The Andy Williams Folk Art Collection | Skinner Auction 2640B

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The Andy Williams Folk Art Collection

Sale 2640B

March 3, 2013


The Andy Williams Folk Art Collection


Stephen Fletcher

Chris Barber

Karen Langberg

Kelli Lucas Stewart

Department Director 508.970.3228

Deputy Director 508.970.3227



Department Inquiries: 508.970.3200

Auction Information Auction 2640B


Absentee Bidding

Sunday, March 3 10AM

Thursday, February 28 12 to 5PM

T: 617.874.4318 F: 617.350.5429

63 Park Plaza Boston, MA

Friday, March 1 12 to 8PM

General Inquiries: 617.350.5400

Saturday, March 2 12 to 5PM


View all lots online at cover : 16 ; frontispiece : 7 ; inside back cover : 1 ; back cover : 8

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The Andy Williams Folk Art Collection 4

Known the world over for his smooth voice and timeless charm, Andy Williams entertained generations with his music, television, and theater. Born in Wall Lake, Iowa, Williams and his brothers worked their way to successful careers in the entertainment industry in the 1940s and 1950s. With hits like “Moon River” in 1962, Williams established his solo career, which took him into the homes of millions through his television series “The Andy Williams Show,” as well as his eponymous Christmas specials.

Portraits by Ammi Phillips (1788-1865) display the dramatic, pensive use of light and bold arrangement of color for which the artist is so well-known. Most notable in the group is his double portrait of the Ten Broeck twin boys, where Phillips kept his composition spare in order to draw immediate and unflinching attention to his sitters’ faces. Another iconic image in the group is Phillips’s painting of a young boy in a pink dress with his pet spaniel, a combination that marks his most beloved childhood portraits.

With a successful performing and recording arts career under his belt, Williams began building a focused collection of visual art. Alongside modern American paintings, American Indian artifacts, and pre-Columbian art, he put together a distinctly beautiful distillation of American folk art. Gathering prime examples of weathervanes, shop carvings, and paintings, Andy highlighted some of the most beautiful and striking characteristics of American popular and untrained art. He was known in the art world for his keen eye and impeccable taste, and his folk art collection proves both.

Other works include one of John Rasmussen’s Berks County Almshouse paintings. Rasmussen (1828-1895), a resident of the almshouse for his latter years, was one of three artists known to have produced striking, intricate views of the agrarian complex, which included its own creamery, bakery, and slaughterhouse. It is thought that these paintings were produced for sale to employees of the house, and those that survive are prized documents of a social welfare system that attempted to care for the poor, ill, and parentless residents of Berks County, Pennsylvania.

Williams’s group of weathervanes encompasses iconic forms such as the so-called Index Horse and cow as well as more unusual shapes including a pig and ewe. Other three-dimensional objects from the collection include a superb pair of Ward Brothers Widgeon decoys, carved in Maryland in the early 20th century, whose color and carving render them nearly life-like. A racetrack tout from late 19th century New England shows off the best of shopfigure carving with a confident stance, ready cigar, and flashy suit.

James Bard’s portrait of the steamship Neversink documents an important means of transportation of the late 19th century and pictures the sort of technological development that captured the imagination of Americans in the late 19th century. Bard (18151897) was known for such paintings and rendered his subjects with incredible, colorful detail. A large still life, thought to have been painted by a little-known African American artist living in New York named Joseph Proctor, displays the exuberance of line and color that marks the best American folk art paintings.

In the realm of paintings, Williams’s interest in modern art seems to have informed his selections. The bold sense of light and color displayed in each is remarkable and is not unlike the work of the modern masters whose work he also collected.

In this small but splendid collection, Andy Williams assembled a group of objects that demonstrate the reasons for the enduring appeal of American folk art.

Ranging from childhood portrait to still life to aerial landscape, each painting in this group has a commanding presence and represents the best of American folk art produced in the 19th century.


1 Pair of Rare Ward Brothers Widgeon Decoys, Lemuel T. Ward (1896-1983) and Stephen Ward (1895-1976), Crisfield, Maryland, early 20th century, turned-head figures with original paint, (minor losses, repairs), lg. 15 1/2 in.

Literature: The drake of this pair is illustrated in William F. Mackey, Jr., American Bird Decoys (New York: Bonanza Books, 1965), p. 147, plate 127. $20,000-30,000

Provenance: Former William (Bill) F. Mackey, Jr., collection, the decoys bear the “Mackey Collection� stamp on bases.


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2 Gilt Molded Copper and Cast Zinc Pig Weathervane, America, late 19th century, molded sheet copper flattened full-body figure with cast zinc head and curled tail the head with applied sheet copper ears, mounted on a copper rod, weathered gilt surface with verdigris, with metal stand, (minor imperfections), overall ht. 20 1/2, lg. 35 1/2 in. $15,000-25,000


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3 J. Howard Gilt Cast Zinc and Molded Copper “Index” Horse Weathervane, J. Howard & Co., West Bridgewater, Massachusetts, c. 1860, cast zinc head and frontal portion of the body with molded sheet copper mid- and hind sections, applied copper ears and corrugated tail, mounted on an iron strap base fastened with copper clips, weathered gilt and verdigris surface, with Lucite stand (minor imperfections), overall ht. 23, lg. 25 in.

Note: This weathervane model, amongst those made by the J. Howard & Co. firm, is called an “Index” horse, because its design was among the many objects documented in an early 20th century comprehensive source record to determine what is “American” in decorative arts. The country-wide compilation was sponsored by the WPA Federal Art Project. A selection of those objects are illustrated in Erwin O. Christensen, The Index of American Design (Washington, D.C.: National Gallery of Art, 1950), the horse weathervane example on p. 81. $15,000-25,000

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4 Molded Copper Ewe Weathervane, America, late 19th century, textured sheet copper flattened full-body standing figure with sheet copper ears, mounted on a copper rod, weathered verdigris surface, (imperfections), overall ht. 23, lg. 28 in. $8,000-12,000


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5 Molded Sheet Copper and Cast Zinc Merino Ram Weathervane, America, late 19th century, flattened full-body figure with cast zinc head and sheet copper body embossed to show the texture of the wool, applied articulated sheet copper ears and horns, mounted on a copper rod, with metal stand, weathered verdigris surface, (minor imperfections), overall ht. 33, lg. 33 in. $6,000-8,000

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6 John Rasmussen (Pennsylvania, Germany, 1828-1895) View of the Buildings & Surroundings of the Berks County Almshouse., c. 1880. Unsigned, titled in inscriptions below. Oil and gold paint on zinc panel, 32 1/4 x 40 in., in a period molded wood frame with gilt liner. Condition: Scattered retouch and gilt loss. Literature: See The Americana Collection of Richard and Rosemarie Machmer, Pook & Pook Inc., October 25, 2008, Lot 437, which sold a similar painting of the Berks County almshouse by Rasmussen. Exhibitions: Where Liberty Dwells: 19thCentury Art by the American People, Works of Art in the Collection of Mr. and Mrs. Peter Tillou, traveling exhibition February 22, 1976 to May 29, 1977, the painting illustrated on plate 80 in the exhibition catalog; American Folk Painting, Pennsylvania Academy of the Fine Arts, Philadelphia, January 14th to February 20th, 1977, with exhibition label on the back of the frame.

John Rasmussen painted the Berks County almshouse while he was a resident there, arriving there at the age of 51 in 1879, until his death in 1895. He was one of three impoverished German-born folk artists, also including Charles C. Hoffman and Louis Mader (nicknamed “the almshouse painters”), that painted similar colorful and elaborately detailed pictures of the compound while living there. The almshouse was built in 1825 after a law was passed by the Pennsylvania state legislature to establish a home for the poor in each of the counties. The Berks County almshouse was built on a large plantation in Shillington, Cumru Township, once owned by Governor Thomas Mifflin. The main facilities included a hospital, sanitarium, old-age home, and a prison. The self-supporting operation employed the residents in farming, tending livestock, building and grounds upkeep, and in operating the carpentry shop, a pump house, smokehouse, bakery, creamery, icehouse, and firehouse within the community. $100,000-150,000

Note: This elaborately detailed painting depicts a large central oval reserve with a bird’s-eye view of the buildings, grounds, and surrounding hilly rural landscape of the almshouse, with figures engaged in the activities of the community, surrounded by six smaller vignettes, identified in inscriptions, counter-clockwise beginning from the upper left corner: “Western view of the new Hospital,” “Grain Barn,” “Tenant house No. 1,” “Kitchen-suplying [sic]-Spring & Reservoir,” “Tenant house No. III & Cemetery,” and “Tenant house No. II.” The names of the directors and staff are inscribed within a gilt wreath at upper center.


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7 James Bard (American, 1815-1897) Portrait of the Sidewheeler Steamboat NEVERSINK. Signed and dated “Drawn by. Painted By. J. Bard. NY 1866.” l.r. Oil on canvas, 30 1/2 x 50 in., in a period molded giltwood frame. Condition: Minor scattered retouch primarily to background sky, u.l., and l.l. edges, stable craquelure. Literature: See The Bard Brothers: Painting America Under Steam and Sail (New York: Mariner’s Museum in collaboration with Anthony J. Peluso, Jr., Harry M. Abrams Inc.), 1997. This painting is listed among the known works of James and John Bard, p. 169. $50,000-75,000


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8 Carved and Polychrome-painted Racetrack Tout Tobacconist Figure, possibly carved by Charles Dowler (1841-1931), Providence, Rhode Island, c. 1880s, full-figure carving of a nattily dressed gent with curly brown hair, wearing a gray top hat, sporting a mustache over his open mouth, holding a cigar aloft in one hand, the other hand resting in the pocket of his red- and tan-striped trousers, with a pack of cigars held in the breast pocket of his black jacket; the figure stands on a carved wooden platform encased with canted wooden panels painted with layers of lettered advertising, overall ht. 70 1/2, ht. of figure 56 1/2, wd. of base 21 1/2, dp. of base 14 1/2 in. Note: The first horse racing track in North America was built on Long Island in 1665, and since then the sport has enjoyed immense and uninterrupted popularity. At every race track is a race track tout, a person whose advice on the race and associated bets flowed freely to anyone in earshot. In the 19th century, touts often cut a rather dandy figure, wearing closecut trousers and flashy coats. The tout was such a well-known figure in American popular culture that he was a frequent subject for shop figure carvers. Radiating confidence and success, this tout is a particularly charming example of the type. His clothing is urbane, his mustache chic, and his cigar most likely lit. Indeed, it is easy to imagine that people were buying whatever he was selling! A close relative of the so-called cigar store Indian, he would have stood outside a shop with an advertisement painted on his base. The ghost of two separate such ads are evident on this example, which must have had a long career in the commercial sector. Based on his stance, clothing, and carving style, it is possible that this tout is the work of figure carver Charles Parker Dowler. Based in Providence, Rhode Island, in the late 19th and early 20th centuries, Dowler advertised that he was a carver for hire, taking on work ranging from furniture to architecture and everything in between. Folk art collectors and scholars associate him most often with carved sporting characters, often called “dudes.� Though many pieces have been mis-attributed to his hand, the resemblance is strong between this tout and the known example of Dowler’s work that belonged to a Connecticut collector and was illustrated in the 1937 Index of American Design. $150,000-250,000

9 Yellow-painted Molded Copper and Cast Zinc Steer Weathervane, America, late 19th century, molded flattened full-body sheet copper figure with applied sheet copper ears, cast zinc head, with copper horns and tail, mounted on a copper rod, yellow-painted surface with verdigris, including metal wallmount fixture, (minor imperfections), ht. 22, lg. 38 1/2 in. $10,000-15,000


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10 Molded Copper and Cast Zinc Horse and Sulky Weathervane, America, late 19th century, full-body molded sheet-copper figure of a running horse with cast zinc head, pulling the swell-body figure of a driver in a sulky with iron wheels, the mustachioed driver with cast zinc head and boots, wearing a billed cap and holding sheet copper reigns, verdigris surface with traces of earlier gilding, no stand, ht. 22 3/4, lg. 47 3/4 in. $15,000-25,000


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11 Molded Copper and Cast Iron “Dexter� Horse and Jockey Weathervane, America, late 19th century, sheet copper full-body figures, the horse with a cast iron head, copper saddle bridle, and reins, mounted on a copper rod, weathered verdigris surface, including wooden stand, (imperfections), overall ht. 22, lg. 33 1/2 in. $4,000-6,000


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12 Molded Copper and Cast Zinc Gamecock Weathervane, attributed to Harris & Co., Boston, late 19th century, molded sheet copper full-body figure with cast zinc head and feet with delineated toes, spurs, and feathers, mounted on a sheet copper orb, weathered verdigris surface with traces of gilt, with metal stand, (imperfections), overall ht. 28 1/4, lg. 17 1/2 in. Literature: See Harris & Co., Boston, Massachusetts, catalog, c. 1879, reproduced in Steve Miller, The Art of the Weathervane (Pennsylvania: Schiffer Publishing Ltd., 1984), p. 155, illustrating a similar gamecock weathervane. $2,000-3,000

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13 Ammi Phillips (American, 1788-1865) Double Portrait of the Ten Broeck Twins, Jacob Wessel Ten Broeck (1823-1896) and William Henry Ten Broeck (1823-1888), Aged 10 Years, Seated with a Bowl of Fruit, Clairmont, Columbia County, New York, 1834. Unsigned, the names and ages of the sitters and the date of the painting inscribed in Ammi Phillips’s hand on the back of the canvas. Oil on canvas, 30 1/4 x 50 1/4 in., in a period painted wood frame with foliate gesso applications on the corners. Condition: Relined, very minor retouch. Exhibitions: Ammi Phillips in Columbia County, the Columbia County Historical Society, Kinderhook, New York, August 15 to September 30, 1975, illustrated in the exhibition catalog on the cover and on p. 36; American Folk Painters of Three Centuries, Whitney Museum of American Art, New York, February 26 to May 13, 1980, the portrait illustrated in the exhibition catalog/reference book with the same title, p. 144; Revisiting Ammi Phillips: Fifty Years of American Portraiture, Museum of American Folk Art, New York, February 5, 1984 to December 1994, illustrated in the exhibition catalog p. 46, and discussed pp. 55-6. Note: Shrouded in mystery for many years, Ammi Phillips’s portraits have been eagerly studied by scholars and avidly collected both by institutions and individuals. His work has consistently been recognized as the most important among 19th century American folk art portraits and has held the interest of the art world for decades. Phillips’s output began to emerge in the early 20th century first as the work of as many as three separate artists, A. Phillips, the Border Limner, and the Kent Limner. Through careful work from scholars over many years,


Phillips’s life story and oeuvre began to emerge, and it became clear that the three artists were actually a single painter whose skill developed over a period of decades. Moving through communities and styles, Ammi Phillips was an extremely adaptable and successful portrait painter whose work continues to beguile and fascinate folk art enthusiasts today. During his fifty-year career, Phillips lived in a handful of different towns, counties, and even states, all centering around Columbia County, New York. Though he moved with greater frequency than his neighbors, he put down remarkably deep roots for a so-called itinerant artist. In fact, he seems to have made a fairly good living from his work, which was exclusively portrait painting by commission. Observing his success, artist John Vanderlyn commended Phillips’s career to his nephew, advising him that seeking a similar career would provide a solid path toward material stability and good social standing. Vanderlyn pointed out in a letter to his nephew that country portrait painters like Phillips could “gain more money than you could by any mechanical business,” and indeed, more than Vanderlyn himself earned during periods in which the academic painter had trouble obtaining patronage for his more complex and costly works. Wherever Phillips moved, he had sufficient means to buy and sell property and was received as a solid member of each community in which he lived and worked. Along with his willingness to undertake life in a new place, Phillips also proved highly adaptable in his work. Moving through periods of formulaic portraits and experimental compositions, the artist settled into a particularly confident and spare style by the time he painted several members of the Ten Broeck family in the early 1830s.

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Many scholars have observed the confidence and control that distinguish work from Phillips’s Kent period (so named for his move to Kent, Connecticut), including his portrait of the Ten Broeck twins and a contemporaneous portrait of an unknown child in a pink dress, which appears as the next lot in this sale. In contrast to his earliest portraits, which are almost dreamlike in their rendering and detail, these works display a great solidity of shape and color. There is drama in the dark backgrounds that Phillips chose, backgrounds that supplanted more elaborate settings used by his contemporaries and drew strong, immediate focus to sitters’ faces. In the Ten Broeck twins portrait, the viewer’s eye runs first to the boys’ faces, framed by bright white collars that contrast starkly with the black background and the boys’ dark brown jackets. The pink of their cheeks echoes the blush of the peaches that sit in a bowl between the two boys and in one twin’s hand. A reference to the orchard in Clermont, New York, where the boys grew up, the peaches and pears that sit in a white bowl on a dark table provide a secondary point of focus that allows Phillips to negotiate the negative space between his two sitters. That the boys are identical twins is obvious; however, the artist shows his great skill in subtly differentiating their faces. As the viewer looks from one to the other, it becomes evident that Phillips took no shortcuts in rendering his two subjects in a precise and lifelike manner. Double portraits in Phillips’s hand are very rare, and his portrait of the Ten Broeck twins distinguishes itself as one of the most memorable and stunning of his output. $300,000-500,000

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14 Ammi Phillips (American, 1788-1865) Portrait of a Child in a Pink Dress Seated on a Red Cushion, with a Spaniel. Unsigned. Oil on canvas, 31 x 25 in., in original molded grain-painted wooden frame. Condition: Very minor scattered retouch. Provenance: The collection of Dean Nelson, Spruce Creek, Pennsylvania, acquired by Peter Tillou from a collection in State College, Pennsylvania. Literature: This portrait is illustrated and commented on in the Hudson Valley Regional Review, September, 1987, Volume 4, Number 2, in an article titled “Ammi Phillips’s Portraits with Animals,” by Leigh Rehner Jones and Shirley A. Mearns. They write: “Nineteen of the surviving portraits by Ammi Phillips depict animals, and these are some of the most appealing works by the Connecticut-born artist.” The work is illustrated on p. 74. Exhibitions: The Folk Art Museum, New York, and Williams Benson Museum, Storrs, Connecticut. Note: Painted during the Kent period in folk portraitist Ammi Phillips’s celebrated career, the portrait of a young boy in a pink dress with a spaniel displays the clarity of arrangement, style, and color for which Phillips is best known. This particular composition will be familiar to scholars and collectors, who have codified it in the informally named “red dress group,” a number of portraits that Phillips painted during the 1830s of young children in red dresses with pets.


Most of his subjects in that group are seated on the sort of fringed footstool on which this child perches, and while others wear coral beads, this sitter grasps a coral teething ring. In early America, coral of any sort was thought to hold protective properties and was often associated with the material culture of childhood. In this case, it also confirms the relative wealth and status of the sitter’s family, as such a ring would have been expensive and rather extravagant. Beyond representing parental concern and generosity, the perfectly round coral ring here serves to center the geometry of Phillips’s composition. It anchors a right triangle formed with the boy’s eyes and the dog’s eyes, as well as an inverted triangle formed by the bodice lines of the boy’s dress and the horizontal line of his shoulders. Phillips distills his subject here into a series of discrete shapes and fields of color, deepening from the salmon pink dress to the red footstool to the dark red pattern on the carpet and reddish-brown of the spaniel’s coat. Within this simplicity, though, Phillips includes a level of detail that is stunning. The embroidery of the dress is particularly fine and echoes textile details that Phillips includes in many of his portraits. Hints of the ingrain carpet pattern peek out from behind the spaniel’s tail and beneath the boy’s dress. With strong composition, bold color, and intricate detail, this childhood portrait stands among the finest of Ammi Phillips’ career. $200,000-300,000

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15 Ammi Phillips (American, 1788-1865) Pair of Portraits of a Young Man and Woman. Unsigned. Oil on canvas, 36 x 30 in., in later matching molded, gilded, and painted frames. Condition: The perimeter of the canvases have been lined and applied to later stretchers, minor retouch.


Note: The subjects in this pair of portraits may have resided in the Poughkeepsie, New York, area. In one of the portraits, the man is holding an issue of the Eagle, which was one of the newspapers published in Poughkeepsie, Dutchess County, at the time when Ammi Phillips was painting portraits in that area, c. 1836. $30,000-50,000

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16 American School, 19th Century Still Life with a Basket of Fruit, Flowers, and a Cornucopia. Unsigned, possibly the work of Joseph Proctor, who reportedly was a black artist working in New York in the mid19th century. Oil on canvas, 41 1/2 x 43 1/4 in., in original molded painted wood frame. Condition: Relined, scattered retouch to repaired tears, stable craquelure. Provenance: Formerly in the collection of the late James Mitchell, Atlanta, Georgia.


Literature: American Na誰ve Paintings, Deborah Chotner et al. (Washington, D.C.: National Gallery of Art, 1992), shows a similar still life gifted by Edgar William and Bernice Chrysler Garbisch (catalogue #1966.13.7, pp. 483-5). In the notes to the entry for that still life, the present lot is illustrated (as fig. 2) and discussed. According to Betty Bagshaw of Richard A. Bourne Co., Hyannisport, Massachusetts, where this painting was previously sold, a Connecticut collector contacted the auction house to tell them that she had a nearly identical painting, hers signed by a Joseph Proctor. The collector said that Proctor was a black artist living in New York City about 1860. $150,000-250,000

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17 Manner of Joseph Whiting Stock (Massachusetts, 1815-1855) Portrait of a Young Boy with His Hoop and Hat. Unsigned. Oil on canvas, 40 x 32 in., in a period molded giltwood frame. Condition: Relined, scattered retouch, stable craquelure. $10,000-15,000


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18 Attributed to Erastus Salisbury Field (American, 1805-1900) Portrait of a Woman Wearing a Red Shawl and Holding a Green Pocketbook. Unsigned. Oil on ticking-striped denim, 37 1/4 x 30 3/4 in., in a period mustard yellowpainted and molded wood frame. Condition: Patch repair l.c. on back of canvas, minor scattered retouch, stable craquelure. $2,500-3,500

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19 J. Howard Gilt Cast Zinc and Molded Copper “Index� Horse Weathervane, J. Howard & Co., West Bridgewater, Massachusetts, c. 1860, cast zinc frontal portion of the body with molded sheet copper mid- and hind sections, applied copper ears and corrugated tail, mounted on an iron strap base fastened with copper clips, weathered surface with remnants of yellow sizing and gilding, with metal stand, (lacking one ear, possible replaced tail, minor dents), overall ht. 20 1/4, lg. 24 in. Note: See Lot 3. $8,000-12,000


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20 Molded Copper Red-painted Cow Weathervane, attributed to Cushing & White, Waltham, Massachusetts, late 19th century, flattened full-body sheet copper figure with applied sheet copper ears, mounted on a copper rod, weathered red paint with evidence of earlier gilding, with wooden stand, (minor imperfections), overall ht. 25 1/2, lg. 39 1/2 in. Literature: See Steve Miller, The Art of the Weathervane (Pennsylvania: Schiffer Publishing Ltd., 1984), p. 46, picturing a similar cow vane attributed to the Cushing & White firm. $6,000-8,000

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21 Large Sheet Iron Leaping Reindeer Silhouette Weathervane, America, late 19th century, pieced, cut-out, sheet iron figure reinforced with riveted iron strapping, painted mustard yellow, the foliage painted green, (imperfections), ht. 68, lg. 103 1/2 in. $8,000-12,000

22 Molded Painted Copper Leaping Stag Weathervane, Cushing & White, Waltham, Massachusetts, late 19th century, full-body figure, the surface with vestiges of white paint, gilding, and yellow sizing, the copper mounting rod retains the oval copper manufacturer’s tag, impressed “CUSHING & WHITE WALTHAM MASS.,” accompanied by a wooden stand, (surface wear, solder repairs on back), ht. 25 3/4, lg. 29 1/2 in. Literature: A similar example of a leaping stag weathervane by Cushing & White is illustrated in Steve Miller, The Art of the Weathervane (Pennsylvania: Schiffer Publishing Ltd., 1984), p. 53. $5,000-7,000

End of The Andy Williams Collection


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Upon request, our staff will provide the list of shippers who deliver to destinations within the United States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute cancellation or delay in payment for the total purchase price of these lots. 9. All purchases are subject to the Massachusetts 6.25% sales tax unless the purchaser possesses a Massachusetts sales tax exemption number. Exemption numbers from other states are accepted in Massachusetts if presented with a business card or letterhead. Dealers, museums, and other qualifying parties can apply for a Massachusetts exemption number prior to the auction by contacting the Massachusetts Department of Corporations and Taxation at 100 Cambridge Street in Boston. 10. Except for property purchased via On-line Auctions, a premium equal to 20% of the final bid price up to and including $500,000, plus 12% of the final bid over $500,000, will be applied to each lot sold, to be paid by the Buyer as part of the purchase price. The buyer’s premium on property purchased via On-line Auctions will be in an amount up to 23% of the final bid price. 11. Bidding on any item indicates your acceptance of these terms and all other terms printed within, posted, and announced at the time of sale whether bidding in person, through a representative, by phone, by Internet, or other absentee bid. 12. Skinner, Inc. and its consignors make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Skinner, Inc. expressly reserves the right to reproduce any image of the lots sold in this catalog. The copyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of this catalog, is, and shall remain at all times, the property of Skinner, Inc. and shall not be used by the purchaser, nor by anyone else, without our prior written consent. 13. These conditions of sale shall be governed by the laws of the Commonwealth of Massachusetts (excluding the laws applicable to conflicts or choice of law). The buyer/bidder agrees that any suit for the enforcement of this agreement may be brought, and any action against Skinner in connection with the transactions contemplated by this agreement shall be brought, in the courts of the Commonwealth of Massachusetts or any federal court sitting therein. The bidder/buyer consents to the nonexclusive jurisdiction of such courts and waives objections that it may now or hereafter have to the venue of any such suit.


Revised December 17, 2012

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I wish to place the following bids in the sale listed above. I understand that Skinner, Inc. will execute bids as a convenience, and will not be held responsible for any errors or failure to execute bids. I understand that my bids are executed and accepted as per Conditions of Sale as printed in the catalog of this sale. Signature (Required)

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FOR OFFICE USE Marlborough



63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429




274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100


Board of Directors

Chairman of the Board - Nancy R. Skinner Richard Albright John Deighton Barnet Fain Stephen L. Fletcher Karen M. Keane Andrew Payne


President/Chief Executive Officer - Karen M. Keane Chief Financial Officer - Don Kelly Executive Vice President - Stephen L. Fletcher Vice Presidents - Eric Jones, Marie Keep, Gloria Lieberman, Carol McCaffrey, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr

Expert Departments

20th Century Design - Jane D. Prentiss Assistant: Shannon M. Ames American & European Paintings & Prints - Robin S.R. Starr Assistants: Kathy Wong, Elizabeth C. Haff, Annie Claflin American Furniture & Decorative Arts - Stephen L. Fletcher Deputy Director: Chris Barber; Assistants: Karen Langberg, Kelli Lucas Stewart American Indian & Ethnographic Art - Douglas Deihl Asian Works of Art - Judith Dowling Assistants: Karen Mak, Suhyung Kim Books & Manuscripts - Devon Gray Bottles, Flasks & Early Glass - Stephen L. Fletcher Ceramics - Stuart G. Slavid Classic Automobiles & Motorcycles - Jane D. Prentiss Couture - Cara Elmslie Discovery Auctions - Cara Elmslie Assistants: Garrett J. Sheahan, Melissa Riebe European Furniture & Decorative Arts - Stuart G. Slavid Assistants: Leah Kingman, Stephanie Opolski Fine Wines - Marie Keep Assistant: Michael J. Moser Historical Militaria - Joel Bohy Jewelry - Victoria Bratberg Assistants: John Colasacco, Julie Khouri Judaica - Kerry Shrives Musical Instruments - David Bonsey Deputy Director: Jill Arbetter Oriental Rugs & Carpets - Gary Richards Science, Technology & Clocks - Robert C. Cheney Assistant: Jonathan Dowling Silver - Stuart G. Slavid Toys & Dolls - Kerry Shrives Auctioneers - LaGina Austin, Chris Barber, Robert C. Cheney, John Colasacco, Stephen L. Fletcher, Karen M. Keane, Marie C. Keep, Gloria Lieberman, Jessica R. Lincoln, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr, Laura V. Sweeney

63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429 274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100 40

Exhibitions & Property Distribution

Finance Department


Service Departments

Marlborough: Warehouse Manager - Fred Trottier, 508.970.3261


Property Distribution Manager - Jessica R. Lincoln, 617.874.4308 Auction Coordinator - Benjamin Evans, 617.874.4329

Marlborough: Accounts Receivable - Denise Johnson, 508.970.3269 Accounts Payable, Consignment - Kathleen Hayes, 508.970.3268 Accounts Payable, Trade - Kevin Rota, 508.970.3283

Marlborough: Heather Retzke, 508.970.3240

Appraisal & Auction Services - LaGina Austin, Christine E. Finn, Hadley Bridgman, Rachel Kingsley Advertising Production - Pamela Van de Houten Boston Gallery Director - Laura V. Sweeney Assistant Gallery Director: Paige Lewellyn Gallery Assistant: Jessica Turner Catalog Production - Pamela Van de Houten, Kristina Harrison Consignment Services - Patricia Walker King, Megan J. Blomgren, Carol Zeigler Customer Relations - Carol McCaffrey Institutional Relations - L. Emerson Tuttle Human Resources - Carol McCaffrey Information Technology & Internet Auctions - Kerry Shrives Assistants: Timothy Shaughnessey, Melissa Riebe Managing Director - Marie C. Keep Marketing & Public Relations - Kate de Bethune, Kathryn Gargolinski, Heather Retzke Photographers - Stanley P. Bystrowski, Jeffrey R. Antkowiak, John Cornelius Receptionists - Marlborough: Kealyn Garner Boston: Sarah L. Collins Staff Portraits - Cheryl Richards Photography Transportation - Eric Jones Assistant: Mark McCaffrey


Directions to Skinner’s Boston Gallery/63 Park Plaza, Boston, MA 02116 617.350.5400 From the West: Take the Massachusetts Turnpike to the Prudential/Copley exit located in the Prudential tunnel. Once on the exit ramp, stay in the right hand lane and follow the signs for Copley. The ramp exits onto Stuart Street. Drive straight through five sets of lights and take a left onto Charles Street South. Take your first left off of Charles St. South onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.

From the South: Take 93-N to Exit 20 for I-90 W toward Worcester. Follow signs for Chinatown/South Station. Bear left at the fork to continue towards Kneeland Street. Turn left onto Kneeland Street. Kneeland Street becomes Stuart Street. Turn right onto Charles Street South. Turn left onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.

From Logan Airport: Take the Ted Williams Tunnel. Take Exit 25 toward South Boston and bear left at the fork in the ramp. Bear right onto B St. Turn left onto Northern Ave which becomes Seaport Blvd. Turn left onto Surface Rd. Turn right onto Kneeland Street which becomes Stuart Street. Turn right onto Charles Street South. Turn left onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.

From the North: Take I-93 South towards Boston. Take exit 26 towards Storrow Drive.  Merge onto MA-28 South via the ramp on the left. Turn left onto Beacon Street. Turn right onto Arlington Street. Turn left onto Boylston Street. Turn right onto Hadassah Way. Skinner is on the right at 63 Park Plaza.


Parking Indoor Parking Garages

Outdoor Parking Garages The Taj Hotel Parking Garage 2 Newbury Street Located three blocks from Skinner, valet drop-off and pick-up Up to 24 hrs/$42

City Place Parking Garage Transportation Building 12 Charles Street Located at the end of Park Plaza Underground multi-level garage All day–closes at 2:30 a.m. First hr/$5, after 2 hrs/$14 AllRight Parking Boston Common Garage Located on Charles Street, on the Common, two blocks from Skinner 1 hr/$6, up to 24 hrs/$25, Evenings (4pm-10am)/$10 The Four Seaons Hotel Parking Garage 200 Boylston Street Adjacent to Skinner, valet drop-off and pickup, up to 24 hrs/$30

Back Bay Garage 222 Berkeley Street (entrance off St. James) One block from Skinner All day/$35, evening (5pm-7am)/$10

Fairmont Copley Plaza 138 St. James Avenue Boston, MA 02116 Tel: 617.267.5300 Fax: 617.375.9648 Four Seasons 200 Boylston Street Boston, MA 02116 617.351.2036 The Liberty Hotel 215 Charles St. Boston, MA 02114 617.224.4000 Marriott Copley Place 110 Huntington Avenue Boston, MA 02116 Tel: 800.228-9290 Fax: 617.236.5885

Pin Stripe Parking Arlington Street 617.338.7984 All day/$14, after 6 p.m. and weekends/$10, overnight/$15 Billy’s Parking 222 Stuart Street 617.423.7781 8am-5pm/$18, after 5pm/$20

Motor Mart Garage 26 Park Plaza (Same building as Legal Sea Food) Up to 1 hr/$8, 1 to 2 hrs/$12, 2-3 hrs/$16, 3-12 hrs/$20, 12-24 hrs/$31, weekends up to 3 hrs/$8

Boston Hotels with Skinner Corporate Rates

Boston Hotels Boston Harbor Hotel 70 Rowe’s Wharf Boston, MA 02110 Tel: 800.654.2000 Fax: 617.345.6799

(recommended for trucks)

Nine Zero Hotel 90 Tremont St. Boston, MA 02108 617.772.5800

The Back Bay Hotel 350 Stuart Street Boston, MA 02116 1.877.587.9774

Eliot Hotel 370 Commonwealth Ave. Boston, MA 02215 617.267.1607

The Revere Hotel 200 Stuart Street Boston, MA 01740 Tel: 617-482-1800 Fax: 617-451-2750

Beacon Hill Hotel & Bistro 25 Charles Street Boston, MA 02114 617.723.7575

The Park Plaza 64 Arlington Street Boston, MA 02116 617. 426.2000

The Ritz-Carlton Boston Common 10 Avery Street Boston, MA 02111 Tel: 617.912.3315 Fax: 617.912.3375

The Colonnade 120 Huntington Avenue Boston, MA 02116 617.424.7000

Taj Boston 15 Arlington St. Boston, MA 02116 617.536.5700 Westin-Copley Plaza 10 Huntington Avenue Boston, MA 02116 Tel: 800.228.3000 Fax: 617.424.7483



Restaurants Fine Dining Dante Royal Sonesta Hotel 5 Cambridge Parkway 617.806.4200 Mediterranean restaurant with great views of the Charles River and Boston skyline.

Davio’s 75 Arlington St. 617.357.4810 Northern Italian steak house.

Grill 23 & Bar 161 Berkley Street (Stuart Street) 617.542.2255 Great steak, seafood, wine list, and service.

L’Espalier 774 Boylston St. 617.262.3023 Fine French dining and wines with a wonderful pre-fixe menu.

No. 9 Park 9 Park St. 617.742.9991 Barbara Lynch’s bistro showcases inspired French and Italian influenced food and wine on Beacon Hill.

Radius 85 High St. 617.426.1234 Features a modern French menu focusing on seasonal ingredients accompanied by a thoughtful wine list.

Scampo The Liberty Hotel 215 Charles St. 617.536.2100 Lydia Shire’s latest restaurant, featuring Italian fare produced in an open kitchen upstairs at the Liberty Hotel.


Summer Shack

140 Boylston St. 617.695.9463 French restaurant and wine bar perched at the edge of the Boston Common and the theatre district.

50 Dalton St. 617.867.9955 Jasper White serves seaside favorites in a casual Back Bay setting.

Via Matta 79 Park Plaza 617.422.0008 Elegant Italian fare and beautiful wines in a vibrant dining room—the best of Italy in Boston’s Back Bay creates an unforgettable experience.

Moderate Aquitaine 569 Tremont Street 617.424.8577 Parisian bistro-style fare.

The Bristol Lounge at Four Seasons Hotel 200 Boylston St. 617.338.4400 Breakfast, lunch, and dinner served in an elegant yet comfortable lounge setting with views of the Boston Public Garden.

East Ocean City 25-29 Beach St. 617.542.2504 Outstanding Chinese food restaurant highlighting seafood dishes with a full-service bar.

Lala Rokh on Beacon Hill 97 Mt. Vernon Street 617.720.5511 Authentic regional Persian cuisine, handselected wine list, knowledgeable waitstaff.

McCormick and Schmick’s Seafood Restaurant

Inexpensive Au Bon Pain 26 Park Plaza (across the street from Skinner) or 431 Boylston Street (at Berkeley Street) 617.338.8948 Casual café offers quick service.

Davio’s To Go 10 St. James Galleria Atrium 617.357.4810 Casual Italian take-out lunch spot with daily special pastas, soups, and salads.

Flash’s 310 Stuart St. 617.574.8888 American comfort food served with classic cocktails in a casual setting.

Parish Café 361 Boylston St. 617.247.4777 American restaurant with seasonal outdoor seating features sandwiches created by renowned local chefs.

Piattini 226 Newbury Street 617.536.2020 Italian wine bar with an eclectic menu; specializes in Italian-style tapas.

The Upper Crust 20 Charles Street 617.723.9600 Gourmet thin-crust pizza.

36 Columbus Ave 617.482.3999 Fresh seafood offerings that change daily.



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