visible. Reverse with a gracefully shaped urn containing a bouquet of flowers. Serrated border at base. Length 5”. 5,000/7,000 Provenance: Paul Madden Antiques, Sandwich, Massachusetts.

3116, obverse and reverse

3117. SCRIMSHAW WHALE’S TOOTH WITH PORTRAIT OF A MAN Mid-19th Century Full-length portrait of a bearded man, possibly a gaucho or sailor, wearing a hat, jacket and wide-legged pants, holding a crop in one hand and an implement in the other, and standing askew on a patterned floor. Five-pointed star at tip. Length 5.5”. 1,000/1,500

3117

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3118

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3118. WHALING MASTER SPENCER PRATT COLLECTION Mid-19th Century Includes a scrimshaw inlaid mahogany trinket box, photographs, a logbook, a brass speaking horn and two Asian reverse paintings on glass. 1) Trinket box believed to have been made by Pratt for his wife, Sarah Ann West Pratt, with her initials “S.A.W.P” on panel at center of hinged lid. Intricately inlaid with abalone, mother-of-pearl, bone and contrasting woods forming leafy vines, potted flowering trees, stars, diamonds, dots, hearts, crescents and swags. Whale ivory loose ring handles at sides. Whale ivory ball feet with red incised banding. Dovetail construction. It is believed Pratt made the box while a first mate under Captain Henry Daggett on the whaleship Mechanic of Newport, Rhode Island on a 1834-1838 voyage. Height 5.75”. Width 12”. Depth 7.75”. 2-3) Cased ambrotype of Spencer Pratt and daguerreotype of Sarah Ann West Pratt. Both cases 3.75” x 3.25”. 4) Logbook for the 1842-1846 voyage of the Mechanic, of which Pratt was master. Logbook probably kept by first mate George Coit. Covers September 16, 1843 to November 4, 1845; the book is either incomplete or is one of multiple volumes covering the four-year voyage. Book 9” x 11”, 208pp. Housed in a custom archival clamshell case with slipcover.

5) Trumpet engraved “Spencer Pratt”. Used for addressing the crew while the ship was under sail. Length 13”. Provenance: The Robert Hellman Collection. 6-7) Two Mid-19th Century reverse paintings on glass both depicting birds and housed in their original gold-colored carved wood frames. Purchased by Pratt as souvenirs for relatives. One with old inscription verso “Brought from China or Japan by my great uncle Capt. Spencer Pratt of Bristol, R.I., before I was born.” Both approx. 10” x 12” overall. 35,000/50,000 Spencer Pratt made three whaling voyages on the Mechanic: 1834-1838, 1838-1842 and 1842-1846, as captain during the later two voyages. 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. 221-223, Pratt is credited with at least four inlaid wooden boxes such as the one included in this lot. Pratt was born in 1808 in Bristol, Rhode Island. He married Sarah Ann West in 1834; they had no children.

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3119. SCRIMSHAW WHALE’S TOOTH WITH MARITIME MOTIFS 19th Century Obverse depicts three concentric six-pointed stars above a starboard view of an American-flagged ship. Reverse depicts a banner containing two six-pointed stars flanking a slender crescent, as well as an eagle perched on an anchor and clutching a small American flag and arrows in its talons, and crossed British and American flags. Some traces of blue ink. Length 5”. 500/700

3120. SCRIMSHAW WHALE’S TOOTH DATED 1842 Depicts a ship portrait, captioned “Seringapatam Commanded by Capt. E. Courtenay. Returned from a Voyage to the South Seas with an excellent Cargo of Sperm Oil on the 12 of March in the year of our Lord 1842”, the outline of a spouting sperm whale, captioned “Shape of the Sperm Whale This being one of their teeth”, and a whaling scene, captioned “A whale boat in chase of a Sperm Whale.”. Length 4.25”. 500/700

3119, obverse and reverse

3121. SCRIMSHAW WHALE’S TOOTH WITH TROPICAL MOTIFS 19th Century Obverse with a port view of a flag flying British flags and ensigns, flanked by a pineapple and a flower blossom. Reverse depicts a man wearing a hat, earring and neckerchief, believed to be a gaucho, smoking while standing beneath a palm tree. Additional palm trees and a small building in the distant background. Boldly rendered vine at edge, separating vignettes. Length 6.5”. 1,000/1,500

3120, obverse and reverse

3121, obverse and reverse

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3122. PAIR OF WHALEBONE SALAD SERVERS 19th Century The handles carved as fish, with incised scales and engraved and inlaid eyes. Baleen banding at joint between handles and bowls. Lengths 10.75”. 400/600

3122

3123. BONE OR IVORY SALAD SERVING SET 19th Century Believed to be marine mammal bone or ivory, with baleen banding. Handles with serrated terminals and deeply incised bands. Lengths 10.5”. 400/600

3123

3124. HORSEHAIR FLY WHISK WITH WHALEBONE HANDLE 19th Century Handle with loop terminal and intermittent contrasting bands of figured exotic wood. Total length including horsehair approx. 28”. 500/800

3124

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3125. NICELY CARVED WHALEBONE HOOK 19th Century Probably a shoe hook. Terminal in the form of a bird with stippled eyes and stippled embellishments on one side. Architectural shaft with ball-in-cage. Terminal broken off. Length approx. 8”. 200/300

3126. TWO SPOONS 19th Century 1) Whalebone handle with spearpoint terminal, incised banding and quilted diamond carving. Horn bowl affixed to handle with pins. Length 9.5”. 2) Walrus tusk stem with medial contrasting band, probably exotic wood. Open heart-shaped terminal and bowl believed to be marine mammal ivory or bone. Length 14.5”. 300/500

3127. LARGE WHALEBONE FID WITH SCRIMSHAW MONOGRAM 19th Century Incised banding above indecipherable monogram, possibly “GN”. Length 15.5”. 700/1,000

3128. LARGE WHALEBONE FID 19th Century Incised “TH” at top. Pierced with hole for rope hanger. Length 16.75”. 700/1,000

3127

3129. TWO WHALEBONE DOUBLE SHEATH BLOCKS Mid-19th Century Lengths 3.25”. 500/1,000 3128

Provenance: Estate of Captain C. Pierce. John Newton Marine Antiques, Maine. Eldred’s, The Marine Sale, July 19, 2018, Lot #193.

3129, two

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3130, obverse and reverse

3130. SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE NAVAL MONUMENT ENGRAVER Mid-19th Century Obverse depicts four ships in different positions off a coastal lighthouse. Reverse depicts the densely detailed “View of Jerusalem.”, with figures on a hill in the foreground overlooking the city’s walls. Titled in serifed lettering below scene. Length 8.5”. 5,000/8,000

3131. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH A SPREAD-WING EAGLE 19th Century Obverse depicts a crescent moon within a circle of stars, and a fine pique border surrounding a spreadwing eagle amidst stars, a Liberty shield and draped American flags. Reverse depicts a ten-pointed star, an American-flagged ship portrait within a ribbon garland, “Plymouth” in a banner, and two intersecting hearts within a berry vine garland. Interspersed within the primary images are flowers, assorted national flags, a sun face, a square and compass, etc., many with stippled highlights. Length 6”. 4,000/6,000

3131, obverse and reverse

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3132. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH SHIP AND FIGURAL PORTRAITS Mid-19th Century Obverse with a port view of a ship flying an American flag, pennants and banners. Reverse with a bust portrait of a couple, the man in uniform. Geometric borders encircle base. Length 6.5”. 2,500/3,500

3132, obverse and reverse

3133. SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAIT AND LION FIGHTING SCENE 19th Century Obverse depicts a starboard view of a ship flying an American flag, ensign and long banner. Reverse depicts a man attacking a lion with a spear within a brick and fenced enclosure. Subtle pinprick outlines. Scene framed with a simple border. Length 6”. 1,500/2,500

3133, obverse and reverse

3134. POLYCHROME SCRIMSHAW WHALE’S TOOTH SIGNED "J. SILVA" 19th Century Two ship portraits, two five-pointed stars, vine tendrils and a spouting sperm whale cover nearly the entire tooth. Boldly signed “J. Silva” in serifed lettering. Sawtooth band encircles base. Length 4.5”. 1,000/1,500 J. Silva is listed 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. 256, although Stuart notes Silva is far too common an Azorean/ Cape Verdean surname to provide any definitive attribution.

3134, obverse, reverse and edge

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3135. SCRIMSHAW WHALE’S TOOTH DEPICTING NEPTUNE, ATTRIBUTED TO SAMUEL W. TENNEY Mid-19th Century Tenney is also known as the “King of the Sea” artist. Coastal scene of Neptune sitting on a rocky outcropping and gazing out at an American-flagged ship wraps around the tooth. The bearded and curly-haired Neptune wears a floral crown and holds a “The King of the Sea” flag on a pole topped with a trident. Just off the rocks on which he sits is a school of three fish. Deeply inked and richly shaded. Length 5.5”. 1,500/2,500 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 at Eldred’s include Lot #623 in the November 21, 2013 auction and Lots #31 and 233 in the July 25, 2019 auction, one from the collection of Paul Vardeman and the other from the collection of Sam and Donna McDowell. A similar tooth to this one is illustrated in Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby (Hyannis Port, Mass.:, 2021), p. 75-76, and another in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 6, which was sold at Eldred’s, July 25, 2019, Lot #2.

3135, obverse, reverse and edge

3136. SCRIMSHAW WHALE’S TOOTH SIGNED BY CERES ARTISAN EDMUND M. CHANDLER Mid-1830s A rare example by the “Ceres C” artisan; few have come to market. Obverse depicts a ship portrait in the typical Ceres proscenium arch and a portrait of an elaborately dressed woman with a long feather in her bonnet, a tartan cloak around her shoulders, a dagger at her waist and an orb at her side. Subtly signed within a double-line border at base of the portrait “E.M. Chandler”. Arch and portrait framed by geometric and floriform borders, also typical of Ceres artisans. Reverse depicts an American-flagged ship. Length 6.5”. 7,000/10,000 According to Scrimshaw on Nantucket: The Collection of the Nantucket Historical Association by Stuart M. Frank (Nantucket, Mass.: The Nantucket Historical Association, 2019), p. 33 and Scrimshaw and Provenance: A Third Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Stuart M. Frank and Mystic Seaport Museum, 2013), p. 50 , Edmund M. Chandler (1809-1857) was from Wilmington, Delaware, and worked as a saddler and leather craftsman following his whaling voyage. The Ceres Artisans, who include William A. Gilpin and at least two other unidentified scrimshanders, served aboard the Ceres on an 1834-1837 voyage. Chandler was listed in fellow shipmate John Cleland, Jr.’s journal.

3136, obverse and reverse

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3137. PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH WITH RARE VOLCANO SCENE Mid-19th Century One tooth depicts an American-flagged ship off the coast on the obverse, and an erupting volcano, a three-masted ship and an American fort on the reverse. Other tooth depicts a coastal scene with three vessels, an American fort and a trio of clock towers on the obverse, and a palatial country estate on the reverse. All four scenes with distinct swoopy clouds. Variations in engraving styles provide texture and contrast to the images. Both teeth with a harlequin-pattern border encircling the tip, and one with a geometric band wrapping half-way around the base. Lengths 7”. 20,000/30,000

A tooth depicting nearly the same view of the volcano seen here, and undoubtedly by the same hand, is illustrated in Scrimshaw on Nantucket: The Collection of the Nantucket Historical Association by Stuart M. Frank (Nantucket, Mass.: The Nantucket Historical Association, 2019), p. 83, fig. 6.25.

3137, pair, obverse and reverse

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3138. SCRIMSHAW WHALE’S TOOTH ATTRIBUTED TO THE NAVAL MONUMENT ENGRAVER Mid-19th Century Obverse depicts the “Constitution and Guerriere in Close Engagement.”, showing the Constitution firing at the badly damaged Guerriere during the famed War of 1812 naval battle. Reverse depicts “View of the Ruins of Balbec.”, showing figures within the Roman temple complex at Baalbek. Subtle line borders at sides and lower edge. Both scenes titled in serif lettering below. Length 7.25”. 10,000/15,000

3139. EXCEPTIONALLY LARGE SCRIMSHAW WHALE’S TOOTH WITH WASHINGTON PORTRAIT AND WHALING SCENE Mid-19th Century Obverse depicts a detailed and engaging whaling scene of a whaleship and four whaleboats, one of which is stoved, in pursuit of two sperm whales. Reverse depicts a spread-wing eagle clutching a Liberty shield above a half-length portrait of George Washington, identified as “Washington” in ribband below. An arrow tip, a sword hilt and an olive branch flank portrait. Length 7.5”. 5,000/10,000

3138, obverse, edge and reverse

3139, obverse and reverse

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3140, obverse and reverse

3140. BANKNOTE ENGRAVER SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENE Mid-19th Century Obverse depicts a whaling scene with a whaleship and two whaleboats in pursuit of a pod of whales. One of the boats is fast to a whale and another whale is waifed, the waif flag matching the house flag flying from the ship’s central mast. Some scant polychroming. Reverse depicts two lovers by a horse-drawn carriage. Scene framed within a decorative arch. Delicate feathery borders encircle tip and base. Finely engraved and detailed as typical of the Banknote Engraver’s work. Length 5”. 10,000/15,000

3141. BANKNOTE ENGRAVER SCRIMSHAW WHALE’S TOOTH WITH FIGURAL PORTRAITS Mid-19th Century Obverse with a three-quarter-length portrait of a woman, probably a stage actress, playing a guitar, framed within a feathery border. Reverse with a full-length portrait of a well-dressed woman, framed within an elaborate floral border. Delicate geometric and feathery borders encircle tip and base. Length 5.25”. 2,500/3,500

3141, obverse and reverse

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3142. NARWHAL TUSK 19th Century Length 91”.

18,000/22,000

3143. * NARWAL TUSK With stand. Tusk length 50.75”. *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

3143

3142

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3144. SIGNED SCRIMSHAW WHALE’S TOOTH WITH HISTORIC SCENES Mid-19th Century Signed on edge in serif lettering “By W.H. Lyon”. Finely engraved with four rectangular historic military scenes from the Revolutionary War and the War of 1812. One side with “Battle at New Orleans”, the last major battle of the War of 1812 that took place in January 1815, and “Surrender of Cornwallis”, when the Redcoats surrendered to George Washington at Yorktown, Virginia in 1781, ending the Revolutionary War. Other side with “Putnam’s escape at Horseneck”, when General Israel Putnam escaped British dragoons in 1779, and “Battle of Lexington”, the April 1775 battle that launched the Revolutionary War. An interesting compilation of images, probably sourced from a history book. Warm patina. Length 6”. 6,000/9,000 3144, obverse and reverse

Provenance: Sotheby’s New York, January 28-29, 1981, Lot #970. Nolan Collection. John Rinaldi Nautical Antiques, Kennebunkport, Maine. According to Dictionary of Scrimshaw Artists by Stuart M. Frank (Mystic, Ct.: Mystic Seaport Museum, 1991), p. 86, W.H. Lyon is William H. Lyon, born in 1842 in Ogdensburg, New York. Lyon was issued seamen’s papers in New Bedford in 1842 but otherwise nothing else is known of his career.

3145. LARGE SCRIMSHAW WHALE’S TOOTH WITH MYTHOLOGICAL SCENES 19th Century Obverse depicts a figure carrying a scythe and a curved-blade weapon riding on the back of a lion through a desert landscape, with a volcano, mountains and palm trees in the distance. Reverse depicts two figures carrying a goddess atop their shoulders, trailed by Cupid readying an arrow to shoot with his bow. Some exceptionally detailed elements, particularly the lion. Length 7.5”. 2,000/3,000

3145, obverse and reverse

Provenance: Four Winds Craft Guild, Nantucket, Massachusetts, November 2012.

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3146. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH AMERICANA MOTIFS Late 19th Century Obverse depicts a ship at sea and a spreadwing eagle with a “Liberty” banner, a red, white and blue shield, olive branches and arrows. Reverse depicts a woman embracing her daughter, the woman with a Gibson Girlstyle hairdo and the daughter with long loose hair. Length 6”. 2,500/3,500 Provenance: Skinner Inc., Marlborough, Massachusetts, American Furniture & Decorative Arts, August 14, 2011, Lot #606.

3147, obverse and reverse

3146, obverse and reverse

3147. SCRIMSHAW WHALE’S TOOTH DEPICTING SPECIES OF WHALES Dated 1869 Detailed portraits of a bowhead, right, sperm and fin whale wrap around the circumference. Initialed and dated in hollow “W.D. 1869”. Nice patina. Length 5.75”. 3,000/5,000

3148. "JOHN PINKHAM MEMORIAL" SCRIMSHAW WHALE’S TOOTH Mid-19th Century Obverse depicts a sperm whale stoving a whaleboat, violently tossing the whalemen, oars and implements akimbo. Reverse depicts a solemn sailor in a graveyard shaded by weeping willows. Though the inscriptions on the memorials aren’t fully delineated, one is marked “1824” and another “JP” in pinpoint lettering. This is one of the earliest dates portrayed on a scrimshaw whale’s tooth, predating Frederick Myrick’s Susan’s Teeth. Length 7”. 1,200/1,800 Provenance: Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #170.

3148, obverse and reverse

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3149. OUTSTANDING WHALE IVORY AND WHALEBONE SWIFT WITH CLENCHED FIST CLAMP Mid-19th Century Bold clenched fist grasps the shaft and is detailed with a ruffled cuff, a mother-of-pearl “button”, red incised banding and a floriform “arm”. Whalebone shaft topped with a turned whale ivory covered cup. Cup’s cover with an elongated finial, which is nearly mirrored at the opposite end of the shaft with a drop below the hand. Cup with a leafy vine and red and blue incised banding; similar banding on the turned whale ivory adjustment knobs and screws. Whalebone cage. Height 20”. With stand. Height on stand approx. 22”. 5,000/8,000

3149

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3150. WHALEBONE AND WHALE IVORY SWIFT WITH WAX INLAY "MARY COFFIN 1835" First Half of the 19th Century Fan-shaped and embellished whale ivory clamp boldly inscribed “Mary. W. Coffin.” and “1835.”, the upper portion of the clamp spinning freely on the shaft and the lower portion with set-screw emblazoned with five-pointed stars. Mary Coffin is believed to be a member of the prolific Coffin family of Nantucket. Whalebone shaft and cage. Elaborately turned whale ivory yarn cup screws on to top of shaft. Whale ivory adjustment knobs and screws. Length 16”. 3,000/4,000

3150

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3151. WALRUS IVORY SCOOP WITH ROPE CARVINGS Mid-19th Century Possibly a shoe horn. Rope-twist handle with a Turk’shead knot terminal and base. Length 7”. With metal and wood stand. Height on stand 8”. 1,000/1,500

3151

3152. PAIR OF TURNED WHALEBONE CANDLESTICKS Mid-19th Century Sconces and stems with incised banding, some showing traces of red color. Square bases. Heights 8.5”. 1,800/2,500

3152

3153. WHALEBONE BASKET WITH LOLLIPOP STAVES Mid-19th Century Staves with larger open circles at tops and tiny ones just below the slender whalebone hoop. Whalebone base plate. Height 3.75”. Diameter 6.25”. 3,000/5,000

3153

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3154. OVAL WHALEBONE BASKET WITH SWING HANDLE Third Quarter of the 19th Century Sides with an interlocking circle design and scalloped rim. Handle with evenly spaced pierced circles. Wooden base. Height with handle upright 8.75”. Length 9.75”. 8,000/12,000 Provenance: Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #32.

3154

3155. WHALEBONE BASKET WITH BALEEN SWING HANDLE 19th Century Baluster-form staves fastened with metal pins to a decoratively carved hoop and oval base. Baleen handle with turned knobs. Height with handle upright 9.5”. Length 6.25”. 2,000/3,000 Provenance: Sotheby’s New York, sale date unknown, Lot #732. Lot sticker on underside.

3155

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3156. RARE AND UNIQUE SET OF TWELVE SCRIMSHAW ENGRAVING TOOLS Nantucket, Circa 1850 Comprised of whalebone-handled sailmaker’s needles contained in a turned whalebone stand. Tools of slightly varying lengths, each handle turned in a distinct pattern. Stand with a bail handle finial. Having twelve tools would allow the scrimshander to do a great deal of engraving before needing to resharpen. Height 4.5”. 2,000/3,000 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #377 (retains collection sticker). Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 45. “Americana”, January 1974. Exhibited: Newark Museum. 3156

3157. "THE GREAT WHALES OF THE OCEANS" WHALE PLAQUE Dated 1876 Carved bone and ivory whale silhouettes, implements and identification placards mounted to a beveled walnut board. Shield-shaped plaque at center engraved in script “The Great Whales of the Oceans Schooner Quickstep Provincetown, 1876”. Board 8.5” x 13”. 500/1,000

3157

3158. WHALE IVORY, WHALEBONE AND MAHOGANY FLASK Circa 1850 Cooper-made and formed as a cask. Alternating mahogany and narrow whalebone staves joined with copper hoops. Whale ivory top and base. Retains original cork stopper. Length 5”. 500/1,000 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, December 11-12, 1981, Lot #412 (retains collection sticker). Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #51 (retains lot sticker). 3158

Exhibited: The Museum of American Folk Art, New York: “Hunt for the Whale”, 1967.

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3159. SCRIMSHAW WHALE’S TOOTH WITH FIGURAL LANDSCAPE 19th Century Detailed pastoral scene wraps around the circumference of the tooth and depicts a young man and woman standing beneath a tree, and a man and woman riding horseback. Deep rich patina. Length 7.25”. 5,000/7,000 Provenance: Eldred’s, Fall Americana and Decorative Art, November 23-25, 2013, Lot #608.

3159, obverse and reverse

3160. SCRIMSHAW WHALE’S TOOTH WITH THEATRICAL PORTRAITS 19th Century One side depicts a man wearing a feathered hat, woven belt and heeled boots, resting against a counter or bar. Other side depicts a woman wearing a crown and an elaborate dress. Length 5.25”. 2,500/3,500 Provenance: Skinner, Inc., Boston, American Furniture & Decorative Arts, October 26, 2014, Lot #240.

3160, obverse and reverse

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3161. * BARBARA JOHNSON’S WHALING INDUSTRY DISPLAY CASE Contains ivory, bone and baleen specimens assembled by Kristina Barbara Johnson and used for exhibits and lectures. Includes whale’s teeth and teeth cross-sections, walrus tusk cross-sections, pieces of whalebone, baleen, etc., each with an identification label. Contained within a folding blue-painted wood case with rope handle. Case height 28”. Closed width 16.5”.* Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 1,000/1,500 Provenance: The Kristina Barbara Johnson Estate, Material Culture, Philadelphia, May 4, 2014, Lot #213.

3161

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3162. OVAL NANTUCKET BASKET WITH WHALEBONE HANDLE AND BASE 19th Century Incised and inked on underside of whalebone base plate “Capt. Tilden”. Whalebone swing handle attached to whalebone ears with metal rivets. Height to rim 4.25”. 2,000/3,000

3162

3163. * SET OF SIX CARVED WHALEBONE WHALE PLAQUES BY ALETHA MACY Nantucket, Circa 1960s Carved three-quarter round whales mounted on beveled oak boards fitted with bone hangers. Includes “Humpback” (1963), “Sperm” (1965), “Right” (1960), “Killer”, “Blue” (1967) and “Beluga” (1969), each identified on a whalebone plaque. Each signed verso “A Macy” and dated as noted above. Boards 6” x 10”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 4,000/6,000

3163

3164. SAILOR-MADE INLAID SEWING BOX Mid-19th Century In figured mahogany and rosewood with mother-of-pearl and whale ivory inlay. Top lifts to reveal a fitted removable tray accented with diamond-shaped inlay. Two half drawers below. Four ivory ball feet. Height 8.25”. Width 12”. Depth 9.25”. 1,200/1,800 3164

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3165. SCRIMSHAW WHALE’S TOOTH WITH CLIPPER SHIP AND WHALING SCENES Mid-19th Century Obverse depicts a clipper ship under sail, the water executed in a rope-like pattern. Reverse depicts a whaling scene in two vignettes, the upper vignette with a ship in a rolling sea and the lower with two whaleboats, a whale’s tail, a waifed whale, a flock of gulls and a similar rope-like pattern to the water. Length 6”. Includes wooden stand. Height on stand 7.75”. 3,500/5,000 Provenance: William Boylhart Collection. Paul Madden, who attributed it to the Northern Light Engraver. Rafael Osona, Nantucket, Massachusetts, August 3, 2013, Lot #372. This tooth bears some stylistic similarities, including the parallel lines used to shade and the serpentine water, to one in the collection of Paul Vardeman, sold at Eldred’s, The Marine Sale, July 25, 2019, Lot #47. Both teeth are also approximately the same shape, size and color. We have found no additional information on the Northern Light Engraver beyond the notation in the Osona catalog.

3165, obverse and reverse

3166. PAIR OF SCRIMSHAW WHALE’S TEETH DEPICTING SOUTH SEAS FIGURES 19th Century One tooth depicts a full-length portrait of a warrior or king on the obverse, and a royal canoe on the reverse. Other tooth depicts a full-length portrait of a woman, possibly a queen, wearing a long dress and holding a handbag on the obverse, and a landscape with thatched huts, dogs and chickens on the reverse. Lengths 5.25”. 2,000/3,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 20, 2006, Lot #872. The Collection of Michael Gill. 3166, pair, obverse and reverse

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3167

3167. INLAID ROSEWOOD DRESSER BOX Circa 1830s Hinged lid with whalebone and ebony line inlay and a central whalebone plaque. Each corner of the lid and box with a whalebone panel inlaid with ebony in a crosshatch pattern. Box with a brass locking mechanism, a shield-shaped escutcheon and a scalloped bracket base. Interior fitted with a hinged mirror and five fruitwood compartments, each with a faceted whale ivory knob on the cover. Well-constructed, indicating it was probably made by a ship’s carpenter. Height 4”. Width 13”. Depth 10.75”. 500/1,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, May 17, 2015. Includes a copy of the original sales receipt. The Collection of Michael Gill.

3168. POLYCHROME SCRIMSHAW WHALEBONE BUSK Mid-19th Century Cartouche at center, the name mostly worn away, is surrounded by flowering plants and trees, one tree with a snake coiled around the trunk. Upper vignette depicts a spread-wing eagle above a monument flanked by American flags. The eagle holds a banner in its beak, has a red-striped shield at its breast and crossing arrows by its tail feathers. Lower vignette depicts a building with a large tower topped with American flags and a whale-form weather vane. Vignettes with arched borders. Delicate foliate vine around perimeter. Ruffled carving at top and bottom of busk. Length 12”. 1,800/2,000 Provenance: The Collection of Michael Gill.

3169. BALEEN AND SHELL-INLAID WOODEN BUSK 19th Century Baleen strips and shell panels with metal pique initials “A*U”, “R.U.”, “C*G”, “H.T” and designs including opposing hearts, stars, anchors, possibly an angel, etc. Length 14.25”. With clear acrylic stand. 500/800

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3168

3169

3170. WHALEBONE CASK MEASURE ATTRIBUTED TO SAG HARBOR WHALING MASTER BARNEY GREEN Circa 1850s Square at the top tapering to a wedge fitted with a V-shaped metal cap. One face with two deeply incised parallel lines running the length. No measurement markings, indicating it is probably an unfinished work. Length 52”. 500/1,000 Provenance: The Green Family. Nina Hellman Antiques, Nantucket, Massachusetts, October 1, 2013. Includes a copy of the original sales receipt. The Collection of Michael Gill.

3171. WHALEBONE OBJECT 19th Century Possibly one half of a yacht’s bell mount. Square tapered shaft with chamfered corners. Faceted knob. Length 17.75”. 300/500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 20, 2005, Lot #600. The Collection of Michael Gill.

3172. WHALEBONE AND EBONY CARPENTER’S SCRIBE 19th Century Elegant scroll-carved mortise, the joint with ebony liner. Ebony tenon with octagonal whalebone head. Probably a marriage. Length 13.75”. Width 8.25”. 400/600

3171

3172

3170 94

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3173, obverse and reverse

3173. SCRIMSHAW WHALE’S TOOTH WITH WHALING MOTIFS Mid-19th Century Obverse with an expansive coastal whaling scene, titled below in serifed lettering “Sperm Whaling”. In the foreground a whaleboat is fast to a surfaced sperm whale, which is spouting blood. Detailed rendering of the six whalemen in the whaleboat, one of whom is standing at the bow and poised with an iron. In the background are two whaleships, one whaleboat under sail and two whaleboats closing in on a pod of whales. In the distance a whaleship is rounding a mountainous coastline. Reverse depicts an empty whaleboat, a spouting sperm whale with its mouth open, and two irons. Some polychroming. Length 6.5”. Mounted on a wood and metal stand. Height on stand 6”. Length 8.75”. 25,000/35,000

3174, obverse and reverse

3174. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH PATRIOTIC AND FOLK ART MOTIFS Mid-19th Century Obverse depicts an eagle at the feet of Lady Liberty, who is backed by sun rays and stars. She holds a Liberty shield at her side and an American flag on a pole topped with a Phrygian cap, and the eagle clutches a long streaming banner in its beak. They are on a carpet adorned with a rose and are flanked by a cannon, olive branches, arrows, and an anchor tipped on its side and wrapped in rope. Reverse depicts two lovebirds perched on a heart that rests atop an urn. The birds are backed by a shield and puffy clouds, and the urn is flanked by flower blossoms. The heart is pierced by arrows and contains two additional hearts. Length 7.5”. 5,000/8,000

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3175. POLYCHROME SCRIMSHAW WHALEBONE AND WHALE IVORY SWIFT Mid-19th Century Turned whale ivory yarn cup, collars and adjustment knobs, the yarn cup and an adjustment knob engraved with vines of red flowers. Simple cylindrical whalebone shaft. C-shaped whalebone clamp inlaid with abalone, tropical wood and metal pins. Adjustment screws also inlaid with metal pins. Whalebone cage. Yarn cup and clamp can be unscrewed. Length 25”. Cage diameter approx. 23”. 2,000/3,000 Provenance: Nina Hellman Antiques, Nantucket, Massachusetts, January 3, 2007. Includes a copy of the original sales receipt. The Collection of Michael Gill.

3175

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3176, pair

3178

3176. PAIR OF PAINTED SCRIMSHAW OSTRICH EGGS 19th Century Depict mostly British naval motifs, including a sailor holding a flag on pole; portraits of sailing vessels; a shield backed by flags; cannons and cannonballs; a monument flanked by flags; a sailor’s goodbye scene; etc. Heights approx. 7”. With simple stands. 500/1,000

3177. WHALE IVORY PARASOL HANDLE IN THE FORM OF A HAND 19th Century Beautifully detailed. Retains original metal rod for mounting. Carving length 4”. 1,000/1,500

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3178. BALEEN DITTY BOX Mid-19th Century Bound with nicely carved fingers. Sides with geometric designs including a heart, stars, fylfots, etc. Height 4.25”. Diameter 6.5”. 1,000/1,500

3179, obverse, reverse and edges

3179. POLYCHROME SCRIMSHAW WHALE’S TOOTH BY EDWARD BURDETT Circa 1830-1833 Signed on edge “Engraved. By. Edward Burdett.”. Obverse titled “Wm. Tell. of. New York. Cutting. Boiling. And Fast to a Whale.” Depicts a whaling scene of the American whaleship William Tell, aboard which Burdett served, and a whaleboat in pursuit of a surfaced whale. Faint “W” in sky above whale. Reverse titled “Friends. Of. New London. Homeward. Bound. Full.”. Depicts the whaleship flying a large American flag off the stern, a long red-striped pennant from the mainmast and a “P O[?]” house flag from the foremast. Another whaleship is visible in the distance. The ship Friends is depicted on at least three other Burdett teeth, one that was part of the Kendall Whaling Museum Collection, one in the Mystic Seaport collection and the third presented earlier in this auction. As typical of Burdett’s work, a vine wraps around the circumference of the base and the ships’ hulls are deeply engraved. The serifed lettering is also the same as on other Burdett examples. Accompanied by a copy of a July 20, 1998 Scrimshaw Certificate of Authenticity issued by the Kendall Whaling Museum, reference no. 99-01, signed by Stuart M. Frank, Ph.D., Director, certifying the piece as a genuine sperm whale tooth and that the work is that of Edward Burdett. In the certificate’s cover letter, Frank describes it as a “prime example of Burdett’s later work and it may be the very last piece he ever did”. Also includes several clippings and photographs of Burdett teeth. Length 6.25”. Includes stand. 20,000/30,000

We presume this tooth was created while Edward Burdett was onboard the ship William Tell, which left New York in November 1829 and returned to port in February 1833. Edward Burdett was a pioneer of American scrimshaw, and in his short but prolific career he produced what are widely considered masterpieces of the genre. He was born on Nantucket in October 1805, the son of a merchant sea captain. His first whaling voyage was aboard the Foster from 1822 to 1824. In successive voyages he sailed aboard the William Tell and the Montano. In November 1833, while serving as first mate onboard the Montano, Burdett was entangled in line, dragged by a whale overboard, and drowned.

Provenance: The Collection of Ian R. MacKenzie.

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3180

3180. PRINT "PRIVATE SIGNALS OF THE WHALING VESSELS &C. BELONGING TO THE PORT OF NEW BEDFORD." 19th Century Published by Charles Taber & Co. 22.25” x 31.5” sight. Framed 24.25” x 33.5”. 500/700

3181. 1769 MASSACHUSETTS COLONIAL WHALING WAGES ACCOUNT SHEET Double-sided rag paper manuscript detailing wages paid to Abijah White and Joseph Harley for “Your Shears whaling with me”. Abijah White was born December 8, 1747 in Marshfield, Plymouth, Massachusetts and died at sea in 1777. Sheet size 7.5” x 5”. 200/300

3182. PHOTOGRAPH OF THE ARCTIC WHALER “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”. 6” x 8” sight. Framed 11.75” x 13.25”. 200/300 Provenance: Collection of Paul Vardeman.

3183. LARGE BOTTLE OF SPERM WHALE OIL 19th Century “Ol. Sperm.” label on front and “V.V. Brown Druggist Central City, Iowa” label on back with handwritten notation “302 254”. Height 10.5”. 500/700

3183

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3184. PORT OF ENTRY DOCUMENT FOR A WHALING VOYAGE Dated 1854 Signed by President Franklin Pierce. Dated “July, 10/54”. Framed together with an engraving of Pierce. Framed 22.25” x 33.25”. 1,000/1,500

3184

3185. SHIP’S DOCUMENT SIGNED BY ANDREW JACKSON Pertains to the ship Courier of New Bedford. Dated June 29, 1836. Framed 18.25” x 14.25”. 1,500/2,000

3185

3186. AFTER BENJAMIN RUSSELL Boston, 19th Century “Right Whaling in Behering Straits & Arctic Ocean with Its Varieties”. Published By J.H. Bufford’s Lith. 490 Wash St. Boston, 201 Broadway, New York. Lithograph on paper, 18” x 32” sight. Framed 28” x 42”. 500/1,000

3186

100

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3187. LIGNUM VITAE DEADEYE MOUNTED AS A TABLE LAMP Late 19th/Early 20th Century Deadeye mounted on a sheave base, salvage from the whaleship Wanderer. Assembled by Bill Snow, a 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. Total height including lamp fixtures 25”. 300/500 Provenance: The Stock Exchange Antiques, Nantucket, Massachusetts. The Collection of Paul Vardeman.

3188. WATERCOLOR AND INK PAINTING OF THE AMERICAN WHALING BARK “PINDUS” Circa 1834-1838 Depicts the Pindus of Fairhaven, Massachusetts, commanded by George W. Nye, and her whaleboats engaged in sperm whaling. Nye commanded only one voyage of the Pindus, so this work can be specifically dated to the bark’s 1834-1838 voyage. Handwritten in ink in an arch above scene “El Peruana Jermin Villafuerte La Barea Pindus En la Mar a’ Mando del Capitan George W. Nye Jermin Villafuerte ... Pindus Joseph Bryan”, embellished with calligraphic flourishes. On paper, 12.5” x 15” sight. Framed 14.75” x 17.5”. 1,500/2,500 Provenance: John Rinaldi Nautical Antiques, Kennebunkport, Maine.

3189. 1724/1725 LETTER PERTAINING TO WHALING DISPUTE SETTLEMENT From the Massachusetts Bay Colony Court of Admiralty, ruling for the recovery of 200 pounds’ value of blubber and bone of a “Shorthead Whalefish” that was harpooned by Jeremiah Robin “accompanyed by five Indian men in Subal Gorham’s whale boat did harpoon by striking into said whale’s left side one harping iron and did kill her. But the wind + sea being boisterous off Barnstable said whale was drove to shore in Duxbury where it was taken up and secured by Obadiah Sampson of Duxborough and John Fullington of Marshfield”. Dated Barnstable, January 15th, 1724/5 and signed by Silvanus[?] Bourne. Sheet size 11.75” x 14.5”. 500/700

3190. CLIFFORD ASHLEY’S WHALESHIPS OF NEW BEDFORD Whaleships of New Bedford Sixty Plates from Drawings by Clifford W. Ashley with an Introduction by Franklin D. Roosevelt. Boston and N.Y.: Houghton Mifflin Company/ The Riverside Press Cambridge, 1929. First edition, limited to 1035 copies. Presentation inscription signed “Clifford W. Ashley November 21st 1930” with a sketch of a spouting whale. Illustrated with black and white plates of Ashley’s drawings of whaleships and the whaling industry. Quarto (10.75” x 9”). Red boards with gilt spine band lettering and gilt spouting whale on cover. Dj. Slipcase. 200/250

3188

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101

3191

3191. RARE 1794-1803 BOUND VOLUME OF NANTUCKET MERCHANT CORRESPONDENCE Nantucket merchant James Barker (1759–1832)’s letters to merchants worldwide regarding the trade of merchandise, from food products to spermaceti candles to whale oil. James Barker and his brothers were the leading merchant group on Nantucket from the Late 18th Century to the Early 19th Century. Handwriting differs between entries. Some pages pasted over with 19th Century newspaper clippings, and loose clippings and other ephemera are tucked in. Approx. 200 pages. Original leather binding. Includes approx. 25 transcribed letters. 13” x 8.5”. 800/1,200

3192

3192. POLYCHROME SCRIMSHAW WHALEBONE BUSK WITH WHALING SCENE Mid-19th Century A detailed panoramic scene of active whaling, showing a pod of spouting whales, a stoved boat, whaleboats fast to whales, whales in a flurry and a waifed whale. The stoved boat is split in two, and whalemen and implements are strewn about. The large whale at center has been harpooned twice. Whaleship and islands in the distance. Fine line border along the perimeter. Length 16”. With wood stand. 8,000/12,000

102

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3193

3194 3195

3193. POLYCHROME SCRIMSHAW WHALEBONE BUSK DEPICTING A HOT AIR BALLOON Mid-19th Century Bright multicolored images of drapery, a hot air balloon with a large basket and flags, intersecting hearts, two hex signs, geometric designs, vines, etc. Length 12.25”. 1,500/2,500

3194. SCRIMSHAW BALEEN BUSK "TO MY BELOVED" Dated 1843 “To My Beloved Lydia” in banners surrounding a ship portrait medallion. Other medallions contain a bust portrait of a woman wearing an elaborate bonnet, and the verse “1843 Whilst Ye Set This Busk On Thee Pray Do Think of Me”, signed in script “AL”. Images interspersed with stars, geometric designs, guilloche patterns and other flourishes. Three hearts at top contain pierced circles. Particularly sharp contrast between engraving and baleen. Length 13.25”. 500/700

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3195. POLYCHROME SCRIMSHAW WHALEBONE BUSK 19th Century Seven vignettes, including foliatewrapped hearts, a ship portrait, geometric designs and “Hope” with an anchor, bounded by pique and geometric borders. Image of Hope believed to be a different hand and possibly of a later date. Busk with lobes at top and curve at bottom. Length 14”. 800/1,200 Provenance: Accompanying note claims the busk was owned by Blanche Corley (b. 1895) of Waterbury, Vermont, that it was made by her grandfather who served aboard a whaleship, and it was worn by her grandmother on her wedding day.

103

3196

3197

3198

3200

3196. SCRIMSHAW WHALEBONE BUSK 19th Century Depicts three vignettes: a ship portrait, a village with church, and a roadside cabin. Each scene bordered by a husk garland. Length 15”. 1,200/1,800

3197. SCRIMSHAW WHALEBONE BUSK WITH WHALING SCENE 19th Century Depicts a whaleship and a harpooned whale. Lobed end with a heart containing encircled five-pointed stars. Curved end with urn of flowers. Length 12.5”. 2,000/2,500

3198. SCRIMSHAW WHALEBONE BUSK 19th Century Depicts a shore scene with a large twin-domed building, a sea-washed lighthouse, a large three-masted vessel and a small paddle steamer. Lobed end with a cross within a heart. Length 13”. 2,000/2,500

104

3199. FIVE SCRIMSHAW BUSKS 19th Century 1) Whalebone, engraved with hearts and triangles, one heart containing “Emma”. Length 12.25”. 2) Whalebone, engraved with a floral medallion and a bird. Length 14.25”. 3) Whalebone, with traces of polychrome engraved floral bouquets and a ship portrait. Length 12”. 4) Baleen, engraved with a heart, a building with clock tower, a home, a ship portrait, two landscapes and a lighthouse. Length 13.25”. 5) Boxwood, carved with hex signs, a home, leafy branches, stars and other geometric designs. Length 12.75”. 500/700

3200. SCRIMSHAW WHALEBONE BUSK Second Half of the 19th Century Depicts a stern view of a ship, a sperm whale, “New Bedford 1841”, a full-length portrait of a woman in a striped dress, and crossed foliate sprigs. Date of 1841 not believed to indicate the year the busk was engraved. Busk lobed at top and curved at base. 2,000/2,500

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3202

3201. THREE SCRIMSHAW BUSKS/PANELS 19th Century 1) Baleen busk depicting a handled urn filled with flowers, a Liberty shield backed by a fouled anchor, a spread-wing eagle with a “Liberty” banner and an American flag on pole, and a draped monument. Images separated by leaves and geometric borders. Leafy vine border along perimeter. Triple-lobed top. Accompanying handwritten tag indicates the busk was carved by Lieutenant Horatio Adams around 1825-1830 for his sister, Elizabeth C. Abbey. Length 13.5”. 2) Whalebone busk depicting a leafy tree, foliate and geometric hex design, swaying branches, geometric patterns, a large building with a bird perched atop its dome, a tangle of vines with heart-shaped leaves, and a row of pineapples. Some polychroming. Length 12.75”. 3) A delicately engraved baleen panel depicting flowering urns and geometric and foliate borders flanking three architectural images: an obelisk within a fenced garden, a palace gate and a pavilion. Also includes a thin strip of baleen with matching foliate border, believed to be part of the original edge of the panel. 2.25” x 18.25”. 1,000/1,500

3202. SCRIMSHAW HIPPOPOTAMUS TOOTH 19th Century Whaling scene off a South Seas coast, with whaleships and whaleboats in pursuit of whales, and natives and whalemen interacting in the village on shore. Signed lower right “N.A. Prudden”. Length 11”. Includes contemporary lucite mount. 800/1,000 Provenance: Raymond Delucia Collection. Thomas Mittler Scrimshaw Collection Illustrated: Through the Eyes of a Collector by Nina Hellman (2015), fig. 103.

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105

3204, pair

3203, obverse and reverse

3205

106

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3206, pair

3203. POLYCHROME SCRIMSHAW WALRUS TUSK WITH PORTRAITS OF WOMEN 19th Century Tusk nearly entirely covered with portraits separated by flowering vines and floral urns, executed in shades of red and black and the portrait outlines done mostly in pinpoint. One portrait is of a ballerina on stage and the others are of fashionably dressed women holding a book, fan or kerchief. Length 21.5”. 2,000/2,500

3205. POLYCHROME SCRIMSHAW WALRUS TUSK WITH SHIP AND FIGURAL PORTRAITS 19th Century Obverse with stern, bow and starboard views of presumably the same ship, which is flying a long pennant and what is believed to be an American flag. Below is a scene of three women by the shore, which wraps from the obverse to the reverse. Delicate and finely detailed. Base and most of reverse not fully polished smooth. Length 23”. 1,000/1,500

3204. PAIR OF SCRIMSHAW WALRUS TUSKS WITH FIGURAL SCENES 19th Century One with a Scotsman in full regalia, a woman holding a basket of flowers, and a three-quarter-length portrait of a young lady, which is framed within a foliate garland. Other with a cherub delivering letters, a woman reading a newspaper or magazine, and a strolling couple. Lengths 14.75”. 700/1,000

3206. RARE PAIR OF WHALING SCENES 19th Century 1) “Stonington of New-London the coast of Japan”, depicting the ship with four active whaleboats off her starboard side. Harpooner’s names noted under each whaleboat. Watercolor and gouache on paper, 12” x 14.5” sight. Framed 18.5” x 21.” 2) Portrait of the Stonington. Watercolor and gouache on paper, 10.25” x 13.25” sight. Framed 17.5” x 20.5”. 3,000/5,000 Provenance: Collection of H.B. Freye, MD, Stonington, Connecticut.

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107

3207. EXTRAORDINARY INLAID WHALE IVORY AND WHALEBONE CANE Nantucket, Circa 1845 Bulbous octagonal whale ivory handle inset with a shell disk at top. Thin metal and wood spacers. Whalebone shaft tapers from a square to an octagon to a cylinder. Upper square portion inlaid with shell whales, dolphins, lions, elephants, crescents, stars, hearts and paddle steamers. Central octagonal portion inlaid with mother-of-pearl, shell, abalone and amber dots, diamonds, hearts, triangles and spearpoints. Ribbed carving between octagonal and cylindrical sections. Length 32.25”. 20,000/30,000 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #618.

3207, two views

108

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3208. WHALE IVORY AND WHALEBONE POINTER WITH SWAN-FORM HANDLE 19th Century Whale ivory handle formed as a graceful swan with inlaid eye, carved beak and looped neck. Inlaid contrasting bands of wood between handle and whalebone shaft. Length 34.5”. 500/1,000 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, December 11-12, 1981, Lot #483. 3209. CANE WITH SCRIMSHAW WHALE IVORY DOVE-FORM HANDLE Circa 1860 Dove with engraved eyes and wings and carved beak is perched atop a tower of shafts and flattened knobs, the top-most section with faint inked lettering, possibly “April”, and one section with pique design. Tapered whalebone shaft with octagonal upper section, a medial carved band and a cylindrical lower section. Length 39.75”. 7,000/10,000

3210. EXTENSIVELY CARVED WHALE IVORY AND WHALEBONE CANE Mid-19th Century Whale ivory handle with carved Turk’s-head knot grip and ring-turned throat with contrasting spacers. Subtly tapering whalebone shaft with sections of ribbed, fluted and quilted diamond carvings separated by bulbous rings. Length 34.75”. 2,000/3,000

3211. CANE WITH MASONIC MOTIF INLAY 19th Century Faceted whale ivory handle with shell and mother-of-pearl inlay formed as a compass and square, triangles and spades. Silvered metal collar. Whalebone shaft with whale ivory tip. Length 35.25”. 500/800

Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, December 11-12, 1981, Lot #332. A cane with a similar handle and throat is illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 133.

3208 3210

3211 3209

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109

3212. WHALEBONE TOWEL RACK 19th Century Uprights and top bars with quilted diamond carving. All bars with medial incised banding. Carved whale ivory finials. Contrasting spacers, probably ebony. Height 36.25”. Width 32”. 5,000/10,000

3212

3213. WHALEBONE-EMBELLISHED BIRDCAGE 19th Century Wood and whalebone framework with alternating porcupine quill dowels. Domed roof topped with a whalebone wave-shaped crest. Sliding door. Copper pull-out drip pan, the side shaped and etched as two opposing whales and fitted with a whale ivory knob. Height 10”. Width 9.5”. Depth 7”. 3,000/5,000

3213

3214. WHALEBONE CHAMBER STICK 19th Century Turned candle socket with two incised bands. Drip pan base with pattern of concentric incised rings. Sides of pan bound with two spearpoint fingers. Shaped and tenoned handle. Metal pins. Height 1.5”. Length 9.5”. 1,000/1,500 3214

110

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3215. WHALEBONE SPOOL HOLDER/CANDLESTICK Probably Nantucket, Early 19th Century Typical of early Nantucket work, entirely made of whalebone with no metal fasteners. Two tiers, the upper tier surmounted by a candle cup. Both upper and lower tiers with pierced holes for threading spool bobbins. Baluster-turned columns and turned feet. Height 6.75”. Diameter 6.25”. 2,000/3,000 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, December 1112, 1981, Lot #331 (retains collection sticker). The auction catalog notes the piece was found on Nantucket. Exhibited: The Smithsonian, Washington, D.C.: “Scrimshaw, The Sailor’s Art”, 1977.

3215

3216. CARVED WHALEBONE ROCKING SAILBOAT TOY Third Quarter of the 19th Century Manned sailboat set into a box with handle at side that rocks the boat. Finely detailed with long bowsprit, a barrel, crates, rigging, rudder, “waves”, etc. Height 4”. Length 4.5”. 3,000/5,000 Provenance: Sotheby’s New York, sale date unknown, Lot #809. Lot sticker on underside. A similar example was sold at Eldred’s, the Marine Sale, July 19, 2018, Lot #170.

3216

3217. INLAID PUZZLE BOX Third Quarter of the 19th Century Oval whalebone box with a whale ivory pin and an inlaid shell five-pointed star on lid. Height 1.25”. Length 2.5”. 1,000/1,500 Provenance: Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #54. Retains collection sticker. 3217

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111

3218. WALNUT AND BONE WATCH HUTCH 19th Century In the form of a cathedral with four pinnacles, rose and arched windows, arched doors and a central inlaid cross above the watch aperture. Contains a newer Waltham pocket watch. Height 11.25”. Includes glass dome with wooden base. 4,000/6,000

3218

3219. SCRIMSHAW WHALEBONE AND WHALE IVORY FIGURAL PIPE 19th Century Whale ivory bowl carved, engraved and inlaid in the form of a woman’s face, her hair pulled back and her cheeks with a pinkish coloration. Whalebone stem. Length 6.75”. 300/500

3220. POLYCHROME SCRIMSHAW WHALE IVORY SEWING EGG Dated 1851 Threaded at center, opening to reveal a thimble and a pincushion. Exterior delicately engraved “AM” and “1851” surrounded by a ship portrait medallion, a cornucopia and a basket of flowers, a dove within a garland, alphabets, numerals, flowers, leaves and other flourishes. Length 2.75”. 800/1,200

3220

112

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3219

3221

3221. LARGE PIECE OF SCRIMSHAW BALEEN 19th Century Panoramic view of a coastal village with a lighthouse topped with fish-form weather vane, stately homes fronted by gated fences, a meetinghouse, trees and flowering plants, and several vessels offshore, ranging from a small sailboat to a massive triple-decker warship. Sawtooth border on lower and right edges, and a drape and tassel border on top edge. Fine, delicate and detailed workmanship. Length approx. 53.5”. 500/1,000

3222. 1863-1866 ACCOUNT BOOK FOR NEW BEDFORD WHALING AGENTS SWIFT & ALLEN Includes outfitting and whale oil share distributions for more than 75 New Bedford/Fairhaven vessels. Entry for “12/29/65” details distribution of more than $100,000 to nine owners for oil and bone taken by the bark Massachusetts. 360 pages. Rebound in contemporary marbled boards. 16.75” x 7.25”. 400/600

3222, two views

3223. WHALESHIP AGENT’S WOODEN DOCUMENT BOX FROM THE "SHIP 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”. 700/1,000

3223

Provenance: John Newton Marine Antiques, Maine. Burroughs Collection, Topsfield, Maine. Private Cape Cod Collection.

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113

3224. SCRIMSHAW WHALE’S TOOTH "HEART CONFESSIONS" Mid-19th Century Densely engraved and inked scene of two women in a garden, contained within an arch. Floral bouquet above and titled below. Foliate and diamond border encircles tooth at base. Length 5”. 5,000/10,000

3224

3225. POLYCHROME SCRIMSHAW WHALE’S TOOTH DEPICTING A PIRATE AND SOLDIER BOYS 19th Century Obverse depicts a bearded pirate wielding a sword and firing a pistol. He is wearing a blue hat, red jacket, green and white checkered vest and a tunic, the hat and tunic emblazoned with skulls and crossbones. He has another pistol tucked into his belt, a sword at his side, and balls and chains at his feet. Reverse depicts two soldier boys, one holding an American flag on pole and the other playing a drum, marching alongside a dog. Length 6.75”. 5,000/8,000

3225, obverse and reverse

3226. LADY WELLINGTON ENGRAVER SCRIMSHAW WHALE’S TOOTH WITH WHALING SCENE First Half of the 19th Century Depicts a whaleboat under sail in pursuit of a pod of whales, the harpooner poised at the bow of the boat. Garland, pique and scallop borders encircle base and geometric borders encircle tip. Deeply engraved elements and the swirling pattern of the sea and whale spouts typical of the Lady Wellington engraver. Very deep patina. Length 5.5”. 2,000/3,000

114

3226

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3227. SCRIMSHAW WHALE’S TOOTH DEPICTING A STEAM/SAIL VESSEL AND OTHER IMAGES Mid-19th Century Obverse with a starboard portrait of a sidewheel steam/sail vessel flying assorted British flags and pennants. Finely rendered rigging, trailboards and rope-like water. Reverse depicts an Eye of Providence above a sailing vessel. One edge with a man in a top hat atop a tall monument. A snake with a forked tongue is coiled around the tip, and a serrated band encircles the base. Length 6.5”. 800/1,200

3227, obverse, reverse and edge

3228. SCRIMSHAW WHALE’S TOOTH WITH FOREIGN IMAGES Mid-19th Century Obverse depicts a bust portrait of a man with a tattooed face, believed to be Maori. Reverse depicts an American-flagged ship passing a lighthouse and approaching a port where a flag emblazoned with a crescent flies from one of two fortresses that flank the mouth of the inner harbor. The harbor coastline is lined with assorted buildings, and several hills and mountains are visible in the distance. Rich patina. Length 7.25”. 1,500/2,500 The bust portrait is similar to one on a scrimshaw whale’s tooth illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), fig. 8:22a, which bears the title “A New Zealand Chief”.

3228, obverse and reverse

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115

3229

116

3229. L.H. JOY America, 20th Century “The Nantucket Whaleship ‘Huntress’ Built at Copple’s Yard for Cook and Snow.”. Signed lower right “L.H. Joy”. Titled lower margin. Oil on canvas laid over board, 16” x 23.5”. Framed 24.5” x 32.5”. 2,000/3,000

3231. 1838 BILL OF SALE FOR THE WHALESHIP LEONIDAS Pre-printed document with handwritten notations including a physical description of the vessel. Signed by William Henry DeWolf of Bristol, Rhode Island; DeWolf was the son of James DeWolf, a prominent Rhode Island slave dealer. Sheet size 16.75” x 10.5”. 300/400

3230. 1862 BILL OF SALE FOR THE SHIP SPLENDID OF EDGARTOWN, MARTHA’S VINEYARD For a 4/64 part, sold by Abraham Osborn of Edgartown to Samuel Osborn for $400. Dated November 1, 1862. Preprinted double-sided folding document with handwritten notations including a list of owners and a description of the Splendid, which was built in Rochester, Massachusetts in 1835 and James B. Huxford serving as present master. Sheet size 14” x 17” (folded to 14” x 8.5”). 300/400

3232. DOCUMENTS PERTAINING TO THE NEW BEDFORD WHALING BARK ANDREW HICKS Circa 1910-1912 Approx. 150 documents, including letters, billheads, invoices and receipts pertaining to her 1911–1914 whaling voyage under Master Charles Albert Chase. Includes documentation on the purchase of whaling guns and lances, gauging and testing of whale oil, cooperage, seamen’s wages and settlement papers. 250/350

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3233. PIE CRIMPER WITH WHALE’S-TAIL WHEEL Mid-19th Century Wooden coffin-shaped handle with mother-of-pearl and ebony inlay. Architectural tiered whale ivory mounts at both ends, one supporting a three-tine fork and the other an openwork wheel with whale’s tail spokes and notched perimeter. Whale ivory components with pearling. Length 8.25”. 2,000/3,000

3233

3234. "JENNIE" SCRIMSHAW WHALE IVORY PIE CRIMPER Third Quarter of the 19th Century Handle in the form of an arm and hand, the forefinger extended. Engraved at the elbow with a garter containing “Jennie” in Gothic lettering. Architectural wheel yoke supports a notched wheel. Length 7.5”. 1,000/1,500 Provenance: Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #44.

3234

3235. WHALE IVORY AND SHELL PIE CRIMPER 19th Century Whale ivory handle covered with shell panels applied by silver tacks. Fluted wheel. Length 5.75”. 800/1,200

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3235

117

3236, two

3236. TWO WHALE IVORY AND WHALEBONE PIE CRIMPERS 19th Century 1) Arched whalebone handle, slightly bulbous near the wheel yoke. Architectural whale ivory two-tine fork with significant pearling. Fluted whalebone wheel. Length 7.5”. 2) Baluster handle with ball terminal, three medial incised lines, and a clothespin-style wheel yoke. Ruffled floriform wheel. Length 5.5”. 500/1,000

3237

3237. WHALE IVORY CLENCHED FIST PIE CRIMPER 19th Century Long rectangular whale ivory handle with contrasting central section and terminal carved as a clenched fist and cuffed sleeve. Central section believed to be ivory stained to simulate shell. Shape of wheel mount suggests a bird, with a curved neck and upright carved tail feathers. Wheel with pierced pinwheel design and notched edge. Some pearling of whale ivory. Length 8”. 500/1,000 A similar example, but with an ivory central section, is illustrated in Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), p. 192, fig. 10.23.

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3238

3238. WHALE IVORY PIE CRIMPER WITH OPEN-CARVED HEART Mid-19th Century Delicately carved one-piece handle and wheel yoke. Fluted wheel attached to yoke with brass pin. Nice patina. Length 4.75”. 700/1,000 Provenance: Paul Madden, Nantucket, Massachusetts. Barbara Johnson Whaling Collection, Sotheby’s New York, December 16-17, 1983, Lot #226. Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #87.

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3240 3239 3241

3239. MARINE IVORY PIE CRIMPER WITH ROOSTER-FORM WHEEL MOUNT Mid-19th Century Whale or walrus ivory. Rooster with carved comb and beak, the metal wheel axle serving as its eye, and its tail feathers forming a three-tine fork. Serrated wheel. Pistol grip-style handle with contrasting band, possibly shell. Rich patina. Length 6.25”. 1,000/1,500

3240. WHALE IVORY PIE CRIMPER WITH OPENWORK HANDLE Mid-19th Century Heart-shaped terminal. Architectural yoke supports a fluted wheel. Length 5.75”. 800/1,200 Provenance: Barbara Johnson Whaling Collection, Sotheby’s New York, December 11-12, 1981, Lot #342.

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3241. EXCEPTIONALLY LARGE PIERCED WALRUS IVORY PIE CRIMPER Mid-19th Century Fan-like terminal and double handle extensively pierced and carved with diamonds and filigree designs. Fluted wheel. The largest crimper of this style we have seen. Length 9.75”. 3,500/5,000 Similar examples are illustrated in Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1971), p. 178, Ingenious Contrivances, Curiously Carved by Stuart M. Frank (Boston: David R. Godine, 2012), p. 195, and A Mariner’s Fancy: The Whaleman’s Art of Scrimshaw by Nina Hellman and Norman Brouwer (N.Y.: South Street Seaport with Balsam Press, et al, 1992), p. 58.

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3242. SAILOR-MADE KITCHEN KNIFE BOX Mid-19th Century Walnut dovetail box with single drawer. Scrimshaw whalebone trim on edges, ends and drawer perimeter. Handle with pierced finger holes and hearts. Height 5.5”. Width 13.5”. Depth 8.25”. 1,000/1,500

3243. TWO WHALE IVORY BODKINS Mid-19th Century One in an architectural form with ogee and molded finial. The other with a carved finial with inset baleen and sealing wax dots. Lengths 4.25” and 5.25”. 400/600

3242

3244. SAILOR’S RATCHET ALARM 19th Century Walnut, whale ivory and bone. Nicely turned handle. 7.25” x 6.75”. 500/700

3245. SAILOR-MADE INLAID BOX 19th Century In maple and bird’s-eye maple veneer. Top with brass rosette ring hardware. Front with whale ivory geometric inlay and single drawer. Height 7”. Width 10”. Depth 10”. 500/700

3244

3246. ENGRAVED POWDER HORN First Half of the 19th Century Made from a steer’s horn. Incredibly detailed engraving of numerous sailing vessels and buildings. Length 12”. 400/600 Provenance: Ryan Cooper, Yarmouth Port, Massachusetts.

3247. * PAIR OF UNENGRAVED WHALE’S TEETH Lengths approx. 7.5”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 1,000/1,500 3245

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3248. HERMAN MELVILLE’S MOBY DICK OR THE WHALE ILLUSTRATED BY ROCKWELL KENT New York: Random House, 1930. Profusely illustrated by Rockwell Kent, considered a masterpiece of 20th Century book illustration. Hardcover. Dj. 1,000/1,500 Provenance: Libris James Marenakos, Chester, Nova Scotia, library i.d. #145.

3248

3249. SIX ENGRAVINGS AFTER ROCKWELL KENT’S ILLUSTRATIONS FOR MOBY DICK OR THE WHALE 20th Century Each 5.5” x 4” sight. Framed 12.5” x 10.5”. 500/800

3250. SAILOR-MADE WOOD AND BONE THREE-TIER SEWING STAND 19th Century Upper tier with pincushion and lower tiers with spool holders. Base with bail handles at sides and a single drawer with bone drawer front. Height 16”. 700/1,000

3250

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121

3251. PAIR OF SCRIMSHAW WHALE’S TEETH WITH FLORAL DESIGNS 19th Century One tooth depicts a floral and foliate garland surrounding a vignette of a bird grasping a large flower blossom in its beak while perched atop a candystriped lighthouse or monument adorned with flowers. Other tooth depicts an abundant floral urn. Both teeth with rising sun faces at tips and delicate floral vines encircling bases. Lengths 4.75”. 1,200/1,500

3251, pair

3252. PAIR OF SCRIMSHAW WHALE’S TEETH DEPICTING FASHIONABLE LADIES 19th Century Bust portraits of attractive women, both wearing elaborate hats. One with thistle design at base and the other with a Celtic knot-like design. Lengths 5.75” and 6”. 1,200/1,800

3252, pair

3253. PAIR OF SCRIMSHAW WHALE’S TEETH WITH LANDSCAPES 19th Century One depicts mountain scene with a mountaintop castle, a viaduct and trees. Other depicts a coastal scene with a castle, rocky outcroppings and a palm tree in foreground. Lengths approx. 4.5”. 500/800

3253, pair

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3254. BANDED CLUB, POSSIBLY FOR FISHING 19th Century Tapered whale ivory club with leather wrap. Length 12.75”. 1,000/1,500

3255. COLORED WHALING PRINT 19th Century Depicts four vignettes, the upper titled “General View of the Arctic Whaling Fleet in the Ice” and the lower three “Destruction of the Whaling Fleet in the Arctic Ocean”, with further subtitles under each. Published by Edwin Dews, New Bedford. Housed in a bird’s-eye maple frame. Framed 23.25” x 28.25”. 500/700

3256

3256. MAHOGANY AND WHALE IVORY SEWING STAND 19th Century One-drawer base with whale ivory floriform drawer pull, button adornments at top corners and ball feet. Base surmounted by a spinning three-tier thread holder topped with a whale ivory yarn cup/ pincushion. Matching button adornments on lower two tiers of thread holder. Height 11.5”. 500/700

3257, pair, obverse and reverse

3257. PAIR OF POLYCHROME SCRIMSHAW WHALE’S TEETH WITH FIGURAL PORTRAITS Mid-19th Century Obverses depict a man and a woman in fancy costume, probably a stage actor and actress. Reverses with “VR” monograms within laurel garlands above bust portraits of a man and woman, possibly actors playing Queen Victoria and Prince Albert. Lengths 5.5”. 1,800/2,500

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3258. SCRIMSHAW WHALE’S TOOTH DEPICTING A SOLDIER Mid-19th Century Full-length portrait of a soldier wearing a bicorne and holding a gun at his shoulder. Length 6”. 300/500

3259. SCRIMSHAW WHALE’S TOOTH WITH URN OF FLOWERS Mid-19th Century A variety of flowers in a geometric-patterned footed urn. Urn’s outline and other details are deeply stippled. Very deep patina. Length 5.5”. 500/800

3258

3259

3260. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAIT AND FLOWERS Mid-19th Century Port view of an American-flagged ship above a bouquet of flowers. Outline of the flowers and leaves mostly done in pinpoint. Barber pole border at base and edges. Length 6”. 800/1,200

3260

3261. SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAIT Mid-19th Century Starboard view of an American-flagged ship flying assorted flags and pennants from the masts. Deeply stippled highlights. Some traces of green coloring to sea. Length 5”. 400/600

3261

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3262. WALTIERE WHALING PRINT German, 1886 Taken from Gotthilf Heinrich von Schubert’s Natural History (Naturgeschichte), Schreiber, Munich, 1886, Plate XXIX. With two images: “a) Der Grönlandswal. Balaena mysticetus.”, showing whalers harpooning a bowhead whale, and “b) Der Pottfisch. Physeter macroephalus”, a cachelot or pot whale. Hand-colored lithograph, 11.5” x 16.5” sight. Framed 22” x 25”. 400/600

3262

3263. SCRIMSHAW WHALE’S TOOTH 19th Century Depicts fearsome dogs attacking prey. Length 6.5”. 500/1,000

3264. BARBER’S BRUSH WITH SCRIMSHAW WHALE IVORY HANDLE 19th Century Bell-form handle depicts a whaleman holding a harpoon, an American-flagged ship and a rope border. Faint traces of polychroming. Total length including bristles 6”. 150/250

3263

3265, six

3265. * SET OF SIX ENGRAVED AND INLAID WHALE IVORY DICE 20th Century Exotic wood inlay in the shapes of the suits of cards -- hearts, diamonds, clubs and spades -- and polychrome engravings of crowns, anchors, sun faces and moon faces. Motifs differ slightly on each die. .75” x .75” x .75”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 500/700

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125

3266. CARVED WHALEBONE CLUB Late 19th/Early 20th Century Length 8.25”.

150/250

Provenance: Barbara Johnson Collection; retains collection label. Illustrated: Scrimshaw and Scrimshanders, Whales and Whalemen by E. Norman Flayderman (New Milford, Ct.: N. Flayderman & Co., Inc., 1972), p. 131.

3267. ENGRAVED HORN 19th/20th Century Depicts the ship “Thos. Sloman”, identified below, as well as a sperm whale and a right whale. Rope design at tip. Leather strap attached to the U-shaped handle. Horn length approx. 10”. 500/1,000

3268. WHALEBONE AND WHALE IVORY SWIFT Mid-19th Century Whalebone shaft topped with a turned whale ivory yarn cup. Whale ivory clamp with cascade turnings, incised banding and a protruding fluted band, similarly carved to the wheels of pie crimpers. Clamp and collar set-screws with turned and carved whale ivory knobs inset with mother-of-pearl dots at ends. Whalebone cage with metal rivets. Ivory components with some pearling. Length 17.5”. 400/800

3269. WHALEBONE AND WHALE IVORY SWIFT 19th Century Turned whale ivory yarn cup, adjustment collars, barrel-form clamp and set-screws, all with red incised banding. Whalebone shaft, with red bands near base, and a whalebone cage. Length 20”. 500/1,000

3266

3270. * TWO WALRUS TUSKS Semi-polished. Lengths approx. 18.5”.* Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 500/800

3271. * MATCHED PAIR OF UNPOLISHED WHALE’S TEETH Nice patina. Length 7.75”.* Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 1,200/1,800 3269

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3272

3273

3272. CHILD’S-SIZE WHALEBONE SWIFT Mid-19th Century Simple but charming design. Shaft topped with a turned finial. Affixed to a wooden stand. Total height 9.25”. 800/1,200

3273. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH SHIP PORTRAITS AND TOASTS, POSSIBLY BY THE NAVAL MONUMENT ENGRAVER Mid-19th Century Three ship portraits wrap around the circumference, all three ships flying long red streamers and one flying an American flag. Below the portraits, in serifed lettering, are the toasts “May the Single Be Married and Married Happy.” and “May the Smiles of Conjugal Felicity Compensate the Frowns of Foetune [sic].”, both toasts contained in the 1791 volume The Toast Master Being a Genteel Collection of Sentiments & Toasts .... Although the ship portraits don’t appear to be exact copies of plates from Abel Bowen’s Naval Monument, they, as well as the lettering, are executed in a very similar style to known Naval Monument Engraver examples. On footed wooden stand. Height on stand 7”. 2,500/3,500

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127

3274

3274. INUIT WALRUS TUSK CRIBBAGE BOARD Late 20th Century Polychrome engraved decoration of walrus sitting on ice floes. Drilled cribbage board. Mahogany end cap and peg stand. Includes four pegs. Length 17”. 800/1,200

3276. * POLYCHROME ENGRAVED WHALE’S TOOTH BY ROBERT SPRING Third Quarter of the 20th Century Obverse depicts two views of the “Ship Susan”, with different sail configurations. Reverse depicts “A Gam on the Southern Grounds”, a coastal scene of three whaleships and whalers in two whaleboats, framed within a rope, geometric and floral surround. Titled in banners below scenes, one banner cleverly wrapped around a chip at the base of the tooth. Signed on reverse “R E Spring”. Length 5”.* Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 1,000/1,500

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3275. INUIT WALRUS TUSK Alaska, 1904 Marked on base “Alaska 1904”. Length 18”. 600/800

3276, obverse and reverse

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3277. * PAIR OF LARGE UNENGRAVED WHALE’S TEETH Nicely formed. Semi-polished. Lengths 6.5”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 1,000/1,500

3277, pair

3278. * LARGE ENGRAVED WHALE’S TOOTH WITH WHALING SCENE Probably Late 19th/Early 20th Century Coastal whaling scene with a whaleship, two whaleboats and two whales being captured. Length 9.25”. Includes a domed glass and wood case. Case height 7.5”. Length 14”. * 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

3278

3279. * LARGE ENGRAVED WHALE’S TOOTH WITH WHALING SCENE Simplistically rendered but charming depiction of a whaleboat harpooning a sperm whale in the foreground and a whaleship in the distance. According to the consignor, the tooth was locked in a safe in Switzerland in 1926. Length 7.25”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 1,500/2,500 3279

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129

3280. * ENGRAVED WHALE’S TOOTH BY FRANCISCO RAPOZA Dated 1973 Depicts a dock scene, titled lower right “Bark Sunbeam Last Voyage 1911”. Signed and dated lower right “Francisco Rapoza 1973” and faintly inscribed “TG RC”. Length 7.75”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 500/1,000

3280

3281. SCRIMSHAW WHALE’S TOOTH WITH HORSE AND RIDER 19th Century An officer on horseback holds aloft a flag. Checkerboard-patterned floor. Vine surround. Serrated carving at base. Length 5”. 600/900

3281

3282. SAILOR-MADE THREE-TIER WOOD, WHALEBONE AND WHALE IVORY SEWING BOX 19th Century Topped with an urn-form pincushion holder. Upper tier with bone-trimmed thread dispenser sockets. Both lower tiers with a single drawer. Ball feet. Height 10”. Width 9”. Depth 6.5”. 400/600

3282

130

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3283. * ENGRAVED WHALE’S TOOTH WITH LINCOLN PORTRAIT 20th Century Obverse with bust portrait medallion of a young Abraham Lincoln. Reverse with an eagle clutching a Liberty shield and an American flag on pole in its talons. Foliate borders encircle tip and base. Length 6”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 500/1,000

3283, obverse and reverse

3284. POLYCHROME SCRIMSHAW WHALE’S TOOTH WITH A LADY AND AN EAGLE Mid-19th Century Obverse with a full-length portrait of a lady wearing a bonnet, shawl and floral-patterned dress. Reverse depicts a spread-wing eagle grasping an “Our Cause Is Just” banner in its beak and clutching an American flag on pole in its talons. Length 5.25”. 500/800

3284, obverse and reverse

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131

3285. * POLYCHROME ENGRAVED WALRUS TUSK ATTRIBUTED TO CHARLES MANGHIS 20th Century Depicts a headdress, five-pointed stars, Lady Liberty, a “In Union is Strength” banner, two spread-wing eagles, one with a “Liberty and Union One and Inseparable ...” banner, a bust portrait of Abraham Lincoln and a sheaf of wheat. Serrated border at base. Length 22.5”. * Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 700/1,000 Provenance: Eldred’s, The Marine Sale, July 19, 2013, Lot #860.

3285

132

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SESSION II Lots 3501-3816 China Trade

Lots 3501-3508

The Kelton Collection of Marine Art & Artifacts Lots 3501-3527, 3574-3594 and 3702-3719 Whaling

Lots 3599-3656

As well as Paintings, Ship Models, Instruments, Yachting and More

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131

selections from

The Kelton Collection Eldred’s is pleased to offer maritime art and artifacts from the Kelton Collection over a series of auctions, including three sections in this sale, beginning with the following China Trade pieces.

3501

3501. CHINESE SCHOOL Circa 1847 China Trade portrait of the clipper ship Samuel Russell. Unsigned. Oil on canvas, 29.5” x 39.75”. Framed 35.5” x 45.5”. 15,000/25,000 Provenance: Samuel L. Lowe Antiques, Boston, 1990. Literature: For a history of the Samuel Russell, see American Clipper Ships 1833-58 by O.T. Howe, M.D. For a discussion of the extension to the mizzen, see The Book of Old Ships by Henry B. Culver (Dover edition, 1992, of Doubleday publication 1922), p. 234-36.

The Samuel Russell, named after the senior member of the prominent American firm Russell & Co., which operated in China and once partnered with Messrs. Low, was slightly larger than the celebrated Sea Witch. On her maiden voyage from New York, September 14, 1847, the Samuel Russell was under command of Captain N.B. Palmer. Palmer oversaw her construction and utilized many elements he encountered during his long experience as master in the China Trade. She was captained for many years by Charles Low, who established an outstanding record while sailing with her. The captain’s pride is also evident in this painting. In comparison with the ships in the background, the Samuel Russell is flying four headsails as opposed to three. She also has all her square sails, including her skysails over her royals, full studding sails, and even an unusual extension to her mizzen sail, called either a ringtail, a driver or a spanker. The latter term may be more properly reserved for the main part of the mizzen, even though the main part of the mizzen is also itself frequently called the mizzen. Since the additional aft sail functions like a studding sail, an alternate descriptive name could be “mizzen studding sail”, though it has also been commonly referred to as a “bonnet”. Regardless, the painting’s fastidious detail is the result of the skipper’s detailed instructions to the Chinese artist to show the ship in all her finery.

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133

selections from

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

3502. CHINESE SCHOOL Mid-19th Century A British East lndiaman leaving the Pearl River at Boca Tigris, circa 1845. The ship has her studding sails set and is towing her pilot boat. Unsigned. Oil on canvas, 27” x 36”. Framed 33” x 42”. 2,000/3,000 Provenance: An unidentified British auction.

3502

3503. CHINESE SCHOOL Circa 1847 “Puerto de Whampoa en el Rio de Canton”. Titled in Spanish lower margin outside the double inked border. Watercolor heightened with gouache on paper, 22” x 33” sight. Framed 31.25” x 42”. 2,000/3,000 Whampoa was an international anchorage upriver from Canton, where the large ships anchored for the duration of their stay in the Pearl River. In the background is the distinctive pagoda on Whampoa Island, one of the first views of China for most seamen. The majority of ships at anchor in this painting happen to be American. In 1769, William Hickey noted “Whampoa is pleasantly situated, having two islands close to the ships, one called Dane’s Island, upon which each ship erects what is called a Bankshall (or Banks Hall as some logs state), being a lightly constructed wooden building from sixty to one hundred feet in length into which the upper masts, yards, spars, sails, rigging and stores are deposited, and previous to being re-embarked, are all repaired and put into order. The other is called French Island”.

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3503

3504. ATTRIBUTED TO LAI SUNG China, fl. 1850-1885 American barque Conquest off the Chinese coast, circa 1865. Unsigned. Name appears faintly on the bow. Original sandalwood stretcher with labels “G.G. and G.E. Ryder” and “Clipper Barque Conquest”. Also inscribed in pencil, possibly “G.T. Ryder” or “G.E. Ryder”, with an indiscernible address. Oil on canvas, 26” x 35”. Framed 31.75” x 41.75”. 2,500/3,500 Provenance: Eldred’s, Americana & Marine Art Auction, 1991.

3504

Henry W. Peabody & Co., established in 1867, ran the Australian line and was agent for Conquest. She was described as “The Favorite and Well Known A1 Clipper Barque”, and her clipper card advertised that she “nurses at Lowest Rates”. In 1881, she was owned by George G. Ryder and George E. Ryder, ship chandlers of Commercial Street, Boston. Inscription verso indicates they may have owned this painting as well. In 1885, ownership of the Conquest passed to David E. Mays. Cyrenus A. Bearse, born in Chatham, Massachusetts in 1842, was captain. Conquest was last listed as active in 1891.

3505. CHINESE SCHOOL Circa 1875 White British Naval residency hulk in Hong Kong. Unsigned. Oil on canvas, 16.5” x 22.5”. Framed 22” x 28.25”. 4,000/6,000

3505

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135

selections from

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

3506

3506. ATTRIBUTED TO TINGQUA China, 1809-1870 The Waterfront at Canton, 1850, showing the European factories, Protestant church and the American paddle steamer Spark offshore amid local boat traffic. Watercolor and gouache on paper, sheet size 22” x 48”. Framed 27.5” x 53”. 8,000/12,000 Provenance: Robert Sawers, Ltd., London, 1984.

136

Large works like this are rare for Tingqua. Changes in the waterfront’s architecture, detailed by the artist, allow for the precise dating of this work. Canton was the first city in the Chinese Empire to become a hub of international trade due to its wealth, elegance, advantageous position on the north bank of the Pearl River, and being the capital of the Province of Kwang-tung, though all Western trade with China was restricted to Canton (Guangzhou) until the end of first Opium War in 1842. Traders maintained Hongs (homes and warehouses) in a small area along the north bank of the Pearl River. Identifiable flags in this painting, from right to left, include Danish (flown from the offices of their consul Jardine Matheson and Augustine Heard), British, Chilean, French, American and Prussian.

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3507

The vantage point of this work is from the high ground near the tip of the peninsula, a popular view from about 1800 to 1820. In the center is the conspicuous facade of the church Sao Paula. 3507. CHINESE SCHOOL The Chinese mainland lies beyond the distant barrier. Circa 1810 A bird’s-eye view of Macao. Period label affixed verso Macao, an overseas province of Portugal situated on the south marked “C. Lefever, Carver and Guilder, Manufacturer China coast, was founded in 1557. It is located on the western of Looking Glasses and Cabinet Maker, No. 5 Loll side of the Chu Chiang (Pearl River) Estuary, at the head of Bazar”. Oil on canvas, 8” x 10.5”. Framed 13.5” x 16”. which is the Chinese port of Kwang-chou (Canton). It stands 6,000/8,000 opposite to the ex-British crown colony of Hong Kong. Macao reverted back to Chinese rule December 20, 1999. The name Macao may have derived from the Chinese A-mongao, or Bay of the Goddess A-ma, the patroness of sailors. However, the most likely origin of the name is after the local Chinese Temple of Ma Kok.

Provenance: Sotheby’s London, October 22 1986, Lot #103.

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137

selections from

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

3508

3508. ATTRIBUTED TO LAI FONG China, fl. 1870-1910 British four-masted ship Falls of Clyde arriving at Hong Kong on a port tack and under full sail. Oil on canvas, 20.5” x 26”. Framed 24.75” x 29”. 2,500/3,500 Provenance: Sotheby’s, London, 2000.

The house flag at the main is indistinct, but most likely is that of the Falls Line, owned by Wright, Graham and Co., who had the vessel built for the Calcutta trade. After initial voyages to Calcutta, she tramped the world for the first 20 years of her existence. In 1898 she was sold to Arthur Brown of Honolulu, who turned around and sold her to the Matson Navigation Co. to trade primarily between San Francisco and Hawaii. For nine years she sailed for the Matson Line under the Hawaiian flag, carrying passengers and cargo from the mainland. When Hawaii became a territory in 1900 she was placed under U.S. registry. In 1907 she was sold to Associated Oil Co. who installed ten bulk fuel tanks, converting her to a tanker. In 1921, after several owners, she was dismasted and converted to a floating oil and gas depot to service the fishing fleet at Ketchikan, Alaska, where she remained until 1958. In 1959 she was towed to Seattle and laid up as a derelict. In November 1963 she was towed to Hawaii and became the Falls of Clyde Maritime Museum in 1964. Lai Fong was a Chinese artist working in the final quarter of the 19th Century, primarily from his studio in the port of Calcutta. He was influenced by an earlier generations of Chinese ship portraitists, including Lee Heng (fl. 1850-1870), Hing Qua (fl.1850-1880) and Lai Sung (fl. 1850-1885). Lai Fong was known especially for portraying the big windjammers, such as the four-masted Falls of Clyde, which called at Calcutta, voyaging either to or from the Far East.

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3509. CHINESE SCHOOL Circa 1860 Clipper ship Hotspur off the coast of China. Unsigned. Oil on canvas, 22.25” x 31.5”. Framed 26.5” x 35.75”. 3,000/5,000 Provenance Grogan & Co. Fine Art, Boston, 1994. According to Horatio Hathaway’s A New Bedford Merchant, the Hotspur was used exclusively for the China Trade. She was built in 1857 by Roosevelt & Joyce of New York, and she had a distinguished record of many fast voyages sailing from New York and San Francisco to the Far East. Her last voyage, from New York to Hong Kong in 1863, ended tragically as she ran aground on the Paracels reef after leaving Hong Kong and was destroyed.

3509

3510. CHINESE SCHOOL Circa 1850 Packet ship Vancouver off Hong Kong, wearing the house flag of the Red Cross Line, the New York shipping firm owned by David Ogden and Co. Unsigned. Oil on canvas, 28” x 36”. Framed 33.5” x 42.5”. 4,000/6,000 Provenance: Charlotte Horstmann and Gerald Godfrey Ltd., Ocean Terminal, Hong Kong, 1988. Identified indistinctly on her starboard trailboard as Vancouver, this vessel was a 518-ton ship built at Medford, Massachusetts in 1845. Originally sailing out of Bath, Maine, she was later registered in New York sailing for the Red Cross Line. In 1852-1853, Vancouver was recorded as having sailed from Woosung, China on December 26 and arrived in New York on March 31, a 96-day passage that matched the run of the famous McKay clipper Sea Cloud from Whampoa to New York during that same year. In 1854 Vancouver is listed as making a 127-day passage from Foochow to London.

3510

3511. STUDIO OF KIM SANG China, 19th Century The American barque Ceylon, circa 1868. Labeled verso “Kim Sang Ship & Portrait Painter Opposite Ten Wick Morrison Hong Kong”. Housed in an elaborate and finely carved Chinese Chippendale frame with pierced border featuring grapes and vines. Oil on canvas, 18” x 23.5”. Framed 25” x 31”. 4,000/6,000 Provenance: J.J. Keating Auction, Kennebunk, Maine, 1995. Ceylon, built in Boston, Massachusetts in 1856, weighed in at 1438 tons. In 1890, her home port was Port Townsend, Washington, and her principal owner was R. Calhoun. In 1902, Ceylon was wrecked on Laysan Island, located at the far west end of the Hawaiian group principally known as a breeding ground for the Laysan albatross.

3511

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3512

3513

3512. FIRST OFFICER BAYLIS Circa 1833 A rigging guide for the ship Samarang. Inscribed upper left “The Samarang Drawn for Robert Morrison by Mr. Baylis the 1st Officer March 1833 China”. Shows the ship in profile, with a numbered guide listing various parts and rigging. Watercolor on eight joined sheets of paper laid down on linen, 16” x 25.25”. Framed 25” x 34”. 2,000/3,000 Provenance: Robert G. Sawers, London, England, 1984. Robert Morrison (1782-1834) was the first English missionary to arrive in China in 1807. Since both teaching the gospel and learning the Chinese language were forbidden, he had to pursue these activities with discretion. He became a translator to the East India Company and accompanied Lord Amhurst’s 1816 Embassy to Peking, and in 1823 he published both his Chinese Translation of the Bible and Dictionary of the Chinese Language (reference The China Trade by Patrick Cunner, p. 60-61).

140

3513. LT. FREDERICK J. WHITE, RN Britain, Circa 1841 View of Ting-Hae Harbour, Island of Chusan. Several ships seen anchored in the distance, and a squadron of Chinese Lancers march up a hill in formation in the foreground. Signed lower left “Fred. J. White Del.”. Watercolor on paper, 10.25” x 14.25” sight. Framed 17.25” x 21.25”. 1,500/2,500 Provenance: Martyn Gregory Gallery, London. In 1840, during the First Opium War, the capture of Ting-Hae, on the island of Chusan off China, was fought between the United Kingdom and the Qing Empire over their conflicting viewpoints on diplomatic relations, trade and the administration of justice for foreign nationals in China.

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3514

3514. CHINESE SCHOOL Circa 1800 Bird’s-eye view of Whampoa Reach. One of a series of four paintings that includes views of Boca Tigris, Macao and Canton. Unsigned. Oil on canvas on board, 17.5” x 23.5”. Framed 20.25” x 26”. 5,000/7,000 Provenance: Phillips, London. Literature: The China Trade by Carl L. Crossman, p. 255, fig. 7. The Chater Collection by Paul Chater Cachick and James Orange, p. 171, no. 12; p.173, no. 13.

This early, somewhat aerial, view of Whampoa Reach is looking northwest from Dane Island. The graveyard is located on the knoll in the central foreground, just beyond the winding dirt road. The town of Whampoa is on the central island beyond, with its famed ninestage pagoda on the far side of Whampoa Island on the left. French Island is on the left and other smaller islands in the channel are visible in the background. American ships predominate the Western ships at anchor. The flags are, from right to left, Dutch, three English, two Danish, Swedish, American, unidentified and six additional American. This painting has a more realistic portrayal of the density of the anchored slipping than most views.

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3515

3516. CANTON SCHOOL China, Early 19th Century The Great Fire, Canton, 1822, showing the Hongs ablaze and numerous junks and sampans in the foreground. Unsigned, possibly by the Master of the Fire of 1822. Oil on canvas, 9.5” x 11.5”. Framed 14” x 16”. 4,000/6,000

3515. ATTRIBUTED TO YO SHEN China, 19th Century Hong Kong Harbor, circa 1895. Numerous Western country’s flags visible on vessels in the harbor. Signed on a wood piece attached to the frame “Yo Shen” in Chinese. Oil on canvas, 13” x 29”. Framed 18.5” x 34.25”. 12,000/18,000 Provenance: J.J. Keating Auction, Kennebunk, Maine, 1995. Hong Kong effectively became a British colony in January 1841, when Captain Charles Eliot and his warships exacted an agreement stating Hong Kong Island would be yielded to Britain. Despite the Emperor’s rejection of this agreement, the cession was ratified in August 1842 by the Treaty of Nanking. Within the span of a year, the shore became a sizable town. Britain later gained the adjacent peninsula of Kowloon in 1869 and obtained a 99-year lease on the New Territories in 1898.

Provenance Sotheby’s Parke-Bernet, Hong Kong, November 1975. Sotheby’s New York, China Trade Auction, April 1986. Attributed to The Master of the Fire of 1822 based on a set of three similar small oils depicting the burning of Canton. Another painting by the Master of the Fire of 1822 is illustrated in Carl L.Crossman’s The China Trade, 1972, p. 50, plate 34. Late one evening in November 1822, fire broke out in Canton not far from the foreign factories. The flames spread quickly and the merchants fled as their homes and wares were consumed. The artist Tinqua came to the British merchant Nathan Dunn’s aid, sending 80 of his men with a fleet of small boats. The men loaded Dunn’s goods onto the boats and rowed into the river, safe from the fire.

3517. ATTRIBUTED TO NAM CHEONG China, fl. 1845-1870 Junks and Yellow Pagoda Fort, circa 1845. Unsigned. Oil on canvas, oval 13” x 17.5”. Framed 17” x 21.5”. 3,000/5,000 Provenance: Christie’s New York, June 14 1988, Lot #228.

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3516

3517

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143

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

3518. CHINESE SCHOOL Circa 1845 Whampoa Anchorage. Unsigned. Oil on canvas, 17.5” x 31”. Framed 18.25” x 32.25”. 10,000/15,000 Provenance: Sotheby’s New York, April 7, 1988.

This fine view of the anchorage at Whampoa is from a hill overlooking the foreign cemetery on Dane’s Island. In the distance is the Whampoa Pagoda, on Pazhou Island, Guangzhou, which survives today. The buildings used by foreign traders can be seen in the distance. The pagoda was a landmark for Western sailors and is featured in many Chinese paintings for the Western market. It was at Whampoa where American and other foreign ships anchored in the Pearl River, with only officers continuing on to Canton. This view includes the cemetery, which has recently been restored by the Chinese government.

3518

144

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3519. WOO CHEONG China, 19th Century Portrait of an American woman, circa 1865. Signed in stencil on canvas verso “Woo Cheong”. Oil on canvas, 23.5” x 18”. Framed 27.5” x 22”. 3,000/5,000

3519

3520. CHINESE SCHOOL Early 19th Century A lady in mourning by a memorial urn. Unsigned. Reverse painting on glass, diameter 12.25”. Framed diameter 15.5”. 1,500/2,500 Provenance: Child’s Gallery, Boston, June 1987.

3520

3521. ATTRIBUTED TO SUNQUA China, Active 1830-1870 Mary Queen of Scots with Lord Chastelard, circa 1840. Unsigned. Oil on canvas, 8.5” x 10.75”. Framed 13” x 15”. 2,500/3,500 Provenance: Northeast Auctions, Portsmouth, New Hampshire, Lot #783.

3521

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145

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3522. CHINESE SCHOOL Circa 1810 A pair of works depicting tea cultivation. Unsigned. Watercolors and gouaches on paper, 14.5” x 17.75” sight. Framed 21.5” x 25”. 800/1,200 Provenance: Christie’s New York, January 29, 1986, Lot #3.

3522, pair

3523. AFTER THOMAS ALLOM Britain, 1804-1872 Three hand-colored copperplate engravings: “The culture and preparation of Tea”, circa 1840, “Junks passing an inclined plane on the Imperial Canal”, circa 1848, and “The Emperor ‘Teaou-Kwang’ reviewing his Guards, Palace of Peking”, circa 1840. Each marked “Drawn by T. Allom.” lower left, “Fisher, Son, & Co, London & Paris” lower center, and “Engraved by A. Willmore” lower right. Titled in English, French and German. 7” x 8.5” sight. Framed 13.25” x 14.75”. 1,500/2,500 Provenance Lyon’s Ltd. Antique Prints, Palo Alto, California.

3523, three

146

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3524. PAIR OF HUBEI MI ZHUAN CHÁ (BLACK TEA) TEA BLOCKS China, Circa 1860 or Earlier Dried and powdered black tea formed and pressed in a mold. Fronts with three sections: the top with five stars, the middle with an archway and decorative foliage, and the bottom with Chinese characters. Backs with a decorative pattern of 16 squares with intertwined motifs. One in a tray and the other framed. Blocks 9.5” x 7.5”. Framed 10.5” x 8.5”. 600/800 Provenance: Eldred’s, 1999. Exhibited: Newport Harbor Nautical Museum, Newport Beach, California: “Mariners & Mandarins”, July- November, 2000. Maritime Museum of San Diego, California: “Mariners & Mandarins”, March-September, 2003. Hong Kong Marine Museum.

In ancient China, compressed tea bricks were usually made with thoroughly dried and ground tea leaves pressed into bricks and other various shapes. Some tea bricks were also mixed with preserving binding agents in order to withstand physical use as currency as they were the preferred currency in trade prior to the 19th Century in Asia. Compressed tea bricks were more compact than loose-leaf tea and were also less susceptible to physical damage on the ancient tea route.

3524, two

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147

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

3525. AFTER FREDERICK LE BRETON BEDWELL Britain, 19th Century “Attack and Capture of the Forts at the Entrance of the River Pei-Ho_China”. Inscribed along the lower margin “From a Sketch by F.J.E.B. Bedwell. _ T.Picken Lith.”, “London: Published by Day & Son, Lithographers to the Queen, Gate Street, Lincoln’s Inn Fields” and “Day & Son. Chromolith. To The Queen”. Subtitled “On the 20th May 1858. By the Allied British and French Gun Boats and Boats of the Squadron in the Gulf of Pechili” and further inscribed in script “Respectfully dedicated by permission to their Excellencies Rear Admiral Sir M. Seymour K.C.B. and Rear Admiral C. Reigault de Genouilly G.E.L.H. K.C.B.”. Hand-colored lithograph, 40.25” x 24” sight. Framed 24” x 32.25”. 800/1,200

3525

In 1858, a British naval squadron with Royal Marines, attempting to capture the Taku forts at the entrance to the Pei-Ho River, was ignominiously defeated.

3526. WOOD ENGRAVING "A SUPERB VIEW OF THE UNITED STATES JAPANESE SQUADRON, UNDER COMMAND OF COMMODORE PERRY, BOUND FOR THE EAST." Large broadside from “Gleason’s Pictorial DrawingRoom Companion”, New York, 1853, p. 104-105. Engraved by J.W. Orr and drawn by Wade (del), both of New York. Lists and shows the eleven ships under Perry’s command: Mississippi (Perry’s flagship), Princeton, Alleghany, Vermont, St. Mary’s, Macedonian, Vandalia, Susquehanna, the Saratoga, Plymouth and Powhatan. Perry is seen standing in a long boat in the center foreground. 14.5” x 21.5” sight. Framed 19.75” x 26.75”. 600/800 Provenance: Columbia Trading Co., Hyannis, Massachusetts, 1996. 3526

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3527

3527. NICHOLAS CHEVALIER Russia/Switzerland, 1828-1902 The sidewheel steamer Honam on the Pearl River. Signed and dated lower left “NC Canton 1890”. Oil on canvas, 18” x 23.25”. Framed 22.5” x 27.25”. 3,000/5,000 Provenance: Private collection, South Berwick, Maine. Thomaston Auction Galleries, Thomaston, Maine, 2007. Along with its sister ship Fatsham, Honam ran between Canton, Macao and Hong Kong during the Late 19th Century. She was mentioned as still being in service as late as 1915.

conclusion of Part I of the Kelton Collection

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149

3528. RARE AND EXCEPTIONAL CHINA TRADE THREE-PART BOOKCASE SECRETARY Circa 1850 In dramatically contrasting teak and ebony, with brass inlay, inset brass bail hardware and brass carrying handles at the sides of all three sections. Slightly recessed upper bookcase section with two doors inset with intricate brass wire mesh panels and five movable dividers on the interior. Middle section with a full-width drop-down desk above a pair of half drawers. Interior with a gold-bordered black leather writing surface, a locking door, an open compartment, and several drawers and divided sections. Lower section with two fullwidth drawers and turned and shaped ebony feet. A rare, sophisticated and handsome form, with rounded front corners, grooved moldings, fancy decorative patterns on the front edges of interior components, etc. Height 66.5”. Width 44.5”. Depth 20.25”. 3,000/5,000

3529. RARE CHINA TRADE VOLUME THE CHATER COLLECTION, PICTURES RELATING TO CHINA, HONG KONG, MACAO, 1655-1860 By James Orange. London: Thornton Butterworth Limited, 1924. Unnumbered copy of 750. 500/1,000

3530. RARE CHINESE PORCELAIN VOLUME LA PORCELAINE DES COMPAGNIES DES INDES À DÉCOR OCCIDENTAL (The Porcelain of the Companies of the Indies in Western Decor). By Francoise and Nicole Hervouet and Yves Bruneau. 1986. 300/500

3528

150

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3531. BRASS-BOUND CAMPHORWOOD CHEST 19th Century Iron carrying handles. Height 17”. Width 38.5”. Depth 19”. 500/700

3531

3532. LARGE MAP TRACKING SHIPPING ROUTE BETWEEN ENGLAND AND CHINA “A General Chart, on Mercator’s Projection, to shew the Track of the Lion and Hindustan from England to the Gulph of Pekin in China, and of their return to England, with daily statement of the Barometer and Thermometer as observed at noon; containing also the limits of the Chinese Empire as extended by the Conquests of the present Emperor Tchien-Lung”. Published by W. Bulmer & Co. for G. Nicol, London, 1797. Shirley (BL Atlases) G.BARR-1a #1. 24” x 37.5” sight. Framed 34.5” x 48”. 300/400 3532

3533. CHINESE CAMPHORWOOD TRUNK 19th Century Leather-covered and brass-bound. Cover with painted floral decoration. Height 19”. Width 41.5”. Depth 21”. 400/600

3533

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151

3534

3535

152

3534. LAI SUNG China, fl. 1850-1885 American ship Abner Coburn inbound. Ship and artist identified on frame plaque. Oil on canvas, 21” x 28.25”. Framed 26.5” x 34”. 3,000/5,000

3535. LAI SUNG China, fl. 1850-1885 American ship Southern Cross inbound. Ship and artist identified on frame plaque. Oil on canvas, 25.25” x 35.25”. Framed 28.75” x 39”. 3,000/5,000

Literature: The Marine Collection at India House by J. Farrell, et al. (N.Y.: 1935), p. 1, no. 1.

Literature: The Marine Collection at India House by J. Farrell, et al. (New York, 1935), p. 32, no. 1.

Built in Bath, Maine, the Abner Coburn was launched in 1882 and was named for the 18621863 governor of Maine. Abner Coburn sailed the China Trade and then subsequently in the Pacific Northwest. She was actively registered until 1925.

Built in East Boston and launched in 1851, the Southern Cross was principally used in the California trade, with occasional trips to the Orient. She was destroyed by the Confederate cruiser Florida on June 6, 1863.

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3536

3536. CHINESE SCHOOL 19th Century The British tea clipper Lyndhurst under sail. Unsigned. Oil on board, 17” x 22.5”. Framed 20” x 25.5”. 3,000/5,000

3537. CHINESE SCHOOL 19th Century Interior scene with two women, one nursing a baby. Unsigned. Oil on paper, 16.5” x 21.5” sight. Framed 20.25” x 25.25”. 2,000/3,000 3537

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153

3538

3538. CHINESE SCHOOL Mid-19th Century “Shanghai: The Bund”. Busy harbor filled with many sail and steam sail vessels of different nationalities, and several international embassy buildings along the shoreline. Unsigned. Titled and suggested attribution to Sunqua on label verso for Berry-Hill Galleries, Inc. Housed in a Chinese Chippendale-style frame. Oil on canvas, 19.75” x 39”. Framed 24.25” x 43.75”. 100,000/150,000

154

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3539

3539. CHINESE SCHOOL Mid-19th Century The Bund, Shanghai, depicting a harbor filled with sail and steam sail vessels of different nationalities and a shoreline lined with international embassy buildings. Sky filled with puffy clouds, some colored pink suggesting sunrise. Unsigned. Housed in a Chinese Chippendale-style frame. Oil on canvas, 16.25” x 42.25”. Framed 21.5” x 47.5”. 100,000/150,000

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155

156

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3540

3540. CHINESE SCHOOL Circa 1850 Magnificent view of the Hongs of Canton. Richly and finely detailed depiction of the active harbor filled with a variety of vessels and the buildings on shore, including the Anglican church. Flags of several nations visible. Unsigned. Housed in a period Chinese Chippendale frame. Oil on canvas, 26” x 44”. Framed 32.5” x 49.75”. 150,000/250,000

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157

3541. CHINESE SCHOOL 19th Century Honan Landing and Temple, Canton. Unsigned. Location identified in a later hand verso. Watercolor on paper, 5” x 7.25” sight. Framed 10.5” x 12.5”. 500/1,000

3541

3542. RARE AND EXCEPTIONAL CHINESE EXPORT “HONG” FAN Circa 1847-1856 Watercolor leaf with three reserves against a rich floral ground, the central reserve depicting the Canton waterfront and the two flanking reserves depicting figural scenes. Lacquer and gilt sticks form a similar figural reserve. Can be dated to circa 1847-1856 as the scene of Canton features the Anglican church that was built in 1847 and burned down in 1856 during the Canton Fire. Housed in a gilt-framed conformingshaped shadow box. Fan open approx. 10.75” x 20”. Framed 16” x 27”. 2,000/3,000

3542

158

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3543. CHINESE EXPORT ORANGE FITZHUGH PORCELAIN AMERICAN EAGLE PLATE Circa 1800-1810 Sepia spread-wing eagle at center with an “E Pluribus Unum” banner in its beak, arrows and olive branches in its talons, and a shield with a gilt script monogram at its breast. The “BLP” monogram is unidentified, but these sets were custom orders for the diplomatic services. Diameter 9.75”. 4,000/5,000

3544. PAIR OF CHINESE EXPORT ROCKEFELLER PATTERN PORCELAIN PLATES Circa 1800-1810 Centers with finely painted differing figural landscapes, and the borders with bird and landscape cartouches against a gilt filigree ground. Diameters 7.75”. 3,000/5,000 3543

3544, pair

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159

3545

3547

3546

3545. CHINESE EXPORT SILVER COVERED SUGAR BOWL Canton, Circa 1830 Rare example by “Maker C”. Monogrammed on front, possibly “E.B.”. Bulbous octagonal form with handles at sides and conforming foot. Height 5”. Length 8”. Approx. 23.8 troy oz. 400/500 Provenance: Christie’s, New York, Chinese Export Art, January 23, 2001, Lot #194. Literature: See Chinese Export Silver by Kernan Forbes, p. 254.

160

3546. CHINESE EXPORT SILVER CREAMER Canton, Circa 1810-1830 Rare example by maker Linchong (Lynchong). Body with medial band of ribbing. Height 4.5”. Length 5.75”. Approx. 10.4 troy oz. 400/500 Provenance: Christie’s, New York, Chinese Export Art, January 23, 2001, Lot #226.

3547. CHINESE EXPORT SILVER CREAM POT Canton, Circa 1830-1855 By Wonshing. Melon-shaped body with lobed rim, scrolled handle, ribbed spout and four shell-decorated feet. Height 3.75”. Length 9”. Approx. 17.6 troy oz. 400/500 Provenance: Christie’s, New York, Chinese Export Art, January 23, 2001, Lot #226. Literature: A similar example was in the Chait Collection of Chinese Export Silver, 1985, no. 19.

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3548. RARE AND FINE CHINESE EXPORT MINIATURE WATERCOLOR PORTRAIT OF CAPTAIN JOHN DUKE OF SALEM Circa 1809 Attributed to Spoilum (Canton, active 1765-1805). Bust portrait of John Duke, dressed in white stock and a black jacket. Duke (1779-1864) was born in France and left for the East Indies, where he was apparently marooned and picked up by an American ship. By 1803 he was living in Salem, Massachusetts. He became captain of the ship Pilgrim some time before 1812. He sailed for many years, making several voyages aboard vessels owned by John Gardner of Salem, and purportedly earned considerable wealth. He and his wife had ten children and lived in Westminster and Andover, Massachusetts, and Hillsborough and Dunbarton, New Hampshire. Oval, 2.5” x 2” sight. Framed 4.25” x 3.5”. 2,500/3,500 Provenance: Held within the Duke family and purchased by a direct descendant. Family history claims the portrait was brought back on the brig “Pilgrim” from a voyage to Canton. Artist Spoilum is believed to have been the earliest oil painter in Canton. He painted portraits of merchants and sea captains in the Western style, at a cost of $10.

3548

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161

3549. PLANK-ON-FRAME MODEL OF AN 18TH CENTURY DUTCH GALLEON 19th Century Nicely made and detailed with sails, rigging, applied sternboard and figurehead. Displayed on a wooden cradle. Height on cradle approx. 55.5”. Length 54”. 2,000/3,000

3549

3550. FRENCH SCHOOL 18th Century The Siege of Minorca. Panoramic view of the British fleet off the port of Minorca. Inscribed in part “Escadre Francaise Croisant Devant le fort St. Philippe a centre du port Mahon Commandee par M. de la galissonniere lieutenant general des armees navalles pendant que M. le Marachal duc de richelieu faisant le siege du dit fort st Philippe le 27 Juin 1756”. Watercolor on paper, sheet size 15.5” x 32”. Unframed. 800/1,200

3550

162

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3551

3551. RARE AND IMPORTANT LOUIS XV BAROMETER France, 18th Century Gilt case with intricate pediment carved as two birds perched within a floral wreath. Painted dial. Height 35.75”. Width 20.5”. 5,000/10,000

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163

3552

3552. PRISONER-OF-WAR MODEL OF AN 80-GUN SHIP-OF-THE-LINE Hull, circa 1805, planked and pinned in bone over a wood plug, with applied keel, stem and rudder post, painted black gunport bands, and the stem rising up and supporting a refinished figurehead of a Beefeater in red, gold and black. Figurehead further supported by head rails with relief-carved decoration. At the stern are pierced and polychrome-decorated quarter galleries and transom with a blank name board, foliate and cherub decoration, gunports, etc. Decks also planked and pinned in bone and detailed with pin and fife rails, deck eyes, hatches with pierced covers, belfry, an open waist with geometric decoration, cannons on carriages, skylight and ship’s boat swung over the stern on davits. Re-rigged with some replacement masts and spars, and later standing and running rigging. Mounted on an ebony base with supporting stanchions on either side, the base decorated with a flat, undulating rose-colored border. Height 23”. Length 32.5”. Width 12”. 1,500/2,500

3553. JAMES W. MEADOWS Britain, 1768-1864 Ships off Dover. Signed faintly lower left. Oil on canvas, 12.5” x 22”. Framed 15” x 25”. 800/1,200 Provenance: Kennedy Gallery, New York, 1964. Private Collection, Connecticut.

3553

164

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3554, set

3554. SET OF PRISONER-OF-WAR CARVED BONE AND WOOD CHESS PIECES Britain/France, Early 19th Century Complete set of 32 pieces, the black pieces carved from wood or with wood plinths, and the white pieces entirely in bone. Some polychroming. Includes a lift-top mirrored shadow box for display. Heights from 1.5” to 2.5”. Box height 5”. Length 14”. Width 12”. 3,000/5,000

3555. ATTRIBUTED TO THOMAS BUTTERSWORTH Britain, 1768-1842 “An English Brig Chasing a French Cutter”. Unsigned. Identified and titled on a 20th Century label verso. Oil on canvas, 20” x 24”. Framed 24” x 28”. 1,500/2,500

3555

3556

3556. BRONZE MORTAR 19th Century or Earlier Royal crown and initials on barrel. Height 10.25”. Length 14.25”. Width 6.75”. 1,000/1,500

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165

3557. JOSLIN TERRESTRIAL GLOBE ON STAND 19th Century Cast iron stand. Total height 18.25”. Total diameter approx. 16”. 1,000/1,500 3557

3558

3558. ENGLISH SCHOOL Early 19th Century A sketch of the Russian Fleet in Rogerwick Bay. Titled lower center “A View of the Russian Fleet Moored in Rogerwick Bay in the Gulf of Finland on the 3rd September 1808 taken from His Majesty’s Mars the advanced Ship of the English and Swedish Fleets”. Signed lower right “L. Gordon Fecit”. Watercolor on paper, sheet size 5.25” x 22”. Unframed. 500/1,000

3559. W&S JONES CASED OCTANT London, First Half of the 19th Century Marked “W&S Jones 30 Holborn London”. Ebonized wood frame. Wedge-shaped oak case. Case length 16.5”. Width 14.75”. 1,200/1,800

3559

3560. CASED MODEL OF A THREE-MASTED GUNSHIP 19th Century Case height 10.25”. Length 15.25”. Width 6.75”. 500/800 3560

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3561. ENGLISH SCHOOL 19th Century Portrait of the brigantine Alexander. In the manner of Robert Spencer. Unsigned. Oil on canvas, 20” x 30”. Framed 24.25” x 34.25”. 2,000/3,000

3562. CASED NAVIGATIONAL SET 19th Century Green sharkskin case. Includes two rules marked “J. Shuttleworth”. Case height 7”. 400/600

3561

3563. ENGLISH TWO-PART CAMPAIGN CHEST 19th Century In mahogany. Upper section with two half drawers over a full-width drawer. Lower section with two full-width drawers and bun feet. Height 38”. Width 39”. Depth 18.5”. 1,500/2,500

3564. PRINT “EVER MEMORABLE BATTLE OFF CAPE TRAFALGAR” First Quarter of the 19th Century 11.25” x 16.75” sight. Framed 16.5” x 21.5”. 250/350 3563

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3565. RIGGED MODEL OF THE FIRST RATE 166-GUN SHIP-OF-THE-LINE CHARLES Gold-colored decoration on the transom and bow. Gilt male figurehead. Ship’s name on the stern. Height 39”. Length 49”. Width 19”. 1,000/1,500

3565

3566. ENGLISH TWO-PART CAMPAIGN CHEST 19th Century In mahogany. Upper section with two half drawers over a full-width drawer. Lower section with two full-width drawers and bun feet. Height 39.5”. Width 42.5”. Depth 19.5”. 1,800/2,200

3566

3567. BRASS TELESCOPE ON TRIPOD 19th Century Original hardwood tripod with crank height adjustment. Telescope length approx. 62.5”. Tripod height without scope 50”. 2,500/3,500

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3567

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3568. WAR OF 1812 U.S. NAVY OFFICER’S TAILCOAT Early 19th Century Possibly for a captain. Navy blue and scarlet red wool with lace trim at collar, lapels and cuffs. Each lapel with nine buttons. Cuffs, tails and back pockets with four buttons each; one back pocket missing one button. Each button depicts an eagle, a shield and thirteen stars. Length approx. 42”. 4,000/6,000 Dress codes for combatant officers at this time detailed nine buttons on each lapel. Lieutenants and captains could further be differentiated by the number of buttons on their cuffs and back pockets, lieutenants with three at each and captains with four.

3568

3569. EUGÈNE JOSEPH VERBOECKHOVEN Belgium, 1798-1881 An American frigate at sea. Old label verso marked “Verboeckhoven”. Oil on board, 7.75” x 12”. Framed 12.5” x 16.75”. 800/1,200

3569

3570. SEXTANT IN DECORATIVE PAINTED CASE 19th Century Sextant with ebonized wood frame. Marked “F. Stoppani London”. Wedge-shaped case, the top with painted decoration of an eagle with an American shield, crossed flags and “Friendship, Love and Truth” banner. Retains label for retailer Taber of New Bedford, Massachusetts. Case height 3.5”. Length 12.5”. Width 12”. 1,000/2,000 3570

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3571. ENGLISH SCHOOL 19th Century A brig off a coast. Unsigned. Oil on canvas, 11” x 14”. Framed 14” x 17”. 800/1,200 Provenance: The Parker Gallery, London (label verso).

3571

3572. CASED MODEL OF THE FRIGATE ESSEX 20th Century Plank-on-frame construction. Case height 16.5”. Length 37”. Width 12.5”. 1,500/2,500

3572

3573. ENGLISH TWO-PART CAMPAIGN CHEST 19th Century In mahogany. Upper section with two half drawers over a full-width drawer. Lower section with two full-width drawers and turned feet. Height 41.5”. Width 36”. Depth 18.5”. 1,400/1,800

3573

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selections from

The Kelton Collection This second section explores advancements in technology and the age of discovery, including the voyages of Captain James Cook.

3574

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

3574. ROBERT DODD Britain, 1748-1815 H.M.S. Termagant at anchor. Ship and artist identified on frame plaque. Oil on canvas, 21.5” x 31.5”. Framed 30” x 40”. 4,000/6,000 Provenance: Newhouse Galleries, New York. Estate of Peter Paanakker. Morton M. Gerson, a private dealer, purchased by Richard Kelton in 2003.

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3575. RARE LATE 17TH CENTURY DANISH CROSS-STAFF BY ABRAHAM TADE Dated 1699 Signed and dated on the side of the ebony shaft “A Tade * 1699”, approx. 5” up from the square end. Sides bear graduated scales for altitude and zenith distances. Four pearwood vanes with wing-shaped brass set screws. Smallest vane is 3.5” in length and 1.5” wide and has an elk horn sighting vane required when using the instrument as a backstaff. Two largest vanes are 15.25” and 24.125” in length and 1.5” wide. The second-smallest vane is 7.5” in length and 1.5” wide and is original to the instrument, signed in ink “D de Waay”, believed to be that of an owner. The vane has a replacement brass aperture disc fitted to one end for using the instrument as a backstaff. The brass set screw is also a replacement. Shaft .53” x 32.5”. Height on stand 24”. Length on stand 32.5”. 70,000/100,000 Provenance: A private collection. Antiquairs, Grijpma & Van Hoogen, Groningen, purchased from the above circa 1990. Hyland Granby Antiques, Hyannisport, Massachusetts, purchased from the above circa 1997. The Kelton Collection, purchased from the above 1998. Literature: The Cross-Staff, History and Development of a Navigational Instrument by Willem F.J. Mörzer Bruyns, Rijksmuseum Nederlands Scheepvaart Museum; Zutphen, Walburg Institute, 1994. Historical information on p. 14-16, 20-30 and 53. “Bulletin #80 of the Scientific Instrument Society” by Willem F.J. Mörzer Bruyns, March 2004.

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The definitive treatise on these instruments, “The Cross-Staff, History and Development of a Navigational Instrument” by W.F.J. Mörzer Bruyns, contains a list of all known instruments extant. This instrument is listed on p. 53, number 15 in oldest date order, and is the only known cross-staff by this maker. There are only four older instruments in good or very good condition and this is the only 17th Century example in private hands. Less than 100 cross-staffs exist in any condition throughout the world. Of these, only about 40 are in good to very good condition with at least one original vane. Of these, most are in institutions. Cross-staffs were first described and probably invented around 1342 by the Catalan-born Jewish philosopher and scientist Levi Ben Gerson (1288-1344), then living in Avignon. It was then used only by astronomers. Its use was introduced at sea by the Portuguese around 1515, about 50 years after the quadrant and the astrolabe, probably inspired by Vasco da Gama’s observing the Arab’s use of the kamal in 1498. Initially the Portuguese used it to measure the altitude of the Pole star, preferring the mariner’s astrolabe or the nautical quadrant for sun sights. In the southern hemisphere they observed a star in the Southern Cross, although this required the application of a much larger correction than that of the North Star observation. While the backstaff was developed by Davis in 1595, and was popular for almost 200 years, the cross-staff continued in active use. Many, especially the Dutch, considered its ease and accuracy of construction and its ability to make accurate sights preferable to the backstaff. The cross-staff was finally supplanted in the Dutch East India Company ships about 1750 by the octant and later the sextant.

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3575

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3576. 18TH CENTURY SILVER-MOUNTED LODESTONE Britain, Circa 1700 With loop handle, mounts pierced to form bands of stylized leaves, and an iron pole labeled “N-S” on the mounts. Engraved “I.C.”. Height .75”. Length 1”. Width .5”. 1,000/1,500 Provenance: Christie’s New York, Scientific Instruments, Sale #6306 ‘Gemini’ Auction, 1986.

3576

Lodestones were made of magnetite, a rare, naturally magnetized mineral ore (Fe3o4). They were used at sea for re-magnetizing compass needles, a custom referred to as “refreshing the needle”. This was required from the invention of the compass in the 12th Century until the development of the permanently magnetized needle around 1760.

3577. RARE HADLEY’S QUADRANT BY JOHN URINGS II Britain, 18th Century Signed on the inset ivory plaque on the cross-bar “{...] Urings Fecit London”. Mahogany “T-frame” and radius arm with clamp. Index with a 90-degree arc; diagonal scale for dividing the increments on the index scale. Mounted brass peep hole sight, mirrors and filters. Lacking box. Length 19.25”. Width of arc 16”. 1,500/2,500 Provenance: Sotheby’s, London, Frank Collection of Scientific Instruments, 1986.

This very early quadrant, made shortly after Hadley’s patent expired in 1747, exhibits features common to most early examples. First is its large size, which enabled the index arc to be engraved and read more accurately, before the use of ivory or metal arcs that allowed for finer calibration. Second is its two sighting locations, one on either arm. This instrument has only a 90-degree arc on the index. Third is the use of the diagonal scale for dividing the increments on the index scale. Though theoretically very accurate, the index was difficult to read in practice. Fourth is that it is mostly a wooden instrument. Finally, it uses peep holes, not telescopes, which were expensive at the time.

3577

John Urings (1738-c.1773) is known to have made a variety of different kinds of instruments. Other known examples include a 1752 Davis backstaff and a 1763 octant, as well as both telescopes and microscopes.

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3578. EBONY PANTOGRAPH BY RICHARDSON Britain, Circa 1750 Signed on an inset ivory plaque “Richardson Queen Street Lincolns Inn Fields”. With ebony arms and brass feet capped with ivory buttons. Scales indicated on the sides of the arms on inset ivory tags. Includes counter weight, fitted pencil and inscribing tool. Within a fitted box with hinged lid, hook latches and maker’s label on interior lid. Length of arms 21.5”. Box height 3”. Length 22.25”. Width 5”. 600/800

3578

Provenance: Historical Techonology Inc., Marblehead, Massachusetts, 1990.

3579. RARE PERPETUAL LOG BY WILLIAM FOXON Depthford, Circa 1773 Inscribed and signed on the 4.75” primary brass face above the center “By The King’s Patent.” and below the center “Foxon’s perpetual log No.157”. Steel decorative pointer. Outer ring broken down by 5s, the primary ring divided in Roman numerals I-X, and the inner ring divided in 10s up to 300 in Arabic numerals, the three rings showing the log for up to 300 miles. Primary face with relief-cast foliate corners. The 4.5” secondary dial in the form of a standard clock face, with the outer ring marked in Roman numerals I-XII and engraved across the center “Half Minute”. Out of the back is a simple mechanical spinner with a hook that would attach to a spinner and keep the log of miles over a given period. Mounted and displayed within an oak case with carved decorative details and carrying handle. Case height 11.5”. Width 10.5”. Depth 8.75”. 2,500/3,500 3579, two views

Provenance: Christie’s, South Kensington, Marine Auction, 1997.

3580. U.S. NAVY SINGLE-DRAW TELESCOPE BY G.W. BLUNT America, Circa 1820 Marked on the brass end cap “U.S. Navy 9702”. Signed on the draw tube “Blunt New York”. Tapered wood tube with brass end caps. Objective lens with lens cover. Brass draw tube with eyepiece and sliding lens cover. Retains original mahogany box with brass latches. Telescope length extended 39.25”. Box height 4.5”. 800/1,200

3580

Provenance: The West Sea Company, Old Town, San Diego, California, 2000.

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3581. BRASS "T-FRAME" QUINTANT BY JESSE RAMSDEN London, Circa 1793 Signed “Ramsden London” on the cross-bar and numbered 1147 on the reverse side. Inset silver scale reads from 2 to 147 degrees. With a 5.125” radius arm with tangent screw and clamp, handle, three brass feet, and an assortment of lenses, eyepieces and other fittings. Within its original mahogany box. An old label in the box instructs “To correct error of division in centering add 1’ every 10 degrees.”. The fine use of brass, when many other instruments were still being made in ebony, and the quality of workmanship mark this instrument as the work of a master craftsman and inventor. Quintant length 6”. Width 7”. Box height 2.75”. Length 6.5”. Width 7.75”. 3,000/5,000 Provenance: Sotheby’s, London, Frank Collection of Scientific Instruments, 1986. Exhibited: Pacific Asia Museum at U.S.C.: “Trade and Treasure Exhibition”, 1987.

This jewel-like brass quintant was made in about 1793 based on records at the National Maritime Museum, Greenwich, which show an earlier serial number (842) was manufactured in 1785 and a later serial number (1415) was manufactured in 1799. Even the finest instrument makers were having difficulty at this time in making totally perfect instruments. Jesse Ramsden (1735-1800) was one of the era’s premier instrument makers, and his instruments were carried by Captains Cook and Humbolt on their scientific voyages of discovery. In the course of his apprenticeship, Ramsden worked for John Bird (1709-1776), the maker of the first sextant. In 1762 he opened his own workshop in the Haymarket, and in 1766 married the sister of Peter Dollond, another famous instrument maker. As part of her dowry, Ramsden received a share in the achromatic objective lens patent owned by its inventor, his father-in-law, John Dollond (1706-1761). In 1775 he developed an improved dividing machine for marking the gradations on instrument indexes. The English Board of Longitude awarded Ramsden a substantial prize on the condition he publish a description of the new engine, done in 1777, as well as instruct up to ten instrument makers in its use and permit other instrument makers to use it for a fee. The original engine is now preserved in the U.S. National Museum in Washington, D.C.

3581

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3582. DOUBLE FRAME PILLAR SEXTANT BY EDWARD TROUGHTON London, Circa 1795 Signed on the arc of the frame “Troughton London”. T-frame formed with strips of brass in duplicate, and joined with turned brass pillars. Brass arc inset with a silver scale calibrated from 5 to 155 degrees. Index arm with clamp and tangent screws. With magnifier, vernier scale, lignum vitae handle, two sets of colored filters and telescopic lens. Within the original wedge-shaped mahogany case with hinged lid and a label for “Observatory, Devenport”, with date, calibration and owner information, and “J. Combes Admiralty Agent, dec.”. Sextant length 11.5”. Width of arc 14”. Box height 5”. Length 12.5”. Width 16.25”. 1,000/1,500 Provenance: Sotheby’s London, Frank Collection of Scientific Instruments, 1986. Exhibited: Pacific Asia Museum at U.S.C.: “Trade and Treasure Exhibition”, 1987. Edward Troughton (1753-1836), was a founding member of the Royal Astronomical Society and one of the most important makers and designers of instruments. He patented this form of sextant in 1788. Termed the “Troughton Type”, it was being made as late as 1830. This type of sextant is featured in Winslow Homer’s painting “Eight Bells”.

3582

3583. BRASS REFLECTING CIRCLE BY TROUGHTON & SIMMS Circa 1830 Signed on the index arm “Troughton & Simms London, No. 309”. Lattice frame with “U” shaped handle. Brass circle inset with silver scale. Mounted with three index arms with verniers, magnifier and tangent screws, two sets of colored filters and hardwood handle. In mahogany case with accessories. Diameter of circle 13”. Case height 7.25”. Width 14.75”. Depth 14.5”. 2,500/3,500 Exhibited: Pacific Asia Museum at U.S.C.: “Trade and Treasure”, 1987.

3583

Troughton & Simms (fl. 1826-1831) were one of the most important English firms making instruments. Both Edward Troughton and William Simms came from a long family line of instrument makers. Troughton had been designing and making instruments since 1770 and was a founder of the Royal Astronomical Society. Simms, who became his partner in 1826, was elected a fellow of the Royal Society. By the middle of the 19th Century, the progress of industrial technology is evident by comparing this well-finished instrument with a precisionmade, but clearly hand-crafted, Jones circle of 40 years earlier.

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3584. RARE AND IMPORTANT 18TH CENTURY BOXED MARINER’S COMPASS BY PEDRO FREIRE Lisbon, 1789 Signed and dated at the center of the 8” dry compass card “Pedro Freire Branco Afez Em Lisboa Anno 1789”, with the last two numbers of the date (89) written by hand. Card beautifully engraved with an intricate compass rose design, the primary points detailed and embellished with foliate patterns, and the circumference of the card divided by hand into four 90-degree sections. Card applied to a mica disc backed with paper and spins on a brass and steel post mounted to the base of the compass box. Box features a removable glazed cover and has intricate hand-painted decoration that is in a remarkable state of preservation. Bottom of the box with marbleized background decorated with floral designs surrounding the center pin. Inside walls are constructed with eight panels, all having original paintings with various themes. Each of the four corner blocks titled on the top by the land mass -- America, Africa, Asia and Europa --, and has a rendering of an indigenous native of the continent and features a portrait of a famous explorer with ornate hand-painted borders and backgrounds depicting ships and the sea. Explorers include Vasco Da Gama, Infanted Heriq (Prince Henry), Chritov Colon (Christopher Columbus) and Bartolam Dias (Bartholomew Diaz). Portraits inscribed along the bottom: “Vasco Da Gama Primeyro defcobridor da India Oriental” (Discoverer of the East India); “Infatned Heriq de Portugal defcobridor das primeyras terras, que Portugal tem immediates em Europa. & o” (Discoverer of first lands that Portugal discovered from Europe to the East); “Christov. Colon Primeyro da America e Indis as Ocidentaes discobridor” (First to America and discoverer of the West Indies); and “Bartolam. Dias Defcobridor en Africa do Cabo La boa Speranca” (Discoverer of Africa and the Cape of Good Hope). Two of the side panels are detailed with four classical male figures pouring water from large urns, with the name below of a river that flows through Portugal to the Atlantic: “Douro”, “Minho”, “Tejo” and “Guadian”. The compass drops into a square housing box and sits on the original square brass gimbal frame on a pair of brass nibs. Each side of the housing box with an applied molded blackened border. Fancy pierced brass carrying handles on the sides of the box, mounted within diamond-shaped surrounds. Front and back of the box have a pair of hinged brass sighting vanes and removable sliding square panels that open to 3” square viewing ports. One can view through the windows and take a bearing using the vanes and headings marked on the side of the compass card. Removable panels with diamond-shaped tiered moldings. Box mounted on what appears to be the original circular base, which allows the box to be rotated. Exterior box height 10”. Width 14.5”. Depth 14.5”. 30,000/50,000 Provenance: John F. Rinaldi Antiques, Kennebunkport, Maine, 2004. Hyland Granby Antiques, Hyannisport, Massachusetts. The Kelton Collection of Marine Art & Artifacts. Literature: Marine Navigation Instruments by Jean Randier (London, John Murray, 1980), p. 6. “Antiques and Arts Weekly”, July 13, 1990, p. 32.

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3584, multiple views

A similar Portuguese compass dated 1764 is on the frontispiece of Jean Randier’s book and is in the collection of the National Maritime Museum in Greenwich, England. It is much less developed and appears to be lacking the exterior box. The “Antiques and Arts Weekly” article discusses a 1990 exhibit of navigational instruments and charts at the New York Public Library that included a Portuguese compass dated 1711. The article states “no Portuguese mariner’s compass from the fifteenth to seventeenth centuries has survived”, indicating the oldest Portuguese compasses extant are from the 18th Century. Richard Kelton’s private notes on this piece state “This is probably the rarest and most decorative early navigational instrument we have seen in private hands in thirty years. This elaborate compass was probably prepared for someone associated with the Portuguese navigational school. The inclusion of the images and elaborate title given to Prince Henry, and the reference to the Portuguese rivers flowing into the Atlantic suggest a strong nationalist association. It is unlikely that such an elaborate compass was intended for hard use at sea--notwithstanding its gimbals. Rather it was probably used by a philosopher/scientist on shore who may have used its sighting ability to determine the azimuth of the sun and stars (see “Compass” by Alan Gurney, p.36). This would also account for its remarkable state of preservation.”.

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3585. AUGSBURG UNIVERSAL EQUINOCTIAL SUNDIAL Late 18th Century Unsigned. This equinoctial dial is the portable pocket Augsburg type, with an octagonal brass plate richly engraved with scroll and foliate designs, containing a magnetic “blued” needle, over a compass rose engraved on the silvered base plate. The equinoctial hour ring is hinged to the north side of the base plate and the latitude arc is hinged to the west side of the plate. The gnomon is a narrow pointed rod set at the center of a pivoted bar lying across the east-west diameter of the hour ring. Hours engraved in Roman numerals on the ring from 3 a.m. (III) am to 9 p.m. (IX). The adjustable latitude arc is marked with 10 to 80 degrees latitude. Reverse of the base is unmarked. Contained within the original leather and card case, which has a brass disk mounted on the interior of the lid engraved with latitudes of various European cities. Diameter of dial 1.75”. Total diameter of box 2.5”. 1,000/1,500

3585

The pocket equatorial dial, which may have been of Chinese derivation, met universal time-telling requirements in an elegant small package. They were very popular during the 16th to 18th Centuries.

3586. HAMMERED SILVER BOWL WITH SHIP MOTIFS Circa 1850 Possibly Italian. Unsigned with no maker’s mark or signature. Raised center stamped with an image of an early steam/sail vessel, surrounded by additional stamped and chased ship motifs. Simple raised lip. Height 2.75”. Diameter 9.25”. 600/800

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Provenance: Christie’s New York, Scientific Instruments, Sale #6306 ‘Gemini’ Auction, 1986. Literature: Sundial, An Illustrated History of Portable Dials by Hester Higton (London, Philip Wilson, 2001).

3586

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3587

3587. OCTANT BY GILBERT & SONS, LONDON AND OTHER PROPERTY OF JOHN ADAMS Late 18th/Early 19th Century Collection of John Adams (1757-1807), of Edmonton, England, who maintained a practice of instruction in navigation and mathematics. Descended directly through his family. Included are his fine octant, a framed engraving of himself, a group of letters in his possession and a splendid silver medal he was awarded. 1) Ebony and brass “T” frame octant, circa 1806, signed “Gilbert & Sons London” on the 12” brass radius arm. Fitted with screw clamp, inset ivory 0-90 degree scale, pinhole sight, solar filters, auxiliary telescope with eyepiece, fine rotary adjustment of the index mirror rather than the horizon mirror, handle and feet. Complete with original keystone-shaped box with the partial trade label of “Gilbert & Sons, late Gilbert & Wright, No. 148 Leadenhall Street ...” selling “Improved achromatic plated and brass telescopes, Octants...”. The octant dates from 1806, when “Gilbert & Sons” took over from “Gilbert & Wright”. Length of radius arm 12”. Scale arc 9.5”. 2) Print of John Adams by J.T. Smith, published in 1795, with a paper fragment showing the signature “J. Adams”. (Fragment previously attached to the back of the print.) Framed 11” x 13”. 3) Group of letters that reveal astronomical and mathematical practices of the day. One, written in 1779 to an unknown recipient, is from Jonathan Wheatcroft of Paxford (in the Cotswolds), reporting on his failure to observe a new comet, even with his “2-1/2” Foot Improved Achromatic Dollond telescope. Another is from Charles Small of Ferryhill, writing to Jonathan Lindsay of London, discussing complicated problems

in plane geometry, complete with proof and various kind words about colleagues and family. Complete with remains of a wax seal, and early postal markings. 4) Silver presentation medal “Arts and Commerce Promoted”, inscribed “To Mr. John Adams, 1785” for “Artificial Horizon Improved”. In the Society’s records, twelve pages were devoted to Adams’ improvement. In seeking an instrument capable of measuring arcs up to 180 degrees, for use with his new horizon, Adams turned “to Messrs. Gilbert & Wright, who immediately presented me with an improved Quadrant, by which the fore and back observations are equally facile and just”. Medal in excellent condition, in its original wood case lined in green velvet and covered in shagreen. Diameter 1.75”. 2,500/3,500 Provenance: John Adams, and thence by descent through the Adams family. Gorrings, East Susex, United Kingdom, April 2007. Tesseract, Hastings-on-Hudson, New York, acquire at the above sale. The Kelton Collection, acquired from the above March 2008. John Adams worked in Edmonton, Middlesex, seven miles north of London. In 1782 he revised and corrected James Atkinson’s epitome of the Whole Art of Navigation. In his preface of that year, Adams explains “The present reviser, having been eight years in the fea fervice, and eighteen a teacher of this art, enables him to say ... that he has now rectified what was amifs; alterered [sic] what was diforderly; explained what was obfcure; ftruck out what was not abfolutely neceffary; and copioufly added where it was wanting, ...”.

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3588. EXTREMELY RARE EARLY 19TH CENTURY LUNAR COMPUTER Europe, Circa 1800 Unsigned. Inscribed on the innermost dial “Instrumentum Lunare.” Constructed of rigid laminated card. Main disk set with three graduated volvelles of heavy card, all turning on a common center. The disks turn within a pierced and decorated brass suspension strap and the time indicator is against a rotating brass alidade. The disk and volvelle faces are precisely divided, with the scales drawn in ink and annotated in Latin. There is additional hand-coloring to accentuate the scale divisions and the rendering of the Zodiac figures. The outermost scale starts with the annotation “27d 7h 43m 4s”, representing the exact time it takes for one lunar circuit of the earth, back to the same ecliptic longitude. This scale runs from 0 to 31 days, each day subdivided into hours. Thirty years, from 1800 to 1830, are indicated on this scale. The next ring is a calendar volvelle with days, Zodiac positions, and annual lunar waning and waxing. The next volvelle has a spiral scale of days and years from 1800 to 1932 [sic]. The central volvelle is replete with six sophisticated scales including the horizontal parallax of the moon, its apparent diameter, the earth-moon distance, etc. Complete even with the little silk “handles” for rotation and is fully functional. 10,000/15,000 Provenance: Tesseract, Hastings-on-Hudson, New York, 2013. There is a long tradition of manuscript (paper) instruments, ranging from astrolabes to globes, from sundials and quadrants to portulans and astrologic diagrams. This example, precisely constructed circa 1800, has calculations carried forward for 132 years.

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3588

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3589

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3589. CAPTAIN JAMES COOK’S COAT OF ARMS Mid-18th Century Original rendering of Captain Cook’s coat of arms, passed down through the Cook-Fleck-Rimer family, together with an archive of four family photos, mostly of the Rimer family and their life in South Africa, a sale catalogue of the Rimer Collection of Antiques, a club listing, and other biographical and provenance information, most with Sotheby’s sale markers. Oil on cardstock, 11.5” x 9”. Framed 19.75” x 17.25”. 4,000/6,000 Provenance: Captain James Cook (1728-1779). Mrs. James (Margaret Cook) Fleck (1742-1804), his sister. Thence by descent to James Cook Rimer (1848-1928), a greatgreat- grandson. Frederick Rimer (d. 1980). Richard Anthony Cook Rimer (1938-1995). Sotheby’s, London, Sale L03625, November 2003, Lot #211.

3590. AFTER JOHN WEBER, RA Britain, 1752-1793 “A Man and Woman of Sandwich Islands.”. A pair of graphite images drawn separately on a single sheet. Indistinctly signed and dated lower right “Stirld:26 Nov:1786”. After the original by John Webber, who is known for Cook Voyage sketches 1778 and as an expedition artist. Pencil and ink, 5” x 6.75” sight. Framed 11” x 12.75”. 1,500/2,500 Provenance: Robert G. Sawers, London, 1986. Literature: The Art of Captain Cook’s Voyages - Volume Three, The Voyage of the Resolution and the Discovery 1776-1780 by Bernard Smith and Rudiger Joppien (Yale University Press, 1988), p. 543.

3591. ENGLISH SCHOOL 19th Century A Pacific island. Thought to be Samoa. Depicts a palm tree, a native carrying coconuts and a ship anchored in the bay in the background. Watercolor on paper, 8.5” x 13” sight. Framed 16” x 21”. 800/1,200

3590

Both of these images are plates in the 1784 edition of Cook’s Third Voyage, appearing on pages 125 and 126 respectively. Robert Sawers wrote in 1986 that he believes these drawings were originals for the smaller Octavo Edition published in 1786. Both are considered to be two of the most striking portraits done by Webber on the third voyage. The man, who wears a feathered cloak and typical Hawaiian headdress, has been identified as the Hawaiian chief Keneena, one of Cook’s closest allies during his stay in Kealakakua Bay. The woman is unidentified.

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3591

185

selections from

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

3592

3593

186

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3594

3592. CHART "CARTE DE L’ISLE DE TAITI, PAR LE LIEUTENANT J. COOK 1769" Paris, Circa 1780 A French edition of Captain James Cook’s classic chart of Tahiti, the result of surveys on his first voyage. A good hand-colored impression showing the general topography of the islands and many place names. Engraving on paper, sheet size 11.25” x 17.25”. Unframed. 300/500 Provenance: Christie’s, Los Angeles, 2000. Robert Sawers, London, 2000. Exhibited: Maritime Museum of San Diego, California: “Cook, Melville & Gauguin”, May 2011-January 2012.

3593. MAP "THE WORLD ON MERCATOR’S PROJECTION SHEWING THE VOYAGE OF CAPTAIN COOK ROUND THE WORLD." Circa 1800 Published by The London Printing and Publishing Company. Engraved for R. Montgomery Martin’s Illustrated Atlas. Depicts Europe, Asia, Africa, Oceania, North America and South America, with hand-coloring to differentiate the various continents and the different routes taken by Captain James Cook on his three voyages during the Late 18th Century. Beautiful decorative border and inset view of Cook’s ship Endeavour. Includes legend and illustrations. Scale not given. Engraving with handcoloring, sheet size 10” x 13.5”. 300/500 Provenance: Christie’s, Los Angeles, 2000. Robert Sawers, London, 2000.

3594. MAP "POLYNESIA. ISLANDS IN THE PACIFIC OCEAN" Circa 1851 Published by J. & F. Tallis, London and New York. Drawn and engraved by J. Rapkin; the illustrations by H. Winkles and engraved by T. Wrightson. From The Illustrated Atlas edited by R.M. Martin, the last highly decorative atlas produced in the Victorian era. Titled at the top center and surrounded by scrollwork border. Vignettes depict topographical views of Kalakakooa [sic], Sandwich Islands, Otaheite, Harbor of Dory, New Guinea and Resolution Bay, Marquesas. Some borders later outlined in red. Steel engraving on paper, sheet size 10.5” x 14.25”. Unframed. 400/600 Provenance: Christie’s, Los Angeles, 2000. Robert Sawers, London, 2000.

conclusion of Part II of the Kelton Collection

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187

3595. PLANK-ON-FRAME MODEL OF CAPTAIN BLIGH’S LAUNCH Contemporary Made from scratch and to scale. Displayed on a cradle. Total height 21.5”. Length 26”. 800/1,000

3595

3596. OCTOPUS OR SQUID LURE 19th Century Probably South Pacific or Hawaiian Islands. A cowrie shell and a pumice stone are bound to one end of a wooden rod with natural fiber twine. A crescentshaped bone hook is bound to the opposite end of the rod. A small-size example, possibly intended for use by a fisherman’s child. Length 6”. 500/1,000

3597

188

3596

3597. FINE ANTIQUE SHIP MODEL OF CLEOPATRAS BARGE OF SALEM, MASSACHUSETTS Early 20th Century Hull built up from the solid, the bottom finished verdigris, simulating weathered copper, the topsides in black and orange. Fitted with eighteen guns on the lower deck, and detailed with an ivory figurehead, finely pierced and carved detail on the head rails, the deck fitted with bit-posts, anchor stove pipe, ship’s boat lashed to deckhouse, pin rails, open deck hatches, main cabin structure with skylight and companion way, ship’s wheel and a second boat on davits over the stern. Rigged as a brig with bowsprit, masts, cross spars, mizzen gaff and boom, and other details. Displayed on the ways within an oval-based case with domed glass cover. Case height 12.5”. Length 17.5”. Width 9”. 1,000/1,500

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3598

3598. CASED MODEL OF THE H.M.S. BOUNTY 20th Century By Derek Hunnisett. Detailed with a longboat, spare yards, cannon, hatches, rigging, etc. Brass plaque on front marked “'Over the Side’ H.M.S. Bounty, April 28. 1789 32’=1” Scale. D. Hunnisett”. Case height 8”. Length 10”. Width 6”. 7,000/10,000

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189

the

Gi l l Wh alin g I ro n C o lle ctio n Lots 3599-3605, 3609-3623, 3626-3631, 3633-3636

3600

3599

3601

3599. RARE TOGGLE-HEAD GREENER HARPOON Second Half of the 19th Century Most likely made by Joseph B. Morse. Faintly marked at top of shaft, believed to be Fairhaven. Red paint residue. Length 44”. 1,200/1,800 Provenance: Maritime Antiques, York, Maine. Includes additional information about this piece from the dealer.

3600. EXTREMELY RARE NANTUCKETMADE SINGLE FLUE HARPOON Massachusetts, Mid-19th Century Stamped “E Parker” for Elisha Parker of Nantucket. Retains period twine on cone and manila rope on shaft. Bob Hellman noted “This is a remarkable find as Nantucket-made whale craft is exceedingly rare. Also Parker is said to have been the last whalecraft making blacksmith on the island until 1869”. Length 34.5”. 3,000/4,000

3601. SINGLE FLUE HARPOON Mid-19th Century Stamped on upper portion of shaft “J.T”. Length 32.75”. 2,000/3,000 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Retains copy of original receipt.

Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Retains copy of original receipt with additional information.

190

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3602. BRONZE TOGGLE-HEAD HARPOON FOR A SHOULDER GUN, POSSIBLY EXPERIMENTAL Late 19th/Early 20th Century Unmarked. Length 20.25”. 500/1,000 Provenance: Paul Vardeman, Kansas City, Missouri. Retains copy of original receipt. Clifford Ashley.

3603. TOGGLE-HEAD GUN HARPOON ATTRIBUTED TO ROBERT SMITH OF PROVINCETOWN Last Half of the 19th Century Unmarked. Length 26.25”. 1,200/1,800 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Retains copy of original receipt with attribution.

3604. RARE FOUR-BARBED LILY HARPOON America, Mid-19th Century Unmarked. Length 31.5”. 1,000/1,500 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Retains copy of original receipt.

3602 3604

3605. DOUBLE FLUE IRON Possibly Late 18th Century Unmarked. Bob Hellman stated this was found on Long Island, and that it was most likely used for right whales and possibly in shore fishery. Length 41”. 1,500/2,000 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Retains copy of original receipt with additional information.

3603

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3605

191

3606

3607

3608

3609

3610

3611

3606. RARE WROUGHT IRON DOUBLE FLUE HARPOON Mid-19th Century Stamped “Glen Gifford”. White paint on cone etched “Provincetown”. Length 30.75”. 1,200/1,800 Literature: Similar to #9 in Harpoons and Other Whalecraft by T.G. Lytle.

3607. WROUGHT IRON LILY HARPOON Mid-19th Century Four barbs. Length 32.5”. 600/800

192

3608. WROUGHT IRON LILY IRON Mid-19th Century Two barbs. Length 32.75”. 600/800

3609. GREENER GUN HARPOON Scotland, Late 19th Century Stamped “E.M. Kelly”. Reverse stamped “G.F.P.I.D. 1884”, possibly for the Peterhead blacksmith George Florence. Length 47.5”. 800/1,200 Literature: Referred to as the “Florence Harpoon” in Whaling Harpoons, Whaling Guns and Related Weapons and Tools by Arthur Credland, Second Supplementary Volume, p. 7.

3610. CAST STEEL BLUBBER SPADE New Bedford, Massachusetts, Second Half of the 19th Century Stamped “Cole” for Luther Cole. Also stamped “Cast Steel”. Length 45.75”. 500/800

3611. RARE TOGGLE-HEAD HARPOON FROM THE CHARLES W. MORGAN New Bedford, Massachusetts, Second Half of the 19th Century Head marked “CWM”. Stamped on the same side “A.J. Peters” for blacksmith Ambrose J. Peters. Marked on the other side “WB” for waist boat. Octagonal brass plaque of the Charles W. Morgan attached. Retains original pole and manila rope. Length 94.5”. 3,000/4,000

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3612. TOGGLE-HEAD HARPOON Second Half of the 19th Century Punch marked on head “BK SB”, possibly for the bark Sunbeam. Marked on other side “SB” for starboard boat and stamped “AJP” for A.J. Peters. Length 32”. 1,000/1,500

3613. TOGGLE-HEAD HARPOON FROM THE SCHOONER HATTIE E. SMITH OF EDGARTOWN Circa 1880 Head marked “HES”. According to Bob Hellman, it is also marked “Fairhaven”, the mark of blacksmith Luther Cole, but we were unable to find this mark. Length 32.25”. 1,200/1,800 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt. 3612

3613

3614. TEMPLE-TYPE TOGGLE HARPOON Mid-19th Century Marked on head “Bk. Union” and with a pound sign. The bark Union was a New Bedford whaler from 1855 to 1865. Bob Hellman notes the construction of this harpoon is very similar to that of J. and T. Durfee of New Bedford. Length 35.5”. 1,200/1,500 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt and additional information. 3614

3615. ACUTE BARBED IMPROVED TOGGLE-HEAD HARPOON Early 20th Century Marked on head “AEW” for the schooner A.E. Whyland of Providence, Rhode Island and New Bedford. Stamped on the other side “LB” for larboard boat. Retains original marlin line around cone. Length 32”. 1,400/1,800 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Retains copy of original receipt with additional information.

3616. DARTING HARPOON Second Half of the 19th Century Traces of red paint. Numerous ships’ marks. Also marked “BB” for bow boat. Length 38.25”. 500/1,000

3617. TOGGLE-HEAD DARTING HARPOON Second Half of the 19th Century Head stamped “JA”. Length 37.25”.

3615

3616

500/1,000

3617

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193

3618

3618. JAMES BARTON WHALING LANCE New Bedford, Mid-19th Century Head stamped “JB”. Length 59.5”. 1,500/2,500 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Retains copy of original receipt.

3619. AMBROSE J. PETERS TOGGLE-HEAD HARPOON New Bedford, Massachusetts, Early 20th Century Head marked “AJP”. Possibly illegible ship marks. Retains some traces of red paint. Length 32”. 700/1,000 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt.

3620. DOUBLE FLUE HARPOON Scotland, Second Half of the 19th Century Stop withers. Marked just below the head “ACTIVE 1855” for the steam whaler Active of Peterhead. Marked on reverse “…HELL SN. PII”. Length 37”. 500/1,000 Includes a copy of email correspondence with Arthur Credland that provides additional information.

3621. RARE DOUBLE FLUE BOMB HARPOON Late 19th Century Hinged barbs. Detachable shank and head. According to the consignor, only one other harpoon of this kind has been identified and is in the Mystic Seaport Collection. Length 33.25”. 2,500/3,000 Provenance: Paul Vardeman, Kansas City, Missouri. Illustrated: Whaling Harpoons, Whaling Guns and Related Weapons and Tools by Arthur Credland, Second Supplementary Volume, 2016.

194

3622. R. BROWN GUN HARPOON Mid-19th Century Marked on shaft “R Brown Patd 1850” for Robert Brown of New London, Connecticut. Hinged barbs at side. Length 33.5”. 1,000/1,500

3623. EXCEEDINGLY RARE TOGGLE HARPOON FROM DUNDEE, SCOTLAND Third Quarter of the 19th Century Barely visible trace of a maker’s mark on the head. Unusual small stop wither below the rear of the head. Length 35.5”. 1,000/1,500 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Includes copy of original receipt. Illustrated: Whaling Harpoons by Arthur Credland, Supplementary Volume 2010, p. 18.

3624. TOGGLE HARPOON ON ORIGINAL POLE Circa 1850 Attributed to John Sawyer of New Bedford. Stamped “J.A.S.”. Length 101.25”. 1,200/1,800

3625. LANCE ON ORIGINAL POLE Circa 1850 Attributed to John Sawyer of New Bedford. Stamped “J.A.S.”. Length 111”. 1,000/1,500

3626. DOUBLE FLUE HARPOON 19th Century Marked near head “AGS”. Length 38.5”. 1,000/1,500

3627. A.J. PETERS BLUBBER SPADE New Bedford, Massachusetts, 19th Century Blade stamped “AJP”. On original wooden pole. Length 72.5”. 500/700

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3619

3620

3621

3622

3623

3624

3625

3626

3627

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195

3631. DOUBLE FLUE HARPOON ATTRIBUTED TO NATHANIEL ATWOOD OF NANTUCKET Second Quarter of the 19th Century Markings near head on upper part of shaft; Bob Hellman notates the letter “A” and four slashes, most likely indicating the fourth or bow boat. Length 37.25”. 1,500/2,000

3628 3629

Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Retains copy of original receipt.

3632. BRASS HARPOON GUN 19th Century Marked on barrel “S. Eggers N. Bedford Mass Pat. Feb. 12, 1878”. Length 36.5”. 5,000/7,000 3628. DOUBLE FLUE HARPOON Mid-19th Century Stamped “Raymond & Webb”. Length 34”. 1,000/1,500

3629. RARE WILLIAM CARSLEY DOUBLE FLUE HARPOON New Bedford, Massachusetts, Mid-19th Century Upper part of shaft stamped “WC”. Unusual twisted withers from an 1841 patent. Length 37”. 2,800/3,500 Provenance: Ryan Cooper, Yarmouthport, Massachusetts. Includes a copy of the original receipt. Literature: Patent shown in Harpoons and Other Whalecraft by T.G. Lytle, p. 25.

3630. DOUBLE FLUE HARPOON New Bedford, Massachusetts, Second Quarter of the 19th Century Stamped “ES” for blacksmith Ellery T. Snell. Length 34.25”. 1,000/1,500 Provenance: Bob and Nina Hellman, Nantucket, Massachusetts. Retains copy of original receipt.

196

3633. CAST IRON AND BRASS HARPOON GUN Late 19th/Early 20th Century Unmarked. Length 36.25”. 2,500/3,500 Literature: A near-identical example is illustrated in Harpoons and Other Whalecraft by T.G. Lytle, p. 112.

3634. PERCUSSION HARPOON GUN Third Quarter of the 19th Century Cast iron butt. Possibly a cast steel barrel. Length 38.25”. 2,000/3,000

3635. TOGGLE-HEAD HARPOON MADE FOR USE IN A SHOULDER GUN Early 20th Century Head with punch marks “GOTAMA” for the San Francisco schooner Gotama. Stamped on the same side of head “J.A.S.” for the blacksmith John A. Sawyer of New Bedford. Length 22.25”. 1,000/1,500

3636. EBEN PIERCE BRASS HARPOON GUN ON WOODEN POLE Second Half of the 19th Century Brass stamped “E. Pierce”. Length 86.5”. 2,000/3,000

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3630

3631

3632

3633

3634

3635 3636

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197

3637. MODEL OF A WHALEBOAT ON DAVITS Circa 1920 Interior fitted with some accouterments. Length 20.5”. 600/900

3638. JOHN FAUNCE LEAVITT Massachusetts/Connecticut, 1905-1974 “Ship ‘Kutusoff’ of New Bedford, 1841”. Signed lower right “John F. Leavitt”. Titled in lower margin. Watercolor, 17” x 23.5” sight. Framed 22” x 27.75”. 600/900

3637

3639. CASED NANTUCKET WHALEBOAT MODEL 20th Century By Colin Gray (Nantucket, Massachusetts, 1915-1992). Displayed within a custom case. Case height 7.25”. Length 23.25”. Width 7.25”. 2,500/4,000

3639

3640

3640. CLARK G. VOORHEES, JR. Connecticut/Vermont, 1911-1980 Carved and painted wooden sperm whale. Incised artist’s mark and stamped verso “C Voorhees”. Length 17.5”. 900/1,200

198

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3641

3641. MODEL OF A WHALEBOAT 20th Century Complete with mast, sails, oars, harpoons and lines. Mounted on a walnut base. Total height approx. 40”. Base length 48”. Width 9”. 700/1,000

3642. FRONT PAGE OF THE NANTUCKET JOURNAL For October 14, 1878. Covers a hurricane of “unparalleled severity”, a shipwreck and loss of life. Framed 28” x 21.25”. 300/500

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199

3643

3644

3643. RICHARD VAN WICKLEN “WICK” AHRENS Vermont, 1944-2016 Carved and painted wooden sperm whale. Signed and dated in white lower right “Wick Ahrens ‘02”. Height 11”. Length 34”. 1,000/2,000

200

3644. RICHARD VAN WICKLEN “WICK” AHRENS Vermont, 1944-2016 Carved and painted wooden right whale with encrustations. Signed and dated in white lower right “Wick Ahrens ‘04”. Height 10.5”. Length 32”. 800/1,200

3645. EIGHT STEREOPTIC VIEW CARDS PERTAINING TO NANTUCKET Late 19th/Early 20th Century Seven marked “J. Freeman”. Housed together in a common frame. Framed 24.75” x 22.25”. 250/350

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3646

3647

3646. JOSEPH HUNT Connecticut, b. 1912 Whaling scene of the Charles W. Morgan. Signed and dated lower right “J. Hunt ‘67”. Applied label verso with ship identification and further details of the ship and the work. Oil on masonite, 18” x 24”. Framed 22.75” x 28.75”. 800/1,200

3648. J.W. WINSTON America, Contemporary Turquoise sculpture of a whale. Signed and dated on front and verso “Winston 88”. Marked verso, possibly “6048c”. Height 10.5”. Length 8”. 600/800

3647. WOODEN MODEL OF WHALEBOAT 20th Century Black-painted hull with red rail. Complete with harpoons, lances and other implements, two tubs of line, oars, mast with sail, etc. Displayed on a cradle on a mahogany plinth within a brass-trimmed glass and mahogany case. Case height 7.5”. Length 27.5”. Width 9.5”. 1,200/1,800

3649. CASED HITCHCOCK WHALEBOAT MODEL 20th Century Displayed on davits. Fitted with oars and some gear. Case height 9.5”. Length 22”. Width 8.5”. 2,000/3,000

Provenance: The Collection of Ian R. MacKenzie.

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201

3650

3650. * CASED WHALEBONE MODEL OF THE WHALESHIP CHARLES W. MORGAN 20th Century By Jim Plante and Chester Gotauco. Beautifully detailed, including five whaleboats on davits. Case height 32”. Length 35.5”. Width 15”.* Per Federal Regulation, this item may only be purchased by a Massachusetts resident and will not be shipped out of state. 20,000/30,000

3651

3651. MOUNTED BUILDER’S HALF HULL MODEL OF THE WHALESHIP HEROINE OF FAIRHAVEN, MASSACHUSETTS 19th Century Built up in seven lifts. Hull and backboard painted black. “Heroine” in gold lettering on stern quarter. Backboard 13” x 51.5”. 4,000/6,000

202

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GORDON HOPE GRANT New York/California, 1875-1962

3652

3652. “The Arctic Whaler”. Signed and dated lower left “Gordon Grant 1928”. Titled on frame plaque. Oil on canvas, 30” x 47”. Framed 34” x 51”. 3,000/5,000

3653. Sketch for “The Arctic Whaler”, 1928. Signed lower right “Gordon Grant”. Watercolor on paper, 9.5” x 15.25” sight. Framed 14” x 19”. 500/1,000 3653

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203

CHARLES HENRY GIFFORD Massachusetts, 1839-1904

3654

3654. A whaleship, probably the whaling bark Alice Knowles. Leaving New Bedford Harbor, with Palmer’s Light in the background to the right, a fishing boat in the foreground, and scattered sailboats in the background. The whaleship, sailing at an angle toward the viewer, is nicely detailed including flags flying from the main masts and the American flag from the gaff, and two clearly painted whaleboats hanging from davits along the starboard side. Beautifully painted sea and sky and an overall brightness to the work. Signed and dated in red lower right “C.H. Gifford ‘99”. Oil on canvas, 25.75” x 41.75”. Framed 36.5” x 52.5”. 20,000/30,000

The Alice Knowles continuously whaled for 35 years, from 1879 to 1914, out of New Bedford from 1879 to 1888 and out of San Francisco from 1889 to 1908. She then returned to New Bedford until her retirement.

Provenance: Descended directly through the Knowles family, owners of the bark, from the time Gifford painted it through 2021. The most recent owner, Ingrid Flynn, received the painting from her father, Charles Kelley III, whose mother was Lora Standish Knowles.

204

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205

3655

3655. LOUIS DODD Britain, 1943-2006 “New Bedford Waterfront Showing the Clipper Syren and Whaling Bark Massachusetts 1865”. Signed lower left “Louis Dodd”. Titled on frame. Oil on board, 22” x 36”. Framed 27” x 41”. 7,000/10,000 Provenance: Mystic Maritime Gallery, Mystic, Connecticut. An Important Private Collection, Newport, Rhode Island.

3656. PLANK-ON-FRAME MODEL OF A 19TH CENTURY WHALEBOAT Contemporary Made from scratch and to scale. Complete with oars, rope, sails, harpoons, etc. Displayed on a cradle. Total height 33.5”. Length 37”. 1,000/1,500

3656

206

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3657. DOUBLE SAILOR’S VALENTINE Early 20th Century Composed of multicolored shells. Left side with floral design. Right side with central heart surrounded by floral designs. Octagonal hinged wooden case. Each side 8.5” x 8.5”. 800/1,200

3657

3658. SAILOR’S VALENTINE Late 20th Century Composed of mulitcolored shells. 15” x 15”. 500/1,000

3658

3659. SAILOR’S VALENTINE Late 20th Century Composed of multicolored shells. Central circular pattern suggests a flower. 10” x 10”. 500/1,000

3659

3660. SAILOR’S VALENTINE Late 20th Century Composed of mostly white shells. 15” x 15”. 500/1,000

3660

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207

3661

3663

3662

3661. LARGE NANTUCKET BUSHEL BASKET Third Quarter of the 19th Century Oak handles, ribs, rim and base plate. The U-shaped handles are carved with a finger grip and are woven into the exterior, as is customary of Nantucket bushel baskets. Interior of base plate with two concentric grooved rings and four incised rings. Height to rim 11.5”. Diameter 20”. 1,500/2,000

3663. FERDINAND SYLVARO NANTUCKET BASKET Nantucket, Massachusetts, Circa 1920 Oval, with swing handle. Metal ears. Sylvaro’s (1868–1952) handwritten label on underside “Made by Ferdinand Sylvaro 97 Orange St. Nantucket Mass”. Height to rim 7”. Length 13.25”. 1,800/2,200

3662. NANTUCKET BASKET ATTRIBUTED TO CAPTAIN THOMAS S. JAMES Circa 1870 Oak rim, ribs and swing handle. Delicately shaped wooden ears. Interior of base plate with three concentric grooved rings and a series of incised rings, indicative of the work of Captain James. Height to rim 4”. Diameter 9.75”. 800/1,200

3664. JOSE FORMOSO REYES NANTUCKET BASKET Nantucket, Massachusetts, Mid-20th Century Round, with characteristic “square style” swing handle. Base plate with three pairs of incised concentric circles. Signed on underside “Made in Nantucket Jose Formoso Reyes” around an image of Nantucket Island. Height 7”. Diameter 9.75”. 500/1,000

Captain James (1811-1885) of Nantucket was a whaler and a packet commander before being appointed first officer of the South Shoal Lightship. He was promoted to Lightship captain in 1872 and held the position for nearly ten years. According to basket historian David Wood, weaver Mitchell Ray claimed James made baskets during his whaling voyages, eventually using wooden molds to weave over.

208

3665

3665. EARLY NANTUCKET BASKET Last Quarter of the 19th Century Single ring handle at one side. Walnut base plate. Excellent patina. Height 5.25”. Diameter 13”. 500/700

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3666

3667

3668

3666. NANTUCKET BASKET Late 19th/Early 20th Century Round, with swing handle. Turned walnut base plate. Nice patina. Height to rim 3.75”. Diameter 9.75”. 800/1,200

3667. NANTUCKET BASKET Late 19th/Early 20th Century Round, with swing handle. Unmarked. Height to rim 7.5”. Diameter 10”. 500/800

3668. NESTING SET OF FIVE NANTUCKET BASKETS BY JOAN CASHIN Contemporary Round, with swing handles. Handles, rim and ears in a contrasting darker wood. Each signed and dated on underside. Diameters from 4.75” to 12.75”. 1,200/1,800

3669. LARGE NANTUCKET BASKET Late 19th/Early 20th Century Round, with swing handle. Turned walnut base plate. Fine patina. Height to rim 8.75”. Diameter 13.5”. 800/1,200

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3669

209

REYNOLDS BEAL Massachusetts/Rhode Island/New York, 1866-1951

3670. “Whaler Andrew Hicks New Bedford”. Titled and signed “Reynolds Beal” lower left. Watercolor on paper, 19.75” x 15.75” sight. Framed 26” x 21”. 1,200/1,800 Exhibited: Old Dartmouth Historical Society Whaling Museum: May 5-October 1, 1988. Retains exhibition label verso.

3670

3671. “Hedge Fence Light Vessel Aug. 13, 1910”. Titled upper margin. Watercolor on paper, 7” x 9.25”. Framed 15” x 17”. 500/1,000

3671

210

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3672. Two sketchbooks. One with 30 sheets and the other with 26. Both signed and dated inside front covers “Reynolds Beal Rockport Mass 1937”. Created aboard Clifford Mallory, Sr.’s spectator yacht Bonnie Dundee during the America’s Cup at Newport, Rhode Island, 1937. The second book includes sketches of the Joseph Conrad under sail. Both 7” x 9.5”. 3,000/5,000

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211

3673. SHADOW BOX MODEL OF THE THREE-MASTED SCHOONER EL VIRGEN DEL CONGEST America, 20th Century Hand-painted inscription lower center, which notes the ship often traveled between Barcelona and Jacksonville. She and all her crew were lost off the coast of Florida in 1881. Shadow box height 15”. Width 19.5”. 800/1,200

3673

3674. SHADOW BOX MODEL OF THE TWO-MASTED SCHOONER FRANK FURST Late 19th/Early 20th Century Seen with land off her stern and bow, and a bold American flag flying off the stern. Height 35”. Width 44.75”. Depth approx. 6”. 1,500/2,500

3674

3675. SHADOW BOX SHIP DIORAMA Early 20th Century Depicts the three-masted ship Columbia, a tug and a two-masted schooner. Oak shadow box. Shadow box height 24.5”. Width 40.25”. Depth 16.5”. 500/1,000

3675

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3676. REGINALD EUGENE NICKERSON Massachusetts, 1915-1999 Portrait of the bark Virginia. Signed lower right “R.E. Nickerson”. Oil on canvas, 15” x 31”. Framed 22” x 38”. 1,000/2,000

3676

3677. AMERICAN SCHOOL 19th Century View of a three-masted schooner, a pilot boat and a lightship. Unsigned. Oil on board, 10” x 14”. Framed 14” x 18”. 800/1,200

3677

3678. AMERICAN SCHOOL 19th Century “Bark Evelyn Built for Capt. Josiah French Wichborn 1851”. Unsigned. Titled on frame plaque. Boston stretcher. Oil on canvas, 16” x 24”. Framed 22” x 30”. 1,200/1,800

3678

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213

3679

3679. MOUNTED BUILDER’S HALF HULL MODEL OF A SAILING VESSEL 19th Century Built up in six lifts. Black hull with natural wood bottom. Applied skeg. Pine backboard 9.5” x 38”. 1,000/1,500

3680. 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 hand-stitched canvas cover, approx. 13.75” x 8.75”. Pages approx. 12.5” x 8”. 1,500/2,000

3680

3681. CASED SPENCER BROWNING & CO. OCTANT London, 19th Century Octant with ebonized wood frame. Wedge-shaped green-painted case with label on interior for retailer “Charles R. Sherman New Bedford”. Case height 4.5”. Length 13”. Width 11.5”. 500/1,000

3681

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3682. CHARLES WILDER STICK BAROMETER Peterborough, New Hampshire, Circa 1865 Tiger maple case with acorn-form finial and a tapered turned shaft. Fitted with a thermometer under a glass panel. Stencil signature “Charles Wilder Peterborough, N.H.”. Original mellow finish. Height 38.5”. 800/1,200

3683

3683. ENGRAVING "SHIPS OF WAR. IRON ARMOUR. AMERICAN MONITOR CLASS" Circa 1864 Marked lower center “London Published Jany 1st 1864. By Day & Son. Lithographers To The Queen.”. Shows a cross-section, top deck and longitudinal cutaway of the U.S.S. Monitor. On paper, 21.25” x 18.25” sight. Framed 28.75” x 26”. 600/800

3682

3684. FRENCH INDUSTRIAL WEATHER STATION ATTRIBUTED TO ANDRE ROMAIN GUILMET Last Quarter of the 19th Century Brass case with maritime motifs, including a ship’s wheel and capstan. One side with porcelain Roman numeral clock face, one side with a barometer, one side with a Centigrade thermometer, one side with a Fahrenheit thermometer, and a compass mounted to top. Height 9”. 1,200/1,500

3684

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215

3685

3686

3685. ATTRIBUTED TO THOMAS BIRCH America, 19th Century American packet ship outward bound. Possibly Philadelphia in the background. Unsigned. Oil on canvas laid down on board, oval 18” x 25.75”. Framed 24.25” x 32.25”. 5,000/7,000

216

3686. FREDERIC ROUX France, 1805-1870/74 The American ship Monument in rough seas. Signed, dated and inscribed lower right “Frederic Roux au Havre 1860”. Further inscribed along the lower margin “Monument, Captn. R. Marshall. From Savannah to Havre the 18 December 1842. Long. 50 20. Lat. 40. Wind NW.”. Watercolor on paper, 16.5” x 22.5” sight. Framed 23” x 29”. 1,200/1,800

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3687

3687. ELISHA TAYLOR BAKER New York/Connecticut, 1827-1890 “View of New London Harbor in the Fog”. Unsigned. Oil on canvas, 12” x 20”. Framed 19.25” x 27”. 12,000/18,000 Provenance: Frederick Elisha Baker. William Elisha Baker. William Avery Baker. Private Collection, New York.

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217

3688

3689

3690

218

3691

3688. CARLTON THEODORE CHAPMAN New York/California/Ohio, 1860-1925 Luminous scene of a two-masted schooner off a lighthouse. Signed lower left “Carlton T. Chapman”. Oil on canvas, 14” x 20”. Framed 21” x 26.75”. 1,000/1,500

3690. E.F. BEAULIEU New York, 19th Century A ship battling strormy seas. Signed lower right “E.F. Beaulieu N.Y.”. Oil on canvas, 20” x 30”. Framed 29” x 39”. 1,200/1,800

3689. FRANKLIN D. BRISCOE Pennsylvania/Maryland, 1844-1903 Fishing scene. Signed lower left “F.D. Briscoe”. Oil on paper laid down on masonite, 6.5” x 10” sight. Framed 11” x 14.5”. 1,500/2,000

3691. CHARLES GRANT BEAUREGARD New York/Canada, 1856-1919 Clipper ship headed in. Signed lower left “C. Beauregard”. Oil on board, 18” x 24”. Framed 21” x 27”. 800/1,200

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3692. AMERICAN SCHOOL 19th Century Moonlit harbor. Unsigned. Oil on canvas, 16” x 26”. Framed 21” x 31”. 700/1,000

3692

3693. JOHN WHITE ALLEN SCOTT New Hampshire, 1815-1907 “Fox Island, Coast of Maine”. Signed in pencil verso “JWA Scott”. Original artist’s label affixed verso. Titled verso. Oil on wood panel, 8” x 17”. Framed 12” x 21”. 1,500/2,500

3693

3694. MARSHALL JOHNSON, JR. Massachusetts, 1850-1921 Ship sailing past a lighthouse. Signed lower left “Marshall Johnson”. Oil on canvas, 20” x 30”. Framed 30” x 40”. 800/1,200 Provenance: Sotheby’s, September 1997, Lot #98.

3694

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219

WILLIAM KIMMINS MCMINN California/Britain, 1820-1898

3695

3695. The Pickwick in two positions off Liverpool. Unsigned. Identified and titled on frame plaque. Oil on canvas, 24” x 37”. Framed 30.5” x 43.5”. 3,000/4,000 Provenance: Omell Galleries, London. Private Collection, Massachusetts.

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3696

3696. The Zelica under sail. Signed faintly lower left “McMinn”. Oil on canvas, 20” x 30”. Framed 25” x 35”. 3,000/4,000 Provenance: Omell Galleries, London. Manuge Galleries Limited, Nova Scotia. Private Collection, Massachusetts.

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221

3697. JOHN FREDERICK LOOS Belgium, c. 1861-1895 Ship at sea. Signed and dated lower right “John Frederick Loos Antwerp 1888”. Oil on canvas, 25” x 39”. Framed 30” x 44.5”. 2,000/3,000

3697

3698. PORTRAIT OF THE SHIP AREATUS 19th Century Signed and inscribed lower left “J. Drouin au Havre”. Titled and dated lower center “Ship Areatus David Lincoln Master Bound into the Port of Havre June 13th 1840”. Oil on canvas, 21” x 29”. Framed 23.5” x 32”. 1,500/2,500

3698

3699. EDOUARD ADAM I France, 1847-1929 Caravan, a three-masted ship flying an American flag. Detailed deck works and numerous figures. Signed and dated lower right “Ed. Adam 1882 Havre”. Oil on canvas, 24.5” x 37”. Framed 32.5” x 45”. 2,000/3,000

3699

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3700

3700. MONTAGUE J. DAWSON Britain, 1890-1973 A small skiff hailing a clipper ship. Signed lower left “Montague Dawson”. Watercolor on paper, 11.25” x 17.25” sight. Framed 21” x 28”. 8,000/12,000

3701. PAIR OF WEDGWOOD PORCELAIN PLAQUES DEPICTING AMERICAN CLIPPER SHIPS Depict the clipper ships Great Republic and Hurricane, after paintings by James E. Buttersworth and Stephen D. Skillet. Housed in their original bird’s-eye maple frames with engraved plaques. Each marked on the back “Wedgwood of Etruria & Barlaston Made in England”, along with a description of the ship and reference to the artist. Framed 9.75” x 12.75”. 1,000/1,500

3701, pair

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selections from

The Kelton Collection The third and final section in this sale's offerings includes items from the Age of Sail, from clipper ships to America's Cup racing yachts.

3702. CHINESE SCHOOL Early 19th Century China Trade portrait of a sea captain, circa 1810. Unsigned. Possibly by the artist Tonqua the Younger. Oil on canvas, 14” x 11”. Framed 15.75” x 13”. 3,000/5,000 Provenance: Eldred’s, 1995.

3702

3703. GOBLET PRESENTED TO CAPTAIN W.G. HACKSTAFF OF THE SHIP SHEFFIELD England, Circa 1830 Unsigned silver plated. Flared goblet with banded lip and foliate and acanthus decoration at base. Engraved “Presented to Captn. W.G. Hackstaff as a tribute of respect for his Nautical skill and esteem for his Gentlemanly conduct during a Voyage from New York to Liverpool by Colonel Combe and A. Graham. 1st Oct. 1830”. Weighted stemmed base with foliate decoration. Height 8.25”. Diameter at top 5”. 1,500/2,500 Provenance: Captain W.G. Hackstaff, 1830. and thence by descent to W. Scott Keith, Jr., Deerfield, Massachusetts. Skinner, Inc., Boston, 1997. Hyland Granby Antiques, Hyannis Port, Massachusetts. Captain Hackstaff was captain of the packet ship Sheffield. A painting of the ship Miles and Samuel Walters was sold at Eldred’s, The Marine Sale, August 13, 2020, Lot #255.

3703

224

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3704

3705

3704. "BORDA" TYPE REFLECTING CIRCLE Circa 1850 Signed on the outer ring “Schwartz dit Lenoir a Paris (No. 120)”. Six-spoke 10.75” diameter blackened brass frame. Outer brass ring with inset steel scale, divided 0-720 degrees. Blackened brass radius arm with clamp and tangent screws, fine adjuster and magnifier. Interior arc divided into two half arcs of 0-180 degrees. With screw locks, sighting mount, mirrors, filters and removable handle, along with additional lenses and filters. Within the original mahogany box with hinged lid and brass handle and latches. Interior of lid with a label for Otto Hess, Buenos Aires, Argentina, instrument vendor and calibrator. Marked on the exterior #473. Box height 4”. Width 12.75”. Depth 12.75”. 1,500/2,500 Provenance: Historical Technology, Inc., Marblehead, Massachusetts, 1991. Jean-Charles de Borda (1733-1799) refined the reflecting circle by modifying the position of the telescopic sight in such a way that the mirror could be used to receive an image from either side relative to the scope, which simplified the use of the instrument. With the help of Etienne Lenoir, further refinements were incorporated to the instrument to its definitive form in 1777. This instrument was so distinctive it was given the name “Borda” circle.

3705. RARE RAMSDEN PATTERN BRIDGE-FRAME SEXTANT BY NATHANIEL WORTHINGTON London, Circa 1850 Signed on the radius arc “Worthington London”. Double blackened brass frame and “bridge” built up over the frame, brass arc inset with a silver scale, blackened brass index arm with magnifier, worm screw adjustment, vernier, clamping and tangent screws, two sets of colored filters, lignum vitae handle and three feet on the back side. Includes four telescopes and eyepiece with additional filters. Within a shaped mahogany box with a hinged lid. Sextant length 10.25”. Width of arc 11”. Box height 5.25”. Width 13”. Length 12”. 1,000/1,500 Provenance Sotheby’s, London, Scientific and Medical Instrument Auction, February 1986.

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

3706

3706. SAMUEL WALTERS Britain, 1811-1882 The Liverpool paddlewheel steam tug United States. Signed and dated lower left “S. Walters 1858”. Oil on canvas, 28” x 42”. Framed 34.5” x 48.5”. 15,000/25,000 Provenance: Vallejo Gallery, Newport Beach, California, 1998.

226

The iron-hulled paddle tug United States, built at Newcastle in 1857, was owned by the United Steam Tug Co. of Liverpool. Her dual-stack steam engines had an output of 130 horsepower. Even though the last British paddlewheel vessel, Cunard Scotia, was built in 1865, the tug United States was still in active service in 1883. This is one of five tugs that enabled the United Steam Tug Co. to maintain service in Liverpool Bay in all but the most extreme conditions. In the condition portrayed, the master is taking no chances. A full head of steam is available in both boilers, indicated by smoke from each funnel and a wisp of steam escaping from their adjacent steam pipes. According to Samuel Davidson, the handling of the sea and stormy sky is unmistakably that of Samuel Walters at his most mature. This painting is likely a commission from the vessel’s captain.

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3707

3707. SAMUEL WALTERS Britain, 1811-1882 Medium clipper ship Adelaide approaching Liverpool. Signed and dated lower left “S. Walters 1865”. Oil on canvas, 31.25” x 46.25”. Framed 39.25” x 54.25”. 10,000/15,000 Provenance: Richard Green, London. Marine Arts Gallery, Salem, Massachusetts. The Ritz Carlton Collection. Christie’s East, New York, Maritime Sale, February 1997.

The Adelaide is depicted entering Liverpool, off the Skerries, Anglesey, with the South Stack Lighthouse just visible on the right and the Skerries Lighthouse ahead of the bowsprit. At 1,831 tons and 216 feet long, Adelaide was the 16th largest ship built in the United States during the 1850s. By 1865 she had been sold to Henry Fernie of Liverpool, whose house flag is shown at the mainmast. She is shown with divided topsails, although this modification occurred after her early voyages, and single top gallants with furled Royals. When launched she also carried skysails. Adelaide had a successful and uneventful 20-year career before being stranded in December, 1875 and condemned at Cape Town.

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3708. AMERICAN MARINER’S LOG SLATE BY FRANCIS SHENTON Circa 1863 Two hinged wooden frames fitted with wood-backed slate panels, stamped at the top of each frame “F. Shenton, Pat’d Dec. 8, 1863.”. On one side, the exterior wood panel has traces of a checkerboard design, and the other side has incised stars, eagle, anchors, emblem and a Bible. One of the slates is scribed with hours (I - XII twice) and columns “K[nots], F[athoms], Course, L[ee] W[ay], Winds, Remarks”, with additional entries for “Course, Dist., N, S, E, W”. Height 9.75”. Width 13.75”. 800/1,200 Provenance: Tesseract, Hastings-on-Hudson, New York, 2013. Exhibited: Hong Kong Maritime Museum, Hong Kong: “Speeding Up The Trade: Clippers and Steamers”.

3708, two views

This is a good example of the mariner’s log slate, used for temporarily recording the route, after which the details could be entered in the ship’s log, and the actual course plotted on a chart. The U.S. patent, by Francis Shenton (1826-1897) of Slatington, Pennsylvania was for “Improvement in Joints for Slate and Other Frames, employing especially secure notched joints in the construction”, per Tesseract catalog 98.

3709

This instrument by Lorieux Lepetit (1880-circa 1930) was used in the French Hydrographic Service for charting and mapping. The information provided by the previous owner (not Kelton) documents discussions with the curator of the Mariner’s Museum, captains of Dutch and Japanese ships, the Naval attache to the French Consul, the U.S. Hydrographic Office, the U.S. Coast Guard and the editor of his local town newspaper, likely of the Norfolk, Virginia area, around WWII.

228

3709. FRENCH REFLECTING CIRCLE BY LORIEUX LEPETIT Circa 1890 Signed on the arc “Lorieux Lepetit suc Paris No 313” and on the index arm “SH 140”. Brass eight-spoke 10.5” circular frame with an inlaid silver scale divided from 0 to 180 degrees on either side of the zero point, making it, accurately, a reflecting half circle. Radius arm with mirror, magnifier to read the scales, locking screw and fine vernier adjusters. Frame fitted with mirror, folding handle and scope mount. Accompanied by additional optics, scopes, filters, sun shades, accessories and a typed three-page document by a previous owner. All fitted within the original dovetail mahogany fitted case with brass hardware and a brass plate marked “Service Hydrographique Cercel Hydrographique Lorieux Lepetit suc Paris No. 140”. Two old labels on interior of lid, one marked “A. Berthelemy. Lorieux P. Ponthus Instruments de Precision 6 Rue Victor Considerant, Paris”. Box height 5”. Width 12.5”. Depth 12.5”. 2,000/3,000 Provenance: The West Sea Company, Old Town, San Diego, California, 2001.

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3710

3710. FREDERICK J. TUDGAY Britain, 1841-1921 Ship Centurion off Eddystone Light. Signed and dated lower right “F.J. Tudgay 1872”. Oil on canvas, 20” x 29.75”. Framed 27.25” x 37”. 3,000/5,000 Provenance: Christie’s East, New York, February 1998. Centurion was built at Alex Stephen’s Kelvin Baugh Yard #15 in Glasgow for R. Richardson, who was in the tea trade. She was still in service in 1881 under Captain Widdicombe and still rated Lloyds AA1 as she had been built with heavier plating than was required to meet the current standards.

3711

3711. SHIP’S BRIDGE COURSE INDICATOR BOX Britain, Early 20th Century Mahogany box with three cutouts that show the numeric course, each with a corresponding knob to change the display. Fitted with mounting cleats. Height 5.75”. Length 19”. Depth 7”. 400/600

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3712. THE COLLIOGRAPH BY HENRY HUGHES & SON, LTD London, Circa 1900 Set consisting of boats, a compass plan in three pieces, rulers “For Use In Collision Cases And Nautical Enquiries”, and basic instructions for use. Paper-covered three-piece board fits together to make a compass plan with 32 compass points marked around the outside edge. Includes an assortment of moveable flat models: two screw steamers, two brigs, two lightships, two twin screw steamers, two schooners, two buoys, two paddle steamers, two yachts, two compass discs (one missing), two man-of wars, two paddle tugs, one scale (measuring), two ships, two screw tugs, one wind arrow, two barques, two barges and a current arrow. Within a dovetail pin storage box, the maker’s label on the inside lid printed “Henry Hughes & Son, Ltd. Marine and Manufacturing Opticians 59 Penchurch Street, London, E.C. Telegraphic Address - Azimuth, London Telephone 555 Central”. Label also printed with an inventory of the elements comprising the set and instructions for its use. Box height 3.5”. Length 16.75”. Width 6.75”. 800/1,200 Provenance: Captain A. Mostyn Field, Royal Navy / British Hydrographic Office. West Sea Company, Old Town San Diego, California. Colliographs were used by maritime law experts for demonstration purposes in collision cases and nautical inquiries regarding accidents at sea. Henry Hughes & Son, Ltd. was in operation from 1829 to 1947.

3712

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3713. "COMMODORE" SHIP’S TAFFRAIL LOG BY THOMAS WALKER & SON, LTD. Birmingham, England, Circa 1910 Includes a metal four-bladed spinner, signed on each fin with the “anchor” mark, “TW” and “T. Walker & Son Ltd., Birmingham. England.”; a rope tail and leader weight, finished with a brummel hook; six-spoke hand wheel with rope tail and brummel hook; gray-painted mounting socket with two attachment points and spring-loaded socket cover marked “Walker’s Commodore Log”; and an electric knot meter, with electric cable, hinged face and white enamel dial, signed “Walker’s “Commodore Electric Log”. Within the original shipping crate, the exterior marked with various labels including one for “The Union-Castle Line General Store Southampton”. Spinner length 14” and diameter 6.5” (not including rope tails). Shipping crate height 10”. Length 20.75”. Width 14”. 800/1,200 Provenance: Christie’s, London, Maritime Sale, 1988. Thomas Walker’s firm in Birmingham, England, was a leading maker of logs. Thomas Walker (1805-73) was a nephew of Edward Massey, the London nautical instrument maker whose patent mechanical logs enjoyed wide use in the 19th Century. Walker’s firm and Massey’s merged at the end of the 19th Century.

3713

3714. HEZZANITH BELL PATTERN MKIII SEXTANT AND ARTIFICIAL HORIZON BY HEATH & CO. Circa 1915 Sextant signed on the radius arm “Heath & Co., Ltd., Crayford, London”. Frame in a bell pattern design, constructed of blackened brass with an 8” radius arm over a brass radius with inset steel scale. Arm equipped with 10-degree arc second vernier, and according to the 1915 National Physical Laboratory certification is completely error free, needing no correction (to one arc-second) at any setting. Wide range of accessories including two telescopes, sighting tube, auxiliary eyepiece, scale mounting, “patent greatest angle clamp”, two solar filters, adjusting tool and original case with patent locking mechanism for the sextant. Along with a separately cased “Patent Hezzanith Artificial Horizon” with telescopic lens, internal floating needle and attachable oil lamp and original Heath & Co. instructions. Contained within the original boxes, the sextant box marked “Bell Pattern MKIII Sextant”. Box height 5.75”. Length 10”. Width 10.75”. 800/1,200 Provenance: Tesseract, Hastings-on-Hudson, New York, 1994.

3714

This unusual artificial horizon attachment is a very early development of a gravity type instrument, preceding the bubble sextant. The artificial horizon is indicated by a pointer floating in pure water. It is designed to permit the use of the sextant when the true horizon cannot be seen due to fog, darkness or intervention of land. Since this instrument was developed before the use of electrical illumination, an oil lamp is provided for use at night.

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

3715

3716

3715. WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Portrait of the gaff cutter Julia G.. Signed and dated lower left “W.G. Yorke 1878”. Oil on canvas, 22.25” x 26.25”. Framed 29” x 33”. 5,000/7,000 Provenance: Northeast Auctions, Portsmouth, New Hampshire, August 2000.

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3716. WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Cutter yacht Melvina racing. Signed and dated lower left “Wm. G. Yorke June 187[3]”. Oil on canvas, 20.75” x 27.25”. Framed 24” x 30.75”. 6,000/8,000 Provenance: Skinner, Inc., Boston, February 2003. Reminiscent in style to J.E. Buttersworth, this painting of the cutter yacht Melvina was executed well before Yorke’s 1882 accident. The signature is in a straight line with the date “June 187[3]”, suggesting the work to be pure William Gay Yorke.

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3717

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

3717. WILLIAM GAY YORKE New York/Canada/England, 1817-c. 1888 Schooner yacht Dauntless leading Cambria. Signed and dated lower left “Wm G. Yorke 1877”. Oil on canvas, 31.5” x 42.5”. Framed 36.25” x 47.25”. 6,000/8,000 Provenance: William Hood Galleries, Delray Beach, Florida, April 1998.

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3718

3718. MORRIS AND STANLEY ROSENFELD America, 19th and 20th Centuries The Tradition of America’s Cup Racing, a folio of eight large-format America’s Cup photographs. Limited edition of 1,000. Includes: 1) “Windward Start” (Shamrock I and Columbia). 2) Shamrock IV and Resolute, 1920. 3) “At the Start, 1937” (Endeavour, Rainbow, Ranger, Endeavour II and Yankee). 4) “Crossing Tacks, 1934” (Weetamoe and Yankee). 5) Gretel and Weatherly, 1962. 6) “At the Weather Mark, 1967” (Dame Pattie and Intrepid). 7) “Beat to the Windward Mark, 1974” (Courageous and Intrepid). 8) Enterprise and Courageous, 1977. Photographs printed on Ilford Galerie paper and mounted in 16” x 20” acid-free archival rag board mats. Encased in a navy blue portfolio case with a silver stamped seal and title. Portfolio 20.75” x 17”. 800/1,200 Provenance: The Rosenfeld Collection, Mystic Seaport, Mystic Connecticut, 2000.

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3719. TANK TEST MODEL FOR THE AMERICA’S CUP DEFENDER WEATHERLY America, Circa 1962 By Lou Banks, Jr. Built up in lifts from wood. Interior of the hull has been hollowed. Exterior of the hull has been shaped, faired and finished to a race finish. Sand glued in place on the leading edge of the bow down to the bottom of the keel; this sand was used to cause a disturbance to the laminar flow so that the flow below the waterline and around the keel could be more easily documented. Exterior of hull marked #2281, the identification number for the Davidson Lab at Stephens Institute, where the model was tested. Interior of hull marked “Weatherly - Feb. 5 1960 - L.B. Jr.”. Height 10.5”. Length 62”. Width 11”. 4,000/6,000 Provenance: Bill Luder, Luder’s Yachts. Benjamin D. Gilbert, Darien, Connecticut. Maine Maritime Academy, Castine, Maine. Robert Wallstrom, Blue Hill, Maine. Don Mallow, Blue Hill, Maine. Christie’s East, Maritime Sale, New York, August 2000, purchased by Richard Kelton.

3719

Tow Tank models are engineering tools used to evaluate the hydrodynamic flow around hulls, keels, rudders and propellers. They are built to a specified scale and then towed through a long shallow pool at varying speeds and angles. Changes in the model are analyzed, evaluated and finalized, and then incorporated into the final design. The most famous tanks in the U.S. are at the Webb Institute, David Taylor Tow Tank and at the Steven’s Institute. This model, No. 2281, represents proposed changes to Weatherly as of February 5, 1960. It was made by Lou Banks, Jr., who made models for the Steven’s Institute.

with a shortened stern, squared-off rudder and numerous small changes in order to save weight. The weight saved in the redesign was put into the keel to improve her ability to carry sail. The defender selection trials pitted Weatherly against Columbia, Easterner and the newly designed and built Nefertiti. On 25 August 1962, the N.Y.Y.C. selected Weatherly to defend the Cup against Australian challenger Gretel. Skippered by Emil “Bus” Mosbacher, Jr., in September 1962, Weatherly defended the Cup 4–1 against Gretel.

The 12-meter yacht Weatherly was designed by Philip Rhodes. She was built by Luders Marine Construction in 1958 for a syndicate of owners formed by Henry D. Mercer, Cornelius S. Walsh and Arnold D. Frese. Skippered from 1958 through 1961 by Arthur Knapp, Weatherly competed with Columbia, Easterner, and Vim for the right to defend the America’s Cup, but she was eliminated in the 1958 selection trials by Columbia, who went on to successfully defend the Cup that year.

Weatherly continued to be used as a trial horse in America’s Cup competition through the 1970 season when she was, surprisingly, given her age, invited to enter the defender’s trials. Following that season, an engine was installed at the Derector shipyard in Mamaroneck, New York. She then motored up the Hudson and through the Erie Canal to the Great Lakes and on to the Palmer Johnson Shipyard in Wisconsin, where she was modified for offshore racing both on deck and below. Weatherly had an active racing career on the Great Lakes and the SORC under the ownership of Doug Jones.

After her loss, Weatherly was evaluated using several tank test models to help with her reconfiguration in anticipation for the 1962 America’s Cup defense. Modified by Bill Luders at Luders Marine, Weatherly was altered

In the mid-1970s, Weatherly was sold. She is now normally berthed dockside at the Newport Harbor Hotel and Marina and is available for charter. She was listed on the National Register of Historic Places in 2012.

conclusion of Part III of the Kelton Collection

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235

3720. AMERICAN SILVER-GILT YACHTING TROPHY WON BY J.P. MORGAN’S COLUMBIA IN 1901 By Howard & Co., New York, signed on underside and marked “Sterling 311A 1899”. Inverted bell- form loving cup, the two scrolled handles cast with flowers and the lower body and foot chased with gadroons and leaf sprays. Engraved “Newport Yacht Racing Association August 1st 1901. Won By Columbia.”. Height 10.5”. Width 12”. Approx. 58.0 troy oz. 7,000/10,000 Provenance: John Pierpont Morgan (1837-1915). To his son, John Pierpont “Jack” Morgan, Jr. (1867-1943). To his son, Junius Spencer Morgan (1892-1960). To his son, John P. Morgan II (1918-2006).

Columbia was the only yacht in the history of the America’s Cup to defend it on two occasions -- in 1899, beating Shamrock, and 1901, beating Shamrock II. This trophy was awarded just one month before the 1901 America’s Cup. Columbia, launched in 1899, was a 131-foot keel sloop designed by Nathanael Hereshoff and owned by a syndicate headed by J.P. Morgan, E.D. Morgan and C. Oliver Iselin.

3720

236

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3721

3721. RUSS KRAMER Connecticut, Contemporary “The Spectators 1901”. Signed and dated lower left “Russ Kramer 2007”. Titled verso. Oil on canvas, 30” x 35”. Framed 39” x 54”. 7,000/10,000 Provenance: Mystic Seaport Gallery, Mystic, Connecticut, 2007. Private Collection, Florida.

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237

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

3722. Yachting off Castle Garden. Signed lower right “J.E. Buttersworth”. F.W. Devoe & Co. artist’s supply label verso. Oil on artist board, 6.5” x 8.25”. Framed 10.5” x 12.5”. 30,000/50,000

238

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3722

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239

3723

3723. ATTRIBUTED TO JOSEPH B. SMITH New York/New Jersey, 1798-1876 The ship Adelaide. Unsigned. Oil on canvas, 26” x 42”. Framed 29.5” x 45.5”. 3,000/5,000

240

3724. JOSEPH B. SMITH New York/New Jersey, 1798-1876 The sloop yacht Rebecca off New York. Oil on canvas, 30” x 44”. Framed 39.5” x 53.5”. 20,000/30,000 Provenance: Oliphant & Co., New York. A Private Collection, New York. Bonhams, New York, January 2016, Lot #81. A Private Collection, Maine.

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3724

In 1857, James Gordon Bennett, Jr. received the 77-ton, 72-foot centerboard sloop Rebecca for his sixteenth birthday. Rebecca was designed by William Tooker and was built by Westervelt & Co., New York. Bennett, Jr. raced that year in the Annual Cruise of the New York Yacht Club, during which he was elected to membership. At age 16, he was the youngest member ever admitted. Rebecca is recorded at or near the top of the racing results on many occasions up until 1861. As sole owner and publisher of the most powerful newspaper in America, the New York Herald, and with the largest assured income at the time, Bennett, Jr. was involved in numerous sports-related accomplishments, from the first polo and tennis matches in the United States, to major yachting races, including the first transatlantic oceanic race, which he won. Rebecca was offered to the United States government for use by the Treasury Department during the Civil War in 1862. In turn, President Lincoln offered the young Bennett a place as lieutenant in the Revenue Service. Bennett, Jr. served until his resignation May 11, 1862. It is unclear what happened to Rebecca after the Civil War. However, James Gordon Bennett, Jr. continued to be an avid competitor and yachtsman.

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241

3725. SIX VOLUMES FROM THE HOLY GRAIL OF YACHTING The Holy Grail of Yachting: The Art of the America’s Cup 1858-1970 by Alan Granby and Janice Hyland. West Palm Beach, Fl: America 3 Foundation, 2013- 2017. Limited edition. Seven-volume set; this lot does not include Vol. VII. The ultimate history of the America’s Cup, told through art and artifacts with parallel historical narrative. Embossed full-color frontispieces. Color and black and white plates throughout. Illustrated with masterworks from the 19th and 20th Centuries by painters such as Fitz Henry Lane and James Edward Buttersworth, and photographers such as Beken of Cowes. Each volume with extensive bibliography and indices sourcing the visual materials. Oblong folio, 13.5” x 12.5”. Printed on extraheavy coated stock. All in fine (new) condition with illustrated dust jackets as issued. 2,000/3,000 3725

3726. EARLY STRONG FIREARMS CO. BRASS SIGNAL CANNON New Haven, Connecticut, Circa 1900 10-ga. Rare pull-out breach block. On original wooden carriage with brass fittings and wooden wheels. Signed on barrel “The Strong Firearms Co New Haven Conn U.S.A.”. Length approx. 16.5”. 1,500/2,500

3726

3727

3727. MOUNTED HALF HULL MODEL OF A HERRESHOFF R-BOAT 20th Century Identified on brass plaque “Live Yankee”. Green hull, white boot and maroon bottom. Backboard 10” x 34.25”. 500/800

242

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3728. EXCEPTIONAL CARVED WOODEN EAGLE’S-HEAD BILLET HEAD Second Half of the 19th Century Gilt finish. Mounted on oval panel. Length 13”. 800/1,200

3728

3729

3729. DIORAMA DEPICTING TWO SAILBOATS AND THREE MOTORBOATS Circa 1920 Painted background depicts a New England coastal hillside. Shadow box frame painted brown. Shadow box height 9”. Width 21”. Depth 7.25”. 800/1,200

3730. JAMES MILLER Britain, b. 1962 “Mariquita, Tuiga, and Mariette Racing on the Solent”. Signed lower left “J. Miller”. Titled verso. Oil on canvas, 20” x 30”. Framed 24” x 34”. 1,500/2,500

3730

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243

3731. SET OF FOUR IMPERIAL BLACK AND WHITE YACHTING PHOTOS BY BEKEN & SON, COWES 20th Century Printed in the large format “Imperial” size. Includes images of Velsheda (J-K7); Shamrock III (K4); Westward under a cloud of sails, circa 1910; and a large gaff-rigged sloop (E5). Each a later print from Beken, signed lower right in black ink “Beken”. Matted and housed in bird’seye maple frames. Retailed by Throwbridge, London. 13.5” x 14.25” sight. Framed 25.75” x 26.75”. 1,000/1,500

3732. STRONG FIRE ARMS SIGNAL CANNON Early 20th Century 8-ga. barrel. Stamped with an eagle surrounded by “Manf ’d by the Strong Fire Arms Co. New Haven, Conn. U.S.A.”. Mounted on a wooden carriage with lignum vitae wheels and brass fittings. Includes a sailormade ropework firing cord. Length of barrel 14”. Total length 18.5”. 3,500/5,000

3731, four

3733. DIORAMA OF THE AMERICA’S CUP YACHT ENDEAVOR 20th Century Detailed with planked deck, turned brass fittings, brass bars on mahogany-framed skylights, and toe rails from bow to stern. Painted and sculptured water. Case height 37.5”. Length 35”. Width 13.75”. 3,000/5,000

3732

3733

244

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J O H N M E C R AY Rhode Island/Pennsylvania, 1937-2017

3734

3734. “Coronet”. Signed and dated lower right “John Mecray 1980”. Titled on frame plaque. Oil on canvas, 23” x 36”. Framed 28” x 41”. 10,000/15,000

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245

D I M E T R I O U S AT H A S Massachusetts, Contemporary

3735

3735. “Sandbaggers Bear + Bull - Bear By a Close Margin”. Signed lower left “D. Athas”. Oil on masonite, 18” x 24”. Framed 25” x 31”. 8,000/12,000

246

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3736. CASED YACHT CHRONOMETER BY THOMAS G. MEDINGER New York, Late 19th/Early 20th Century Signed and numbered “Thos. G. Medinger, New York No. 1001” in script on silvered face. Roman numeral dial with two subsidiary dials. Brassbound mahogany three-tier case with exterior label for Thomas Medinger and interior paper labels for “Eugene F. Medinger - Dealer In - Chronometers ... New York”, “Baker, Lyman & Co. Nautical Instruments” and “John Bliss & Co. Nautical Instruments New York City”. Case height 7.75”. Width 7.25”. Depth 7.25”. 3,000/4,000

3737. CASED YACHT CHRONOMETER BY BLISS & CREIGHTON New York, Late 19th/Early 20th Century Signed on silvered face “Bliss & Creighton New York No. 866”. Roman numeral dial with two subsidiary dials. Brass-bound mahogany three-tier case with inset brass handles at sides. Case height 7.75”. Width 7.5”. Depth 7.5”. 1,800/2,500

3738. CASED YACHT CHRONOMETER BY H.H. HEINRICH New York, Late 19th/Early 20th Century Signed on silvered face “H.H. Heinrich New York No. 991” in red and black. Roman numeral dial with two subsidiary dials. Mahogany three-tier case with brass bail handles at sides. Case height 6.5”. Width 6.25”. Depth 6.25”. 2,000/3,000

3737

3738 3736

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247

3739. JOE SELBY Florida, 1893-1960 The motor yacht Arcadia. Signed and dated lower right “J. Selby 1933”. Gouache on board, 13.5” x 23.5” sight. Framed 17” x 27”. 1,500/2,500

3739

3740. FINE CASED MODEL OF J. PIERPONT MORGAN’S YACHT CORSAIR II Contemporary Hull built up and with black-painted topsides, green bottom and gold waterline. Deck is planked and fitted with jackstaff, anchor davits, anchors, anchor windlass, bollards, deck plates, skylights, cabin structures, search lights, deck railings, ship’s wheel, binnacle, engine telegraphs, ladders, ventilators, funnel, signal cannons, five ship’s boats on davits, docking wheel, flagstaff, propeller, and numerous other details. Displayed on two brass pedestals within a glass case with mahogany base and trim. Total height 58.25”. Length 52”. Width 15.25”. 4,000/6,000

248

3740

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3741

3741. LARGE CASED MODEL OF A STEAM YACHT First Half of the 20th Century White hull and red bottom. Beautifully detailed with six launches and lifeboats and davits. Case height 36.5”. Length approx. 79”. Width 17.5”. 7,000/9,000

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249

3742

3742. SILVER HUMIDOR AND OTHER SERVICE FOR THE YACHT NIRVANA IV Circa 1922-29 Silver humidor by William B. Kerr & Co., Newark, New Jersey. Etched with flowers, birds and scrolls within bellflower borders, the cover engraved “Yacht Nirvana Holger Struckmann From Frederick C. Fletcher” and applied with two enameled burgees. Two-compartment interior fitted with a removable wood tray and a humidor fitting. Also includes six silver napkin rings by Evald Nielsen, Copenhagen, engraved “Nirvana III”, and ten glasses enameled with the same burgees and “Nirvana” on a ribbon. Humidor height 6”. Width 12”. Depth 6”. 2,500/3,500 Provenance: Holger Struckmann, and thence by descent through his family. Sotheby’s, New York, Important Americana, January 2017, Lot #4062. A private collection, Maine. Holger Struckmann was president of International Cement Co. and lived in Rye, New York. He was a member of the Larchmont Yacht Club in Larchmont, New York.

3743. PAIR OF CAST IRON NAUTICAL ANDIRONS America, Circa 1910 In the form of anchors entwined with rope, supported by dolphins on capstans flanking a scallop shell. Nicely detailed, including the rope also entwining the dolphin tails, which curve up the anchor. Retain original iron dogs. Untouched age patina. Heights 16.5”. Widths 9.75”. Depths 18”. 500/1,000

3743

250

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3744

3745

3744. MOUNTED BUILDER’S HALF HULL MODEL OF THE STEAM/SAIL VESSEL ABERDOUR Early 20th Century Built up in eight visible lifts. Black hull with a natural wood bottom. Mounted upper deck works. Pine backboard 12” x 72.25”. 1,000/1,500

3745. MOUNTED HALF HULL MODEL OF THE GOLD CUP SPEEDBOAT DIXIE II 20th Century Natural wood hull with blue bottom. Brass inset boot and prow. Mahogany backboard 9.5” x 48.25”. 1,000/1,500

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3746. MOUNTED HALF HULL MODEL OF A POWER YACHT First Quarter of the 20th Century White hull and green bottom. Brightwork cabin and gunwale. Skeg, shaft, propeller and rudder. Vessel information on reverse. Pine backboard 6.25” x 42.25”. 500/700

251

3747

3747. EXTREMELY RARE BUILDER’S FULL HULL MODEL OF A YACHT BY THOMAS D. BOWES Painted white above and green below the waterline. Thomas D. Bowes (1883-1965) founded his naval architecture firm in 1905, located in Philadelphia’s Delaware River district. He designed more than 80 tugboats and several Philadelphia fire boats as well as commuter and houseboat yachts. He also notably designed the Lenore II, which was refurbished and renamed Barbara Ann by Dwight Eisenhower and used as the presidential yacht. It was later renamed Honey Fitz by President John F. Kennedy during his administration. Height 11”. Length 52”. Width 10”. 4,000/6,000

3748. MODEL OF A HIGH-SPEED LAUNCH HULL America, 19th Century Hull built up in lifts, shaped, sanded and faired to a long narrow hull with knuckle bow, and painted a washed gray. Twin three-blade propellers and a single rudder in brass. Open interior, unfinished, with fore and aft deck plates. Height 5.25”. Length 54”. 1,500/2,500

Provenance: Removed many years ago from Thomas D. Bowes’ office on Chestnut Street, Philadelphia. Hyland Granby Antiques, Hyannis Port, Massachusetts, 2002.

3748

252

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3749. BRASS BELL FROM THE J-CLASS YACHT YANKEE America, Circa 1930 Of typical form, with “acorn” top, molded and flared lower edge, mounting arm and mounting plate. Engraved “Yankee”. Height 11.25”. Diameter 9”. 1,500/2,500

3749

3750. LUCA PAPALUCA Italy, 1890-1934 “Norseman N.Y.Y.C.”. Signed and dated lower right “L. Papaluca Naples 17.6, 1930”. Titled lower center. Watercolor and gouache on paper, 17” x 26” sight. Framed 26.5” x 36”. 1,000/2,000

3750

3751

3751. MOUNTED HALF HULL MODEL OF A JOHN ALDEN SLOOP 20th Century Identified on plaque as the “Malabar II”. Black hull, white boot and natural mahogany bottom. Backboard 11.25” x 38”. 700/1,000

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253

THOMAS WILLIS New York/Denmark, 1850-1925

3752

3752. Portrait of a New York Yacht Club racing yacht. Coastline and a lighthouse off her stern. Oil on canvas with applied silk and threadwork, 20.25” x 36”. Framed 24.5” x 40”. 2,500/3,500

3753. Portrait of a yacht. Signed with the artist’s monogram lower right “TW”. Oil on canvas with applied silk and threadwork, 18” x 23”. Framed 22” x 27”. 800/1,200

3753

254

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3754

3755

3754. An American steam yacht. Unsigned. Well-detailed with figures on deck, window draperies, rigging, American flag, etc. Housed in a modern frame. Oil on canvas with applied silk and velour, 11.5” x 17.5” sight. Framed 13.5” x 19.75”. 2,000/3,000

3755. ATTRIBUTED TO ANTONIO JACOBSEN AND THOMAS WILLIS America/Denmark, 1850-1921 and 1850-1925 Circa 1885 portrait of a schooner yacht at sea flying two burgees and an American ensign. Unsigned, but background believed to be painted by Jacobsen and applied silk and threadwork executed by Willis. Housed in a shadow box frame so that the threadwork on the reverse is visible behind a plexiglass panel. Oil on canvas with applied silk and threadwork, 18” x 24.25”. Framed 22.25” x 27.75”. 2,000/3,000

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255

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

3756

3757

256

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3758

3756. The pilot boat New York and the S.S. Konigin Luis. Signed and dated lower left “A Jacobsen 1899”. Oil on canvas, 22” x 36”. Framed 29.25” x 43.25”. 10,000/15,000

3757. The steam/sail ship Bermuda. Signed and dated lower right “Antonio Jacobsen NY 1877”. Oil on canvas, 22” x 36”. Framed 28” x 42”. 6,000/8,000

3758. “S.S. England Capt. Thompson”. Inscribed lower left “Painted by Antonio Jacobsen New York 1875 S.S. England Capt. Thompson”. Oil on canvas, 30” x 50”. Framed 36” x 56”. 12,000/18,000

Literature: Antonio Jacobsen - The Checklist by Harold S. Sniffen (N.Y.: Smith Galleries, Ltd., 1984), p. 216-217, no. 6.

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257

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

3759

3759. Steam yacht Aguan at sea. Unsigned. Oil on canvas, 22” x 36”. Framed 25.25” x 39.5”. 5,000/7,000 Literature: A Descriptive Catalogue of the Marine Collection to be found at India House (New York: 1936), p. 2, no. 4. Antonio Jacobsen - The Checklist by Harold S. Sniffen (New York: 1984), p. 22-23, no. 25.

258

Built in 1886 in Glasgow by Duncan & Co., the Aguan was used for trade with Central America. There are two other known oils of the Aguan by Jacobsen- one in the collection of the Mariner’s Museum, Newport News, Virginia and the other in a private collection.

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3760

3760. The S.S. Cornwall. Signed, inscribed and dated lower right “A. Jacobsen 257 8th Av. NY 1880”. Oil on canvas, 22” x 36”. Framed 28” x 42”. 8,000/12,000 Provenance: The Smith Gallery, New York, 1987. Eldred’s, November 21, 2019, Lot #374. Literature: Antonio Jacobsen - The Checklist by Harold S. Sniffen (New York: Smith Galleries, Ltd., 1984), p. 82-83, no. 28.

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259

The F.C. Sturrock was built in 1959 by Ferguson’s Port Glasgow. She served as a South African Railways tug for most of her operating life.

3761

3761. SCALE MODEL OF THE BRITISH TUGBOAT F.C. STURROCK Circa 1975 Built in ¼” scale. Pre-formed hull with a cream-colored bottom, white waterline and black topsides. Detailed with rudder, propellers, anchors, the name fixed to the bow, etc. Foredeck modeled as a steel plate with the other decking planked in basswood and fitted with various details including hawse pipes, bollards, anchor windlass, ventilators, fire hose tower, masts, deckhouse built up and fitted with a wood cabin top, running lights, search lights, railing, binnacle, radar ring, portholes, ladders, boats rigged on davits, funnel, tow hook on a rotating arc, reels with line, towing guards, etc. Displayed on a pair of brass pedestals on a green silk moiré-covered base within a mahogany-trimmed glass cover and a mahogany base. Case height 20.75”. Length 39”. Width 10.5”. 3,000/5,000

3762

3762. BUILDER’S PRESENTATION HULL MODEL OF THE S.S. JAPAN Britain, Late 19th Century Hull built up in lifts and modeled as a hull only, carved, shaped, faired to shape, and painted with a pink bottom and black topsides. Decks in maple veneer with the planking lines drawn in India ink. Detailed with decorated trailboards and head rails, bowsprit, anchor windlass, deckhouses, bridge, stump masts, cargo hatches, six boats on davits, stump funnels, deck railings with wood cap rails, ventilators, propeller, rudder, etc. Displayed on a pair of turned brass pedestals, with bilge supports, on a maple board with bun feet, within a matching glass and maple case. Case height 14”. Length 53”. Width 12.5”. 1,000/2,000

260

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3763. MIRRORED-BACK PRESENTATION HALF MODEL OF THE INMAN LINER S.S. CITY OF PARIS Circa 1890 Hull built up from the solid with the bottom finished bright and the topsides painted black with painted portholes and sheer line. Bow fitted with a figurehead of an eagle and bowsprit. Veneer decks fitted with anchor davit, railings, running lights, stump masts, bridge and bridge wings, lifeboats on davits, three funnels painted black with white bands for the Inman Line colors, and other details. Mounted on a later mirror within a mahogany and glass case. Case height 11.75”. Length 47”. Width 4.75”. 4,000/6,000

3764. BRASS INCLINOMETER, POSSIBLY A SALESMAN’S SAMPLE 19th Century Marked “T.S. & J.D. Negus. New-York”. Mounted to a black and gilt backboard. Backboard 12.5” x 10.5”. 800/1,200

3765. BERGEN CASED YACHT CHRONOMETER Second Half of the 19th Century Face marked “Iversen & C. Bergen”. Mahogany case. Crystal diameter 4.75”. Case height 7”. 800/1,200

Provenace: An Important Maritime Collection, Camden, Maine. Bonhams, An Important Private Maritime Collection, Including Maritime Paintings and Shipbuilders’ Models, April 14, 2010, Lot #113.

3763

The S.S. City of Paris, of the Inman Line, held the Blue Riband as the fastest ship on the North Atlantic route from 1889 to 1891 and again from 1892 to 1893. A sister ship to the S.S. City of New York and a rival of the White Star Line’s Teutonic and Majestic, City of Paris proved to be the quickest of the pre-Campania twin screw express liners. In 1893, she was renamed Paris

and transferred to U.S. registry when the Inman Line was merged into the American Line. Paris served the U.S. Navy as the auxiliary cruiser Yale during the Spanish-American War. After Paris returned to commercial service, she was seriously damaged, rebuilt and renamed Philadelphia. After the war, she continued with the American Line until 1920 and was scrapped in 1923.

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261

3766. CLEMENT DREW Massachusetts, 1806-1889 A sidewheeler in stormy seas. Unsigned. Photo attached verso shows the canvas pre-relining with Drew’s inscription. Oil on canvas, 13.5” x 19”. Framed 19” x 25”. 1,500/2,500

3766

3767. ATTRIBUTED TO CLEMENT DREW Massachusetts, 1806-1889 The brig Nereus. Unsigned. Old typewritten note verso states the work depicts the brig Nereus on a voyage from Manzanilla, Cuba to Boston. Oil on canvas, 20” x 24”. Framed 23.5” x 27.5”. 1,200/1,800

3767

3768. ATTRIBUTED TO CLEMENT DREW Massachusetts, 1806-1889 Ship off a lighthouse. Unsigned. Noted verso “Clement Drew purchased 10-67 from Mac Elwee’s, Portland, Me. Property of Jos. G. Butler III Frame by Ed Perkins”. Oil on canvas, 9” x 12”. Framed 16.5” x 19.5”. 800/1,200

3768

262

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3769

3770

3771

3769. LARGE MOUNTED BUILDER’SSTYLE HALF HULL MODEL OF THE SAILING SHIP FORFARSHIRE Early 20th Century Five visible lifts. Black hull with faux gunports and natural wood bottom. Carved figurehead under sprit. Plaque lower right marked “Birrel, Stenhouse & Co. Ship Builders Dumbarton”. Mahogany backboard 15.75” x 75”. 2,000/3,000

3770. BUILDER’S HALF HULL MODEL 20th Century Built up in six lifts. Marked on deck “Yard No. 406. Scale 1/4” 1’0” Oct 52”. Hull with extensive markings and identifications at sides and bottom. 5.75” x 48”. 500/1,000

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3771. MOUNTED HALF HULL MODEL OF THE STERN-WHEELER W.H. BANCROFT 20th Century Built up in four lifts, the two bottom lifts to the waterline in maple, the upper lifts in spruce. Detailed with deckhouse, stump masts and sternwheel. Plaque marked “W.H. Bancroft 1912 Copper River Alaska”. Mahogany backboard 11.25” x 38.25”. 800/1,200

263

3772

3772. BARKENTINE “REINE MARIE STEWART” QUARTERBOARD Thomaston, Maine, 20th Century Height 9”. Length approx. 158”. 1,000/1,500

3773. BRITISH SCHOOL Circa 1870 British merchant brig off Dover under full sail and flying a red duster and red pennant. Unsigned. Oil on canvas, 18.5” x 23”. Framed 24” x 28”. 1,000/1,500

3773

3774. BRASS ONION-FORM LAMP Late 19th Century Retains original reservoir and burner. Maker’s label marked “Perkins 10”. Height 18.5”. 500/700

3774

3775. SEAHORSE COPPER ANCHOR LIGHT Late 19th/Early 20th Century With clear Fresnel lens. Maker’s label on front and anchor tab at top. Period reservoir and burner. Height of lantern 19”. 500/700

3775

264

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3776

3776. PROFILE DRAWING OF THE PADDLE WHEELER BOSTON 19th Century On vellum. 22” x 58.5” sight. Framed 25” x 61.5”. 1,500/2,500

3778. FINE BUILDER’S MODEL OF THE FREIGHTER S.S. FORTHBRIDGE Circa 1928 Hull built up in lifts, with a painted dark red bottom and gray and white topsides. Marked at the bow and stern with draft markings, and at the center of the topsides with the plimsoll mark. Decks are maple veneer, with the deck plating seams drawn in India ink. The details, mostly gold plated, include anchors, anchor windlass and chain, hawse pipes, bollards, chocks and ventilators, railings, cargo hatches with maple veneer covers and India ink details, open bridge with canopy frames, binnacle, wheel, running lights, funnel with vents, boats on davits secured amidships, two masts with cargo booms, many deck structures in varnished maple, a secondary ship’s wheel with quadrant at the stern, aft canopy frame, etc. Displayed on four German silver pedestals on a raised plinth within the original mahogany-framed case with the original builder’s plaques mounted on the center on either side. Case height 21”. Length 60”. Width 15.75”. 4,000/6,000

3777. CONTRACTOR LINE DRAWING OF THE U.S. STEAMBOAT TICONDEROGA November 1869 Marked “Boston Navy Yard Sale 1 inch 4 feet”. Mounted on vellum. Two pieces housed in a common frame. Framed 31” x 71”. 700/1,000 The steamer currently resides at the Shelburne Museum, Vermont.

The S.S. Forthbridge was a screw steamer of 9,025 tons, built for Crosby, Magee & Co., Ltd., Shipping Chambers, West Hartlepool, built by William Doxford & Sons Ltd., Sunderland.

3778

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265

3779. A. PARSONS America, 19th Century Steam/sail ship in rough seas. Signed and dated lower left “A Parsons N.Y. 1868”. Oil on canvas, 15” x 20”. Framed 20.5” x 25.5”. 1,500/2,500

3779

3780. C. MCKNIGHT SMITH America, 19th/20th Century Portrait of an American steam/sail ship. Signed and dated lower right “McKnight-Smith 1901”. Gouache on paper, 11” x 19” sight. Framed 25” x 34.5”. 800/1,200

3780

3781

3781. AMERICAN SCHOOL 19th Century A tugboat in a harbor. Unsigned. Oil on canvas, 20” x 30”. Framed 27” x 37”. 1,200/1,800

3782. OTTO MUHLENFELD Maryland, 1871-1907 Portrait of the D.M. Miller. Signed lower right “Muhlenfeld”. Oil on board, 21.25” x 29”. Framed 25.5” x 33.5”. 1,500/2,000

3782

266

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3783

3784

3783. CHARLES KEITH MILLER Britain, 1836-1907 Portrait of the S.S. Donegal. Initialed and dated lower left “CKM 1904”. Oil on canvas, 24” x 47”. Framed 30.25” x 54.5” 4,000/6,000

3785. WILLIAM PIERCE STUBBS Maine/Massachusetts, 1842-1909 Steam/sail vessel Saturn. Signed lower left “W.P. Stubbs”. Oil on canvas, 26” x 42”. Framed 34” x 49.5”. 3,000/5,000

Provenance: The Parker Gallery, London.

3784. WILLIAM PIERCE STUBBS Maine/Massachusetts, 1842-1909 Portrait of the John E. Sanford. Signed lower left “Stubbs”. Oil on canvas, 24” x 36”. Framed 29.5” x 42”. 3,000/5,000

3786. SHIP’S PORTHOLE MOUNTED AS A TABLE First Half of the 20th Century Height 29.5”. Diameter 25”.

500/700

Provenance: Sanford and Patricia Smith Gallery, New York.

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267

EDMUND DARCH LEWIS Pennsylvania, 1835-1910

3787

3788

3787. Curving coastline. Signed and dated lower left “Edmund D. Lewis 1890”. Watercolor and gouache, 11” x 31” sight. Framed 24” x 45”. 1,000/1,500

268

3788. Seascape. Signed and dated lower right “Edmund D. Lewis 92”. Watercolor and gouache on paper, 8” x 19” sight. Framed 19” x 31”. 1,000/1,500

3789

3789. Seascape, likely the coast of Newport, Rhode Island. Signed and dated lower right “Edmund D. Lewis 90”. Watercolor and gouache on paper, 19” x 8.5” sight. Framed 31” x 20”. 1,000/1,500

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H AY L E Y L E V E R New York/Massachusetts/England, 1876-1958

3790

3791

3790. “Breton, France 1906”. Signed lower right “Hayley Lever”. Titled and dated verso. Watercolor on paper, 5.5” x 18.75” sight. Framed 11.75” x 24.75”. 800/1,200 Provenance: Clayton-Liberatore Gallery, New York. Private Collection, New York, held for three generations.

3791. “Boats at Anchor, Exmouth, England, 1905”. Initialed lower right “HL”. Titled on frame plaque. Watercolor on paper, 9.75” x 13” sight. Framed 16.75” x 21”. 800/1,200 Provenance: Clayton-Liberatore Gallery, New York. Private Collection, New York, held for three generations.

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269

3792

3792. CASED EXHIBITION STANDARD MODEL OF A DELAWARE DUCKER By Charles G. Horne (America, 20th Century). Delaware Ducker is a 15-foot duck hunting skiff from Delaware Bay, circa 1880. Model built in ½” scale, the hull built up in plank-on-frame construction, the planking trunneled to the frames. Oval cockpit fitted with a mahogany coaming, open to show the interior frames, centerboard trunk, rudder, lines, masts and other details. Displayed on a pair of raised turned pedestals within a cherry case with ribbon inlay, blackpainted trim and glass cover with brass molding. Case height 10”. Length 22”. Width 7.25”. 800/1,200 Provenance: American Marine Model Gallery, Salem, Massachusetts.

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3793

3794

3795

3793. MOUNTED HALF HULL MODEL OF THE GRAND BANKS SCHOONER PURITAN By Pat Cummings (America, b. 1931). Hull, in 3/16” scale, carved and faired to shape with a bright finished cherry bottom, painted black topsides with gold cove stripe, the name “Puritan” hand-lettered at the bow, painted white cap rail and stump masts. Mahogany backboard with brass name plaque listing details of the schooner. Backboard 8.5” x 31”. 800/1,200

3794. MOUNTED HALF HULL MODEL OF THE GRAND BANKS SCHOONER COLUMBIA By Pat Cummings (America, b. 1931). The hull, in 3/16” scale, carved and faired to shape with a bright finished cherry bottom, painted black topsides with gold cove stripe, the name handlettered at the bow, painted white cap rail and stump masts. Mounted on a mahogany backboard with brass name plaque listing details of the ship. Backboard 8” x 31.5”. 800/1,200

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3795. MOUTNED HALF HULL MODEL OF THE GRAND BANKS SCHOONER HELEN G. WELLS By Pat Cummings (America, b. 1931). Hull, in 3/16” scale, carved and faired to shape with a bright finished cherry bottom, painted black topsides with gold cove stripe, the name handlettered at the bow, painted white cap rail and stump masts. Mounted on a mahogany backboard with brass name plaque listing the details of the ship. Backboard 7.5” x 25.25”. 800/1,200

271

3796. COLLECTION OF MINIATURE MOTORIZED MODELS DEPICTING THE EVOLUTION OF THE POWERED MAINE LOBSTER BOAT By Bob Tomsett (England, b. 1952). Twelve lobster boat models depict the evolution from about 1907. Each model scratch-built in 1/96 scale with detailed construction notes on each, including research material and types of wood and paints used in construction. Displayed on brass pins within a two-tiered mahogany turntable case with blue fabric base, identifying brass name plaques for each model, and a brass-bound glass cover. Along with the collection is a treatise on the Evolution of the Powered Maine Lobster Boat by the model builder, Bob Tomsett. Models include: 1907 18-foot Peapod, a double-ended boat 1910 29-foot Swan Island with a ram stern 1924 25-foot Redwing with a torpedo stern 1925 22.5-foot Hampton with a ranking stern 1930 32-foot Mt. Desert Island with a dustpan stern 1930 35.5-foot Jonesport with a razor case stern 1950 33.9-foot Portland with a plain stern 1960’s 34-foot U.S. Coast Guard-type with a plain stern 1969 36-foot Swan Island with a flat stern 1970, Beal Island 1970-1980 Eastport Lobster boat 1980 38-foot Holland 38 Case height 12.5”. Length 24”. Width 16.5”. 3,000/5,000 Provenance: American Marine Model Gallery, Salem, Massachusetts, purchased by the current owner.

3796

272

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3797

3798

3797. WILLIAM R. DAVIS Massachusetts, b. 1952 “Stormy Evening at Sankaty Light”. Signed lower left “William R. Davis”. Titled verso. Oil on board, 12” x 16”. Framed 16.5” x 20.5”. 6,000/9,000

3798. JOSEPH MCGURL Massachusetts, b. 1958 “At the Breakwater, Cuttyhunk”. Signed lower right “Joseph McGurl”. Titled verso. Oil on panel, 12” x 24”. Framed 20” x 31”. 6,500/8,500

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273

3799. NIEK VAN DER PLAS The Netherlands, Contemporary “Sail Amsterdam”. Signed lower right “Van Der Plas”. Titled verso. Oil on board, 12” x 14.5”. Framed 17.5” x 20.5”. 1,000/1,500

3800. GEORGE NEMETHY America/Hungary, b. 1952 Portrait of the Hudson River paddle boat Newburgh. Monogrammed lower right. Gouache on board, 9” x 20”. Framed 18” x 29”. 1,000/1,500 3799

3800

3801

3801. CARL G. EVERS California/Germany, 1907-2000 A tug escorting a Moore & McCormack Line freighter into New York Harbor. Signed lower left “C.G. Evers”. Watercolor and gouache on paper, 9.25” x 13”. Framed 13” x 17”. 800/1,200

3802. WILLIAM NOWLAND VAN POWELL Tennessee, 1904-1977 American privateer General Pickering. Initialed and dated upper left “WNVP 1970”. Titled on custom frame “Privateer Pickering Port of Salem Capt. Jonathan Haraden ...”. Oil on canvas, 16” x 20”. Framed 21.25” x 25”. 2,000/3,000 Provenance: David Lusk Gallery, Memphis, Tennessee. Private Collection, Asheville, North Carolina.

3802

274

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3803

3803. BARRY MASON England, b. 1947 “Off Manhattan Island”. Signed lower left “Barry Mason”. Titled on label verso. Oil on board, 30” x 50”. Framed 37” x 57”. 8,000/12,000

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275

3804

3805

3804. PETER LAYNE ARGUIMBAU New York/Connecticut, b. 1951 “West River, New York Harbor”, depicting a sunset over the Statute of Liberty. Signed lower right “Layne”. Titled verso. Oil on board, 10” x 25”. Framed 15” x 30”. 2,500/3,500 Provenance: J. Russell Jinishian Gallery, Connecticut.

276

3805. KENNETH M. EVANS Massachusetts, Contemporary “Building Belle of the West”, a view of Shiverick Shipyard in Dennis, Massachusetts, as it appeared in the 19th Century. Signed lower right “Evans”. Oil on canvas, 20” x 34”. Framed 27.5” x 41”. 8,000/12,000 Exhibited: Cape Cod Museum of Art, Dennis, Massachusetts. Cape Cod Maritime Museum, Hyannis, Massachusetts.

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3806

The J.B. Walker was built by Edward O’Brien in Thomaston, Maine in 1879. She had a long and successful career that was briefly interrupted when she sank off Nantucket in 1916. She was raised and refitted in Providence, Rhode Island and taken over by the U.S. Navy as the U.S.S. J.B. Walker.

3806. CHRISTOPHER BLOSSOM Connecticut, Contemporary The ship J.B. Walker of Thomaston, Maine leaving New York Harbor. Oil on canvas, 22” x 40”. Framed 29” x 47”. 15,000/20,000 Provenance: Commissioned by descendants of the Walker family through the J. Russell Jinishian Gallery, Connecticut.

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277

3807. LIBERTY SHIP “MARYLAND” QUARTERBOARD Early 20th Century Gold lettering on a black ground. Height 11.5”. Length 111”. 900/1,200

3808

3808. EXHIBITION STANDARD MODEL OF THE AMERICAN LIBERTY SHIP ANGELINA Circa 1987 By Alan Raven (English/American, 20th Century). Hull built up from the solid, with a painted rust red bottom, white water line and black topsides. Bow and stern with draft markings, rudder and propeller. Deck in rust red and detailed with anchor windlass, bollards, ventilators, cargo hatches, booms and windlasses. Main deck structure painted white and detailed with funnel, helm station, canopy frames, lifeboats on davits, docking bridge, raft, etc. Displayed on a pair of brass pedestals in a brass-trimmed glass and mahogany case. Case height 17”. Length 35.5”. Width 11.75”. 3,000/5,000

3809

3809. RARE U.S. NAVY BRASS AND STEEL SIGNAL PISTOL Circa 1870 Stamped “Ord. Dept. U.S.N.Y.W. 1870” for the United States Navy Yard Washington. Also with a Navy inspector’s anchor and stamp “F.M.R.” for Francis M. Ramsey, Inspector Commander. Length 9”. 2,000/4,000

278

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3810. WALTHAM EIGHT-DAY U.S. NAVY CHRONOMETER America, 1918 Inscribed Waltham Watch Co. on dial. Serial #22116438, dating the movement to 1918. Roman numeral triple sunk dial with seconds dial, eight-day indicator, and up/down gauge. Stem-wind movement. Brass bowl attached with gimbals. Bowl inscribed “U.S. Navy 1235”. Fitted walnut case with brass banding. Fitted exterior box with felt lining and leather strap. Interior case height 5”. Width 5”. Depth 5”. Exterior box height approx. 7”. Width 7”. Depth 7”. 500/800

3811. THREE CASED SETS OF WORLD WAR II-ERA U.S. NAVY RECOGNITION/TEACHING MODELS OF JAPANESE SHIPS Die cast models. Two cases include 20 ships each. One case, which has a rare keyed lock, includes eight ships. Most ships with identification labels. Interior of cases painted blue. Exterior of cases painted gray and with stenciled lettering. Two with label “Special Devices Division USN Bureau of Aeronautics ... Japanese Miniature Ship Models ... Mfrd. By Comet Metal Products Co., Inc. ...”. Ship lengths to 8”. Case heights from 13” to 14”. Lengths from 15” to 16”. 2,000/3,000

3812. TWO CASED SETS OF WORLD WAR II-ERA U.S. NAVY RECOGNITION/TEACHING MODELS Die cast models of French and British ships. One case includes 23 ships and the other 29, most with identification labels. Exterior of cases painted gray and with stenciled lettering. Interiors painted blue. Ship lengths to approx. 8”. Case heights 11.5” and 13.5”. Lengths 16.5” and 17”. 1,500/2,000

3812

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279

3813. BAKER MARINE 25X150 "BIG EYES" BINOCULARS Circa 1940 Amongst the most powerful we have examined. Original weatherproof gray finish. Fitted with individual eye adjustments and interpupillary adjustments to resolve very sharp single images, and 6” diameter lenses so that images are extremely bright even in low light. Plaque mounted to top marked “Custom Built for Mr. Mark A. Laracy By Baker Marine Inst. San Diego, CA 25x150mm”. On a custom chrome height-adjustable tripod constructed and fitted to the binoculars by Baker Marine around 1995. A heightset knob allows the binoculars to go up and down smoothly with hydraulic assist and the yoke allows the binoculars to be angled up, down, left and right. Legs fitted with casters. Binocular length 29.5”. Width 14”. Maximum height on tripod 70.5”. 2,500/3,500

3814. PAIR OF WORLD WAR II JAPANESE NAVAL BINOCULARS CAPTURED BY H.M.S. EURYALUS 1943-1945 With three-inch diameter objective lenses, folding targeting sight, adjustable eyepieces with individual focusing knobs and the mount with elevation quadrant and handle. Finished in original gray paint. Contained within a fitted wooden box, the top inscribed “The Superintendent Admiralty Research Laboratory, Teddington, Middlesex. Via. S.N.S.O. at Ports concerned. Case No. E.C. 4624 155 from Capt., R. O-B. H.M.S. Euryalus.”. Case height 9.75”. Width 22.25”. Depth 16”. 4,000/6,000

3813

Provenance: Capt. Richard Oliver-Bellasis (1900-1964), Commander of H.M.S. Euryalus, 1943-45, and thence by descent. Charles Miller Ltd., London, October 2012, Lot #31. Purchased at that sale by the current owner. Per the catalogue note from Charles Miller, Ltd.: “According to family history, having captured this pair of binoculars and sent them for examination, the Admiralty had no further use for them and returned them to his care. They have languished in the painted and partially padded box he sent them in ever since and remain in highly original condition.”.

3814

280

Further extracted from the note in the Charles Miller, Ltd. catalogue: Oliver-Bellasis was a specialist in underwater defenses and in charge of experimental mine sweeping before the war. He joined Euryalus on August 15, 1943. After extensive action in the Mediterranean, H.M.S. Euryalus took Admiral Sir Andrew Cunningham, the Allied Naval Commander-in-Chief, to Taranto on September 23, 1943 for a meeting with the Italian Minister of Marine to settle the surrender of the Italian Fleet. After her service in the Mediterranean, H.M.S. Euryalus transferred to the Pacific Theater and from July through August 1945, she was patrolling in the Pacific looking for the Japanese. Although she did not encounter the enemy, it is likely the binoculars were captured and brought aboard by another (smaller) ship of the Royal Navy. Capt. Oliver-Bellasis left the ship in November 1945 and, upon his return to the Admiralty, became Director of Underwater Weapons from 1947 until his retirement in 1950.

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3815. EXHIBITION STANDARD MODEL OF THE HIGGINS PT BOAT, PENNANT #834 America, 20th Century Hull built up from the solid and painted with a red bottom and gray topsides, deck and most of the fittings. Well-detailed and to scale including anchors, deck boxes, bow gun, deckhouse radar, anti-aircraft turrets, raft, torpedoes, stern guns, etc. Displayed in a glass case with a mahogany base. Case height 11”. Length 29.25”. Width 10”. 2,000/3,000 3815

3816. FINE SCALE MODEL OF THE FLETCHER CLASS DESTROYER U.S.S. KIDD, PENNANT #661 America, Circa 1988 By Ed Pumphrey. In 1/96 scale and modeled in her original configuration, based on plans from the Bath Iron Works in Maine. Pre-formed resin hull painted with a red bottom, black waterline and grey topsides. Deck painted dark gray and detailed with anchor, anchor chains and windlass, bollards, chocks, lifelines and superstructure, mainmast with radar screens, range finders, antennas, depth-charge racks and quintuple torpedo tubes, floater nets in their baskets, fire hoses in their storage racks, searchlights, 5-5” guns, bofors, anti-aircraft guns, liferafts, boats on davits, brass propellers, rudder, etc. Displayed on keel blocks on an oak base with glass cover. Case height 18”. Length 51.75”. Width 9”. 3,000/5,000

U.S.S. Kidd (DD-661) was the first U.S. Navy ship to be named after Rear Admiral Isaac C. Kidd, who died on the bridge of his flagship U.S.S. Arizona during the 1941 Japanese attack on Pearl Harbor. Admiral Kidd was the first U.S. flag officer to die during World War II, and the first American admiral ever to be killed in action. The Kidd, the only surviving U.S. destroyer still in her World War II configuration, is a National Historic Landmark and is now a museum ship, berthed on the Mississippi River in Baton Rouge, Louisiana.

3816

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281

GLOSSARY OF TERMINOLOGY AND ADVICE TO BIDDERS Authorship of Paintings and Works of Art

Advice to Bidders

1. Carefully read the Conditions of Sale.

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

D. SCHOOL OF LEMUEL D. ELDRED

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

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

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

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 25% 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 at www.eldreds.com and 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.

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.

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

Condition Reports Condition reports can be viewed at www.eldreds.com. The absence of a condition report does not imply an object is free of defects or restoration. If provided, a Condition Report may only detail flaws or restorations, and may not take into account wear, fading or other issues consistent with an object’s age. Please contact Eldred’s before bidding with any questions as to condition.

We provide limited shipping services directly from our gallery; our staff can assist determining if your items qualify for in-house shipping. Shipments from our gallery may take 4-6 weeks from receipt of payment. You will be charged for carrier fees, packing and handling, and required insurance. There is a minimum handling charge for all shipments. 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 once your payment has cleared. Shipping estimates can be provided only AFTER we receive payment for your invoice.

Bidding Increments $0-$99: $10 I $100-$499: $25 I $500-$999: $50 $1,000-$2,999: $100 I $3,000-$4,999: $250 $5,000-$9,999: $500 I $10,000-$29,999: $1,000

The property listed in this catalog will be offered and sold subject to the terms and conditions listed in this catalog.

282

$30,000-$49,999: $2,500 I $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion

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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.

anticipated top bid is required. Eldred’s shall not be held responsible for any failure to properly execute such a bid whether it be due to equipment failure, loss of connection, or failure to hear or understand the bidder’s directions. Any advice or opinions provided by Eldred’s or its employees are given strictly as a courtesy and are not a warrant of condition, attribution, authenticity, or description of said property. All bidding by telephone is solely at the risk of the bidder. ONLINE BIDS: Eldred’s shall not be held responsible for any failure to properly execute bids placed online. All online bidding is solely at the risk of the bidder.

2. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered.

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.

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

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.

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ABSENTEE/TELEPHONE BID FORM

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

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

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

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

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

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

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

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

Are you a new bidder with Eldred’s?

Yes:

No:

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

SALE TITLE: SALE DATE:

NAME:

Lot #

Item Description

Maximum Bid or “phone” for Telephone Bid

ADDRESS: check if change in address

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

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

No:

Ship to address above:

25% buyer’s premium will be added to the hammer price. See Item 5 above.

Or ship to:

Total 10% Deposit

Have you examined the items listed above?

Yes:

No:

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

PLEASE SEND FORM AND DEPOSIT TO THE ROBERT C. ELDRED CO., INC. P.O. BOX 796, EAST DENNIS MA 02641 see photos of all lots and view condition reports at www.eldreds.com

www.eldreds.com

info@eldreds.com

Phone: 508-385-3116

Fax: 508-385-7201

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32nd Annual

Scrimshaw & Nautical Antiques Weekend September 23, 24 & 25

Waypoint Event Center, Fairfield Inn & Suites, New Bedford, MA

Sponsored by Antique Scrimshaw Collectors Association For more information & registration: www.antiquescrimshawcollectors.org Dealer space available: 818-522-0659

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SCRIMSHAW: THE WHALER’S ART JUNE 29 – OCTOBER 30, 2022

This major exhibition featuring over 250 pieces, presents the art and history of scrimshaw, a nautical folk art form created by whalers during the international whaling trade of the 19th century. Scrimshaw: The Whaler’s Art is organized by the Cahoon Museum of American Art with Guest Curator, Dr. Alan Granby and Dr. Sarah Johnson, Executive Director of the Cahoon Museum of American Art. Visit cahoonmuseum.org for more information on our Scrimshaw Lecture Series and to purchase the companion book, Wandering Whalemen and Their Art: A Collection of Scrimshaw Masterpieces by Alan Granby.

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4676 Falmouth Road (Route 28) | Cotuit, MA 02635 | cahoonmuseum.org 287

I L L U S T R AT I O N S Front Cover Lot 3507 Frontis Lot 3106 Page 3 Lot 3192 Page 4 Lot 3728 Page 5 Lot 3646 Page 7 Lot 3156 Page 8 Lots 3070, 3011, 3012 Page 131 Lot 3568 This Page Lot 3685

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