SCULPTURAL FANTASY

NEW YORK | 10 OCTOBER 2019 

The Important American Folk Art Collection 

of Stephen and Petra Levin


of Stephen and Petra Levin

THIS PAGE 

LOT 70 (DETAIL)


of Stephen and Petra Levin 

AUCTION IN NEW YORK 

10 OCTOBER 2019 

SALE N10091 AT 10 AM 

ALL EXHIBITIONS FREE 

AND OPEN TO THE PUBLIC 

Sunday 6 October 

1 pm-5 pm 

Monday 7 October 

10 am-5 pm 

Tuesday 8 October 

10 am-5 pm 

Wednesday 9 October 

10 am-5 pm 

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New York, NY 10021 

+1 212 606 7000 

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Purchasers may pay for and pick up their purchases at 

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on the day of each respective auction. After this time, sold 

and unsold property considered oversized or monumental 

will be transferred to our offsite facility, Crozier Fine 

Arts, One Star Ledger Plaza, 69 Court Street, Newark, 

New Jersey 07102. Once property has been transferred 

from our York Avenue location, it will not be available for 

collection at Crozier Fine Arts for two business days. 

Crozier’s hours of operation for collection are from 9:00 

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THIS PAGE 

LOT 72

SPECIALISTS AND AUCTION ENQUIRIES 

For further information on lots in this auction please contact any of the specialists listed below. 

SALE NUMBER 

N10091 “VERMONT” 

BIDS DEPARTMENT 

+1 212 606 7414 

fax +1 212 606 7016 

bids.newyork@sothebys.com 

Erik Gronning 

Head of Department 

Americana 

+1 212 606 7130 

erik.gronning@sothebys.com 

Telephone bid requests should 

be received 24 hours prior 

to the sale. This service is 

offered for lots with a low estimate 

of $5,000 and above. 

SALE ADMINISTRATOR 

Sarah Goslin 

sarah.goslin@sothebys.com 

+1 212 606 7130 

fax +1 212 606 7018 

Sarah Goslin 

Senior Administrator 

Americana & Ceramics 

+1 212 606 7130 

sarah.goslin@sothebys.com 

POST SALE SERVICES 

Ashlyn Michalakis 

Post Sale Manager 

ashlyn.michalakis@sothebys.com 

FOR PAYMENT, DELIVERY 

AND COLLECTION 

+1 212 606 7444 

fax +1 212 606 7043 

uspostsaleservices@sothebys.com 

CATALOGUE PRICE 

$45 at the gallery 

FOR SUBSCRIPTIONS CALL 

+1 212 606 7000 USA 

+44 (0)20 7293 5000 

for UK & Europe 

Christina Prescott-Walker 

Division Director 

Decorative Arts 

+1 212 606 7332 

christina.prescott-walker@sothebys.com

THIS PAGE 

LOT 230

CONTENTS 

3 

AUCTION INFORMATION 

5 

SPECIALISTS AND AUCTION ENQUIRIES 

8 

SCULPTURAL FANTASY: 

THE IMPORTANT AMERICAN FOLK ART COLLECTION OF 

STEPHEN AND PETRA LEVIN: LOTS 1–242 

246 

HOW TO BID 

247 

CONDITIONS OF SALE 

248 

TERMS OF GUARANTEE 

ADDITIONAL TERMS AND CONDITIONS 

FOR LIVE ONLINE BIDDING 

249 

BUYING AT AUCTION 

251 

SELLING AT AUCTION 

SOTHEBY’S SERVICES 

INFORMATION ON SALES AND USE TAX 

252 

IMPORTANT NOTICES

1 

VERY FINE AND RARE MOLDED 

FULL BODIED SHEET COPPER 

LEAPING STAG WEATHERVANE, 

HARRIS & CO., BOSTON, 

MASSACHUSETTS, CIRCA 1880 

lacking cross bar. 

Height 27 ¾ in. by Length 26 ½ in. by 

Depth 11 ¾ in. 

PROVENANCE 

David Wheatcroft Antiques, Westborough, 

Massachusetts. 

$ 50,000-80,000 

8 SOTHEBY’S THE IMPORTANT AMERICAN FOLK ART COLLECTION OF STEPHEN AND PETRA LEVIN

1 

9

2 

EXCEPTIONAL MOLDED FULL 

BODIED SHEET COPPER AND 

ZINC COW WEATHERVANE, 

FISKE AND CO., NEW YORK, 

CIRCA 1895 

Height 34 in. by Length 48 in. by Width 9 ½ in. 

PROVENANCE 

Giampietro American Folk Art, New Haven, 

Connecticut. 

$ 20,000-30,000 

2 


3 

VERY FINE AND RARE 

CARVED FULL BODIED PINE 

HORSE WEATHERVANE, 

NORTHEASTERN UNITED 

STATES, LATE 19TH CENTURY 

Height 20 in. by Length 38 in. by Depth 3 in. 

PROVENANCE 


Connecticut. 

The vane likely depicting the figure of the 

famous 19 th Century racehorse, Ethan Allen, 

in full gallop with outstretched tail. 

$ 30,000-50,000 

3 

11

4 

VERY FINE MOLDED SHEET 

COPPER AND ZINC HORSE 

AND RIDER WEATHERVANE, 


Height 27 ½ in. by Width 28 ¼ in. 

PROVENANCE 

Hill Gallery, Birmingham, Michigan. 

This horse and rider vane was probably 

intended to represent a formally dressed 

equestrian training his mount in the classical 

art of dressage. Although the maker of this 

vane has not been identified, similar vanes 

were made by several manufacturers in the 

Boston area in the 1850s and ‘60s. 

$ 25,000-50,000 

4 


5 

FINE AND RARE MOLDED 

GILT SHEET COPPER AND 

ZINC ‘ARCHER’ CENTAUR 

WEATHERVANE, A.L. JEWELL & 

CO. (1852-1867), WALTHAM, 


Height 32 in. by Width 38 in. by Depth 6 in. 

PROVENANCE 

Hill Gallery, Birmingham, Michigan; 


Connecticut. 

$ 30,000-50,000 

Several other ‘Archer’ centaur weathervanes 

have survived, suggesting that the subject 

was fairly popular in the second half of the 

nineteenth century. An example by the same 

maker is in the collection of the Shelburne 

Museum in Shelburne, Vermont. 

Half man and half horse, the mythological 

centaur personifies man’s dual nature. 

Embodying the conflict between instinct and 

intellect, he epitomizes masculine strength 

and aggression while at the same time he 

possesses divine wisdom and knowledge. In 

ancient Greece, the most celebrated centaur 

was Chiron, a great and wise teacher who 

had himself been instructed by Apollo and 

Artemis. As a constellation and the ninth sign 

of the zodiac, he is Sagittarius. 

This centaur was probably made by 

A.L. Jewell & Company. An innovator in 

the development and marketing of threedimensional 

copper weathervanes, Alvin L. 

Jewell founded his company in Waltham, 

Massachusetts, in 1852. In addition to 

creating many distinctive designs, he seems 

to have been the first to issue illustrated 

price lists for mail orders. Although he died 

prematurely, in June 1867, his business 

practices provided a model for many of the 

weathervane makers who followed him. The 

attribution of this weathervane and similar 

examples is complicated by the fact that 

Jewell was succeeded by Cushing & White 

in 1867, which became L.W. Cushing & Sons 

in 1872. The Cushing Company continued to 

produce weathervanes from Jewell’s patterns 

while also creating new types. 

5 

13

6 

VERY RARE CARVED FULL 

BODIED WOODEN HORSE 

WEATHERVANE, PROBABLY 

NEW ENGLAND, CIRCA 1860 

Height 11 ½ in. by Length 16 in. by Width 3 in. 

PROVENANCE 

Harvey Kahn; 

Allan Katz, Woodbridge, Connecticut. 

LITERATURE 

Marian Klamkin and Charles Klamkin, Wood 

Carvings: North American Folk Sculptures, 

(New York: Hawthorn Books, 1974), p. 49; 

Frank Maresca and Roger Ricco, American 

Vernacular: New Discoveries in Folk, Self- 

Taught, and Outsider Sculpture, (Boston: 

Little, Brown, 2002), p. 280. 

$ 4,000-8,000 

6 


7 

VERY FINE AND RARE CARVED 

AND GREEN PAINTED 

PINE RUNNING HOUND 

WEATHERVANE, MAINE, LATE 

19TH CENTURY 


Depth 1½ in. 

PROVENANCE 

Found in Maine; 

Frank Maresca, New York; 

Blumert-Fiore Collection; 

Ricco Maresca, New York. 

LITERATURE 

Roger Ricco and Frank Maresca, American 

Primitive: Discoveries in Folk Sculpture, (New 

York: Alfred A. Knopf, 1988), p. 109, fig. 142. 

$ 30,000-50,000 

7 

15

8 

CAST ZINC TENNIS PLAYER 

WEATHERVANE MOLD, J.L. 

MOTT IRON WORKS (1876- 

1902), CHICAGO, ILLINOIS, 

CIRCA 1893 

Height 33 in. by Width 16 in. 

PROVENANCE 


Connecticut. 

$ 3,000-5,000 

9 

RARE CARVED AND PAINTED 

WHITE PINE SWORDFISH 

WEATHERVANE, NEW 

ENGLAND, EARLY 20TH 

CENTURY 

Height 10 in. by Length 78 ¾ in. 

PROVENANCE 

Found on Casco Bay Island, Maine; 

James D. Julia Auctions, Fairfield, Maine, 

August 25, 2010, lot 2048. 

$ 600-800 

8 

9 


10 


MOLDED FULL BODIED SHEET 

COPPER EAGLE WITH QUILL 

WEATHERVANE, J.W. FISKE 

AND CO., NEW YORK, 

CIRCA 1885 

Height 27 in. by Length 43 in. by Depth 

30 ½ in. 

PROVENANCE 


Connecticut. 

$ 15,000-25,000 

10 

17

LOT 11

11 

HIGHLY IMPORTANT MOLDED FULL 

BODIED SHEET COPPER ANGEL 

GABRIEL WEATHERVANE, POSSIBLY 

MOTT CO., CHICAGO, ILLINOIS, 

CIRCA 1872 

verdigis surface retains traces of its original gold leaf and 

paint sizing. 

Height 36 ½ in. by Length 65 in. by Width 8 ¾ in. 

PROVENANCE 

Made for the Christian Chapel in Franklin, Ohio when it was 

constructed in 1872; 

Giampietro American Folk Art, New Haven, Connecticut. 

LITERATURE 

R. Scudder Smith, “Angel Gabriel Weathervane Comes Down 

To Earth,” Antiques and the Arts Weekly, February 8, 2011. 

$ 300,000-500,000 

The Gabriel Weathervane, also known as “Fame,” is 

considered the most desirable and rare form in the 

iconography of American weathervanes. This figure 

embodies the transcendence of Heaven upon the 

mortal earth. 

The specifics of the sculptural figure declare its unique 

and original interpretation, one that transcends the category 

of weathervanes. The beautiful weathered surface, combined 

with the artist’s aesthetic decisions, create a serendipity of 

nature and man, further extending the elegance and mystery 

of this masterful and unique American weathervane. 

Weathervanes depicting the trumpeting Angel Gabriel, 

which combined Biblical references to the Annunciation and 

the Last Judgment, topped a number of American churches. 

The earliest Gabriel weathervanes were flat silhouettes, cut 

and wrought from sheets of iron such as lot 15. This vane’s 

bold three-dimensional form and patina set it apart. 

As recorded in Luke 1:26, Gabriel was the angel “sent 

from God” to inform the Virgin Mary that she “shalt conceive 

in thy womb, and bring forth a son, and shalt call his name 

JESUS…And he shall reign over the house of Jacob for ever; 

and of his kingdom there shall be no end.” While trumpeting 

angels are mentioned in the Bible, Gabriel is not identified as 

one of them, and the first English mention of Gabriel blowing 

a trumpet is in John Milton’s Paradise Lost. 

21

12 

VERY RARE CARVED PINE AND 

SHEET COPPER WHALE AND 

SEA CAPTAIN WEATHERVANE, 

WESTPORT, MASSACHUSETTS, 

CIRCA 1850 

finial comprises a sheet copper ship’s captain 

standing on a four-draw telescope standard. 


PROVENANCE 

Made for Captain Peleg Cornell of Westport, 

Massachusetts; 

Sotheby’s, New York, The Barbara Johnson 

Whaling Collection, Part I, December 11-12, 

1981, lot 311; 


Connecticut. 

LITERATURE 


Vernacular (Boston: Bulfinch Press, Little, 

Brown and Company, 2002), pp. 276 

(frontispiece) and pp. 290. 

Sperm whales, immortalized in the character 

of Herman Melville’s Moby Dick, are the 

largest toothed predator of modern oceans 

and have the largest brain of any creature 

that has ever lived. They were highly sought 

by New England whalers, both for their oily 

blubber and spermaceti, a pearly white liquid 

wax found in their heads, which is prized 

for its ability to make superior candles and 

lubricants. This unique vane, which accurately 

portrays a sperm whale and the tools of a 

captain who sought these leviathans, was 

clearly made by someone with intimate 

knowledge of both these remarkable 

mammals and the whaling trade. 

$ 40,000-60,000 

12 

22 SOTHEBY’S

13 


MOLDED FULL BODIED SHEET 

COPPER AND ZINC NATIVE 

AMERICAN WEATHERVANE, 

CIRCA 1920 

Height 44 ½ in. by Length 49 ½ in. by 

Depth 2 in. 

PROVENANCE 

Northeast Auctions, Portsmouth, 

New Hampshire, August 1, 2004, lot 1177. 

$ 10,000-15,000 

13 

23

14 


MOLDED FULL BODIED 

SHEET COPPER AND ZINC 

STANDING FEMALE GOLFER 

WEATHERVANE, CIRCA 1900 

Height 44 in. by Width 38½ in. by Depth 15 in. 

PROVENANCE 

Alice M. Kaplan, New York; 



LITERATURE 

Steve Miller, The Art of the Weathervane, 

(Exton, PA: Schiffer Pub., 1984), p. 150. 

Golf did not flourish in America until the late 

1800s, and women quickly followed men into 

the game. The Shinnecock Hills Golf Club 

on Long Island opened its doors to women 

in 1891, the first women’s club was formed 

in 1894 at the Morris County Golf Club in 

New Jersey, and the first women’s USGA 

tournament was held in 1895 at Meadow 

Brook Club in Jericho, New York. This unique 

vane probably represents an early female golf 

champion, perhaps Margaret or Harriot [sic] 

Curtis-the Serena and Venus Williams of their 

day-who competed against each other and 

dominated women’s golf in the early years of 

the twentieth century. 

$ 180,000-250,000 

14 

24 

SOTHEBY’S

25


LOT 15 

27

15 

HIGHLY IMPORTANT AND 

EXCEPTIONAL ‘CROWN POINT- 

OLD GABRIEL’ WROUGHT 

SHEET IRON ANGEL GABRIEL 

WEATHERVANE, ATTRIBUTED 

TO WILLIAM HENRY FORSTER, 

CROWN POINT, NEW YORK, 

MADE IN 1822 


Depth 14 in. 

$ 750,000-1,000,000 

PROVENANCE 

White Church, Crown Point, New York; 


Connecticut. 

EXHIBITED 

Shelburne, Vermont, The Shelburne Museum, 

Silhouettes in the Sky: The Art of the 

Weathervane, 2006. 

LITERATURE 

Randall Beach, “Stolen off a church, Gabriel 

weather vane surfaces after 15 years,” New 

Haven Register, July 3, 2005; 

“Silhouettes in the Sky,” Antiques and the Arts 

Weekly, June 13, 2006; 

Bethany Kosmider, “Historic weather vane 

sold,” Press-Republican, December 19, 2007; 

Lita Solis-Cohen, “Angel Gabriel Weathervane, 

Made by Blacksmith in 1822, Sold,” Maine 

Antique Digest, March 18, 2008 

David Smith, “Gabriel Weathervane Sells 

Privately In Seven-Figure Deal,” The Newtown 

Bee, March 20, 2008, p. 66; 

Bethany Kosmider, “Weathervane returns to 

Crown Point church,” The Sun, June 10, 2009. 


This iconic, nearly 200 year old, American 

weathervane, made of hand-hammered sheet 

iron into the figure of the Angel Gabriel blowing 

his trumpet, originally flew over the White 

Church in Crown Point, New York, built in 1822. 

It is composed of several wrought sheets of 

sheet iron manufactured in a mine and foundry 

in Crown Point, New York that produced iron 

used in the creation of the U.S.S. Monitor and 

the creation of the Brooklyn Bridge several 

decades later. 

Gabriel, one of the seven archangels, is the 

herald proclaiming the coming of the Messiah 

– here with flowing and extended lines. During 

the 1820’s, America was gripped by a spiritual 

revival known as the Second Great Awakening 

which stressed personal vision and salvation 

through Divine Grace – it was period of great 

religiosity in America. 

The weathervane flew atop the first White 

Church until the church was dismantled and a 

new church built in its spot in 1883. The vane 

flew again for sixty years before the second 

White church was struck by lightening and 

burned to the ground. The Gabriel vane was 

pulled from the ashes unscathed and placed 

in a barn for safe keeping until the third white 

church was completed on Memorial Day 1946. 

Shockingly this highly historical vane was stolen 

from White Church III on November 11, 2003. 

Remarkably it was subsequently found and 

brought back to the church in 2005. 

This sale marks the next step of this highly 

important historical American artifact. 

29

16 

VERY FINE MOLDED FULL 

BODIED GILT SHEET COPPER 

AND ZINC HACKNEY HORSE 

WEATHERVANE, DUBUQUE, 

IOWA, CIRCA 1880 


PROVENANCE 

originally was placed on a barn owned by Russel 

J. Mulgreu of Dubuque, Iowa; 

removed to the Farber Family coach house in 

Dubuque, Iowa; 


The hackney horse originated in lateeighteenth-century 

England and became 

popular as a driving horse in the nineteenth 

century, when roads improved and light 

carriages replaced coaches pulled by heavier 

horses. Hackneys, which were known for their 

high-stepping gait, proved to be strong and 

graceful trotters, capable of covering sixty miles 

in a day, and many boatloads of the breed were 

shipped to the US in the late-nineteenth and 

early-twentieth-centuries. 

$ 20,000-30,000 

16 


17 

VERY RARE SHEET IRON SEA 

CAPTAIN WEATHERVANE, 

PROBABLY MASSACHUSETTS, 

CIRCA 1900 

Height 31 ¼ in. by Length 30 in. 

PROVENANCE 


Connecticut. 

$ 6,000-8,000 

18 

FINE AND RARE LARGE GILT 

MOLDED FULL-BODIED SHEET 

COPPER EAGLE WEATHERVANE, 

NEW ENGLAND, 19TH 

CENTURY 

together with monumental stand. 


PROVENANCE 

Marna Anderson, New Paltz, New York. 

$ 4,000-6,000 

17 

18 

31

19 

19 

FINE AMERICAN GILT 

MOLDED FULL-BODIED SHEET 

COPPER AND ZINC COW 

WEATHERVANE, CIRCA 1870 

Height 24 in. by Length 37 ½ in. by Width 7 in. 

PROVENANCE 

Judith and James Milne, Inc., American 

Country & Garden Antiques, New York. 

$ 5,000-10,000 


20 

20 

FINE AND RARE MOLDED 

FULL-BODIED SHEET COPPER 

AND ZINC GRASSHOPPER 

WEATHERVANE, E.G. 

WASHBURNE & COMPANY, 

NEW YORK, CIRCA 1915 

Height 17 in. by Length 39 in. by Width 8 in. 

PROVENANCE 


Connecticut. 

$ 25,000-50,000 

33

21 

VERY FINE AND RARE GILT 

MOLDED SHEET COPPER 

AND ZINC FIRE PUMPER 

AND HORSE WEATHERVANE, 

B. HARRIS & CO, BOSTON, 


Stamped B Harris & Co. 

Height 26 ½ in. by Width 48 in. by Depth 9 in. 

PROVENANCE 

Michael & Sally Whittemore, Punta Gorda, 

Florida. 

$ 40,000-60,000 

21 


22 

EXCEPTIONAL ‘FRIENDSHIP 

ENGINE HOUSE’ POLYCHROME 

PAINT-DECORATED SHEET AND 

WROUGHT IRON FIREMAN 

WEATHERVANE, ALEXANDRIA, 

VIRGINIA, CIRCA 1850 

Height 52 ½ in. by Width 35 in. 

PROVENANCE 

Friendship Engine House, Alexandria, Virginia; 

Harden de V. Pratt, Rhode Island and Virginia, 

1930; 

George Considine, Massachusetts; 

Sotheby’s, New York, Important American Folk 

Art from The Collection of the late Bernard M. 

Barenholtz, January 27, 1990, sale 5969, 

lot 1507; 

America Hurrah, New York; 

Private Collection, New York; 

Olde Hope Antiques Inc., New Hope, 

Pennsylvania. 

22 

LITERATURE 

Jean Lipman, American Folk Art in Wood, Metal 

and Stone (New York: Pantheon Press, 1948), 

fig. 49; 

Robert Bishop, American Folk Sculpture (New 

York: E.P. Dutton, 1974), p. 266, fig. 495; 

Maine Antique Digest: The Americana 

Chronicles, 30 Years of Stories, Sales, 

Personalities, and Scandals, ed. Lita Solis- 

Cohen, (Philadelphia: Running Press, 2004), 

p. 211-5. 

$ 60,000-80,000 

35

23 

VERY FINE MOLDED SHEET 

COPPER AND ZING HORNED 

RAM WEATHERVANE, L.W. 

CUSHING & SONS (1865-1933), 

WALTHAM, MASSACHUSETTS, 

CIRCA 1880 

Height 22 in. by Width 26 ½ in. by Depth 4 ¾ in. 

PROVENANCE 


$ 25,000-30,000 

23 


24 


SHEET COPPER ‘NORTH WIND’ 

WEATHERVANE, A.B. & W.T. 

WESTERVELT, NEW YORK, 

CIRCA 1883 


PROVENANCE 

Ronald and Penny Dionne, Willington, 

Connecticut; 


Connecticut. 

A. B. & W. T. Westervelt, located on Chambers 

Street in New York, advertised themselves 

as “Manufacturers of iron, brass and copper 

work. Railings, Grates, Guards, Grilles, Weather 

Vanes, Crosses, Crestings, Finials, Fountains, 

Vases, Statuary, Bedsteads, Lightning Rods. 

Iron, Brass and Nickel Stable Fittings. Fireproof 

Book Shelving. Each class of goods in a 

separate Catalogue.” The company featured 

this “NEW DESIGN BANNERET” in its 122-page 

1883 catalog of “weather vanes, bannerets, and 

finials”, where an eight -foot long version was 

priced at $180. 

24 

$ 30,000-50,000 

37

25 


FULL-BODIED SHEET COPPER 

AND ZINC GODDESS OF 

LIBERTY WEATHERVANE, 

NORTHEASTERN UNITED 

STATES, CIRCA 1915 

Height 50 in. by Width 37 ½ in. by 3 ¾ in. 

PROVENANCE 

Primrose Farm, Armonk, New York; 


Connecticut. 

$ 80,000-120,000 

25 

39

26 

26 

ODD FELLOWS GAVEL, 

SPEARFISH, SOUTH DAKOTA 

LODGE, LATE 19TH CENTURY 

symbols include all-seeing eye of God, a heartin-hand, 

and a three link chain. Inscribed FAITH, 

LOVE, CHARITY on side, and FAITH, LOVE, 

TRUTH on opposing. 

Height 4 ¼ in. by Length 15 ¼ in. by Depth 2 in. 

PROVENANCE 

Urban Country, Venice, California. 

$ 600-800 

27 

CARVED AND PAINTED ODD 

FELLOWS CEREMONIAL SNAKE 

STAFF, CIRCA 1890 

Height 65 ½ in. 

PROVENANCE 

Alan Katz, Woodbridge, Connecticut. 

$ 4,000-6,000 

27 


28 29 

28 

ODD FELLOWS CARVED AND 

PAINTED WOOD CEREMONIAL 

HEART-IN-HAND STAFF, 

CIRCA 1890 

Height 68 in. 

PROVENANCE 


$ 4,000-6,000 

29 

VERY RARE ODD FELLOWS 

CARVED AND PAINTED 

CEREMONIAL HEART-IN-HAND 

STAFF, FLORIDA, CIRCA 1890 

depicts an African-American hand with a relief 

carved heart. 

Length 48 in. 

PROVENANCE 


Connecticut. 

LITERATURE 



Taught, and Outsider Sculpture, (New York: 

Bulfinch Press, 2002), p. 177. 

This apparently unique staff was found in an 

African-American Odd Fellows lodge hall in 

Florida. 

$ 1,500-2,500 

41

30 

VERY RARE ODD FELLOWS 

FRATERNAL LODGE GOAT, 

INDIANA, CIRCA 1890 

Carved wood head with marble glass eyes, 

horsehair beard and goat antlers, leather and 

wood 

Height 50½ in. by Width 52 in. by Depth 11 ½ in. 

PROVENANCE 


LITERATURE 


Vernacular: New Discoveries in folk, Self- 


Bulfinch Press, 2002), p. 53. 

The myth that fraternal lodge members had 

to ride a live goat during Satanic initiation 

rites was first broached in attacks on the Odd 

Fellows published in the 1840s. However, 

by the time this singular beast was made, 

the idea of goat riding had become an inside 

joke embraced by a number of American 

organizations, including the Odd Fellows, 

Freemasons, and Modern Woodsmen of 

America, and fraternal supply companies 

offered a variety of unbalanced wheeled 

mechanical goats used in boisterous lodge 

pranks. 

This unique handmade example is 

far more realistic and complex than the 

manufactured pieces, which were usually no 

more than a fur-upholstered seat and toylike 

goat’s head mounted on a wobbly tricycle 

frame. 

◉ $ 5,000-8,000 

30 


31 

RARE MASONIC ROUND 

STAINED GLASS WINDOW, 

19TH CENTURY 

with “Eye of God” motif. currently electrified. 

Diameter 22 in.; Depth 2 in. 

PROVENANCE 

Midwest Masonic Lodge; 

David Bell Arts & Antiques, Washington, DC. 

$ 2,000-3,000 

32 

CARVED AND POLYCHROME 

PAINT-DECORATED 

MECHANICAL EAGLE PUSH 

TOY, LATE 19TH OR EARLY 

20TH CENTURY 

31 


$ 800-1,200 

32 

43

33 


FOLDING HORSE CHESTNUT 

CAMP STOOL, HOSEA 

HAYDEN (1820-1897), UNION 

COUNTY, INDIANA, 1894 

33 

Inscribed with art work, poems and 

philosophical sayings. Dated May, A D 1894. 

Inscribed on reverse of back support: Question. 

dose indivdual mind exist after the individual 

body is decomposed. If the answer be yes or no, 

then give evidence why 

Crest rail: Heuueii, Grover le 

Seat: Cupids darts hits the majority, sign reads 

Seacrofs 10 miles 

Underside of seat: Pa Pa, mother, quick, / on 

a limb, Spots, / up a tree. Pa, quick. / mother 

mebby be / killed. hurry Pa Pa. 

Other side of underside of seat: Be-jabers / I 

have / ye now 

Rear leg: Freedom is heaven, Heaven is made 

by doing unto others as you would have them do 

unto you / Tyrany is hell. Hell is made by doing 

unto others as you would not permit others to 

do unto you. 

Proper left leg: Henry Burgh inaugurated 

the Humane Society / Hoping to obliterate 

torture of animals / Burg was the greatest 

phylanthropist of the day in which he lived. 

Back leg: Seeking knowledge and Native 

american 

Back support: Amongst many isms panthe-ism 

most logical 

Height 26 ¼ in. by Width 9 ¾ in. by Depth 18 in. 

PROVENANCE 

Garth’s Auction Inc., Delaware, Ohio, 

November 27, 2004, lot 507; 


For related folding chairs see Angie Mills, 

“Homilies to Sit Upon,” Folk Art Magazine, Fall 

1994, pp. 44-7 and Stacy C. Hollander and 

Brook Davis Anderson, American Anthem: 

Masterworks from the American Folk Art 

Museum, (New York: Harry Abrams, 2001), 

p. 147 and 350, fig. 129. 

$ 2,000-3,000 

34 

CAST IRON MAN WITH TOP 

COAT 

Height 8 ¼ in. by Width 3 ½ in. by 


34 

$ 600-800 


35 

RARE POLYCHROME 

PAINT-DECORATED PINE 

TOBACCONIST INDIAN TRADE 

FIGURE, NORTHEASTERN 

UNITED STATES, CIRCA 1890 

The flat, thick board is cut out depicting a native 

American. 

Height 67 ¼ in. by Width 20 ¾ in. 

PROVENANCE 


Connecticut. 

$ 6,000-8,000 

35 

36 

FINE AND RARE CARVED 

AND POLYCHROME PAINT- 

DECORATED PINE COMICAL 

TOBACCONIST BUST TRADE 

FIGURE, ATTRIBUTED TO THE 

SAMUEL ROBB WORKSHOP, 


cigar is replaced. 


PROVENANCE 


Connecticut. 

$ 6,000-12,000 

36 

45

37 

AMERICAN CARVED WOOD 

FIGURAL PIPE OF NAPOLEON 

BONAPARTE, 19TH CENTURY 

appears to retain its original surface. 

Height 21 ¾ in. by Width 3 ¼ in. by Depth 4 in. 

PROVENANCE 

Austin T. Miller American Antiques Inc., 

Columbus, Ohio. 

LITERATURE 

Austin T. Miller American Antiques Inc. 

Catalogue Volume X, p. 36. 

$ 4,000-6,000 

37 

38 


AMERICAN CARVED AND 

POLYCHROME PAINT- 

DECORATED WOOD ‘SEA 

CAPTAIN’ TOBACCO PIPE, 

CIRCA 1850 

sea captain in acrobatic form with hinged legs. 

Height 6 in. by Width 4 ½ in. by Depth 2 ¼ in. 

PROVENANCE 


Connecticut. 

38 

$ 6,000-12,000 


39 

EXCEPTIONAL CARVED 

BOXWOOD AND REPOUSSE 

METAL-MOUNTED 

MEERSCHAUM PIPE TRADE 

SIGN, WILLIAM DEMUTH 

COMPANY, NEW YORK, 

CIRCA 1880 

Height 9 ½ in. by Width 5 ⅝ in. by 

Depth 12 ¼ in. 

PROVENANCE 

Family of William Demuth (1835-1911); 

Museum of Tobacco Art & History, Nashville, 

Tennessee; 


LITERATURE 

Catalogue of the Museum of Tobacco Art & 

History, (Nashville, TN: Museum of Tobacco Art 

& History, 1996), p. 29. 

$ 30,000-50,000 

39 

47

40 

EXCEPTIONAL CARVED AND 

PAINTED WOOD AND IRON 

WHIRLIGIG SCULPTURE OF 

A MAN IN LONG JOHNS, 

PENNSYLVANIA, CIRCA 1900 

with original paddle arms. 

Height 55 ½ in. by Width 14 ¾ in. by 

Depth 6 ½ in. 

PROVENANCE 


$ 40,000-60,000 

40 

48 SOTHEBY’S

41 


PAINTED PINE WHIMSY 

CARVING OF MEN, AMERICAN, 

CIRCA 1865 

Height 13 ¾ in. by Width 3 ½ in. by Depth 3 ½ in. 

PROVENANCE 

Allan Katz, Woodbridge, Connecticut, August 5, 

2009 

LITERATURE 

Marian Klamkin and Charles Klamkin, Wood 

Carvings, North American Folk Sculptures (New 

York: Hawthorn Books, 1974), p. 183. 

$ 8,000-12,000 

41 

42 



DECORATED PINE VICTORIAN 

WHIMSY OF A MAN SEATED 

ON A COILED GREEN SNAKE, 

LATE 19TH CENTURY OR EARLY 

20TH CENTURY 

Height 15 in. by Width 4 ½ in. by Depth 4 ½ in. 

PROVENANCE 

Stephen Score, Inc., Boston, Massachusetts. 

LITERATURE 

Stephen Score Inc. advertisement, Catalogue 

of Antiques & Fine Art, Autumn/Winter 2005, 

pp 22-3. 

$ 5,000-8,000 

42 

49

43 

FINE AND RARE AMERICAN 

CARVED AND PAINTED PINE 

SOLDIER WHIRLIGIG, 

CIRCA 1890 

Height 30 ½ in. by Width 7 ¼ in. by Depth 3 in. 

PROVENANCE 

Skinner, Inc., Boston, Massachusetts, 

American Furniture & Decorative Arts, 

November 5, 2006, sale 2337, lot 400; 


Connecticut. 

$ 10,000-15,000 

44 

CARVED AND PAINTED PINE 

POLICEMAN WHIRLYGIG, 

AMERICAN, CIRCA 1900 

With handled bar mustache and navy blue 

uniform. 

Height 13 ¾ in. by Width 3 ¾ in. by 

Depth 2 ⅜ in. 

43 

$ 8,000-12,000 

44 


45 




DECORATED WHIRLIGIG OF 

A WHALEMAN, LATE 19TH 

CENTURY 

appears to retain its original paint. 

Height 21 ½ in. by Depth 21 in. by Width 5 ¼ in. 

PROVENANCE 

Hyland Granby Antiques, Hyannis Port, 


LITERATURE 




Little, Brown, 2002). p. 295. 

At the figure’s left side below his jacket is a 

red and black painted cloth with macrame 

ends. Whalemen sailors used this depicted 

cloth to wipe whale oil grease from their 

hands. 

$ 15,000-30,000 

45 

46 



PAINTED WOOD INDIAN 

CHIEF WHIRLIGIG, LATE 19TH 

CENTURY 

Painted wood and tin with applied mixed 

metals. 

Height 23 in. by Width 5 ¼ in. by Depth 5 ½ in. 

PROVENANCE 


Connecticut. 

A very closely related example sold at 

Sotheby’s, New York, Important American Folk 

Art from the Collection of the Late Bernard M. 

Barenholtz, January 27, 1990, sale 5969, 

lot 1744. 

$ 20,000-30,000 

46 

51

47 

VERY RARE CARVED AND PAINTED 

PINE WHIRLIGIG OF A MAN WITH A 

BOWLER HAT, LATE 19TH OR EARLY 

20TH CENTURY 

Height 23 ½ in. by Width 12 in. by Depth 4 ¾ in. 

PROVENANCE 


LITERATURE 

Roger Ricco and Frank Maresca with Julia Weissman, 

American Primitive: Discoveries in Folk Sculpture, (New 

York: Knopf, 1988), p. 130, fig. 177. 

$ 25,000-50,000 

47 


48 

FINE AND RARE CARVED AND 

POLYCHROME PAINT-DECORATED 

PINE POLICEMAN WHIRLIGIG, 


With display base. 

Height 33 ½ in. by Width 7 in. by Depth 6 ⅛ in. 

PROVENANCE 

Steve Miller, New York; 

Wilson Folk Art, West Chester, Pennsylvania. 

LITERATURE 

Roger Ricco, Frank Maresca; with Julia Weissma, American 

Primitive: Discoveries in Folk Sculpture, (New York: Knopf, 

1988), no. 176. 

$ 6,000-12,000 

49 


PAINT-DECORATED PINE ‘DANDY’ 

WHIRLIGIG, CIRCA 1910 

mounted on an iron rod, including paddle, with stand. 

Height 29 ½ in. by Width 8 ½ in. by Depth 2 ¾ in. 

48 

PROVENANCE 

George Schoellkopf, Washington, Connecticut; 

Skinner Inc., Bolton, Massachusetts, The Folk Art 

Collection of Ken and Brenda Fritz, February 24, 2001, 

sale 2052, lot 78.; 

Skinner Inc., Marlborough, Massachusetts, American 

Furniture and Decorative Arts, August 12, 2012, sale 

2608M, lot 239. 

$ 4,000-6,000 

49 

53

Interior of John Haley Bellamy’s workshop showing eagle. 

50 

IMPORTANT CARVED AND 


DECORATED SPREAD-WINGED 

AMERICAN EAGLE WITH 

DRAPED FLAGS AND SHIELD, 

JOHN HALEY BELLAMY (1836- 

1914), KITTERY POINT, MAINE, 

CIRCA 1900 

appears to retain all of its original paint. 

Height 30 by Width 26 by Depth 8 in. 

PROVENANCE 

Hyland Granby Antiques, Hyannis, 


EXHIBITED 

Portsmouth, New Hampshire, Portsmouth 

Museum, American Eagle, The Bold and Brash 

Life of John Haley Bellamy, April 3 - October 3, 

2014. 

LITERATURE 

Yvonne Brault Smith, John Haley Bellamy 

Carver of Eagles (Portsmouth Marine Society, 

Publication 1, 1982), p. 36; 

William L. Hamilton, “For Antiques An Anxious 

Season,” The New York Times, November 8, 

2001, p. D1; 

The Catalogue of Antiques & Fine Art, Vol. 111, 

No. 1, January 2002 (cover); 

Deborah Harding, Stars and Strips, (New York: 

Rizzoli, 2002), pp. frontispiece, 208-9; 

James A. Craig, American Eagle: The Bold 

Art and Brash Life of John Haley Bellamy 

(Portsmouth, NH: Portsmouth Marine Society, 

Publication Number 34, 2014), pp. 84-85, 

figs. 6.9-6.11. 

This remarkable American eagle stands as 

one of the supreme masterpieces of John 

Haley Bellamy’s oeuvre. James Craig stated 

the following: “It is an extremely rare bird. It is 

the only known example of this particular type 

of eagle that Bellamy crafted which is still in 

existence. A far more complicated piece than his 

usual two-foot eagles. He probably made only 

a few dozen of these, at the most, throughout 

the entirely of his career. Having studied this 

piece firsthand extensively, I can tell you that 

it is 100% Bellamy’s handiwork with no other 

hands present, save for the possible exception of 

an apprentice who did the initial outline cuts on 

the blocks of wood that eventually became this 

piece. It is a first-rate creation.” 

$ 50,000-100,000 


50 

55

51 


51 

VERY FINE AND RARE CARVED PINE 

SPREAD WING AMERICAN EAGLE, 

JOHN HALEY BELLAMY (1836-1914), 

KITTERY POINT, MAINE, CIRCA 1880 

inscribed on sphere J. Bellamy. 

Height 37 ¼ in.by Width 63 in. by Depth 22 in. 

PROVENANCE 


LITERATURE 

James A. Craig, American Eagle, The Bold Art and Brash 

Life of John Haley Bellamy (Portsmouth Marine Society, 

Publication Number 34, 2014), pp. 84-85, figs. 6.9-6.10, 

6.11. 

$ 30,000-50,000 

57

52 

52 

VERY FINE AMERICAN CARVED 

ROSEWOOD REVOLUTIONARY WAR 

TROPHY FRAME, CIRCA 1876 

adorned with dragoon helmets, bugles, drums, shields, 

anchors and cannon; crested with an American eagle and 

shield. 


PROVENANCE 

Sotheby’s, New York, The Bill Blass Collection, October 21, 

2003, sale 7928, lot 666; 

Kahn Fine Antiques, Chatham, Massachusetts. 

Ornately decorated with carved patriotic and Revolutionary 

War symbols such as weapons, military accouterments, 

flags, banners, and an American eagle and serpent, this is 

one of the most elaborately carved centennial folk art frames 

known. It was likely created for the 1876 centennial when 

celebratory events occurred across the nation. 

$ 8,000-12,000 


53 

53 

VERY FINE AND RARE LARGE 

CARVED AND BROWN PAINTED PINE 

SPREAD-WINGED AMERICAN EAGLE 

CLUTCHING A BEAVER WALL PLAQUE, 

NEW YORK OR NEW ENGLAND, 

CIRCA 1850 

Height 36 in. by Length 73 in. by Depth 7 in. 

PROVENANCE 

Peter H. Tillou, Litchfield, Connecticut. 

$ 30,000-50,000 

59

54 

54 


GILTWOOD SPREAD-WINGED 

AMERICAN EAGLE, ATTRIBUTED TO 

WILLIAM RUSH, PHILADELPHIA, 


Height 11 ¾ in. by 37 ½ by Depth 18 in. 

PROVENANCE 

John Walton, Griswold, Connecticut; 

Boston, Massachusetts collection; 

The Hill Gallery, Birmingham, Michigan; 


$ 40,000-60,000 


61

55 

55 

VERY FINE CARVED GILTWOOD 

SPREAD-WINGED AMERICAN 

EAGLE CLUTCHING A SNAKE 

WALL PLAQUE, CIRCA 1800 

snake symbolizes Justice and Tyranny. Appears 

to retain its original gilt surface. 

Height 15 ½ in. by Width 30 ½ in. by Depth 8 ½ in. 

PROVENANCE 

John Tucker collection; 


$ 5,000-7,000 


56 

56 


PATRIOTIC CARVED AND 

GILTWOOD SPREAD- 

WINGED AMERICAN EAGLE 

WITH PAINTED SEASCAPE 

BACKGROUND WALL PLAQUE, 

POSSIBLY JOSEPH MASON 

(JOHN WILLIAMS) (ABT. 1780) 

AND WILLIAM HENRY COFFIN 

(1812-1898), PROBABLY 

NANTUCKET, MASSACHUSETTS, 

CIRCA 1850 

Signed J. Williams, carpenter and W.H. Coffin, 

painter 

Height 25 ½ in. by Width 49 in. by Depth 3 ¼ in. 

PROVENANCE 


This remarkable patriotic American Eagle wall 

plaque maybe the product of the free slave 

tradesman, Joseph Mason, who was born into 

an enslaved Maryland family and escaped from 

the Peters of Georgetown, DC in about 1823. 

He landed in Nantucket where he assumed 

the name John Williams out of fear of being 

recaptured. The artist is likely William Henry 

Coffin who was the son of William Coffin, Jr. 

who advertised art instruction in the Nantucker 

Inquirer (1824-1828). He lived on Nantucket 

Island until c. 1863. For additional information 

on Joseph Mason see Michael R. Harrison, 

Collecting Nantucket: Artifacts from an Island 

Community, (Nantucket, MA: Nantucket 

Historical Association, 2018), pp. 20-1. A closely 

related wall plaque was sold at Northeast 

Auctions, Portsmouth, New Hampshire, The 

Dingman Collection, October 27-28, 2018, 

lot 58. 

$ 25,000-50,000 

63

57 

57 

VERY FINE LARGE CARVED 

GILTWOOD SPREAD-WINGED 

‘SUNBURST’ AMERICAN 

EAGLE WALL PLAQUE, 

LATE 19TH CENTURY 

Height 34 in. by Width 103 ½ in. 

PROVENANCE 

Northeast Auctions, Portsmouth, New 

Hampshire, Important Marine & China Trade, 

Fine & Decorative Arts, August 17-18, 2002, 

lot 1013; 



$ 25,000-35,000 


58 

58 

EXCEPTIONAL LARGE CARVED 


DECORATED PINE SPREAD- 

WINGED ‘SUNBURST’ 

AMERICAN EAGLE WALL 

PLAQUE, QUINCY, 



PROVENANCE 

Was discovered in a small attic space below 

the ridge line of a home built in 1904 in 

Hough’s Neck, Massachusetts. Hough’s Neck 

is a peninsula between Quincy and Hingham 

Bay; 


$ 50,000-100,000 

65

59 

EXCEPTIONAL POLYCHROME 

PAINT-DECORATED WOODEN 

CIVIL WAR PARADE DRUM, 

WILLIAM BRIDGET, BELFAST, 

MAINE, CIRCA 1860 

inscribed William Bridget, Maker and Painter, 

Belfast, Maine. 

Width 22 ¼ in. by Diameter 35 ¾ in. 

PROVENANCE 


EXHIBITED 

San Diego, California, Mingei Museum, 

American Expressions of Liberty, 1996, 

pp. 62-3. 

LITERATURE 

Lita Solis-Cohen, “The Philadelphia Antiques 

Show,” Maine Antique Digest, July 2008. 

$ 40,000-60,000 

59 

67

60 

RARE CARVED, PARCEL 

GILT, AND POLYCHROME 

PAINT-DECORATED WOOD 

COMMEMORATIVE NATIONAL 

SEAL FOR PRESIDENT 

THEODORE ROOSEVELT, 

EARLY 20TH CENTURY 

With standing bears holding an American shield 

with thirteen stars and laurel wreath with ribbon. 

Height 43 in. by Length 24 in. 

PROVENANCE 

Port ‘N Starboard Gallery, Falmouth, Maine. 

$ 5,000-8,000 

60 


61 

VERY FINE CARVED AND 


DECORATED WOOD 

CENTENNIAL SPREAD-WINGED 

AMERICAN EAGLE WITH SHIELD 

WALL PLAQUE, CIRCA 1840 

Height 21 ½ in. Width 18 in. by Depth 3 ½ in. 

PROVENANCE 


$ 5,000-8,000 

62 

VERY RARE CAST AND 


DECORATED ZINC SPREAD- 

WINGED AMERICANA EAGLE 

WITH PATRIOTIC THEME, 

CIRCA 1880 

61 


PROVENANCE 



$ 10,000-15,000 

62 

69

63 

THIRTEEN-STAR AMERICAN 

NATIONAL PARADE FLAG, 

CIRCA 1876-98 


PROVENANCE 

Jeff Bridgman American Antiques, Mansfield, 

Pennsylvania. 

$ 800-1,200 

64 

63 

THIRTY-FOUR STAR AMERICAN 

NATIONAL PARADE FLAG, 

1861-1863 

in a gilded 19th century frame. 


PROVENANCE 

Jeff Bridgeman American Antiques, York Co., 

Pennsylvania. 

$ 2,000-3,000 

65 

FRENCH CAST BRASS SIGNAL 

CANNON, CIRCA 1825 

carriage with original paint decoration. 

Height 7 in. by Width 9 in. by Depth 17 ¼ in. 

PROVENANCE 

Steve Tyng, Pleasant Bay Antiques, South 

Orleans, Massachusetts. 

64 

$ 800-1,200 

65 


66 

SEVENTEEN STAR FOLK ART 

AMERICAN FLAG 

Made circa 1854, commemorating Thomas 

Jefferson’s signing of an act of Congress 

approving Ohio’s boundaries and constitution on 

February 19, 1803. 

Height 37 ½ by Width 42 in. 

PROVENANCE 

Sotheby’s, New York, The American Flag 

Collection of Thomas S. Connelly, May 23, 

2002, lot 99. 

This flag was flown during the Civil War from a 

ship whose sailors were most likely from Ohio. 

$ 15,000-30,000 

67 

AMERICAN CENTENNIAL FLAG, 

CIRCA 1876 

Red, white and blue bunting, canton with the 

dates 1776 and 1876. 


66 

$ 1,500-2,500 

67 

71

68 


AMERICAN POLYCHROME 

PAINT-DECORATED PATRIOTIC 

TIN SHIELD, CIRCA 1876 

Inscribed VIRTUE, LIBERTY, AND 

INDEPENDENCE. 


PROVENANCE 

RJG Antiques, Rye, New Hampshire. 

$ 4,000-6,000 

69 

BRASS TELESCOPE WITH 

PAINTED FLAG MOTIF ON 

LEATHER, LATE 19TH CENTURY 

Length 20 ¼ in. 

$ 200-300 

68 

69 


70 

70 

IMPORTANT GEORGE 

WASHINGTON MEMORIAL 

PIECED AND EMBROIDERED 

SILK AND VELVET TAPESTRY, 


inscribed GEORGE WASHINGTON 1789 L.P. 

NORTON 1889 A HARRISON 1889 

Height 59 by Width 88 in. 

PROVENANCE 


Connecticut. 

Republicans Benjamin Harrison and Levi 

P. Norton are shown here flanking George 

Washington. The two politicians campaigned for 

protective tariffs and defeated the incumbent 

Grover Cleveland in the presidential campaign 

of 1888. They lost the popular vote by 90,000 

ballots but won the heavily populated industrial 

states of New York, Pennsylvania, Ohio, and 

Illinois to carry the Electoral College 233 to 168. 

Harrison was called the Centennial President 

because his inauguration the following year 

coincided with the anniversary of George 

Washington’s first inauguration in 1789. 

$ 20,000-30,000 

73

DETAILS OF LOT 71

71 

RARE AND IMPORTANT 



TOBACCONIST TRADE FIGURE 

DEPICTING A THEATRICAL 

FIGURE, POSSIBLY THE WORK 

OF WILLIAM DEMUTH OR 

SAMUEL ROBB, PROBABLY 


standing in an erect pose with arms crossed 

at her chest, she wears belted pantaloons with 

tasseled sides. 

Height 62 ½ in. by Width 18 in. by Depth 17 ¼ in. 

PROVENANCE 

William Greenspon, New York; 

Fred Giampietro; 

Rob and Michelle Wyles; 


Connecticut. 

LITERATURE 

Frederick Fried, Artists in Wood: American 

Carvers of Cigar-Store Indians, Show Figures, 

and Circus Wagons, (New York: Bramhall 

House, 1970), back cover and col. fig. 6; 

Ralph Sessions, The Shipcarvers’ Art: 

Figureheads and Cigar-Store Indians in 

Nineteenth-Century America, (Princeton, NJ: 

Princeton University Press, 2005), p. 147, pl. 88. 

$ 200,000-300,000 


71 

79

72 




RACETRACK TOUT TRADE 

FIGURE, ATTRIBUTED TO 

CHARLES PARKER DOWLER 

(1841–1941), PROVIDENCE, 

RHODE ISLAND, CIRCA 1880 

Depicting a man in top hat and tails standing on 

an integral base. 


PROVENANCE 


Connecticut. 

$ 300,000-500,000 


72 

81

72

Dowler was born in Birmingham, England, 

and immigrated to the United States in 1863 

as a gunsmith. After the Civil War’s end, he 

became a sculptor and woodcarver. Industries 

and Wealth of the Principal Points in Rhode 

Island, 1892, states that his “operations 

consist largely in carvings, modeling and 

chiseling in plaster; executing any kind of 

design for interior and exterior decorations; 

also models for monumental workers or 

stone workers to copy from.” Today he is 

best known for the Collyer Monument in 

Pawtucket, Rhode Island, and the John Sparks 

Monument in Bristol, Rhode Island. His house, 

the Charles Dowler House, is listed on the 

National Register of Historic Places. 

A Rhode Island sculptor, woodcarver, 

and decorative carver, Charles Parker Dowler 

lived and worked in Providence. A 1980 report 

by the Rhode Island Historical Preservation 

and Heritage Commission identifies Dowler 

as a gunsmith who arrived in Providence in 

1863 from Birmingham, England, to produce 

arms for the American Civil War. An entry in 

Industries and Wealth of the Principal Points 

in Rhode Island, dated 1892, lists Dowler as a 

sculptor with twenty-seven years of practical 

experience, and with studios on the third floor 

at 45 Eddy Street in Providence. The entry 

characterized him as “the olde established 

sculptor in Rhode Island,” whose “operations 

consist largely in carvings, modeling and 

chiseling in plaster; executing any kind of 

design for interior and exterior decorations; 

also models for monumental workers or stone 

workers to copy from.” An extant visiting 

card reads: “Charles Dowler, Carver and 

Modeler. Ornamental Designer. All kinds of 

carving for furniture and house in the latest 

style of the Art. Modelling of centers, and all 

kinds of Stucco work. No. 49 Peck Street, 

Providence.” 

Dowler is also known for the decorative 

carvings he produced for Providence’s 

“Narragansett Hotel, inside and outside.” His 

acclaimed wood and plaster carvings were 

also prevalent in his residential architectural, 

decorative, and construction commissions, 

produced for both himself as well as several 

owners of Providence’s most notable 

mansions. In 1867 he designed and built in 

Providence his first home, at 83 Camden 

Street, and, in 1872, his next home, at 581 

Smith Street, which was highlighted by “richly 

detailed exterior articulation, including fishscale 

shingling on the roof, incised Eastlake 

detailing on the dormers, an oculus window 

in the mansard, imaginative Corinthian 

colonettes on the porch.” A home designed 

and built by Dowler for Charles Kelly in 1875 

sported a gable roof, two-bay facade, hooded 

entrance, and a “diamond-pattern jig saw 

cornice,” with “bold hoods over the side and 

attic windows.” By the end of the nineteenth 

century he advertised himself as a “designer 

of interior and exterior decorations, models 

for monumental works, and patterns for 

jewelry.” Upon Dowler’s retirement at the age 

of seventy-eight, in 1919, he took up painting. 

In the folk art field, Dowler is recognized 

as a woodcarver of shop figures, particularly 

“Dudes” or “Sporting Dudes,” also referred 

to as “Race Track Touts,” takers or fixers of 

gambling bets. Only one confirmed carving 

of a tout by Dowler, owned by a Connecticut 

collector in 1937, is known. It was the basis 

for a 1937 rendering in the Index of American 

Design, the federal art project begun in 1935 

by the Works Progress Administration that 

published this visual archive of 1,900 pieces 

of American folk art. Boldly painted, the 

tout’s features and costume are meticulously 

carved. It portrays a young, mustachioed gent 

sporting a top hat, wearing a high collared 

shirt and girded in tight pants and jacket, with 

his right hand jauntily inserted in his right 

pocket and his left hand raised as if holding a 

lighted cigarette or cigar, with other smokes 

apparent in his left breast pocket. Incorrect 

Dowler shop-figure attributions have resulted 

from a misleading caption attached to a 

photograph of a racetrack tout, purporting to 

be a Dowler, in Frederick Fried’s (1908–1994) 

book, Artists in Wood. 

83

73

73 



DECORATED TOBACCONIST 

‘INDIAN PRINCESS’ TRADE 

FIGURE, ATTRIBUTED TO THE 

SHOP OF SAMUEL ANDERSON 

ROBB (1851-1928), NEW YORK, 

CIRCA 1880 

appears to retain a majority of its original painted 

surface. 


PROVENANCE 


$ 60,000-120,000 

73 

85

74 



DECORATED TOBACCONIST 

‘INDIAN WARRIOR’ TRADE 

FIGURE, THOMAS BROOKS 

(1811-1887), NEW YORK, 

CIRCA 1860 


PROVENANCE 

Allan Katz, Woodbridge, Connecticut; 

Allan Stone, Rye, New York; 

Christie’s, New York, The Collection of Allan 

Stone, November 12, 2007, lot 621. 

Thomas V. Brooks (1828–1895), who was one 

of the most important New York carvers of the 

mid and late-nineteenth-century, was born in 

New York City and apprenticed to the ship and 

figure carver John Cromwell (1805–1873) as 

a young boy. In 1848, Brooks opened his own 

shop on South Street, and, as the shipping 

business waned, began specializing in shop and 

show figures, in what members of the trade 

came to call “the image business.” In turn, 

Brooks is believed to have mentored Samuel 

Anderson Robb (1851–1928), who became 

the most successful of all New York figure 

carvers in the later years of the nineteenth 

century. By 1860, Brooks had six employees 

and an inventory of 100 figures, and an 1872 

advertisement lists him as “Show Figure and 

Ornamental Carver…75 to 100 figures always 

on hand.” 

This imposing six-foot, nine-inch figure is 

typical of the raw, powerful work attributed 

to Brooks. Because many of his figures were 

oversized, he adopted a solution similar to 

what Michelangelo employed in his “David,” 

supporting part of the statue’s weight with a 

carved tree stump. 

$ 75,000-125,000 


74 

87

75 


AND PAINT DECORATED TEA 

SHOP TRADE FIGURE WITH 

TEA BOXES, AMERICAN OR 

ENGLISH, 19TH CENTURY 

figure holding in each hand a chain and tray 

supporting a tea box. hat and hair are likely 

replacements. 


PROVENANCE 

Murray Blackman, Bryn Mawr, Pennsylvania. 

$ 75,000-125,000 


75 

89

76 



DECORATED PINE TEA SHOP 

TRADE FIGURE, PROBABLY 


appears to retain its original paint decorated 

surface. 

Height 61 ¼ in. by Width 23 in. by Depth 17 ½ in. 

PROVENANCE 


$ 30,000-50,000 


76 

91

77 



DECORATED PINE SCULPTURE 

OF A STANDING RACE TRACK 

TOUT, CIRCA 1870 



PROVENANCE 

Electra Havemeyer Webb (1888-1960); 

J. Watson Webb, Jr., Los Angeles, California, 

Shelburne Museum director (1960-1977); 

Peter H. Tillou - Works of Art, Litchfield, 

Connecticut. 

LITERATURE 

Peter Tillou advertisement, The Catalogue of 

Antiques & Fine Art, Summer 2005, p. 2. 

$ 40,000-80,000 


77 

93

78 


PAINTED PINE TOBACCONIST 

STORE FIGURE OF A 

POLICEMAN OR SOLDIER, 



PROVENANCE 


$ 75,000-125,000 

78 

95

79 




TOBACCONIST TRADE FIGURE 

OF A TURK, ATTRIBUTED TO 

SAMUEL ANDERSON ROBB 

(1851-1928), NEW YORK, 

CIRCA 1880 

depicting a monumental Turk figure holding 

tobacco in his left hand and supporting his metal 

and wood pipe with his right hand. 


PROVENANCE 


Connecticut. 

EXHIBITED 

New York, Museum of American Folk Art, The 

Image Business, 1997; 

Sandwich, Massachusetts, Heritage Plantation, 

The Image Business, 1997; 

Baltimore, Maryland, Baltimore Museum of Art, 

The Image Business, 1998. 

$ 300,000-500,000 

79 


97

80 

VERY RARE POLYCHROME 

PAINT-DECORATED CAST 

ZINC TOBACCONIST ‘RISING 

STAR’ TRADE FIGURE, 

ATTRIBUTED TO WILLIAM 

DEMUTH (1835-1911), 


in “theatrical attire” with draped skirt and high 

button shoes. Base inscribed 1860. 

Three feathers restored. 


Depth 20 in. 

PROVENANCE 

Allan Katz, Woodbridge, Connecticut 

LITERATURE 

An example is pictured in Illustrated Catalogue 

of Smokers’ Articles and Show Figures, 

Manufactured and Imported by Wm. Demuth 

& Co., 1875, no. 62. A facsimile is reproduced 

by Frederick Fried in Artists in Wood: 

American Carvers of Cigar-Store Indians, 

Show Figures, and Circus Wagons, (New York: 

Bramhall House, 1970), p. 48, fig. 31. 

William Demuth, a German immigrant who 

became one of America’s largest and most 

successful distributors of tobacco, pipes, 

and trade figures, claimed that his cast zinc 

figures were superior to wooden pieces that 

cracked “from exposure to climatic changes.” 

This rare figure, depicting a Native American 

woman dressed in a provocatively short, 

patriotically colored costume and buttoned, 

high-topped boots rather than traditional 

Indian garb, may represent a stage performer. 

She is pictured in Demuth’s 1875 catalog of 

thirty tobacconist figures and originally sold 

for $65.00. Samuel Robb, who worked for 

Demuth before he opened his own shop, is 

believed to have carved the model for this 

piece. 

$ 30,000-50,000 

80 


81 




TOBACCONIST’S COUNTER 

TOP TRADE FIGURE 

DEPICTING A SULTANA, 

ATTRIBUTED TO WILLIAM 

DEMUTH (1835-1911), NEW 

YORK, CIRCA 1880 

Height 20 ¾ in. by Width 14 in. by Depth 11 in. 

PROVENANCE 


Connecticut. 

$ 30,000-50,000 

81 

99

82 




TOBACCONIST TRADE 

FIGURE IN THE FORM OF A 

NATIVE AMERICAN PRINCESS, 

ATTRIBUTED TO SAMUEL 

ANDERSON ROBB 

(1851-1928), NEW YORK, 

CIRCA 1880 

Height of figure: 45 ½ inches 

Height including base: 75 ½ inches 

PROVENANCE 


$ 30,000-50,000 

82 


83 




TOBACCONIST WALL 

MOUNTED NATIVE AMERICAN 

TRADE FIGURE, CIRCA 1880 


PROVENANCE 


Connecticut 

$ 20,000-40,000 

83 

101


84 

VERY FINE AND RARE CAST 

AND POLYCHROME PAINTED 

ZINC ‘GODDESS OF LIBERTY’, 

J.L. MOTT IRON WORKS, 

NEW YORK OR CHICAGO, 

CIRCA 1875 

this example likely once held a sword. 

Height 73 by Width 30 in. 

PROVENANCE 

Charles Wilson Folk Art, West Chester, 

Pennsylvania. 

Libertas, the Roman goddess of freedom, 

was adopted as a symbol by American 

revolutionaries such as Paul Revere and 

Thomas Paine and became one of this 

country’s most enduring symbols, depicted on 

currency and stamps as well as in paintings and 

sculptures. A 19½-foot tall bronze sculpture 

of Freedom was placed on top the dome of the 

US Capitol in 1863, and she found her ultimate 

expression in Frederic-Auguste Bartholdi’s 

151–foot tall Statue of Liberty, erected in New 

York Harbor in 1886. Statues of the Goddess 

of Liberty were very popular in the second half 

of the nineteenth century, and every American 

purveyor of metal statuary offered one or two 

variations on the theme, which were placed 

inside and outside patriotic and fraternal 

organizations, in public buildings, and used as 

ornaments on the pilothouses of ferries and 

steamboats. J. L. Mott introduced its six-foot, 

four-inch Goddess in 1871, which sold for $180. 

$ 50,000-70,000 

84 

103

85 

85 



DECORATED WOODEN HATTER 

TRADE SIGN, PROBABLY NEW 

ENGLAND, CIRCA 1830 

depicting three different hats, each positioned 

different with drape and swag motif above, along 

the bottom edge in chrome yellow block lettering 

GW Jackson. 

Height 25 ½ in. by Length 28 in. 

PROVENANCE 


Connecticut. 

$ 15,000-30,000 


86 

FINE PAINTED PINE AND 

WROUGHT IRON SIGN, NEW 


inscribed C.CHIPMAN’S INN. 

Height 42 ½ in. by Width 51 ½ in. 

$ 2,000-3,000 

87 


AND PAINTED GUNSMITH’S 

TRADE SIGN, ENGLAND, 

CIRCA 1870 

Height 8 in. by Length 100 in. by Depth 4 ½ in. 

PROVENANCE 

Robert Young Antiques, London. 

$ 3,000-5,000 

86 

87 

105

88 

VERY RARE AND HISTORIC 

PAINTED PINE ‘CROCODILE’ 

TAVERN SIGN, G. D. WITTS 

INN, KINGSTON, NEW YORK, 

CIRCA 1800 

original paint on pine with original wrought 

iron hanging brackets. Inscribed CROCODILE 

G.D.WITTS INN. 

Height 22 in by Width 39 in. 

PROVENANCE 

JMW Auction Gallery, Rosendale, New York, 

October 30, 2004; 

Jack Whistance, Kingston, New York; 


Connecticut. 

LITERATURE 

Lita Solis-Cohen, “Crocodile Inn Sign Sells for 

$247,500,” Maine Antique Digest, December 

2004; 

“Top 100 Treasures”, Art & Antiques, 

November 2005. 

$ 40,000-80,000 

More than 200 years ago, the painted wooden 

sign announcing Garret DeWitt’s Crocodile 

Inn hung in front of the DeWitt family home 

just south of Kingston, New York, on the 

road leading from the village of Hurley to 

the DeWitt gristmill on the Greenkill. The 

mill which was located immediately across 

the road from the house, was an important 

resource for Ulster County both before and 

after the Revolution. This mill had the special 

distinction of supplying critical food supplies 

to General Washington’s troops during the 

Revolution, particularly during the difficult 

winter at Valley Forge. 

The remarkable story of this tavern sign 

starts with the obvious care and creativity that 

went into the construction and decoration, 

both of which remain in untouched original 

condition to this day. The playful and folky 

rendition of the crocodile is pure delight. 

Its dog-like legs look as if they could cover 

ground quickly. The attached hand wrought 

iron hardware is elegant in its simplicity and 

its finishing touches. On the less weathered 

side, the painted colors, green for the ground, 

blue for the sky, and reddish brown for the 

crocodile, remain vivid. The neat lettering is 

still distinct, both the black “Crocodile” and 

the gold “G.D. Witt’s Inn” which still retains 

some of its original gilt. The side which faced 

the weather displays what Jack liked to call 

“sculpting by Mother Nature.” The wood has 

been differentially weathered depending on 

the type and amount of paint, resulting in a 

relief effect on the crocodile image. 

It might at first strike one as curious that 

a crocodile was used as the logo and name 

for an early American inn, especially one so 

remote from the crocodile’s natural habitat. 

A little research reveals that as far back as 

the 17 th century in Holland, a stuffed crocodile 

was the traditional symbol for the apothecary 

which often doubled as a secretive drinking 

establishment. 1 Considering the Dutch origins 

of the DeWitt family and the association of 

the inn with sociable drinking, it is to our 

considerable delight but little surprise that Mr. 

DeWitt chose the crocodile for his inn’s sign. 

The sign, after being hung in front of the 

inn for a number of years, was brought into 

the house for safekeeping. In 1911 the Olde 

Ulster magazine wrote, “The quaint sign, 

bearing the picture of a crocodile, is preserved 

at the house, which was called ‘The Crocodile 

Tavern’.” 2 Another direct reference to the sign 

is in a 1929 book Dutch Houses in the Hudson 

Valley Before 1776: “In the attic in 1925 was 

still preserved a painted signboard, exhibiting 

a crocodile in the center between the words: 

Crocodile (above) and G. DeWitt’s Inn (below), 

the sign being a reminder of the period when 

the road past the house was on the stage-route 

between Kingston and Ellenville.” 3 

In 1911 the house was still in the DeWitt 

family and owned by Charles Richard DeWitt, 

a grandson of Garret. By 1925 it was owned 

by Charles’ son Richard Ten Eyck DeWitt. In a 

fortunate twist of fate, the sign was removed 

from the house within the next five years 

to the house of another local DeWitt family 

member. This was indeed fortunate because 

the original Crocodile Inn house burned in 

1930. In 1935, the New York State Education 

Department placed historical markers at the 

site of the Crocodile Inn and at the site of 

DeWitt’s grist mill across the road. The road is 

still known today as DeWitt Mills Road. 

The first time the Crocodile Inn sign 

was offered for sale was in October 2004 at 

JMW Auctions, Inc., in Rosendale, NY, just 

a few miles down the road from where the 

sign had hung 200 years before. There it was 

won by a thrilled Mr. Whistance. Jack always 

felt privileged to own this amazing survivor 

which so charmingly evokes our ancestors’ 

way of life and represents a place that played 

an important role in our republic’s earliest 

history. 

This brings us to the second part of our 

story which is actually a flashback to colonial 

times - how it came about that the DeWitt 

home, the home that was to become the 

Crocodile Inn, and its associated gristmill 

played a part in the American colonies’ 

successful revolt against British domination. 

The House, the Mill, and the DeWitt Family 

In 1736, Johannes DeWitt, whose great 

grandfather had emigrated from the 

Netherlands to New Netherlands (later New 

York) in 1657, built a stone house in the Dutch 

style along the road leading from Kingston to 

Hurley. Johannes’ son, Col. Charles DeWitt, 

built a grist mill on the Greenkill creek across 

the road from the house. This mill was a 

landmark until it was succeeded in 1849 by a 

new mill-building. Col. Charles was the father 

of Garret DeWitt who converted the family 

homestead to the Crocodile Inn. 

Charles was considered to be Ulster 

County’s leading statesman of the 


88 

revolutionary war period. He was colonel 

of a regiment of minutemen at the opening 

of the war. His list of influential political 

positions is a long one: Colonial Assembly, 

1768-75; Provincial Convention, 1775; 

Provincial Congress, 1776-7; voting to ratify 

the Declaration of Independence for New 

York; First Convention of State of New York 

and committee which framed the state 

constitution; Council of Safety, 1777, which 

was responsible for governing New York 

after the state constitution was approved 

but before a Governor and Legislature were 

selected; Continental Congress, 1784; State 

Assembly 1781-5, and 1787. 4 Following 

Charles, three other DeWitt family members 

became Ulster County’s representatives in 

Congress, and eight others represented the 

county in the state legislature. 5 

A Gathering Place 

Col. DeWitt’s home and mill were frequented 

by many prominent men of the time - John 

Jay, once governor of New York and Chief 

Justice of the United States; Col. DeWitt’s 

intimate friends Chancellor Robert R. 

Livingston and Robert’s brother Philip 

Livingston, a signer of the Declaration of 

Independence; and Governor George Clinton, 

who sat on the Provincial Assembly and 

Congress with Col. DeWitt. The DeWitt home 

was often selected by the “Committee for 

Detecting and Defeating Conspiracies against 

the Liberties of America” as the place where 

prominent royalists were to report after being 

given parole. 6 

Provisions for Valley Forge 

The Greenkill was one of the few creeks in 

the area which flowed freely all winter, being 

supplied by a deep spring-fed lake. “...the 

ever-flowing stream that issued from the First 

Binnewater [Lake] to urge the mill-stones to 

never-ceasing labor when drought or shortage 

of crop stopped others, was such a blessing to 

half starving troops and perplexed providers 

that the Greenkill [DeWitt] mills were known 

through the whole patriot army.” 7 DeWitt’s 

Mill was operating even during the bitter 

winter of 1777-78 when General Washington’s 

troops were suffering greatly at Valley Forge. 

Governor George Clinton offered help by 

urging farmers in Ulster County to take grain 

to DeWitt’s Mill to be ground into flour for the 

hungry troops. The fertile floodplains of the 

Esopus creek near Hurley were an important 

source of grain. Thus the mill on the Greenkill 

became well known that winter and during the 

succession of severe winters that followed. 

Even after the Revolution, the superfine 

flour ground there was preferred by Martha 

Washington and was ordered for her personal 

use. 8 On the morning of Nov. 16, 1782, 

General Washington stopped in Hurley on his 

way from West Point to Kingston, NY, and 

thanked the people of the town for providing 

food to his army at Valley Forge five years 

earlier. There is a state historic marker at the 

old stone house in Hurley where Washington 

stopped that day. 9 

Crocodile Inn 

Garret DeWitt, son of Col. Charles, opened 

the house as the Crocodile Inn around 1800. 

“It provided lodging and entertainment for 

those who came long distances and remained 

until the following day, to depart with the 

flour made from the grain they had brought 

from their farms to Greenkill Mills.” One can 

well imagine the bustle of activity that must 

have surrounded the Crocodile sign as it hung 

in front of that old stone house in the early 

decades of our new republic. 

1 Dash, Mike; Tulipomania; Three Rivers Press, New 

York, 1999. 

2 Olde Ulster, An Historical and Genealogical Magazine; 

October 1911 (Vol. VII, No. 10); published by Benjamin 

Myer Brink, Kingston, New York. 

3 Reynolds, Helen Wilkinson; Dutch Houses of the 

Hudson Valley before 1776; Dover Publications, Inc., 

New York, reprinted in 1965 from the 1929 version. A 

publication sponsored by a special committee of the 

Holland Society of New York, Franklin D. Roosevelt, 

chairman. 

4 Brink, Benjamin Myer; address given in the year 1911, 

at the dedication of a granite marker for Col. Charles 

DeWitt’s grave in the Old Hurley Cemetery; reprinted 

in local newspaper; clipping on file at the Senate House 

State Historical Site Museum, main archives, folder 

2242, doc.#9505. 

5 Olde Ulster, An Historical and Genealogical Magazine; 

October 1911 (Vol. VII, No. 10); published by Benjamin 

Myer Brink, Kingston, New York. 

6 Olde Ulster, Vol. 10. 

7 Ibid. 

8 “Washington Visit Selling Point for House”, front page 

article; Daily Freeman, Nov. 13, 2007; pub. By Journal 

Register Co., Kingston, NY. 

9 Olde Ulster. Vol. 10 

107

89 

EXCEPTIONAL POLYCHROME 


‘ELEPHANT WALKING’ TRADE 

SIGN, PEEKSKILL, NEW YORK, 

CIRCA 1882-1885 

inscribed JOHN M. DYCKMAN BOOTS AND 

SHOES. 


PROVENANCE 


Massachusetts; 

Christie’s, New York, Important American 

Furniture, Silver, Prints and Folk Art, October 

9, 2002, lot 205; 

Barbara Gordon Collection; 

Private Collection, Peekskill, New York. 

$ 60,000-80,000 

Prior to the advent of general public education 

and literacy, proprietors relied on trade signs 

to indicate trade services as well as provide 

eye-catching imagery to attract business to 

his shop. By tradition, this large double-sided 

sign hung outside John Dyckman’s shop 

for Boots and Shoes, located in Peekskill, 

New York and was likely inspired by circus 

elephants like the famous “Dumbo.” As New 

York became the center of the American 

circus business starting in the early 

nineteenth century, elephants became an 

increasingly popular motif. The Elephant Inn 

in nearby Sommers, New York (now Sommers 

Town Hall) had a stone carved elephant on a 

pedestal in front of the hotel. 

This eye-catching trade sign was almost 

certainly inspired by the legendary circus 

elephant Jumbo, whom P. T. Barnum brought 

to New York in 1882. Jumbo, the first and 

largest African elephant shown in European 

zoos, was captured as an infant in 1862 

and spent more than sixteen years at the 

London Zoo before Barnum purchased him. 

Barnum’s purchase—he paid $10,000, the 

equivalent of nearly $250,000 today—caused 

an international sensation, and British and 

American entrepreneurs featured Jumbo 

in a wide variety of humorous trade cards 

advertising everything from soap to thread. 

One such ad, which may have directly 

influenced this sign, depicts Jumbo running 

across the desert in leather boots. 

89 


109

90 

VERY FINE CARVED, TURNED, 

GILTWOOD AND PAINT- 

DECORATED WATCH TRADE 

SIGN, NEW ENGLAND, 

CIRCA 1880 

Height 33 in. by Width 24 in. by Depth 4 ½ in. 

PROVENANCE 


$ 2,500-5,000 

91 


IRON WATCH TRADE SIGN, 

LATE 19TH OR EARLY 20TH 

CENTURY 

Height 37 ¼ in. by Width 27 in. 

PROVENANCE 

New York private collection; 


$ 5,000-8,000 

90 

91 


92 

93 

92 



TRADE SIGN, NEW ENGLAND, 

CIRCA 1890 

sign in the form of a whippet dog; inscribed LIGHT 

RUNNING and NEW HOME. 

Length 48 in. 

PROVENANCE 


$ 6,000-12,000 

93 


AND RED PAINTED WOODEN 

COBBLER’S TRADE SIGN, 

CIRCA 1880 

both sides of the sleeve are painted GOODFIT and 

the hand is painted BOOT & SHOE COMPANY. 

Height 13 ¼ in. by Length 39 ¼ in. by 


PROVENANCE 



$ 2,000-3,000 

111

94 

VERY LARGE TURNED AND 


DECORATED PINE BARBER 

POLE, PROBABLY VIRGINIA, 

CIRCA 1865 


PROVENANCE 



$ 8,000-12,000 

95 

VERY FINE AND LARGE 

AMERICAN TURNED AND 


DECORATED PINE BARBER 

POLE, AMERICAN, CIRCA 1880 


PROVENANCE 


Christie’s, New York, Selections From The 

Allan Stone Collection, November 12, 2007, 

sale 2104, lot 634; 

Allan Katz, Woodbridge, Connecticut 

$ 3,000-5,000 


94 95 

113

96 


AMERICAN CAST AND PAINTED 

ZINC AND CAST IRON ‘H.S. 

WILLIS’ TRADE SIGN, LATE 

19TH CENTURY 

Height 25 in. by Width 23 in. by Depth 2 ¼ in. 

PROVENANCE 

Manchester Antiques, Londonderry, New 

Hampshire. 

$ 5,000-10,000 

97 

FINE PAINT-DECORATED 

WOOD WATCH TRADE SIGN, 


96 

With two removable finials. 


PROVENANCE 

Outsider Folk Art Gallery, Reading Pennsylvania. 

$ 5,000-7,000 

97 


98 



‘LADY’S LEGS’ TABLE, 

CIRCA 1940 

Height 37 ½ in. by Width 14 ½ in. by Depth 12 in. 

PROVENANCE 


$ 2,000-3,000 

99 

FRANK BADKE AND SON TRADE 

SIGN, POSSIBLY DETROIT, 

MICHIGAN, CIRCA 1920-25 

Profile of a moving truck with 6302 CHENE ST. 

and MELROSE to either side. 


PROVENANCE 



$ 3,000-5,000 

98 

99 

115

100 

VERY RARE GLASS AND WOOD 

WHIMSY OF THE VICES OF 

MAN, POSSIBLY MADE BY 

REMIE LAFLEUR, CIRCA 1915 

three carved and painted figural scenes, set 

inside three corked glass globes. Depicts fighting, 

gambling, and drinking. 

Height 35 in. by Diameter 11 ½ in. 

PROVENANCE 


LITERATURE 


Vernacular: New Discoveries in Folk, Self-Taught, 

and Outsider Sculpture, (Boston: Bulfinch Press, 

2002), p. 137. 

$ 8,000-12,000 

100 


101 

OUTSTANDING COLLECTION 

OF TWENTY-THREE WHIMSICAL 

MECHANICAL CARVINGS, 19TH 

CENTURY 

Overall Height 60 ½ in. by Width 64 in. by 

Depth 41 in. 

PROVENANCE 


$ 5,000-10,000 

101 

117

102 


CENTENNIAL CELEBRATION 

WHAT-NOT SHELF, CARVED 

BY ALLANSON PORTER DEAN 

(1812-1888), CIRCA 1876 

carved motifs include an eagle and lion. Inscribed 

with Independence, America, July 4, 1776 England 

and CENTENNIAL GMMMA. 

Height 22 in. by Width 12 ¼ in. by Depth 4 ¼ in. 

PROVENANCE 


Connecticut. 

$ 3,000-5,000 

102 


103 



DECORATED WOOD BUFFALO 

INSURANCE COMPANY 

PLAQUE, NEW YORK STATE, 


PROVENANCE 


Massachusetts, September 4, 2007. 

The Buffalo Insurance Company was 

organized in July 1874 in Buffalo, New York. 

$ 2,000-3,000 

depicts several symbols of 19th Century 

industry, occupation and abundance, including 

clasped hands, smoking factories and buildings, 

a locomotive, anvil, plow, scroll, caduceus and 

a cornucopia. 

Diameter 29 ¾ in. 

103 

119

104 



DECORATED OVAL WOOD 

FIREHOUSE TRADE SIGN, 

THOMAS HANFORD BOYCE, 

MOUNT VERNON, NEW YORK, 

CIRCA 1880 

relief carved firefighter dressed in 19th Century 

attire, signed lower right T H Boyce. 

Height 69 ¾ in. by Width 51 ½ in. by 


PROVENANCE 

Mount Vernon Volunteer Firefighter 

Association; 

Clarke Auction Gallery, Larchmont, New York, 

July 27, 2008, lot 51; 

Thurston Nichols, Breinigsville, Pennsylvania. 

This exceptional trade sign was made for the 

Pioneer Hall Firehouse in Mount Vernon, 

New York. 

$ 8,000-10,000 


104 

121

105 

VERY RARE CARVED AND 



SCULPTURE OF A SEATED 

MAN WEARING A BOWLER 

HAT, NEW ENGLAND, LATE 

19TH CENTURY 


(including base) 

PROVENANCE 

George E. Schoellkopf Gallery, New York; 

Barry Cohen, New York; 

Marvel Collection, White Plains, New York; 

Frank Maresca, New York; 


EXHIBITED 

Brooklyn, New York, Brooklyn Museum of Art, 

March 6 - May 31, 1976; 

Los Angeles, California, Los Angeles County 

Museum of Art, July 4 - August 29, 1976. 

LITERATURE 


Vernacular (Boston: Bulfinch Press, Little, 

Brown and Company, 2002), p. 139, full page 

illustration; 

Herbert Hemphill, Jr. and Julia Weissman, 

Folk Sculpture USA (New York: The Brooklyn 

Museum of Art, 1976), illustration p. 26. 

$ 15,000-25,000 

105 


106 

CARVED CHERRY AND MAPLE 

FIGURAL GROUP OF A 

FARMER AND WIFE, HORSE 

AND SLEIGH, VERMONT, 

CIRCA 1885 

With brass, copper and leather fittings. 

Height 11 ¾ in. by Width 27 ½ in. by 


PROVENANCE 

Shelburne Museum, Shelburne, Vermont; 

Kinnaman & Ramaekers, Bridgehampton, 

New York; 

Brenda and Ken Fritz, Los Angeles; 

Allan Katz, Woodbridge, Connecticut; 

Susan and Raymond Egan, Princeton, 

New Jersey; 

Olde Hope Antiques, Inc., New Hope, 

Pennsylvania. 

Although the carver of this figural group has 

not been identified, several other closely 

related early-twentieth-century pieces, all 

with northern Vermont origins, are known. 

They include a multi-figure Catholic winter 

funeral procession in the collection of the 

Abby Aldrich Rockefeller Folk Art Museum 

(see Robert Bishop, American Folk Sculpture, 

(New York: Dutton, 1974), p. 196-7), a pioneer 

couple and oxcart in the collection of the 

Peabody Essex Museum, a camel and driver, 

a figure of Buffalo Bill Cody beside his horse, 

and two painted harness racers, one of which 

is in the collection of the American Museum 

in Bath, England. Like the man here, many of 

the carver’s skillfully rendered figures have 

articulated arms. This well-dressed couple 

was probably intended to depict a journey 

to church. The sleigh is a form of French- 

Canadian cariole, with a simple high-backed 

body and bench seat set on wooden runners. 

The man’s cap also suggests a French- 

Canadian influence, which was common so 

close to the Canadian border. 

$ 10,000-20,000 

106 

125

107 


AND POLYCHROME PAINT 

DECORATED PINE FIGURES OF 

PUNCH AND JUDY, RICHARD 

GILBERT OAKES (1827-1916), 

JOLIET CITY, WILL CO., 

ILLINOIS, CIRCA 1875-85 


PROVENANCE 

William Brewer; 


$ 8,000-12,000 

Wooden sculptures while in situ in their original niche. 


107 

127

108 



DECORATED PINE SCULPTURE 

OF A BUST OF A MAN WITH 

CROSSED ARMS, PROBABLY BY 

A MILLERITE, NEW YORK OR 

VERMONT, CIRCA 1840 

The carving is in sections, each having numerous 

small vertical holes, possibly to hold rolled disks 

of paper on which were written Biblical verses. 

Inscribed babylon, Media, ersra, Grecion. 

Height 14 in. by Width 6 ¼ in. by Depth 5 in. 

PROVENANCE 

Harvey and Rosalyn Pranian; 


LITERATURE 

Roger Ricco and Frank Maresca with Julia 

Weissman, American Primitive: Discoveries 

in Folk Sculpture, (New York: Alfred A. Knopf, 

1988), p. 272, fig. 387. 

The Intuitive Eye: Masterpieces from the 

Mendelsohn Collection, illus. p. 35 

This important sculpture was likely made by a 

Millerite. The Millerites were the followers of the 

teachings of William Miller (1782-1849), once 

an American Baptist preacher, who in 1833 

first shared publicly his belief that the Second 

Advent of Jesus Christ would occur in roughly 

the year 1843–1844. During the following 

decade, hundred’s flocked to his teachings 

throughout the northeast, predominantly in 

upstate New York and Vermont. 

$ 30,000-50,000 


108 

129

109 

VERY RARE CARVED AND 



SCULPTURE OF AN EXORCISM 

SCENE, MID-WESTERN, 

CIRCA 1910 

depicting a group of people surrounding a child in 

bed with a demon. 


PROVENANCE 


Connecticut. 

LITERATURE 


Vernacular (Boston: Bulfinch Press, 2002), 

p. 178. 

$ 40,000-60,000 


109 

131

110 



SCULPTURE OF M. PAVESE, ROCCO 

PAVESE, CIRCA 1910 

With incised “hair” and black tailcoat and vest with reliefcarved 

buttons and lapels, secured to a square platform 

base with an egg-and-dart molded edge. lacking two fingers 

on right hand. 


PROVENANCE 

Pavese family, Grand Rapids, Michigan; 

Jim Fisher Collection; 

Hill Gallery, Birmingham, Michigan; 

Maurice Cohen Collection, Bloomfield Hills, Michigan; 

Northeast Auctions, Portsmouth, New Hampshire, 

Raymond and Susan Egan Collection, August 5, 2006, 

lot 774; 


A turn-of-the-century photograph shows Rocco with this 

carving of his brother in the background, and a sign in 

front of him that reads: “Rocco Pavese in his profession is 

considered good musician, can play various instruments 

and wrote 6 pieces of music. In his early days was hand 

shoe maker having won prizes at stae [sic] fairs in Detroit 

year 1901 and year 1904 in Saginaw other cities in Mich. 

He carved out of wood the statues of St. Anthony also his 

brother M. Pavese. He made artificial limbs of wood and 

banana crate patent.” 

$ 60,000-80,000 

Rocco Pavese in his home. Sculpture of M. Pavese and prostheses in 

the background. 


110 

133

111 



SCULPTURE OF A HUNTSMAN AND 

LOYAL HOUND, PENNSYLVANIA, 

CIRCA 1860 

Height 19 in. by Width 9 ½ in. by Depth 7 in. 

PROVENANCE 

Mrs. Ernst Behrend, Greenwich, Connecticut 

Mr. and Mrs. Alastair B. Martin, Glen Head, New York; 

Christie’s, New York, Important American Furniture, 

Folk Art and Prints: with property from the estate of 

Alastair Bradley Martin, including works from the Guennol 

collection, October 6, 2010, sale 2343, lot 9. 

LITERATURE 

The Metropolitan Museum of Art, The Guennol Collection, 

Vol. 2, (New York: Metropolitan Museum of Art, 1982), 

pp. 275-277; 

Lita Solis-Cohen, “The Martin Mystique: Americana at 

Christie’s,” Maine Antique Digest, December 2010, 2-C. 

A related hunting group is illustrated in Jean Lipman, 

American Folk Art in Wood, Metal and Stone, (New York, 

Dover, 1948), p. 142, pl. 155. 

$ 25,000-50,000 


111 

135

112 

VERY FINE AND RARE CARVED AND 

PAINTED PINE DANCING FIGURES, 


retain an early historic surface. 

Female: Height 35 ½ by Width 12 ½ by Depth 8 ¼ in.; 

Male: Height 39 by Width 11 by Depth 7 ½ in. 

PROVENANCE 

Giampietro, American Folk Art, New Haven, Connecticut. 

$ 60,000-120,000 


112 

137

113 


WOOD SCULPTURE OF A 

GENTLEMAN SEATED IN A 

GOTHIC ARMCHAIR, 1890 

retains an early, probably original varnished 

surface, signed with carved initials BAREP and 

dated 1890 on the underside of the seat. Two 

chair legs with restoration. 

Height 8 ¾ in. by Width 3 ½ in. by Depth 4 ¾ in. 

PROVENANCE 

Giampietro American Folk Art, New Haven. 

$ 5,000-10,000 

114 

CARVED BUTTERNUT 

SCULPTURE OF A FARMER 

WITH CORN COB, LATE 19TH 

CENTURY 

113 

Height 20 ¾ in. by Width 7 in. by Depth 6 ¾ in. 

$ 2,000-3,000 

114 


115 

RARE AMERICAN CARVED AND 

PAINTED PINE SCULPTURE OF 

A BARBER, 19TH CENTURY 

The free-standing full-length figure with walrus 

moustache, wearing a white coat and trousers, 

gold watch chain and brass buttons. 

Height 19 ½ in. by Width 10 in. by Depth 7 ½ in. 

PROVENANCE 

Adele Earnest, Stony Point, New York; 

Sotheby’s New York, The Distinguished 

Collection of the Late Stewart E. Gregory, 

January 29, 1979, sale 4209, lot 184; 

Sotheby’s New York, Important Americana, 

January 26, 2010, sale 8608, lot 530. 

EXHIBITED 

New York, Museum of American Folk Art, Eye on 

America, March 13-May 14, 1972, p. 4, no. 17. 

LITERATURE 

Lita Solis-Cohen, “Sotheby’s January Americana 

Auction,” Maine Antique Digest, March 2010, 

41-D. 

$ 20,000-30,000 

115 

139


116 

IMPORTANT CARVED AND PAINTED 

‘BUCKEYE FAMILY’, JOE C. LEE 

(D. 1941), OVERTON COUNTY, 

TENNESSEE, CIRCA 1925 

The child: Height 28 ½ by Width 8 by Depth 5 in. 

The mother: Height 56 ½ by Width 12 by Depth 6 ¼ in. 

The nanny: Height 47 by Width 11 by Depth 7 in. 

The father: Height 56 by Width 14 by Depth 6 in. 

$ 500,000-800,000 

116 

141

PROVENANCE 

The artist; 

Estate of the artist; 

After 1941, Private Collection; 

Hirschl & Adler Galleries, New York, New York; 

Barry and Edith Briskin, Bloomfield Hills, Michigan; 


EXHIBITED 

New York, New York, Hirschl & Adler Galleries, American 

Folk Art, (Selections From the Hirschl & Adler Collections, 

no. 71), 1991; 

Brooklyn, New York, Brooklyn Museum of Art, Folk Art USA, 

March 6 to May 31, 1976; 

Nashville, Tennessee, Frist Center for the Visual Arts, 

September 13, 2003 - January 18, 2004 (see The Art of 

Tennessee, 2003, pp. 258, 260) 

LITERATURE 

Robert Bishop; American Folk Sculpture (New York: E.P. 

Hutton, 1974), illustrated in color on the back cover, pp. 320 - 

321, no. 592; 

Muriel Kalish, Paradise in Manhattan, Oder ein schloss am 

Meer, 1994; 

Herbert W. Hemphill, Jr. and Julia Weissman, Folk Art USA 

(New York: Brooklyn Museum of Art, 1976); 

Benjamin H. Caldwell, Jr., Robert Hicks, Mark W. Scala, 

The Art of Tennessee, (2003), pp. 258, 260. 

The Buckeye Family is one of the most famous carvings 

in America as well as an icon in the field of American folk 

sculpture. Greengrocer Joseph Cummings Lee (1862-1941) 

of Overton County, Tennessee carved the four figures in 

about 1925. The Buckeye Family took three years to carve, 

and according to records kept by Mr. Lee, “over 65,000 

people from every state in the Union and fifteen foreign 

countries visited his store in the mountains to view the 

carvings. Pictures of The Buckeye Family have appeared in 

several daily newspapers in Tennessee and sixteen national 

magazines.” The figure of the little girl, called Shelby Jean, 

was Mr. Lee’s favorite, and he referred to her in a very 

personal and human way. The figures recorded American 

popular culture of their time for future generations to 

appreciate. 

At the turn of the twentieth century, the tiny town of 

Beaver Hill, Tennessee, located 100 miles east of Nashville, 

consisted of just a post office and general store, both of 

which were managed by Mr. Lee. According to oral tradition, 

Joe Lee’s artistic career began when a young boy came into 

the store and asked him to “improve” a hand-carved wooden 

doll he had been given. Lee found he enjoyed working with 

wood, and he soon began carving a group of nearly life-size 

figures. After three years of work with only an axe, pocket 

knife, sandpaper, and paint, he had created what he called 

“The Buckeye Family”, named after the native wood from 

which the figures were carved. The family consisted of a 

uniformed Mr. Buckeye, his high-heeled wife, their little 

girl, whom Lee called Shelby Jean, and a nanny. Lee put 

the group on display in his store, where it drew local and 

eventually national attention. He put out a visitors’ register, 

which was signed by some 65,000 people over the years, 

and is reported to have said, “When art people came to see 

my figures, I felt small and wanted to crawl under the store, 

but way before they were gone, they made me feel like I am 

somebody.” 


143

117 



DECORATED HORNBEAM 

SCULPTURE OF A CIVIL 

WAR SOLDIER, PROBABLY 

SOUTHEASTERN UNITED 

STATES, CIRCA 1870 

standing erect, resting a cane in his right hand, 

the stylized upper body with broad shoulders 

and pinched waist, dressed in relief carved Civil 

War clothing complete with carved epaulets, 

the head with relief carved facial hair detail and 

a carved beard and goatee, the whole standing 

on original base. 


PROVENANCE 


Connecticut. 

$ 60,000-120,000 

117 


118 

RARE CARVED AND 


DECORATED MECHANICAL 

WOOD SCULPTURE OF A 

COBBLER, CIRCA 1890 

contains a homemade gearing mechanism to 

operate the figure. 

Height 12 in. by Width 4 ½ in. by Depth 7 ¼ in. 

PROVENANCE 


$ 3,000-5,000 

119 



DECORATED WOOD FOLK 

SCULPTURE OF A MAN WITH A 

TOP HAT, LATE 19TH CENTURY 

118 


PROVENANCE 

Jeffrey Tillou Antiques, Litchfield, Connecticut. 

$ 2,000-3,000 

119 


120 




SCULPTURE OF A DOMESTIC 

LADY WITH BROOM AND 

DUSTPAN, LATE 19TH OR 


appears to retain its original surface, inscribed 

Hand made by father on paper label affixed to 

bottom. 


PROVENANCE 


$ 8,000-12,000 

120 

121 


PAINT DECORATED PINE 

SCULPTURE OF A CIVIL WAR 

UNION ARMY SOLDIER, 


CENTURY 

soldier stands along side a Springfield rifle and his 

shoulder is draped with a bandolier with bullets. 

Height 12 ½ in. by Width 2 ¾ in. by Depth 2 ½ in. 

PROVENANCE 

Murray Blackman. 

$ 4,000-6,000 

121 

147

122 

CARVED AND PAINTED WOOD 

SCULPTURE OF A ‘STREET 

DANDY’ WITH BOTTLE, 


Height 10 ⅞ in. by Width 4 ¾ in. by Depth 4 in. 

PROVENANCE 


$ 1,000-2,000 

123 

TWO LARGE WHITE AND 

BLACK PAINTED WOODEN 

DICE, EARLY 20TH CENTURY 

Height 4 ½ in. by Length 4 ½ in. by Width 4 ½ in. 

$ 300-500 

122 

123 


124 

FINE AND RARE POLYCHROME 


HORSE AND CARRIAGE 

DISPLAY PIECE, AMERICA, 

CIRCA 1915 

carved wood, metal and leather model of a horse 

and carriage with driver. 

Height 22 ¼ in. by Length 49 ¾ in. by 

Width 15 ¼ in. 

PROVENANCE 


Connecticut. 

This piece was originally used in the window 

display of a St. Louis, Missouri tack shop. 

$ 5,000-7,000 

124 

149

125 

SIXTEEN CARVED AND PAINTED PINE 

CARNIVAL GAME RACE HORSES, 

CIRCA 1890-1920 

with contemporary iron bases, together with a finishing line. 

(17 pieces) 

Height 5 ¾ in. by Length 15 ½ in. by Width 1 ½ in. 

PROVENANCE 

Jeff Bridgman American Antiques, Mansfield, Pennsylvania. 

$ 3,000-5,000 


125 

151

126 

FINE CARVED AND DAPPLED 

PAINTED PINE HORSES PULL 

TOY, LATE 19TH CENTURY 

on platform with spoked cast iron wheels. 



PROVENANCE 

Northeast Auctions, Manchester, New 

Hampshire, The Kahn Collection, May 30, 2011, 

lot 975. 

$ 5,000-8,000 

126 


127 



DECORATED WOOD CIRCUS 

WAGON, WILLIAM BRINLEY 

(1917-2016), MERIDEN, 

CONNECTICUT, 20TH 

CENTURY 

Height 8 in. by Length 9 ¾ in. by Width 4 ¼ in. 

PROVENANCE 

Mr. Stevenson, Harrisburg, Pennsylvnaia; 

William McCleary; 

Lee Nichols, Breiningsville, Pennsylvania; 

Outsider Folk Art Gallery, Reading, 

Pennsylvania. 

In 1926, a nine year William Brinley and his 

father went to see the Christy Bros. Circus 

that rolled into their hometown of Wallingford, 

Connecticut. Mesmerized by the magic and 

excitement of the show, little Bill Brinley 

pronounced to his father that one day he would 

‘have a circus of his own.’ Using a variety of 

“found” materials, Brinley began making his 

circus model. For example, he transformed the 

common wooden cheese boxes that were used 

at the time into circus wagons. The Barnum 

Museum in Bridgeport, Connecticut has a large 

miniature circus created by Brinley. In 1950, 

Brinley exhibited his work on The Ed Sullivan 

Show. For additional information see https:// 

barnum-museum.org/mr-brinley-thoughtsfrom-the-museum/. 

$ 2,000-3,000 

127 

153

128 

MASTERPIECE TRAMP ART 

EIFFEL TOWER, GEORGE PAUL 

KEILBERG (1876-1932), FOND 

DU LAC, WISCONSIN, 1915 


PROVENANCE 

Bought at a garage sale in 1987 for 25 cents; 

Christie’s, New York, Important American 

Furniture, Silver, Folk Art and Decorative Arts, 

June 22. 1994, sale 7924, lot 74. 

LITERATURE 

Clifford A. Wallach and Michael Cornish, 

Tramp Art One Notch at a Time: The Craft, the 

Techniques & the Makers, (New York: Wallach- 

Irons, 1998), pp. 4, 68-9, illus; 

Architectural Digest, June 1999, p. 232, illus. 

$ 15,000-25,000 

George P. Keilberg with his family and the current lot. 


128 

155

129 

MAGNIFICENT AMERICAN 

TRAMP ART FRAME AND 

STAND, LATE 19TH CENTURY 

Height 84 in. by Width 53 ¼ in. by Depth 44 ½ in. 

$ 15,000-25,000 


129 

157

130 

FINE AND RARE CARVED PINE 

MASONIC HANGING WALL 

SHELF, AMERICA, LATE 19TH 

CENTURY. 

Height 18 ¼ in. by Width 10 ½ in. by 


$ 1,500-2,500 

131 

FINE CARVED AND PAINTED 

MAHOGANY MASONIC 

HANGING WALL SHELF, 

AMERICA, LATE 19TH CENTURY 

with numerous pierced and relief-carved Masonic 

symbols, painted gold and silver. 

Height 22 ⅜ in. by Width 12 ⅝ in. by 


130 

PROVENANCE 

Skinner Inc., Marlborough, Massachusetts, 

American Furniture & Decorative Arts, August 

14, 2011, sale 2558M, lot 904. 

$ 600-1,200 

131 


132 

POLYCHROME PAINTED WOOD 

WHIRLIGIG OF A MAN RIDING 

HIGH WHEELER BICYCLE, 

CIRCA 1920 

includes portion of the original mounting post. 


PROVENANCE 

Dionne Antiques, Willington, Connecticut. 

$ 2,000-3,000 

133 

VERY RARE PAINTED WOOD 

AND METAL MECHANICAL 

WHIRLIGIG OF AFRICAN- 

AMERICAN MEN AT WORK, 

FOUND IN SOUTHERN 

GEORGIA, CIRCA 1935 



PROVENANCE 

Carl Hammer Gallery, Chicago, Illinois. 

132 

$ 3,000-5,000 

133 

161

134 

EARLY HIGH WHEEL BICYCLE, 

CIRCA 1880 


$ 2,000-3,000 

135 

WOODEN BONE SHAKER 

BICYCLE 

includes leather seat. 


Width 28 ¾ in. 

$ 800-1,200 

134 

135 


136 


PAINT-DECORATED WALNUT 

‘BICYCLIST’ WALL PLAQUE, 

CIRCA 1900 

appears to retain its original surface. 

Height 22 ¼ in. by Length 11 ¾ in. 

PROVENANCE 


Connecticut. 

$ 4,000-6,000 

137 

VERY RARE AMERICAN BICYCLE 

TRADE SIGN OF A MAN RIDING 

PENNY FARTHING, LATE 19TH 

CENTURY 

Height 83 in. by Length 67 in. by Depth 16 ¼ in. 

A related trade sign is in the collection of the 

American Folk Art Museum (Stacy C. Hollander, 

“Bicycle, Livery, Carriage, and Paint Shop Trade 

Sign,” in American Anthem: Masterworks from 

the American Folk Art Museum (New York: Harry 

N. Abrams in association with American Folk Art 

Museum, 2001), 358). 

136 

$ 2,500-5,000 

137 

163

138 

CAST METAL AND 


DECORATED DINAH BANK, 

JOHN HARPER, ENGLAND, 

CIRCA 1911 

inscribed with serial number “R O N 581265” 

Height 6 ½ in. by Width 5 ¼ in. by Depth 6 in. 

PROVENANCE 

Gemini Antiques, Oldwick, New Jersey. 

$ 500-800 

139 

138 


METAL AND POLYCHROME 


DARKTOWN BATTERY 

MECHANICAL BANK, J. AND 

E. STEVENS & CO., 

CROMWELL, CT, CIRCA 1890 

Height 7 in. by Length 9 ⅝ in. by Depth 2 ¾ in. 

$ 3,000-5,000 

139 


140 

VERY RARE POLYCHROME 

PAINT-DECORATED CAST 

IRON BULLS HEAD PERFUME 

DISPENSER, CONTINENTAL 

NOVELTY CO., BUFFALO, 


Taking the bull by the horns causes him to 

snort perfume from his nostrils. Inscribed Mfg. 

Continental Novelty Co. Buffalo NY. The majority 

of the original paint intact. 

Heigth 14 ½ in. by Width 7 ⅞ in. by Depth 7 in. 

PROVENANCE 

Showtime Auction Services, Woodhaven, 

Michigan, The Entire Ron Wallace Collection, 

Past President of UPS, October 2-4, 2009, 

lot 1392. 

$ 4,000-6,000 

141 


METAL AND POLYCHROME 


MECHANICAL ‘DENTIST’ BANK, 

J&E STEVENS, CROMWELL, 

CONNECTICUT, CIRCA 1880 

140 

Height 6 ½ in. by Length 9 ½ in. by Depth 3 ¾ in. 

PROVENANCE 


$ 6,000-8,000 

141 

165

142 

FROG BOY SIDE SHOW 

PAINTING, EARLY 20TH 

CENTURY 

oil paint on canvas. 

Height 42 ¾ in. by Length 45 in. 

$ 3,000-5,000 

143 

TWO PAINTED NUMBER SIGNS 

1-6 


One: Height 13¼ in. by Length 68 in. by 

Depth 1¼ in. 

The other: Height 15½ in. by Length 65 in. by 

Depth 1½ in. 

$ 600-800 

142 

143 


144 

145 

144 

VERY RARE PHRENOLOGY 

BANNER, CIRCA 1922-25 



PROVENANCE 

Found in Boise, Idaho; 


$ 8,000-12,000 

145 

RARE PUNCH AND JUDY 

PUPPET THEATER BANNER, 

CIRCA 1920 



PROVENANCE 

Otto & Susan Hart Antiques, Arlington, 

Vermont. 

$ 800-1,200 

167

146 

VERY GRAPHIC AND 

COLORFUL GAME WHEEL, FAIR 

SUPPLY COMPANY, LATE 19TH/ 


Diameter 60 ½ in. 

PROVENANCE 

Judith and James Milne, New York. 

$ 800-1,200 

146 

147 

FINE GRAPHIC REVERSE 

PAINTING ON GLASS GAME 

WHEEL, H.C. EVANSLA 

COMPANY, CHICAGO, 

ILLINOIS, CIRCA 1915 

with original stand, impressed H.C. Evansla Co. 


PROVENANCE 

Judith and James Milne, New York. 

$ 1,000-2,000 

147 


148 



DECORATED GAME WHEEL, 

CIRCA 1900 

Depicting eight African-American figures holding 

hands of playing cards. 


PROVENANCE 

Giamptietro American Folk Art, New Haven, 

Connecticut. 

$ 10,000-15,000 

148 

149 

FINE AND RARE ‘HORSE 

RACING’ GAMING WHEEL, 

EVANS & CO., CHICAGO, 

ILLINOIS, 20TH CENTURY 

Height 36 ½ in. by Width 20 ¼ in. by 


PROVENANCE 

Langenbach’s Fine Arts and Antiques, Kingston, 


$ 3,000-6,000 

149 

169

150 151 

150 

FRENCH POLYCHROME PAINT- 

DECORATED PINE CLOWN 

TOSS GAME WITH BOX, 


CENTURY 


$ 800-1,200 

151 


DECORATED PINE ‘LION’ 

CARNIVAL TOSS GAME WITH 

BOX, LATE 19TH OR EARLY 

20TH CENTURY 

with six balls. three green, two red, and one blue. 

(7 pieces) 


PROVENANCE 

David A. Schorsch Antiques, Woodbury, 

Connecticut. 

$ 1,000-1,500 


152 

FRENCH PAINTED-DECORATED 

PLASTER CLOWN CARNIVAL 

TOSS GAME WALL PLAQUE, 



$ 1,500-2,500 

153 

TWENTY THREE 

MISCELLANEOUS CARVED 

AND PAINTED WOOD INDIAN 

CLUBS, LATE 19TH CENTURY 

AND EARLY 20TH CENTURY 

nine pairs, some modern. One pair inscribed 

with, DRILL INSTRUCTOR and THE GREATEST 

SANDON 1884. 

Height of tallest: 26 inches 

PROVENANCE 

Robert Snyder & Judy Wilson Americana & Folk 

Art, Lititz, Pennsylvania (eight); 

Jane Langol Antiques, Medina, Ohio (two); 

Charles Wilson Folk Art, West Grove, 

Pennsylvania (two). 

$ 4,000-6,000 

152 

153 

171

154 

RARE SET OF SIX CARVED AND 

PAINTED WOOD PENGUIN 

TENPINS WITH TWO BALLS, 


Height 12 ¼ in. 

PROVENANCE 

Northeast Auctions, Manchester, New 

Hampshire, A Product Of Passion: The American 

Folk Art Collection of Helen & Steven Kellogg, 

August 06, 2011, lot 713. 

LITERATURE 

Wendy Lavitt, Animals in American Folk Art, 

(New York: Knopf, 1990), p. 172. 

154 

$ 1,200-1,800 

155 

FINE SET OF EIGHT CARVED 

AND PAINT-DECORATED HAND 

PUPPETS, ENGLAND, EARLY 

20TH CENTURY 

painted and molded carved and painted wood and 

feet with cloth bodies. 


PROVENANCE 

Newsom and Berdan Antiques & Folk Art, 

Hollowell, Maine. 

$ 800-1,200 

155 


156 

FINE SET OF FIVE CARVED AND 

PAINT-DECORATED HAND 

PUPPETS WITH A PUPPET 

THEATER, ENGLAND, 20TH 

CENTURY 

painted and molded wooden heads and feet with 

cloth bodies together with a puppet theater. (6 

pieces) 

Height of tallest: 17 in. 

PROVENANCE 

The Norwoods’ Spirit of America, Timonium, 

Maryland. 

$ 2,000-3,000 

157 

VERY FINE SET OF TEN CARVED 

AND PAINT-DECORATED 

‘ADVENTURES OF PUNCH’ 

HAND PUPPETS, ENGLAND, 

20TH CENTURY 

painted and molded wooden heads and feet with 

cloth bodies. 


156 

PROVENANCE 

Carlson & Stevenson Antiques, Manchester, 

Vermont. 

$ 2,000-3,000 

157 

173

158 

158 

FINE CAST-IRON GREYHOUND 

SHOOTING GALLERY TARGET, 

CIRCA 1925 


PROVENANCE 

Olde Hope Antiques, New Hope, Pennsylvania. 

$ 5,000-8,000 

159 


DECORATED CAST IRON 

‘CHINAMAN’ SHOOTING 

GALLERY TARGET, CIRCA 1925 

Height 12 ¾ in. by Depth 5 ¾ in. 

$ 600-800 

159 


160 


DECORATED FINE RED AND 

BLACK PAINTED SHEET IRON 

‘COWBOY’ SHOOTING 

GALLERY TARGET, CIRCA 1920 

Height 47 in. by Width 25 ¾ in. 

PROVENANCE 


$ 4,000-6,000 

161 

RED AND WHITE PAINT CAST 

IRON SPINNING CLOWN 

TARGET AND BACKBOARD, 

CIRCA 1925 


PROVENANCE 

Stephen Score, Inc, Boston, Massachusetts. 

$ 1,200-1,800 

160 

161 

175

162 

VERY RARE STANDING 

ARTICULATED FIGURE OF 

UNCLE SAM, ATTRIBUTED TO 

MECHANICAL ADVERTISING 

COMPANY, BOSTON, 


with original paint, original cotton and wool 

clothing with brass button. 


PROVENANCE 

John C. Newcomer, Harper’s Ferry, West 

Virginia; 

David A. Schorsch, Greenwich, Connecticut; 

Private Virginia Collection; 

David A. Schorsch - Eileen M. Smiles American 

Antiques, Woodbury, Connecticut. 

A closely related example from the collection 

of Michael Del Castello is illustrated by Martha 

Longenecker in American Expressions of Liberty: 

Art of the People, By the People, For the People, 

(San Diego, CA: Minge International Museum, 

1996), p. 3. 

$ 10,000-20,000 

162 


163 

RARE STUFFED CANVAS 

DONKEY CARNIVAL TARGET, 



PROVENANCE 

Antiques & Art, Portsmouth, New Hampshire. 

$ 1,200-1,800 

164 

GROUP OF ELEVEN 


DECORATED CAST IRON 

‘NAUGHTY NELLIE’ BOOT 

JACKS, LATE 19TH CENTURY 

Height of tallest: 11 ¼ in. 

163 

PROVENANCE 


$ 2,000-3,000 

164 

177

165 

VERY FINE AND RARE ‘GAMBLER’S’ 

WALKING STICK, CIRCA 1875 

depicting entwining snakes with painted card suits on 

their heads, carved and painted wood. 

Length 35 in. 

PROVENANCE 


Connecticut. 

$ 8,000-12,000 

165 


166 

IMPORTANT CARVED WILLOW 

WALKING STICK WITH FIGURES 

OF AN ALLIGATOR, MONKEY AND 

ANTELOPE, MICHAEL CRIBBINS, 

LAKE ORION, MICHIGAN, 

CIRCA 1906 

Inscribed LAKE ORION MICH 1906 

Length 34 in. 

Michael “Mike” Cribbins was born in Ireland, 

immigrating to America via the port of Boston at 

age thirteen. By 1860, he was living with his family in 

Kenockee, Michigan but soon thereafter he enlisted 

in the 7th Michigan Infantry, which saw considerable 

action during the Civil War. Later, he moved to Orion, 

Michigan, the town most closely associated with him 

today, thanks to his inclusion of the place name on 

many of his carved canes, axes and other wooden 

objects. 

Like many men of his generation, Michael 

Cribbins began carving during his service in the 

American Civil War. Cribbins was wounded at 

Fredericksburg in May of 1863 and hospitalized 

at Point Lookout, Maryland where he began his 

creative production. Later in life, he was described 

as still having “a number of the trinkets he whittled 

during that time, which he cherishes as reminders 

of the old days.” Most of his post war carvings 

contain symbolic or text references to his regiment, 

and several were presented to his fellow veterans. 

Cribbins attended regimental reunions for the rest 

of his life, even serving as a representative of his 

company. 

Cribbins whittled many of his canes from 

diamond willow wood. The term does not refer to 

a particular species of willow but, rather, to the 

diamond-shaped cankers, or cavities, that were 

formed by the growing tree in reaction to an attack 

by --- it is thought --- a fungus. Such deformations 

are commonly found in several species of willow, 

particularly Salix bebbiana (but similar reactions 

have also been noted in Quaking Aspens). Several 

diamonds appear in this cane, each artfully 

incorporated into the overall design. It appears that 

Cribbins sold some of his canes but made others as 

gifts for friends. 

$ 8,000-12,000 

167 


CANE, 19TH CENTURY 

motifs include a federal brick house, a figure wearing 

a top hat, and geometric and open-work segment with 

caged or trapped balls within. 

Length 40 ¼ in. 

PROVENANCE 

David Wheatcroft Antiques, Woodbridge, 

Connecticut. 

166 167 

$ 8,000-12,000 

179

168 

TWO EXCEPTIONAL CARVED 

WILLOW WALKING STICKS, 

MICHAEL CRIBBINS (1837- 

1917), LAKE ORION, 

MICHIGAN, CIRCA 1900 

One cane inscribed MIKE BRADFORD, other cane 

inscribed DICKERSON DETROIT MIKE ORION F.B. 

Lengths 37 ¼ in. and 35 in. 

PROVENANCE 

Gaimpietro American Folk Art, New Haven, 

Connecticut. 

$ 6,000-8,000 

169 

TWO VERY FINE CARVED 

WOOD WALKING STICKS, 


One cane with a sock and shoe is carved with 

an American eagle, chicken, horses, stars and 

leaves. The second cane with a snake head grip 

and terminating with a human foot is carved with 

a man drinking, a horse, a dog, a seated lady and 

numerous animal heads. It is also carved with 

different words and the name BELIEN. 

Height of tallest: 37 ½ in. 

$ 1,500-2,500 

170 

TWO VERY FINE PATRIOTIC 


PAINT DECORATED WALKING 

STICKS, EARLY 20TH CENTURY 

The first cane is carved with the inscription 

PRESIDENTS OF THE USA and the various 

president’s names and inauguration dates. The 

second is carved with an admirals name and the 

ship he captained. Both are decorated with a 

painted depiction of the American flag. 

Height of tallest: 34 ½ in. 

$ 1,500-2,500 

168 


169 170 

181

171 

THREE CARVED AND 


DECORATED WALKING STICKS, 


One cane carved with a hand grasping a fish with 

a snake below. Another cane with a man climbing 

a stick with arms crossed and a spiral twist below. 

The last with a nude female figure above an 

alligator. 

Height of tallest: 37 in. 

PROVENANCE 

Fish cane: Kimball M Sterling Inc., Johnson City, 

Tennessee, December 3, 2006, lot 216. 

$ 2,500-3,500 

172 

THREE FINE CARVED AND 


DECORATED WOOD WALKING 


The first cane with a depiction of shaking hands, 

a fish on a hook and an alligator. The second 

cane with a tiger on the grip holding a shield in its 

mouth above a full bodied figure of an apparent 

policeman. The third can has a reclining nude 

female figure on the grip with a snake curing 

around the shaft. 


$ 2,000-3,000 

173 

THREE FINE CARVED AND 

POLYCHORME PAINT- 

DECORATED WALKING STICKS, 


All three canes depict women in early twentieth 

century swimsuits. 


$ 1,500-2,500 

171 


172 173 

183

174 

FOUR FINE CARVED WOOD 

CANES WITH SPHERICAL 

POMMELS, EARLY 20TH 

CENTURY 

The first cane carved with a figure of a man with 

top hat, an American eagle, a horse, a snake, 

and a deer. The second cane carved with a vine 

leading to a horse, a female figure, a dog, and 

a stag. The third cane is carved with a female 

bust, a horse, an American eagle, a rooster, and 

a steer. The last cane is carved with a heart, a full 

length female figure, a stag, and a horse. 


$ 1,500-2,500 

175 

FIVE FINE CARVED AND 


DECORATED WOOD WALKING 


The first can is painted black and is carved 

with a figure of a green frog facing a speckled 

twisted snake. The second cane is polychrome 

paint decorated and carved with a striped and 

speckled snake eating a green and yellow striped 

lizard. The third came has a carved and cream 

and brown painted snake. The fourth cane has a 

carved depiction of a couple holding hands above 

a green coiled snake. The last cane is made from 

a twisted vine that has been carved and painted 

to depict a full length snake. 


$ 4,000-6,000 

174 


175 

185

176 

TWELVE EXCEPTIONAL 

FIGURATIVELY CARVED 

WOODEN WALKING STICKS, 

20TH CENTURY 

figures on canes include: dogs’ heads, a seal, 

Native American face with headdress, badger, 

birds, a rabbit, and a deer. 

Height of each: approx. 36 in. 

$ 25,000-35,000 


187

177 

177 


MAPLE WALKING STICK OF A 

HUNTER AND TWO FAUNS, 


Length 36 in. by Depth 4 ½ in. 

$ 2,000-3,000 


178 



DECORATED WOOD AND CAST 

BRONZE NATIVE AMERICAN 

WITH BUFFALO HIDE BLANKET, 

CIRCA 1870 

Height 14 in. by Length 17 ½ in. by Depth 11 ½ in. 

PROVENANCE 


$ 5,000-8,000 

179 

FINE AND RARE CAST IRON 

HITCHING POST OF AN 

AFRICAN-AMERICAN STABLE 

HAND, PROBABLY BY MOTT 

IRON WORKS, NEW YORK, 


178 


$ 800-1,200 

179 

189

180 

180 

RARE CARVED AND WHITE 

PAINTED WOODEN BOAT SLED, 

MICHIGAN, CIRCA 1890 

Height 34 in. by Length 48 ft. by Depth 17 ½ in. 

PROVENANCE 

This was purportedly the boyhood sled of Cecil 

Bissel of the carpet sweeper family; 


$ 6,000-12,000 

181 

181 

AMERICAN RED AND 



MINIATURE SLED, AMERICAN, 

CIRCA 1870 

the platform with a rider and a black horse and 

inscribed HARRY. 

Height 1 ¾ in. by Length 12 in. by Width 5 ½ in. 

$ 1,500-3,000 


182 

182 



DECORATED SALESMAN’S 

SAMPLE SLEIGH, W. HILL, 

SEBRINGVILLE, ONTARIO, 

CIRCA 1870 

silver plaque on back inscribed W. Hill 

Sebringville, Ontario. 


PROVENANCE 

Hyland Granby, Hyannis Port, Massachusetts. 

$ 6,000-12,000 

DETAIL OF LOT 182 

191

183 184 

183 


CHILD’S POLYCHROME PAINT 

DECORATED WOOD ‘WASP’ 

SLED, JEFFERSON OWEN, 

NORTH TURNER BRIDGE, 


Height 10 ¼ in. by Length 33 in. by 

Width 14 ¾ in. 

PROVENANCE 


$ 4,000-6,000 

184 

VERY FINE AND RARE CHILD’S 

RED AND POLYCHROME 

PAINT-DECORATED OAK SLED 

WITH ‘HAM FAT’ MINSTREL 

AND BANJO, PROBABLY NEW 

ENGLAND, CIRCA 1860-80 

underside of sled inscribed in pencil Belonged to 

Anna Mary Boone, 8 yrs. old when she moved to 

241 Westmorland St. Would be 128 yrs. old if alive 

in 1990. 

Height 12 in. by Length 44 in. by Width 17 ¼ in. 

PROVENANCE 

Anna Mary Boone; 

Walters Benisek Art & Antiques, Northampton, 


The character “Ham Fat” in minstrelry is said 

to be the origin of the term ‘ham actor’. Several 

songs used in minstrel shows of the period 

revolve around the character Ham Fat, including 

The Ham Fat Man, A Comic Song by A. Jones, 

1863 and The Hamfatter. 

$ 3,000-5,000 


185 186 

185 

FINE AND RARE CHILD’S 

GREEN AND POLYCHROME 


SLED WITH FIREMAN BLOWING 

HIS HORN, 1882 

Inscribed, Father 1882. 


PROVENANCE 


186 

VERY FINE CHILD’S 


DECORATED MARINE SLED, 




$ 2,500-5,000 

$ 3,000-5,000 

193

187 188 

187 

FINE AND RARE CHILD’S 


DECORATED WOOD SLED 

WITH PATRIOTIC SHIELD, 

AMERICA, CIRCA 1865 

Height 4 ¼ in. by Length 40 in. by Width 10 ¾ in. 

PROVENANCE 


$ 2,000-3,000 

188 

FINE CHILD’S POLYCHROME 


‘GOOD WILL SOAP’ SLED, 

PARIS, MAINE, CIRCA 1895 


PROVENANCE 


$ 2,000-3,000 


189 

190 

189 

FINE CHILD’S BLACK AND 


DECORATED WOOD ‘HORSE 

AND CARRIAGE’ SLED, PARIS, 

MAINE, DATED 1883 

Inscribed, Paris 1883, N x Drew, and Maine. 

Height 11 in. by Length 35 in. by Width 12 ½ in. 

$ 2,000-3,000 

190 

CHILD’S POLYCHROME PAINT- 

DECORATED ‘DEXTER’ SLED, 


Height 12 in. by Length 33 ¼ in. by Width 12 ¾ in. 

PROVENANCE 


$ 1,500-2,500 

195

191 191 

191 

TWO CHILD’S POLYCHROME 


MARINERS COMPASS SLEDS, 


Height 9 ¼ in. by Length 36 in. by Width 12 in. 

of largest 

PROVENANCE 


$ 1,500-2,500 

192 

FINE CHILD’S BLUE AND 


DECORATED WOOD SLED, 


painting depicts a ship on a lake. 


PROVENANCE 


$ 1,500-2,500 

192 


193 194 195 

193 

VERY FINE AND RARE CHILD’S 


DECORATED ‘JENNIE’ SLED, 

NEW ENGLAND, LATE 19TH 

CENTURY 

inscribed JENNIE on sides. 


Width 12 ½ in. 

$ 1,200-1,800 

194 

CHILD’S RED AND 



WITH NATIVE AMERICAN 

PROFILE, CIRCA 1900-10 

Height 10 ¾ in. by Length 34 in. by Width 11 ¼ in. 

PROVENANCE 

Stephen Score, Inc., Boston, Massachusetts. 

$ 800-1,200 

195 

CHILD’S RED AND 



WITH NATIVE AMERICAN ON 

HORSE BACK, CIRCA 1890 

Height 6 ½ in. by Length 41 in. by Width 11 ¼ in. 

PROVENANCE 

RJG Antiques, Rye, New Hampshire. 

$ 600-800 

197

196 


SALESMAN SAMPLE ROAD 

MACHINE, ACME ROAD 

MACHINERY CO., FRANKFORT, 

NEW YORK, EARLY 20TH 

CENTURY 

wooden horse drawn wagon body with crank 

activated conveyor belt; inscribed on wagon 

side PATENTED SEPT. 20, 1904 BUILT BY ACME 

ROAD MACHINERY CO. FRANKFORT, N.Y. 


PROVENANCE 

James D. Julia, Fairfield, Maine, Important Toy, 

Doll & Advertising Auction, June 29, 2009, 

lot 1314. 

$ 8,000-12,000 


199

197 

EXCEPTIONAL SALESMAN’S 

SAMPLE OF THE STOCKLAND 

80 ‘THE GIANT’ ROAD 

GRADER, STOCKLAND ROAD 

MACHINERY COMPANY, 

MINNEAPOLIS, MINNESOTA, 


constructed of brass, cast aluminum, wood, and 

steel; having an array of working levers and gears 

allowing for a full range of movement of the plow 

blade and other components. 

Height 12 ¼ in. by Length 33 in. by Depth 15 in. 

PROVENANCE 

James D. Julia Auctions, Fairfield, Maine, 

Important Toy, Doll & Advertising Auction, 

November 13, 2007, lot 234; 


LITERATURE 

Mark Sisco, “Buys and Dolls,” Maine Antique 

Digest, March 2008, 14-B. 

This model is perhaps one of the most elaborate 

and complex salesman samples made. 

$ 5,000-7,000 


201

198 

EXCEPTIONAL BRASS AND 

RED PAINTED MODEL FIRE 

PUMPER, MAXWELL HEMMENS 

PRECISION STEAM MODELS, 

THORGANBY, YORK, 


inscribed with YORK FIRE BRIGADE. on brass: 

SHAND MASON ENGINEERS LONDON. On 

label: MAXWELL HEMMENS PRECISION STEAM 

MODELS, THORGANBY YORK ENGLAND. 

Height 16 ½ in. by Width 21 ½ in. by 

Depth 9 ¼ in. 

$ 12,000-15,000 

198 


199 

SILVERED AND ENGRAVED 

BRASS FIREMAN’S 

FRONTISPIECE FOR THE 

SUN FIRE COMPANY, JACOB 

EICHHOLTZ (1776–1842), 

LANCASTER, PENNSYLVANIA, 

CIRCA 1836 

inscribed 1763 TREASURER. 


PROVENANCE 

James and Nancy Glazer American Antiques, 

Bailey Island, Maine. 

$ 2,000-3,000 

199 

200 

COLOR LITHOGRAPH OF THE 

UNITED STATES FIRE COMPANY 

OF PHILADELPHIA, G.G. HEISS, 



$ 400-600 

201 

FINE AND RARE BRASS AND 

COPPER WITH GREEN PAINT 

MODEL TRAIN ENGINE, LATE 

19TH CENTURY 

Height 13 ⅜ in. by Length 14 ¾ in. by Width 7 in. 

200 

$ 4,000-6,000 

201 

203

202 

EXCEPTIONAL TOY HORSE 

DRAWN FIRE PUMPER, 

MARKLIN, GERMANY, 

CIRCA 1902 

Handpainted, cast iron chassis, working pump 

mechanism, includes bell, lamps, horse yoke, and 

horse-reel. 

Height 9 ¼ in. by Length 22 in. by Width 5 in. 

PROVENANCE 

Tin Toy Works, Allentown, Pennsylvania. 

$ 25,000-50,000 


205

203

203 

EXCEPTIONAL RED-PAINTED 

MODEL OF THE ‘HOPE’ 

HAND PUMPER FIRE ENGINE, 

ROBERT EICHHOLTZ (1833- 

1912) AND HENRY EICHHOLTZ 

(1830-1918), LANCASTER, 

PENNSYLVANIA, 1854 

model of a Philadelphia-style double decker endstroke 

hand pumper with iron brakes intersecting 

the condenser case, a brass suction outlet is 

in the center of one side and on the other side, 

a brass discharge, folding wood platforms, on 

which men stood to reach the upper brakes, 

extend across the top of the body, brass fluting 

and engraved plaques decorate the top of the 

condenser case, topped by a rounded brass 

dome, a brass plaque on each side of the body 

one with interlocking design with 1854 and Eicholz 

Bros, and Hope on the other with a heart, a 

crowned king, woman and nude couple. 

Height 23 ½ in. by Depth 37 in. by Width 15 in. 

PROVENANCE 

Mutual Assurance Company, Philadelphia; 

Schwartz Gallery, Philadelphia; 


Connecticut. 

This fire engine model was made in 1854 

by Robert (1833-1912) and Henry Eichholcz 

(1830-1918) of Lancaster, Pennsylvania, 

sons of the noted ponraicist Jacob Eichholcz 

( 1776-1842). The elder Eichholtz painted 

decorations for a volunteer fire company in 

Lancaster of which he had been a member. 

This model represents a Philadelphia-style, 

double decker end-stroke hand-pumper with 

an octagonal condenser case. Garvan and 

Wojtowicz tentatively identified it as one that 

the Hope Engine Company of Philadelphia sold 

to an unknown buyer in 1854. That engine was 

known to have had a square condenser case, 

but it may have been altered to the octagonal 

form during extensive repairs. They also 

conjectured that the “Hope” was originally 

conceived as an artist’s ideal of a fire engine. 

Although the model’s small size suggests that 

it was a child’s toy, they concluded that “the 

engraving on the plaques is too exotic for a toy 

and more in keeping with a men’s club.” Garvan 

and Wojtowicz also noted that the engraved 

ornamentation on the model was similar to that 

found on guns, and that the Eichholtz brothers 

were experienced gunsmiths. 

$ 30,000-50,000 

LITERATURE 

Anthony N.B. Garvan and Carol A. Wojtowicz, 

Catalogue of the Green Tree Collection, 

(Philadelphia, PA: Mutual Assurance Co., 1977), 

pp. 124-4; 

The Green Tree: Highlights from the Collection of 

the Mutual Assurance Company of Philadelphia, 

cat. 78. (Philadelphia, PA: Schwartz Gallery, 

2007), p. 23, no. 10. 


DETAIL OF LOT 203 

209

204 



DECORATED WOOD, TIN 

AND METAL SIDEWHEELER 

‘PENOBSCOT’ WEATHERVANE, 

PROBABLY EXECUTED IN 


offered together with a large photograph of the 

original ship. (2 pieces) 


PROVENANCE 


Connecticut. 

The sidewheeler Penobscot ran between 

Boston, Bangor, and the Lubec-Eastport area 

in far Downeast Maine during the early decades 

of the twentieth century. She was owned by the 

Eastern Steam Ship Co., which was founded 

in 1901 and provided transportation from New 

York and Boston to New England. The ship, 

one of the line’s so-called “great white flyers,” 

was named after the Penobscot Indians, who 

have inhabited the region for more than 11,000 

years. Although Bangor, Maine’s central port 

city and the former “lumber capital of the 

world,” lies thirty miles up the Penobscot River, 

its seventeen-foot tides made it accessible 

to even the largest steamships, including the 

Penobscot. The river, which is Maine’s largest, 

feeds into Penobscot Bay, an historic fortymile 

long, fifteen-mile wide cruising and fishing 

ground that is scattered with more than 200 

islands, many of which have attracted summer 

visitors since the 1800s. 

$ 15,000-25,000 

204 

210 SOTHEBY’S

205 

VERY FINE MODEL OF 

‘STAR OF THE WEST’, 

CHARLES FULWOOD, 


together with a framed typewritten description. 

(2 pieces) 


PROVENANCE 



Star of the West was an American civilian 

steamship that was launched in 1852 and 

scuttled by Confederate forces in 1863. 

In January 1861, the ship was hired by the 

government of the United States to transport 

military supplies and reinforcements to the U.S. 

military garrison of Fort Sumter. A battery on 

Morris Island, South Carolina manned by cadets 

from the South Carolina Military Academy (now 

The Citadel) fired upon the ship, effectively the 

first shots fired in the American Civil War. 

The ship was later captured by Confederate 

forces, then used for several purposes including 

as a hospital ship and a blockade runner, and 

finally scuttled in defense of Vicksburg in 1863. 

Charles Fulwood was the Star of the West’s 

carpenter. He made this model while working 

on the ship while it was docked at William H. 

Webb’s shipyard in New York. 

$ 3,000-5,000 

205 


206 



DECORATED WOOD AND 

METAL PADDLE WHEELER 

MODEL OF THE JAMES STONE 

REESE, LATE 19TH CENTURY 

inscribed JAMES STONE REESE. 

Height 18 in. by Length 36 ¾ in. by Width 6 in. 

PROVENANCE 



LITERATURE 

David Wheatcroft Antiques advertisement, Folk 

Art, vol. 25, no. 3, Fall 2000, p. 10. 

$ 8,000-10,000 

206 

213

207 

VERY FINE CASE MODEL OF J. 

PIERPONT MORGAN’S PRIVATE 

STEAM YACHT ‘CORSAIR III’ 

Details include skylights with brass bars, 

mahogany cabins, raised panel bulwarks, 

binnacles, wheels, deck plates, winch, ventilator 

funnels. Mounted into a freestanding mahogany 

display case with marquetry inlay. 


207 

PROVENANCE 

Robert C. Eldred Inc. Auctions, East Dennis, 

Massachusetts, Americana at Auction, 

November 16, 2001, lot 567. 

$ 1,500-2,500 

208 

VERY FINE MODEL OF THE 

THREE-MASTED SCHOONER 

YACHT ‘ATLANTIC’ 

Deck details include skylights, cabins, 

companionways, lifeboats on davit. 

Height 52 in. by Length 72 ½ in. by Depth 12 in. 

PROVENANCE 



November 16, 2001, lot 552. 

$ 800-1,200 

208 


209 

FINE CASE MODEL OF THE 

AMERICA’S CUP YACHT 

‘AMERICA’ 

Hull copper-sheather below waterline, rigged with 

suit of neatly stitched sails. Mounted into inlaid 

mahogany display case. 

Height 27 ⅝ in. by Length 34 ¼ in. by Depth 6 in. 

PROVENANCE 



November 16, 2001, lot 558. 

$ 600-800 

210 

VERY FINE CASE MODEL OF 

THE LIGHTSHIP ‘NANTUCKET’ 

209 

Highly detailed with many brass fitting. 

Solid wood hull. 

Ship Height 15 in. by Width 25 in. 

PROVENANCE 



November 16, 2001, lot 557. 

$ 5,000-7,000 

210 

215

211 

EXCEPTIONAL CARVED 

MAHOGANY RAM’S HEAD 

YACHT TILLER, ENGLAND, 

CIRCA 1870 

Height 7 ½ in. by Length 105 in. by 


PROVENANCE 



$ 10,000-20,000 

detail of lot 211 

211 


212 

FINE AND RARE CARVED PINE 

PORTRAIT BUST OF DANIEL 

WEBSTER STERNBOARD, 

THE WHALING SHIP DANIEL 

WEBSTER, SAG HARBOR, 


a bust portrait of Webster carved in the halfround, 

wearing a blue-painted jacket and black 

tie, on a leaf-carved base. Restorations to the 

nose and lip. 

Height 29 in. by 22 in. by 7 in. 

PROVENANCE 

Sotheby’s, New York, The Barbara Johnson 

Whaling Collection, Part I, December 11-12, 1981, 

sale 4758, lot 506; 

William Greenspon, New York; 

Sotheby’s, New York, Important Americana, 

January 22-23, 2010, sale 8608, lot 518; 


EXHIBITED 

New York, Museum of American Folk Art, The 

Hunt for the Whale, 1967. 

LITERATURE 

Holly Solomon and Alexandra Anderson, Living 

With Art, (New York: Rizzoli International, 1988), 

p. 96. 

The ship Daniel Webster of Sag Harbor, New 

York was built in 1833 and made a number of 

whaling voyages to the Pacific before being 

re-fitted to carry passengers to the California 

gold fields in 1848.” This carving decorated the 

ship’s flat stern board and may have been part 

of a larger horizontal plaque. A logbook of the 

Daniel Webster’s 1833–1839 Pacific voyage is 

in the collection of the East Hampton Library, 

Long Island. 

Daniel Webster (1782–1852) was a 

powerful and much admired Whig politician who 

represented Massachusetts for nineteen years 

in the senate, unsuccessfully ran for president 

three times, and also served as US secretary of 

state under three presidents. 

$ 10,000-15,000 

212 

217

213 



WOOD MILLINERY TRADE BUST, 

CIRCA 1880 

Depicting a lady of fashion wearing a feathered hat. 


PROVENANCE 

Giampietro American Folk Art, New Haven, Connecticut. 

$ 60,000-80,000 


213 

219

214 

LARGE TURNED WHALEBONE 

FID, CIRCA 1850 

Height 16 ½ in. 

PROVENANCE 



◉ $ 600-800 

215 


WHALEBONE SCRIMSHAW 

SEWING BASKET, NANTUCKET, 


Height 9 ¾ in. by Width 8 ½ in. by Depth 8 ½ in. 

214 

PROVENANCE 

Meylert Amstrong, New Hope, Pennsylvania; 

Parke-Bernet Galleries, Early American Furniture 

from the Estate of the Late Esther B. Crego, 

October 4-5, 1963, sale 2209, lot 267; 

Sotheby’s New York, Barbara Johnson Whaling 

Collection: Part III, April 29-30, 1983, sale 5075, 

lot 469; 


Connecticut. 

◉ $ 3,000-5,000 

216 



DECORATED WHITE PINE SHIP 

FIGUREHEAD OF A WOMAN 

WITH OUTSTRETCHED ARMS, 

PROBABLY AMERICA, CIRCA 1855 


PROVENANCE 



$ 20,000-40,000 

215 

OPPOSITE PAGE: LOT 216 


221

217 

EXCEPTIONAL MODEL OF THE 

SS KRONPRINZESSIN CECILIE 

(CROWN PRINCESS CECILE), 

GEBRUDER FLEISCHMANN 

NURNBERG, NUREMBURG, 

GERMANY, CIRCA 1907 

made at 1:100 scale. 


SS Kronprinzessin Cecilie (Crown Princess 

Cecilie) was an ocean liner built in Stettin, 

Germany (now Szczecin, Poland), in 1906 for 

North German Lloyd Steamship Company 

that had the largest steam reciprocating 

machinery ever fitted to a ship. The last of 

four ships of the Kaiser class, she was also 

the last German ship to have been built with 

four funnels. She was engaged in transatlantic 

service between her homeport of Bremen and 

New York until the outbreak of World War I. 

This exceptional model was built in 

1907 on a scale of 1:100 by the Fleischmann 

company which is one of Nuremburg, 

Germany’s oldest toy makers. It was 

established in 1887 by Jean Fleischmann. 

Early products included ships and magnetic 

maritime toys such as swimming animals, 

walking animals and water fountains. These 

were produced under the name Gebruder 

Fleischmann Nurnberg (GFN) also known as 

Fleischmann brothers. One of the companies 

that Fleischmann supplied was Bing. The 

company won a gold medal at the World 

Exhibition in Brussels in 1910 for the quality 

of its toys – the winning entry being a this fine 

ship model of Crown Princess Cecilie. 

$ 5,000-8,000 

217 


218 

218 

FINE ALUMINUM UNION 

PACIFIC STREAMLINER, 

CIRCA 1935 

Height 7 ¼ in. by Length 85 in. by Depth 4 ½in. 

$ 2,000-3,000 

219 

219 

VERY FINE LARGE GREY 

PAINTED CANVAS MODEL OF 

THE HINDENBURG ZEPPELIN, 

20TH CENTURY 

Length 78 in. 

$ 1,500-3,000 

223

220 

RARE PENNSYLVANIA 

RAILROAD LOCOMOTIVES AND 

TENDERS PAINTINGS, CHARLES 

H. CARUTHERS (B. 1847), 

YEADON, PENNSYLVANIA, 

CIRCA 1860 

Gouache and ink on paper. (4 pieces) 

Height 21½ in. by Width 20 ½ in. 

PROVENANCE 

Jeffrey Tillou Antiques, Litchfield, Connecticut. 

This collection of four paintings depicts eleven 

Pennsylvania Railroad locomotives and tenders, 

(i) engine No. 131, No. 153, No. 152, (ii) No. 

279, No. 70, No. 49, (iii) No. 191, No. 16, No. 47, 

(iv) No. 168, No. 217. The eight examples are 

signed C.H. Caruthers and each is numbered 

with copious ink inscriptions identifying dates 

and locations of where engines were built and 

painted as well as restored on the verso. A 

colored drawing by Caruthers on the reverse 

side of the middle painting depicts a man waving 

a banner reading McClellan and Pendleton, 

gouache and ink on paper, in contemporary 

distressed frames. 

C. H. Caruthers was superintendent of the 

car department of the Westmoreland Coal Co. 

at Irwin, Pennsylvania. He published a detailed 

article on “Early Baldwin Locomotives on the 

Pennsylvania Railroad” in 1898 and is cited in 

Joseph Snowden Bell’s 1912 book The Early 

Motive Power of the Baltimore and Ohio Railroad 

as being “familiar with the camel engines of the 

Pennsylvania Railroad…[He] has made a very 

full and interesting set of drawings of them, both 

in their original form and as rebuilt by John P. 

Laird, at Altoona, Pa.” 

$ 8,000-10,000 

220 (two of four being offered) 


221 

VERY RARE CARVED OAK 

BUILDER’S MODEL OF THE 

‘ALPHA’ 4-4-0 LOCOMOTIVE 

Executed circa 1860-80. 



PROVENANCE 

Gerald Kornblau, New York; 


Christie’s, New York, The Collection of Allan 

Stone, November 12, 2007, lot 634; 


Alpha is a striking American 4-4-0 steam 

locomotive engine model presumably created 

as a presentation model for the potential sale 

and construction of a full-sized engine. Of 

impressive scale, this engine is exquisitely 

constructed of oak and brass with intricate 

attention to detail. The locomotive is a 

classically American engine from the height of 

the nation’s railroad expansion. It is similar to 

the locomotive engine popularized in Buster 

Keaton’s 1927 classic film, The General. This 

film satirized the great locomotive chase in 

1862 where the General was commandeered 

by a group of Union volunteers led by James 

J. Andrews to cripple the Confederacy’s 

transportation network. Alpha also holds 

strong parallels the Union Pacific Railroads 

locomotive, Jupiter, which met the Central 

Pacific Railroads No. 119 at Promontory 

Point, Utah to complete the Transcontinental 

Railroad. This historic moment created 

unprecedented economic and population 

growth in the American West and finally 

united America from coast to coast. The 

design of Alpha became the backbone of 

the American railroads throughout the 

latter half of the 19th century and remains 

the quintessential symbol of American rail 

prowess. 

$ 20,000-30,000 

221 

225

222 

VERY FINE AND RARE SHEET 

IRON ‘DIANA AND THE HOUND’ 

WEATHERVANE, WILLIAM HUNT 

DIEDERICH (1884-1953), NEW YORK, 

CIRCA 1920-29 

Height 66 ¾ in. by Width 55 in. 

PROVENANCE 

Irving Galleries, Palm Beach, Florida. 

$ 10,000-15,000 


222 

227

223 

FINE COPPER AND IRON 

WEATHERVANE, WILLIAM 

HUNT DIEDERICH (1884-1953), 

NEW YORK, CIRCA 1920-29 


PROVENANCE 

Private residence, 3350 Elmwood Ave., 

Rochester, New York, circa 1920; 

Herbert Vander Brul; 

Sotheby’s, New York, Important Prewar Design, 

December 14, 2007, sale 8382, lot 359. 

$ 8,000-12,000 


224 

RARE POLO PLAYERS SHEET 

IRON WEATHERVANE, WILLIAM 

HUNT DIEDERICH (1884-1953), 

NEW YORK, CIRCA 1920-29 


PROVENANCE 

Sollo-Rago Modern Auctions, Lambertville, New 

Jersey, Modern Auction, October 27-28, 2007, 

lot 58. 

$ 6,000-8,000 

229

225 226 

225 

CARVED WOOD EROTICA OF A 

FEMALE NUDE BATHING, 


in a frame with movable curtains that can obscure 

the figure. 

Height 13 ⅞ in. by Length 10 ⅞ in. 

PROVENANCE 


226 

CARVED GILTWOOD AND 

EBONIZED PINE PLAQUE OF 

NUDE WOMAN, EARLY 20TH 

CENTURY 

Height 9 ¼ in. by Length 5 ½ in. 

$ 1,000-1,500 

$ 800-1,200 


227 


RELIEF OF A NUDE IN WATER, 

CIRCA 1925 

Height 18 ¾ in. by Width 10 in. 

PROVENANCE 

Private New York State collection; 


The likely inspirational source for this relief 

is September Morn, circa 1912, by Paul Émile 

Chabas (1869-1937) in the Metropolitan 

Museum of Art. September Morn became a 

succès de scandale in the United States in May 

1913, when Anthony Comstock, head of the 

New York Society for the Suppression of Vice, 

protested against the painting as supposedly 

immoral. The painting became famous and 

reproductions of the painting were sold. 

$ 2,000-3,000 

228 



WALL PLAQUE OF A RECLINING 

NUDE, 20TH CENTURY 

Height 14 ½ in. by Width 35 ½ in. by Depth 4 ½ in. 

PROVENANCE 

Edmund Fuller, Woodstock, New York; 

Marvel Collection, White Plains, New York; 


LITERATURE 

Frank Maresca and Roger Ricco, Discoveries 

in Folk Sculpture (New York: Alfred A. Knopf, 

1988), p. 22, fig. 16 

$ 10,000-15,000 

227 

228 

231

229 



WOODEN PANEL OF TEMPTATION, 

HENRI (HENRY) BERNHARDT (B. 1870), 

SPARTANBURG, SOUTH CAROLINA, 

CIRCA 1935 

Height 29 ½ in. by Width 40 in. by Depth 3 ⅜ in. 

PROVENANCE 


Henry (Henri) Bernhardt was an eccentric artist who gained 

national notoriety on August 7,1939, when Life magazine 

published photos of the life-sized statues of nude women he 

had placed on his front lawn, each enclosed in a glass box. 

In a letter to the magazine’s editor, a Spartanburg resident 

reported that “there’s been much discussion about them. 

Every time the neighbors complain about them, he adds 

another figure.” In late October 1939, the Spartansburg 

Herald-Journal announced that Bernhardt planned to open a 

museum “that would house numbers of [his] wood carvings 

and paintings, recognized by authorities as some of the best 

throughout the South.” Among the sculptures described in 

the article are a head of Christ and figures of King Herod, 

Salome in a dancing pose, and a slave bearing the severed 

head of John the Baptist. This earlier relief carving of Eve 

seducing Adam may have been among the works intended 

for the museum and is a prime example of Bernhardt’s 

provocative style. 

$ 25,000-35,000 


229 

233

230 

EXCEPTIONAL CAST IRON 

STAG GARDEN ORNAMENT, 

ATTRIBUTED TO ROBERT 

WOOD FOUNDRY, 

PHILADELPHIA, CIRCA 1860 


PROVENANCE 

Charles T. Gorham (1812-1901), Fitch- 

Gorham-Brooks House (c. 1849), Kalamazoo, 

Michigan; 

Giampietro American Folk Art. New Haven, 

Connecticut. 

LITERATURE 

Robert Wood catalogue, 1858, no. 477, pl 108. 

∏ $ 30,000-50,000 

235


231 



POPLAR REINDEER CAROUSEL FIGURE, 

E. JOY MORRIS CAROUSEL COMPANY, 

PHILADELPHIA, PENNSYLVANIA, 

CIRCA 1897 


PROVENANCE 

Gemini Antiques, Bridgehampton, New York; 

Sotheby’s, New York, Important Americana, January 15, 

2004, sale 7959, lot 287 

LITERATURE 

Antiques and the Arts Weekly, February 6, 2004, p. 33. 

Joy Morris was a prolific carousel manufacturer. Though 

the company existed for only five years, it produced 

numerous carousels before the company was purchased 

by Henry Auchy, the founder of the Philadelphia Toboggan 

Company. Some of the best carousel carvers worked 

in the Morris shop—including Charles Leopold, Frank 

Carretta and David Lightfoot. While other makers were 

still creating square saddle blankets, the carving team 

at E. Joy Morris began using sweeping lines and ornate 

tassels—innovative details that spurred other companies 

to modernize and adapt. 

$ 40,000-60,000 

231 

237

232 


232 

EXCEPTIONAL GERMAN 

CARVED AND PAINT 

DECORATED PINE NOAH’S ARK 

AND ANIMALS, 19TH CENTURY 

the ark painted red, orange and yellow; 

containing 139 figures including pairs of giraffes, 

ostriches, leopards, kangaroos, camels, deer, 

elephants, buffaloes, cats, dogs, birds, spiders, 

grasshoppers and with Noah and his wife; 140 

pieces. 

Height 66 in. by Length 41 ⅞ in. by Depth 9 ¾ in. 

PROVENANCE 



233 

$ 10,000-15,000 

233 


PAINT-DECORATED SCULPTURE 

OF A MAN AT A LOOM WITH 

SHUTTLE, 20TH CENTURY 

Height 10 ⅝ in. by Width 15 in. by Depth 10 ½ in. 

$ 2,000-3,000 

234 


COUNTERTOP FIGURE OF 

‘JACK TAR’, ENGLAND, 

CIRCA 1860 

appears to retains its original painted surface. 


PROVENANCE 



$ 6,000-8,000 

234 

239

235 



DECORATED ‘ALL-SEEING EYE’ 

WALL CLOCK, GILBERT CLOCK 

COMPANY, CIRCA 1905 

with copper hands. 

Height 29 in. by Width 21 ¾ in. by Depth 3 ⅝ in. 

PROVENANCE 


$ 4,000-6,000 

236 

RARE CARVED AND 


DECORATED PINE AFRICAN 

AMERICAN MINSTREL FIGURE, 

CIRCA 1925 


235 

$ 500-800 

236 


237 

IMPORTANT ALEUT WHALERS 

UMIAK MODEL, ALEUTIAN 

ISLANDS, ALASKA, CIRCA 1880 

carved and constructed wooden whaling boat 

covered with seal gut, carved wooden figures with 

seal gut clothing sewn with sinew and decorated 

with trade wool and trade paint, walrus ivory bird 

finial and walrus whiskers. 

Height 7 ¼ in. by Length 28 in. by Width 16 ½ in. 

PROVENANCE 


This model was possibly made as a gift to a 

captain of an American whaling vessel as a 

token of admiration. 

◉ $ 8,000-12,000 

237 

241

238 

CERAMIC BASEBALL SYRUP 

DISPENSER, CIRCA 1910 

inscribed Fan-Taz, Drink of the “Fans” and A 

Pennant Winner. Pumping components not 

original. 

Height 15 ½ in. by Depth 9 ¾ in. 

PROVENANCE 

Robert Edward Auctions, Watchung, New 

Jersey, Baseball Cards, Memorabilia & 

Americana Auction, May 2, 2009, lot 1115. 

238 

Dispensers such as this were common sights 

in drugstores, general stores, and ice cream 

parlors during the early 1900’s and were used 

by “soda jerks” to pump out the syrup when 

filling a soda order. 

$ 800-1,200 

239 

SPHERE LOUPE DE THUAL, 

JEAN CLAUDE LAMBERT, 

FRANCE 

Diameter 17 in. 

PROVENANCE 

Hôtel Sofitel Paris le Faubourg, rue Boissy 

d’Anglas, Paris. 

$ 800-1,200 

239 

240 

AFTER WILLIAM HOWARD 

ROBINSON 

color print 

circa 1917 


hand colored lithograph based on a painting by 

William Howard Robinson depicting Jim Driscoll 

winner of the Lonsdale Belt boxing against Joe 

Bowker. 

PROVENANCE 

Manfred Schotten Antiques, Buford, Oxon. 

$ 600-800 

240 


241 

FINE FRENCH MOTHER-OF- 

PEARL AND EBONY INLAID 

MAHOGANY AND ROSEWOOD 

HURDY GURDY, CIRCA 1770 

Guitar shaped body with mahogany table 

crossbanded with ebony and ivory, the rosewood 

sides interspersed with ivory stringing. The 

ebony veneered keybox cover and chien and later 

ebonized wheel cover with mother-of-pearl inlay; 

the pegbox ornamented with embossed diaper 

and terminating in carved female head; ivory 

handle. Stamped Vibert on side of keybox. 

Length 25 in. by Width 10 in. by Depth 6 ½ in. 

PROVENANCE 

Christie’s. London, Musical, November 3, 1993, 

sale 5063, lot 6; 

Dillingham and Company, San Francisco, 

California. 

◉ $ 2,000-3,000 

242 


DECORATED SNARE DRUM, 

CIRCA 1930 

inscribed THE KOLLEGE KIDS. 

Height 11 ¾ in. by Diameter 15 ½ in. 

PROVENANCE 

Murray Blackman. 

241 

The Kollege Kids were a 1930’s band and 

several other similarly decorated instruments 

have appears in the marketplaces, namely 

a violin and case at The RSL Auction Co., 

Whitehouse Station, New Jersey, March 7, 

2015, lot 380, a banjo at Mosby & Co. Auctions, 

Frederick, Maryland, April 28, 2012, lot 260 

and a megaphone at Uniques & Antiques, Inc., 

Aston, Pennsylvania, October 16, 2012, lot 534. 

$ 3,000-5,000 

END OF SALE 

242 

243

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CONDITIONS OF SALE 

The following Conditions of Sale and Terms 

of Guarantee are Sotheby’s, Inc. and the 

Consignor’s entire agreement with the 

purchaser and any bidders relative to the 

property listed in this catalogue. 

The Conditions of Sale, Terms of 

Guarantee, the glossary, if any, and all other 

contents of this catalogue are subject to 

amendment by us by the posting of notices 

or by oral announcements made during 

the sale. The property will be offered by 

us as agent for the Consignor, unless the 

catalogue indicates otherwise. 

By participating in any sale, you 

acknowledge that you are bound by these 

terms and conditions. 

1. As Is Goods auctioned are often 

of some age. The authenticity of the 

Authorship (as defined below) of property 

listed in the catalogue is guaranteed as 

stated in the Terms of Guarantee and 

except for the Limited Warranty contained 

therein, all property is sold “AS IS” without 

any representations or warranties by us or 

the Consignor as to merchantability, fitness 

for a particular purpose, the correctness 

of the catalogue or other description of 

the physical condition, size, quality, rarity, 

importance, medium, frame, provenance, 

exhibitions, literature or historical relevance 

of any property and no statement 

anywhere, whether oral or written, whether 

made in the catalogue, an advertisement, 

a bill of sale, a salesroom posting or 

announcement, or elsewhere, shall be 

deemed such a warranty, representation 

or assumption of liability. We and the 

Consignor make no representations 

and warranties, express or implied, as 

to whether the purchaser acquires any 

copyrights, including but not limited to, 

any reproduction rights in any property. 

We and the Consignor are not responsible 

for errors and omissions in the catalogue, 

glossary, or any supplemental material. 

Sotheby’s will not be responsible or liable 

for damage to frames and glass coverings, 

regardless of the cause. 

2. Inspection Prospective bidders should 

inspect the property before bidding to 

determine its condition, size, and whether 

or not it has been repaired or restored. 

3. Buyer’s Premium A buyer’s premium 

will be added to the hammer price and is 

payable by the purchaser as part of the 

total purchase price. The buyer’s premium 

is 25% of the hammer price up to and 

including $400,000, 20% of any amount 

in excess of $400,000 up to and including 

$4,000,000, and 13.9% of any amount in 

excess of $4,000,000. 

4. Withdrawal We reserve the right to 

withdraw any property before the sale and 

shall have no liability whatsoever for such 

withdrawal. 

5. Per Lot Unless otherwise announced 

by the auctioneer, all bids are per lot as 

numbered in the catalogue. 

6. Bidding We reserve the right to reject 

any bid. The highest bidder acknowledged 

by the auctioneer will be the purchaser. The 

auctioneer has absolute and sole discretion 

in the case of error or dispute with respect 

to bidding, and whether during or after the 

sale, to determine the successful bidder, to 

re-open the bidding, to cancel the sale or 

to re-offer and re-sell the item in dispute. If 

any dispute arises after the sale, our sale 

record is conclusive. In our discretion we 

will execute order or absentee bids and 

accept telephone bids and online bids via 

the Online Platforms as a convenience to 

clients who are not present at auctions; 

Sotheby’s is not responsible for any 

errors or omissions in connection therewith. 

Prospective bidders should also 

consult sothebys.com for the most up to 

date cataloguing of the property in this 

catalogue. 

By participating in the sale, you represent 

and warrant that any bids placed by you, 

or on your behalf, are not the product of 

any collusive or other anti-competitive 

agreement and are otherwise consistent 

with federal and state antitrust law. 

By participating in the sale, you represent 

and warrant that: 

(a) The bidder and/or purchaser is not 

subject to trade sanctions, embargoes 

or any other restriction on trade in the 

jurisdiction in which it does business as well 

as under the laws of the European Union, 

the laws of England and Wales, or the laws 

and regulations of the United States, and is 

not owned (nor partly owned) or controlled 

by such sanctioned person(s) (collectively, 

“Sanctioned Person(s)”); 

(b) Where acting as agent (with Sotheby’s 

prior written consent), the principal is not 

a Sanctioned Person(s) nor owned (or 

partly owned) or controlled by Sanctioned 

Person(s); and 

(c) The bidder and/or purchaser undertakes 

that none of the purchase price will be funded 

by any Sanctioned Person(s), nor will any 

party be involved in the transaction including 

financial institutions, freight forwarders or 

other forwarding agents or any other party 

be a Sanctioned Person(s) nor owned (or 

partly owned) or controlled by a Sanctioned 

Person(s), unless such activity is authorized 

in writing by the government authority 

having jurisdiction over the transaction or in 

applicable law or regulation. 

In order to bid on “Premium Lots” you 

must complete the required Premium Lot 

pre-registration application. Sotheby’s 

decision whether to accept any preregistration 

application shall be final. You 

must arrange for Sotheby’s to receive 

your pre-registration application at least 

three working days before the sale. Please 

bear in mind that we are unable to obtain 

financial references over weekends or 

public holidays. 

Sotheby’s may require such necessary 

financial references, guarantees, deposits 

and/or such other security, in its absolute 

discretion, as security for your bid(s). 

7. Online Bids via an Online Platform 

Sotheby’s may offer clients the opportunity 

to bid on sothebys.com or through the 

Sotheby’s App, or on any other online 

platform through which bidding may be 

made available for selected sales. By 

participating in a sale via any of the Online 

Platforms, you acknowledge that you are 

bound by these Conditions of Sale as well 

as the Additional Terms and Conditions 

for Online Bidding (“Online Terms”). 

By participating in a sale via any Online 

Platform, Bidders accept the Online Terms, 

as well as the relevant Conditions of Sale. 

Online bidding may not be available for 

Premium Lots. 

8. Bids Below Reserve If the auctioneer 

deter-mines that any opening bid is below 

the reserve of the article offered, he may 

reject the same and withdraw the article 

from sale, and if, having acknowledged 

an opening bid, he deter-mines that any 

advance thereafter is insufficient, he may 

reject the advance. 

9. Purchaser’s Responsibility Subject 

to fulfillment of all of the conditions set 

forth herein, on the fall of the auctioneer’s 

hammer, the contract between the 

consignor and the purchaser is concluded, 

and the winning bidder thereupon will 

immediately pay the full purchase price 

or such part as we may require. Title in a 

purchased lot will not pass until Sotheby’s 

has received the full purchase price in 

cleared funds. The purchaser’s obligation 

to immediately pay the full purchase price 

or such part as we may require is absolute 

and unconditional and is not subject to any 

defenses, setoffs or counterclaims of any 

kind whatsoever. Sotheby’s is not obligated 

to release a lot to the purchaser until title to 

the lot has passed and any earlier release 

does not affect the passing of title or the 

purchaser’s unconditional obligation to pay 

the full purchase price. In addition to other 

remedies available to us by law, we reserve 

the right to impose from the date of sale a 

late charge of the annual percentage rate 

of Prime + 6% of the total purchase price 

if payment is not made in accordance with 

the conditions set forth herein. Please note 

Sotheby’s reserves the right to refuse to 

accept payment from a source other than 

the buyer of record. 

Unless otherwise agreed by Sotheby’s, 

all property must be removed from our 

premises by the purchaser at his expense 

not later than 30 calendar days following 

its sale. Purchasers are reminded that 

Sotheby’s liability for loss of or damage to 

sold property shall cease upon the earlier 

of (a) 30 calendar days after the date of the 

auction and (b) our release of the property 

to the purchaser or the purchaser’s 

designated agent. Upon the expiration 

of such 30 calendar day period or upon 

such earlier release, as applicable: (i) the 

purchaser bears full liability for any and all 

loss of or damage to the property; (ii) the 

purchaser releases Sotheby’s, its affiliates, 

agents and warehouses from any and all 

liability and claims for loss of or damage 

to the property; and (iii) the purchaser 

agrees to indemnify and hold Sotheby’s, its 

affiliates, agents and warehouses harmless 

from and against any and all liability for 

loss of or damage to property and any 

all claims related to loss of or damage to 

the property as of and from and after the 

time Sotheby’s liability for loss or damage 

to the property ceases in accordance 

with this paragraph. If any applicable 

conditions herein are not complied with 

by the purchaser, the purchaser will be in 

default and in addition to any and all other 

remedies available to us and the Consignor 

by law, including, without limitation, the 

right to hold the purchaser liable for the 

total purchase price, including all fees, 

charges and expenses more fully set forth 

herein, we, at our option, may (x) cancel 

the sale of that, or any other lot or lots 

sold to the defaulting purchaser at the 

same or any other auction, retaining as 

liquidated damages all payments made by 

the purchaser, or (y) resell the purchased 

property, whether at public auction or by 

private sale, or (z) effect any combination 

thereof. In any case, the purchaser will 

be liable for any deficiency, any and all 

costs, handling charges, late charges, 

expenses of both sales, our com-missions 

on both sales at our regular rates, legal 

fees and expenses, collection fees and 

incidental damages. We may, in our sole 

discretion, apply any proceeds of sale 

then due or thereafter becoming due to 

the purchaser from us or any affiliated 

company, or any payment made by the 

purchaser to us or any affiliated company, 

whether or not intended to reduce the 

purchaser’s obligations with respect to 

the unpaid lot or lots, to the deficiency 

and any other amounts due to us or 

any affiliated companies. In addition, a 

defaulting purchaser will be deemed to 

have granted and assigned to us and our 

affiliated companies, a continuing security 

interest of first priority in any property or 

money of or owing to such purchaser in 

our possession, custody or control or in 

the possession, custody or control of any 

of our affiliated companies, in each case 

whether at the time of the auction, the 

default or if acquired at any time thereafter, 

and we may retain and apply such property 

or money as collateral security for the 

obligations due to us or to any affiliated 

company of ours. We shall have all of the 

rights accorded a secured party under 

the New York Uniform Commercial Code. 

You hereby agree that Sotheby’s may file 

financing statements under the New York 

Uniform Commercial Code without your 

signature. Payment will not be deemed 

to have been made in full until we have 

collected good funds. Any claims relating 

to any purchase, including any claims 

under the Conditions of Sale or Terms of 

Guarantee, must be presented directly 

to Sotheby’s. In the event the purchaser 

fails to pay any or all of the total purchase 

price for any lot and Sotheby’s nonetheless 

elects to pay the Consignor any portion 

of the sale proceeds, the purchaser 

acknowledges that Sotheby’s shall have 

all of the rights of the Consignor to pursue 

the purchaser for any amounts paid to the 

Consignor, whether at law, in equity, or 

under these Conditions of Sale. 

247

10. Reserve All lots in this catalogue are 

offered subject to a reserve, which is the 

confidential minimum hammer price at 

which a lot will be sold. No reserve will 

exceed the low presale estimate stated 

in the catalogue, or as amended by oral 

or posted notices. We may implement 

such reserve by opening the bidding on 

behalf of the Consignor and may bid up 

to the amount of the reserve, by placing 

successive or consecutive bids for a lot, 

or bids in response to other bidders. In 

instances where we have an interest in the 

lot other than our commission, we may bid 

up to the reserve to protect such interest. 

In certain instances, the Consignor may 

pay us less than the standard commission 

rate where a lot is “bought-in” to protect 

its reserve. 

11. Tax Unless exempted by law, the 

purchaser will be required to pay the 

combined New York State and local sales 

tax, any applicable compensating use tax 

of another state, and if applicable, any 

federal luxury or other tax, on the total 

purchase price. The rate of such combined 

tax is 8.875% in New York City and ranges 

from 7% to 8.625% elsewhere in New York. 

12. Export and Permits It is the 

purchaser’s sole responsibility to identify 

and obtain any necessary export, 

import, firearm, endangered species or 

other permit for the lot. Any symbols 

or notices in the sale catalogue reflect 

Sotheby’s reasonable opinion at the 

time of cataloguing and are for bidders’ 

general guidance only; Sotheby’s and the 

Consignor make no representations or 

warranties as to whether any lot is or is not 

subject to export or import restrictions or 

any embargoes. 

13. Governing Law and Jurisdiction 

These Conditions of Sale and Terms 

of Guarantee, as well as bidders’, the 

purchaser’s and our respective rights and 

obligations hereunder, shall be governed by 

and construed and enforced in accordance 

with the laws of the State of New York. By 

bidding at an auction, whether present 

in person or by agent, order or absentee 

bid, telephone, online or other means, all 

bidders including the purchaser, shall be 

deemed to have consented to the exclusive 

jurisdiction of the state courts of, and 

the federal courts sitting in, the State of 

New York. All parties agree, however, that 

Sotheby’s shall retain the right to bring 

proceedings in a court other than the state 

and federal courts sitting in the State of 

New York. 

14. Packing and Shipping We are not 

responsible for the acts or omissions in our 

packing or shipping of purchased lots or 

of other carriers or packers of purchased 

lots, whether or not recommended by us. 

Packing and handling of purchased lots is 

at the entire risk of the purchaser. 

15. Limitation of Liability In no event 

will the aggregate liability of Sotheby’s and 

the consignor to a purchaser exceed the 

purchase price actually paid. 

16. Data Protection Sotheby’s will hold 

and process your personal information 

and may share it with its subsidiaries and 

affiliates for use as described in, and in line 

with, Sotheby’s Privacy Policy published on 

Sotheby’s website at 

www.sothebys.com or available on request 

by email to enquiries@sothebys.com. 

Under European data protection laws, 

a client may object, by request and free 

of charge, to the processing of their 

information for certain purposes, including 

direct marketing, and may access and 

rectify personal data relating to them 

and may obtain more information about 

Sotheby’s data protection policies by 

writing to Sotheby’s, 34-35 New Bond 

Street, London W1A 2AA, or 1334 York 

Avenue, New York, NY 10021, Attn: 

Compliance, or emailing enquiries@ 

sothebys.com. 

Please be aware that Sotheby’s may film 

auctions or other activities on Sotheby’s 

premises and that such recordings may be 

transmitted over the Internet via Sotheby’s 

website and other online platforms. Online 

and telephone bids may be recorded. 

TERMS OF GUARANTEE 

As set forth below and in the Conditions 

of Sale, for all lots Sotheby’s guarantees 

that the authorship, period, culture or 

origin (collectively, “Authorship”) of each 

lot in this catalogue is as set out in the 

BOLD or CAPITALIZED type heading in 

the catalogue description of the lot, as 

amended by oral or written salesroom 

notes or announcements. Purchasers 

should refer to the Glossary of Terms, if any, 

for an explanation of the terminology used 

in the Bold or Capitalized type heading 

and the extent of the Guarantee. Sotheby’s 

makes no warranties whatsoever, whether 

express or implied, with respect to any 

material in the catalogue other than 

that appearing in the Bold or Capitalized 

heading and subject to the exclusions 

below. 

In the event Sotheby’s in its reasonable 

opinion deems that the conditions of the 

Guarantee have been satisfied, it shall 

refund to the original purchaser of record 

the hammer price and applicable Buyer’s 

Premium paid for the lot by the original 

purchaser of record. 

This Guarantee is provided for a period 

of five (5) years from the date of the 

relevant auction, is solely for the benefit 

of the original purchaser of record at 

the auction and may not be transferred 

to any third party. To be able to claim 

under this Guarantee of Authorship, the 

original purchaser of record must: (i) 

notify Sotheby’s in writing within three (3) 

months of receiving any information that 

causes the original purchaser of record 

to question the accuracy of the Bold or 

Capitalized type heading, specifying the 

lot number, date of the auction at which 

it was purchased and the reasons for 

such question; and (ii) return the Lot to 

Sotheby’s at the original selling location in 

the same condition as at the date of sale to 

the original purchaser of record and be able 

to transfer good title to the Lot, free from 

any third party claims arising after the date 

of such sale. 

Sotheby’s has discretion to waive any of 

the above requirements. Sotheby’s may 

require the original purchaser of record to 

obtain at the original purchaser of record’s 

cost the reports of two independent and 

recognized experts in the field, mutually 

acceptable to Sotheby’s and the original 

purchaser of record. Sotheby’s shall 

not be bound by any reports produced 

by the original purchaser of record, and 

reserves the right to seek additional expert 

advice at its own expense. It is specifically 

understood and agreed that the rescission 

of a sale and the refund of the original 

purchase price paid (the successful 

hammer price, plus the buyer’s premium) 

is exclusive and in lieu of any other remedy 

which might otherwise be available as 

a matter of law, or in equity. Sotheby’s 

and the Consignor shall not be liable for 

any incidental or consequential damages 

incurred or claimed, including without 

limitation, loss of profits or interest. 

ADDITIONAL TERMS AND 

CONDITIONS FOR ONLINE 

BIDDING 

The following terms and conditions 

(the “Online Terms”) provide important 

information related to online bidding on 

sothebys.com or through the Sotheby’s 

App, or on any other online platform 

through which bidding may be made 

available (“Online Platforms”). 

These Conditions are in addition to and 

subject to the same law and our standard 

terms and conditions of sale, including 

the authenticity guarantee and any other 

terms and are not intended in any way to 

replace them. By participating in this sale 

via any Online Platform, you acknowledge 

that you are bound by the Conditions of 

Sale applicable in the relevant sale and by 

these additional Conditions. 

1. For certain sales, bidders are welcome to 

submit bids in advance of the live auction 

(“Advance Bids”) through the Online 

Platforms. In order to do so, you must 

register an account with Sotheby’s and 

provide requested information. You may 

bid at or above the starting bid displayed on 

the Online Platforms. Please note that we 

reserve the right to lower the starting bid 

prior to the start of the live auction. 

For sales where you can place Advance 

Bids, you may also input a maximum bid 

which, upon confirmation, will be executed 

automatically up to this predefined 

maximum value in response to other bids 

including bids placed by Sotheby’s on 

behalf of the seller, up to the amount of the 

reserve (if applicable). Please note that 

reserves may be set at any time before the 

start of the live auction and your maximum 

bid may be executed against the reserve 

once such reserve is set. 

The current leading bid will be visible to 

all bidders; the value and status of your 

maximum bid will be visible only to you, 

unless it is the leading bid. If the status 

of your bid changes, you will receive 

notifications via email and push (if you 

have the Sotheby’s App installed) leading 

up to the live auction. You may raise your 

maximum bid at any time in advance of 

the live auction. Once the live auction 

begins, the auctioneer will open bidding 

at the current leading bid. The system 

will continue to bid on your behalf up to 

your predetermined maximum bid, or 

you may continue to bid via the Online 

Platforms during the live auction at the 

next increment. Upon the closing of each 

lot, you will receive another email and push 

notification indicating whether you have 

won or lost each lot on which you have 

placed a bid. Please note that traditional 

absentee bids submitted in writing through 

our Bids Department will not be accepted 

for sales where you can place Advance 

Bids. 

By placing Advance Bids on the Online 

Platforms, you accept and agree that 

any such bids are final, that you will not 

be permitted to retract your bid, and 

that, should your bid be successful, you 

irrevocably agree to pay the full purchase 

price, including buyer’s premium and all 

applicable taxes and other applicable 

charges. You may nevertheless lower your 

maximum bid leading up to the live auction 

by contacting the Bids Department at 

+1 212 606 7414, except that you may not 

lower it to a level lower than the current 

leading bid. 

For sales where you cannot place Advance 

Bids, traditional absentee bids submitted 

in writing through our Bids Department will 

be accepted. 

2. Once it commences, a live auction 

is by its nature fast-moving and bidding 

may progress very quickly. The procedure 

for placing bids during the live auction is 

therefore a one-step process; as soon as 

the “Place Bid” button is clicked, a bid is 

submitted. By bidding online, you accept 

and agree that bids submitted in this way 

are final and that you will not under any 

circumstances be permitted to amend or 

retract your bid. If a successful bid is sent to 

Sotheby’s from your computer, electronic 

or mobile device, you irrevocably agree 

to pay the full purchase price, including 

buyer’s premium and all applicable taxes 

and other applicable charges. 

3. The next bidding increment is shown 

for your convenience. The auctioneer has 

discretion to vary Increments for bidders in 

the auction room and on the telephone, but 

bidders using Online Platforms may not be 

able to place a bid in an amount other than 

a whole bidding increment. All bidding for 

this sale will be in U.S. Dollars, in respect 

of New York sales, in Pounds Sterling, in 

respect of London sales, or in Hong Kong 

Dollars, in respect of Hong Kong sales, and 

online bidders will not be able to see the 

currency conversion board that may be 

displayed in the auction room. 

4. The record of sale kept by Sotheby’s 

will be taken as absolute and final in all 

disputes. In the event of a discrepancy 

between any online records or messages 

provided to you and the record of sale kept 

by Sotheby’s, the record of sale will govern. 

5. Online bidders are responsible for 

making themselves aware of all salesroom 

notices and announcements, which will be 

accessible on the Online Platforms. 


6. Sotheby’s reserves the right to refuse 

or revoke permission to bid via Online 

Platforms and to remove bidding privileges 

during a sale. 

7. The purchase information shown in the 

“My Bids” section of the Sotheby’s App 

and in the “Account Activity” section of “My 

Account” on Sothebys.com is provided for 

your convenience only. Successful bidders 

will be notified and invoiced after the sale. 

In the event of any discrepancy between 

the online purchase information and the 

invoice sent to you by Sotheby’s following 

the sale, the invoice prevails. Terms and 

conditions for payment and collection of 

property remain the same regardless of 

how the winning bid was submitted. 

8. Sotheby’s offers online bidding as a 

convenience to our clients. Sotheby’s is 

not responsible for any errors or failures 

to execute bids placed online, including, 

without limitation, errors or failures caused 

by (i) a loss of connection to the internet 

or to the online bidding software by either 

Sotheby’s or the client; (ii) a breakdown or 

problems with the online bidding software; 

or (iii) a breakdown or problems with a 

client’s internet connection, computer 

or electronic device. Sotheby’s is not 

responsible for any failure to execute an 

online bid or for any errors or omissions in 

connection therewith. 

9. Online bidding will be recorded. 

10. In the event of any conflict between 

these Online Terms and Sotheby’s 

Conditions of Sale and Terms of Guarantee, 

Sotheby’s Conditions of Sale and Terms of 

Guarantee will control. 

BUYING AT AUCTION 

The following will help in understanding the 

auction buying process as well as some of 

the terms and symbols commonly used 

in an auction catalogue. All bidders should 

read the Conditions of Sale and Terms of 

Guarantee in this catalogue, as well as the 

Glossary or any other notices. By bidding 

at auction, bidders are bound by the 

Conditions of Sale and Terms of Guarantee, 

as amended by any oral announcement 

or posted notices, which together form 

the sale contract among Sotheby’s, 

the seller (consignor) of the lot and any 

bidders, including the successful bidder 

(purchaser). 

1. SYMBOL KEY 

□ Reserves 

Unless indicated by a box (□), all lots in this 

catalogue are offered subject to a reserve. 

A reserve is the confidential minimum 

hammer price at which a lot will be sold. 

The reserve is generally set at a percentage 

of the low estimate and will not exceed 

the low estimate of the lot. If any lots in 

the catalogue are offered without reserve, 

such lots will be designated by a box (□). If 

every lot in a catalogue is offered without 

a reserve, the Conditions of Sale will so 

state and this symbol will not be used for 

each lot. 

○ Guaranteed Property 

The seller of lots with this symbol has 

been guaranteed a minimum price from 

one auction or a series of auctions. This 

guarantee may be provided by Sotheby’s 

or jointly by Sotheby’s and a third party. 

Sotheby’s and any third parties providing 

a guarantee jointly with Sotheby’s benefit 

financially if a guaranteed lot is sold 

successfully and may incur a loss if the 

sale is not successful. If the Guaranteed 

Property symbol for a lot is not included 

in the printing of the auction catalogue, a 

pre-sale or pre-lot announcement will be 

made indicating that there is a guarantee 

on the lot. 

△ 

Property in which Sotheby’s has an 

Ownership Interest 

Lots with this symbol indicate that 

Sotheby’s owns the lot in whole or in part 

or has an economic interest in the lot 

equivalent to an ownership interest. 

⋑ Irrevocable Bids 

Lots with this symbol indicate that a party 

has provided Sotheby’s with an irrevocable 

bid on the lot that will be executed during 

the sale at a value that ensures that the lot 

will sell. The irrevocable bidder, who may 

bid in excess of the irrevocable bid, may be 

compensated for providing the irrevocable 

bid by receiving a contingent fee, a fixed 

fee or both. If the irrevocable bidder is the 

successful bidder, any contingent fee, fixed 

fee or both (as applicable) for providing 

the irrevocable bid may be netted against 

the irrevocable bidder’s obligation to pay 

the full purchase price for the lot and the 

purchase price reported for the lot shall 

be net of any such fees. From time to time, 

Sotheby’s may enter into irrevocable 

bid agreements that cover multiple lots. 

In such instances, the compensation 

Sotheby’s will pay the irrevocable bidder 

is allocated to the lots for which the 

irrevocable bidder is not the successful 

purchaser. Under such circumstances, 

the total compensation to the irrevocable 

bidder will not exceed the total buyer’s 

premium and other amounts paid to 

Sotheby’s in respect of any lots for which 

the irrevocable bidder is not the successful 

bidder. If the irrevocable bid is not secured 

until after the printing of the auction 

catalogue, Sotheby’s will notify bidders that 

there is an irrevocable bid on the lot by one 

or more of the following means: a pre-sale 

or pre-lot announcement, by written notice 

at the auction or by including an irrevocable 

bid symbol in the e-catalogue for the 

sale prior to the auction. From time to 

time, Sotheby’s or any affiliated company 

may provide the irrevocable bidder with 

financing related to the irrevocable bid. If 

the irrevocable bidder is advising anyone 

with respect to the lot, Sotheby’s requires 

the irrevocable bidder to disclose his or her 

financial interest in the lot. If an agent is 

advising you or bidding on your behalf with 

respect to a lot identified as being subject 

to an irrevocable bid, you should request 

that the agent disclose whether or not he 

or she has a financial interest in the lot. 

⊻ Interested Parties 

Lots with this symbol indicate that parties 

with a direct or indirect interest in the lot 

may be bidding on the lot, including (i) the 

beneficiary of an estate selling the lot, or 

(ii) the joint owner of a lot. If the interested 

party is the successful bidder, they will be 

required to pay the full Buyer’s Premium. 

In certain instances, interested parties may 

have knowledge of the reserve. In the event 

the interested party’s possible participation 

in the sale is not known until after the 

printing of the auction catalogue, a pre-sale 

or pre-lot announcement will be made 

indicating that interested parties may be 

bidding on the lot. 

◉ Restricted Materials 

Lots with this symbol have been identified 

at the time of cataloguing as containing 

organic material which may be subject to 

restrictions regarding import or export. 

The information is made available for the 

convenience of bidders and the absence of 

the symbol is not a warranty that there are 

no restrictions regarding import or export 

of the Lot; bidders should refer to Condition 

12 of the Conditions of Sale. Please also 

refer to the section on Endangered Species 

in the information on Buying at Auction. 

∏ Monumental 

Lots with this symbol may, in our opinion, 

require special handling or shipping 

services due to size or other physical 

considerations. Bidders are advised to 

inspect the lot and to contact Sotheby’s 

prior to the sale to discuss any specific 

shipping requirements. 

Premium Lot 

In order to bid on “Premium Lots” (in print 

catalogue or in eCatalogue) you must 

complete the required Premium Lot 

pre-registration application. You must 

arrange for Sotheby’s to receive your 

pre-registration application at least three 

working days before the sale. Please 

bear in mind that we are unable to obtain 

financial references over weekends 

or public holidays. Sotheby’s decision 

whether to accept any pre-registration 

application shall be final. If your application 

is accepted, you will be provided with a 

special paddle number. If all lots in the 

catalogue are “Premium Lots”, a Special 

Notice will be included to this effect and 

this symbol will not be used. 

2. BEFORE THE AUCTION 

Bidding in advance of the live auction. For 

certain sales, if you are unable to attend 

the auction in person, and wish to bid in 

advance of the live auction, you may do 

so on Sothebys.com or the Sotheby’s 

App. In order to do so, you must register 

an account with Sotheby’s and provide 

requested information. Once you have 

done so, navigate to your desired lot, and 

click the “Place Bid” button. You may bid 

at or above the starting bid displayed on 

the Online Platforms. Please note that 

we reserve the right to lower the starting 

bid prior to the start of the live auction. 

You may also input your maximum bid 

which, upon confirmation, will be executed 

automatically up to this predefined 

maximum value, in response to other bids, 

including bids placed by Sotheby’s on 

behalf of the seller, up to the amount of the 

reserve (if applicable). The current leading 

bid will be visible to all bidders; the value 

and status of your maximum bid will be 

visible only to you. If the status of your bid 

changes, you will receive notifications via 

email and push (if you have the Sotheby’s 

App installed) leading up to the live auction. 

You may raise your maximum bid at any 

time in advance of the live auction. Once 

the live auction begins, the auctioneer will 

open bidding at the current leading bid. The 

system will continue to bid on your behalf 

up to your predetermined maximum bid, 

or you may continue to bid via the Online 

Platforms during the live auction at the next 

increment. Upon the closing of each lot in 

the live auction, you will receive another 

email and push notification indicating 

whether you have won or lost each lot on 

which you have placed a bid. Please note 

that traditional absentee bids submitted in 

writing through our Bids Department will 

not be accepted for sales where you can 

place Advance Bids. 

For sales where you cannot place Advance 

Bids, traditional absentee bids submitted 

in writing through our Bids Department will 

be accepted. 

The Catalogue A catalogue prepared by 

Sotheby’s is published for every scheduled 

live auction and is available prior to the sale 

date. The catalogue will help familiarize 

you with property being offered at the 

designated auction. Catalogues may be 

purchased at Sotheby’s or by subscription 

in any categories. For information, please 

call +1 212 606 7000 or visit sothebys. 

com. Prospective bidders should also 

consult sothebys.com for the most up to 

date cataloguing of the property in this 

catalogue. 

Estimates Each lot in the catalogue is 

given a low and high estimate, indicating 

to a prospective buyer a range in which the 

lot might sell at auction. When possible, 

the estimate is based on previous auction 

records of comparable pieces. The 

estimates are determined several months 

before a sale and are therefore subject 

to change upon further research of the 

property, or to reflect market conditions 

or currency fluctuations. Estimates should 

not be relied upon as a representation or 

prediction of actual selling prices. 

Provenance In certain circumstances, 

Sotheby’s may print in the catalogue the 

history of ownership of a work of art if such 

information contributes to scholarship 

or is otherwise well known and assists in 

distinguishing the work of art. However, 

the identity of the seller or previous owners 

may not be disclosed for a variety of 

reasons. For example, such information 

may be excluded to accommodate a 

seller’s request for confidentiality or 

because the identity of prior owners is 

unknown given the age of the work of art. 

Specialist Advice Prospective bidders 

may be interested in specific information 

not included in the catalogue description 

249

of a lot. For additional information, please 

contact either a Sotheby’s specialist in 

charge of the sale (all of whom are listed 

in the front of the catalogue), or Sotheby’s 

Client Services Department. You may 

also request a condition report from the 

specialist in charge. 

The Exhibition An exhibition of the 

auction property will be held the week prior 

to the auction on the days listed in the front 

of the catalogue. There you will have the 

opportunity to view, inspect and evaluate 

the property yourself, or with the help of a 

Sotheby’s specialist. 

Salesroom Notices Salesroom notices 

amend the catalogue description of a lot 

after our catalogue has gone to press. 

They are posted in the viewing galleries 

and salesroom or are announced by the 

auctioneer. Salesroom notices are also 

posted on the Online Platform for those 

bidding online. Please take note of them. 

Registration Sotheby’s may require such 

necessary financial references, guarantees, 

deposits and/or such other security, in its 

absolute discretion, as security for your 

bid. If you are not successful on any lot, 

Sotheby’s will arrange for a refund (subject 

to any right of set off) of the deposit 

amount paid by you without interest within 

14 working days of the date of the sale. 

Any exchange losses or fees associated 

with the refund shall be borne by you. 

Registration to bid on Premium Lots must 

be done at least 3 business days prior to 

the sale. 

3. DURING THE AUCTION 

The Auction Auctions are open to the 

public without any admission fee or 

obligation to bid. The auctioneer introduces 

the objects for sale — known as “lots” — in 

numerical order as listed in the catalogue. 

Unless otherwise noted in the catalogue 

or by an announcement at the auction, 

Sotheby’s acts as agent on behalf of the 

seller and does not permit the seller to bid 

on his or her own property. It is important 

for all bidders to know that the auctioneer 

may open the bidding on any lot by placing 

a bid on behalf of the seller. The auctioneer 

may further bid on behalf of the seller, up 

to the amount of the reserve, by placing 

responsive or consecutive bids for a lot. 

The auctioneer will not place consecutive 

bids on behalf of the seller above the 

reserve. 

Bidding in Person If you would like 

to bid in person, you may register for a 

paddle prior to the live auction through the 

Online Platform or by contacting the Bids 

Department. Alternatively, you may register 

for a paddle upon entering the salesroom. 

The paddle is numbered so as to identify 

you to the auctioneer. To register, you will 

need a form of identification such as a 

driver’s license, a passport or some other 

type of government issued identification. 

If you are a first-time bidder, you will also 

be asked for your address, phone number 

and signature in order to create your 

account. If you are bidding for someone 

else, you will need to provide a letter from 

that person authorizing you to bid on that 

person’s behalf. Issuance of a bid paddle is 

in Sotheby’s sole discretion. 

Once the first bid has been placed, 

the auctioneer asks for higher bids, in 

increments determined by the auctioneer. 

To place your bid, simply raise your paddle 

until the auctioneer acknowledges you. 

You will know when your bid has been 

acknowledged; the auctioneer will not 

mistake a random gesture for a bid. 

If you wish to register to bid on a Premium 

Lot, please see the paragraph above. 

All lots sold will be invoiced to the name 

and address in which the paddle has been 

registered and cannot be transferred to 

other names and addresses. Sotheby’s 

reserves the right to refuse to accept 

payment from a source other than the 

buyer of record. 

Advance Bidding For certain sales, 

bidders are welcome to submit bids in 

advance of the live auction (“Advance 

Bids”) through the Online Platforms. For 

these sales, if you submit an “Advance 

Bid” (as described above in “BEFORE 

THE AUCTION”), and your bid is not 

executed up to its maximum value before 

the auction begins, your bid will continue 

to be executed automatically on your 

behalf during the live auction up to your 

predetermined maximum bid. You may also 

continue to bid via the Online Platforms at 

the next increment above your maximum 

bid. Please note that traditional absentee 

bids submitted in writing through our Bids 

Department will not be accepted for sales 

where Advance Bidding is available. 

Telephone Bidding In some 

circumstances, we offer the ability to 

place bids by telephone live to a Sotheby’s 

representative on the auction floor. Please 

contact the Bid Department prior to the 

sale to make arrangements or to answer 

any questions you may have. Telephone 

bids are accepted only at Sotheby’s 

discretion and at the caller’s risk. Calls may 

also be recorded at Sotheby’s discretion. 

By bidding on the telephone, prospective 

buyers consent thereto. 

Live Online Bidding If you cannot attend 

the live auction, it may be possible to bid 

live online via the Online Platforms for 

selected sales. For information about 

registering to bid on sothebys.com or 

through the Sotheby’s App, please see 

www.sothebys.com. Bidders utilizing any 

online platform are subject to the Online 

Terms as well as the relevant Conditions of 

Sale. Online bidding may not be available 

for Premium Lots. 

Employee Bidding Sotheby’s employees 

may bid in a Sotheby’s auction only if the 

employee does not know the reserve and if 

the employee fully complies with Sotheby’s 

internal rules governing employee bidding. 

US Economic Sanctions The United 

States maintains economic and trade 

sanctions against targeted foreign 

countries, groups and organizations. 

There may be restrictions on the import 

into the United States of certain items 

originating in sanctioned countries, 

including Cuba, Iran, North Korea and 

Sudan. The purchaser’s inability to import 

any item into the US or any other country 

as a result of these or other restrictions 

shall not justify cancellation or rescission 

of the sale or any delay in payment. Please 

check with the specialist department if you 

are uncertain as to whether a lot is subject 

to these import restrictions, or any other 

restrictions on importation or exportation. 

Hammer Price and the Buyer’s 

Premium For lots which are sold, the 

last price for a lot as announced by the 

auctioneer is the hammer price. A buyer’s 

premium will be added to the hammer 

price and is payable by the purchaser as 

part of the total purchase price. The buyer’s 

premium will be the amount stated in the 

Conditions of Sale. 

Currency Board As a courtesy to bidders, 

a currency board is operated in many 

salesrooms. It displays the lot number 

and current bid in both U.S. dollars and 

foreign currencies. Exchange rates are 

approximations based on recent exchange 

rate information and should not be 

relied upon as a precise invoice amount. 

Sotheby’s assumes no responsibility for 

any error or omission in foreign or United 

States currency amounts shown. 

Results Sale results are available on 

Sothebys.com and on the Sotheby’s App. 

International Auctions If you need 

assistance placing bids, obtaining condition 

reports or receiving auction results for a 

Sotheby’s sale outside the United States, 

please contact our International Client 

Services Department. 

4. AFTER THE AUCTION 

Payment If your bid is successful, you 

can go directly to Post Sale Services to 

make payment arrangements. Otherwise, 

your invoice will be mailed to you. The final 

price is determined by adding the buyer’s 

premium to the hammer price on a per-lot 

basis. Sales tax, where applicable, will be 

charged on the entire amount. Payment 

is due in full immediately after the sale. 

However, under certain circumstances, 

Sotheby’s may, in its sole discretion, 

offer bidders an extended payment plan. 

Such a payment plan may provide an 

economic benefit to the bidder. Credit 

terms should be requested at least one 

business day before the sale. However, 

there is no assurance that an extended 

payment plan will be offered. Please 

contact Post Sale Services or the specialist 

in charge of the sale for information on 

credit arrangements for a particular lot. 

Please note that Sotheby’s will not accept 

payments for purchased lots from any 

party other than the purchaser, unless 

otherwise agreed between the purchaser 

and Sotheby’s prior to the sale. 

Payment by Cash It is against Sotheby’s 

general policy to accept payments in the 

form of cash or cash equivalents. 

Payment by Credit Cards Sotheby’s 

accepts payment by credit card for Visa, 

MasterCard, and American Express only. 

Credit card payments may not exceed 

$50,000 per sale. Payment by credit card 

may be made (a) online at https://www. 

sothebys.com/en/invoice-payment.html, 

(b) through the Sotheby’s App, (c) by 

calling in to Post Sale Services at +1 212 

606 7444, or (d) in person at Sotheby’s 

premises at the address noted in the 

catalogue. 

Payment by Check Sotheby’s accepts 

personal, certified, banker’s draft and 

cashier’s checks drawn in US Dollars (made 

payable to Sotheby’s). While personal and 

company checks are accepted, property 

will not be released until such checks have 

cleared, unless you have a pre-arranged 

check acceptance agreement. Application 

for check clearance can be made through 

the Post Sale Services. 

Certified checks, banker’s drafts and 

cashier’s checks are accepted at Sotheby’s 

discretion and provided they are issued 

by a reputable financial institution 

governed by anti-money laundering 

laws. Instruments not meeting these 

requirements will be treated as “cash 

equivalents” and subject to the constraints 

noted in the prior paragraph titled 

“Payment By Cash”. 

Payment by Wire Transfer To pay for a 

purchase by wire transfer, please refer to 

the payment instructions on the invoice 

provided by Sotheby’s or contact Post Sale 

Services to request instructions. 

Sales and Use Tax New York sales tax 

is charged on the hammer price, buyer’s 

premium and any other applicable charges 

on any property picked up or delivered in 

New York State, regardless of the state or 

country in which the purchaser resides 

or does business. Purchasers who wish 

to use their own shipper who is not a 

considered a “common carrier” by the 

New York Department of Taxation and 

Finance will be charged New York sales 

tax on the entire charge regardless of the 

destination of the property. Please refer to 

“Information on Sales and Use Tax Related 

to Purchases at Auction” in the back of the 

catalogue. 

Collection and Delivery 

Post Sale Services 

+ 1 212 606 7444 

FAX: + 1 212 606 7043 

uspostsaleservices@sothebys.com 

Once your payment has been received 

and cleared, property may be released. 

Unless other-wise agreed by Sotheby’s, 

all purchases must be removed by the 

30th calendar day following a sale. 

Shipping Services Sotheby’s offers a 

comprehensive shipping service to meet 

all of your requirements. If you received a 

shipping quotation or have any questions 

about the services we offer please 

contact us. 

Collecting your Property As a courtesy 

to purchasers who come to Sotheby’s to 

collect property, Sotheby’s will assist in the 

packing of lots, although Sotheby’s may, 

in the case of fragile articles, choose not to 

pack or otherwise handle a purchase. 

If you are using your own shipper to collect 

property from Sotheby’s, please provide a 


letter of authorization and kindly instruct 

your shipper that they must provide a Bill of 

Lading prior to collection. Both documents 

must be sent to Post Sale Services prior to 

collection. 

The Bill of Lading must include: the 

purchaser’s full name, the full delivery 

address including the street name and 

number, city and state or city and country, 

the sale and lot number. 

Sotheby’s will contact your shipper within 

24 hours of receipt of the Bill of Lading 

to confirm the date and time that your 

property can be collected. Property will not 

be released without this confirmation and 

your shipper must bring the same Bill of 

Lading that was faxed to Sotheby’s when 

collecting. All property releases are subject 

to the receipt of cleared funds. 

Please see the Conditions of Sale for 

further details. 

Endangered Species Certain property 

sold at auction, for example, items made of 

or incorporating plant or animal materials 

such as coral, crocodile, ivory, whalebone, 

tortoiseshell, rhinoceros horn, rosewood, 

etc., irrespective of age or value, may 

require a license or certificate prior to 

exportation and additional licenses or 

certificates upon importation to another 

country. Sotheby’s suggests that buyers 

check on their government wildlife import 

requirements prior to placing a bid. Please 

note that the ability to obtain an export 

license or certificate does not ensure 

the ability to obtain an import license or 

certificate in another country, and vice 

versa. It is the purchaser’s responsibility to 

obtain any export or import licenses and/ 

or certificates as well as any other required 

documentation. In the case of denial of any 

export or import license or of delay in the 

obtaining of such licenses, the purchaser 

is still responsible for making on-time 

payment of the total purchase price for 

the lot. 

Although licenses can be obtained to 

export some types of endangered species, 

other types may not be exported at all, and 

other types may not be resold in the United 

States. Upon request, Sotheby’s is willing 

to assist the purchaser in attempting to 

obtain the appropriate licenses and/or 

certificates. However, there is no assurance 

that an export license or certificate can be 

obtained. Please check with the specialist 

department or the Shipping Department 

if you are uncertain as to whether a lot is 

subject to these export/import license 

and certificate requirements, or any other 

restrictions on exportation. 

The Art Loss Register As part of 

Sotheby’s efforts to support only the 

legitimate art market and to combat the 

illegitimate market in stolen property, 

Sotheby’s has retained the Art Loss 

Register to check all uniquely identifiable 

items offered for sale in this catalogue that 

are estimated at more than the equivalent 

of US$1,500 against the Art Loss Register’s 

computerized database of objects reported 

as stolen or lost. The Art Loss Register 

is pleased to provide purchasers with a 

certificate confirming that a search has 

been made. All inquiries regarding search 

certificates should be directed to The Art 

Loss Register, First Floor, 63-66 Hatten 

Garden, London EC1N 8LE or by email at 

artloss@artloss.com. The Art Loss Register 

does not guarantee the provenance or 

title of any catalogued item against which 

they search, and will not be liable for any 

direct or consequential losses of any nature 

howsoever arising. This statement and the 

ALR’s service do not affect your rights and 

obligations under the Conditions of Sale 

applicable to the sale. 

SELLING AT AUCTION 

If you have property you wish to sell, 

Sotheby’s team of specialists and client 

services representatives will assist you 

through the entire process. Simply 

contact the appropriate specialist 

(specialist departments are listed in the 

back of this catalogue), General Inquiries 

Department or a Sotheby’s regional office 

representative for suggestions on how best 

to arrange for evaluation of your property. 

Property Evaluation There are three 

general ways evaluation of property can be 

conducted: 

(1) In our galleries 

You may bring your property directly to our 

galleries where our specialists will give you 

auction estimates and advice. There is no 

charge for this service, but we request that 

you telephone ahead for an appointment. 

Inspection hours are 9:30 am to 5 pm, 

Monday through Friday. 

(2) By photograph 

If your property is not portable, or if you 

are not able to visit our galleries, you may 

bring in or send a clear photograph of 

each item. If you have a large collection, a 

representative selection of photographs 

will do. Please be sure to include the 

dimensions, artist’s signature or maker’s 

mark, medium, physical condition and any 

other relevant information. Our specialists 

will provide a free preliminary auction 

estimate subject to a final estimate upon 

first-hand inspection. 

(3) In your home 

Evaluations of property can also be made 

in your home. The fees for such visits 

are based on the scope and diversity of 

property, with travel expenses additional. 

These fees may be rebated if you consign 

your property for sale at Sotheby’s. If there 

is considerable property in question, we 

can arrange for an informal “walkthrough.” 

Once your property has been evaluated, 

Sotheby’s representatives can then help 

you determine how to proceed should you 

wish to continue with the auction process. 

They will provide information regarding 

sellers’ commission rates and other 

charges, auction venue, shipping and any 

further services you may require. 

SOTHEBY’S SERVICES 

Sotheby’s also offers a range of other 

services to our clients beyond buying 

and selling at auction. These services are 

summarized below. Further information on 

any of the services described below can be 

found at sothebys.com. 

Valuations and Appraisals Sotheby’s 

Valuations and Appraisals Services offers 

advice regarding personal property assets 

to trusts, estates, and private clients 

in order to help fiduciaries, executors, 

advisors, and collectors meet their goals. 

We provide efficient and confidential advice 

and assistance for all appraisal and auction 

services. Sotheby’s can prepare appraisals 

to suit a variety of needs, including estate 

tax and planning, insurance, charitable 

contribution and collateral loan. Our 

appraisals are widely accepted by the 

Internal Revenue Service, tax and estate 

planning professionals, and insurance 

firms. In the event that a sale is considered, 

we are pleased to provide auction 

estimates, sales proposals and marketing 

plans. When sales are underway, the 

group works closely with the appropriate 

specialist departments to ensure that 

clients’ needs are met promptly and 

efficiently. 

Financial Services Sotheby’s offers a 

wide range of financial services including 

advances on consignments, as well as 

loans secured by art collections not 

intended for sale. 

Museum Services Tailored to meet the 

unique needs of museums and non-profits 

in the marketplace, Museum Services 

offers personal, professional assistance 

and advice in areas including appraisals, 

deaccessions, acquisitions and special 

events. 

Corporate Art Services Devoted 

to servicing corporations, Sotheby’s 

Corporate Art Services Department 

can prepare appraisal reports, advise 

on acquisitions and deaccessions, 

manage all aspects of consignment, 

assist in developing arts-management 

strategies and create events catering to a 

corporation’s needs. 

INFORMATION ON SALES 

AND USE TAX RELATED TO 

PURCHASES AT AUCTION 

To better assist our clients, we have 

prepared the following information on 

Sales and Use Tax related to property 

purchased at auction. 

Why Sotheby’s Collects Sales Tax 

Virtually all State Sales Tax Laws require 

a corporation to register with the State’s 

Tax Authorities and collect and remit sales 

tax if the corporation either establishes or 

maintains physical or economic presence 

within the state. In the states that impose 

sales tax, Tax Laws require an auction 

house, with such presence in the state, to 

register as a sales tax collector, and remit 

sales tax collected to the state. New York 

sales tax is charged on the hammer price, 

buyer’s premium and any other applicable 

charges on any property picked up or 

delivered in New York, regardless of the 

state or country in which the purchaser 

resides or does business. 

Where Sotheby’s Collects Sales Tax 

Sotheby’s is currently registered to 

collect sales tax in the following states: 

Alabama,Arizona, Arkansas, California, 

Colorado, Connecticut, District of 

Columbia, Florida, Georgia, Hawaii, Idaho, 

Illinois, Indiana, Iowa, Kansas, Kentucky, 

Maine, Maryland, Massachusetts, 

Michigan, Minnesota, Missouri, Nebraska, 

Nevada, New Jersey, New Mexico, New 

York, North Carolina, Ohio, Oklahoma, 

Pennsylvania, Rhode Island, South 

Carolina, Tennessee, Texas, Utah, 

Vermont, Virginia, Washington, Wisconsin 

and Wyoming. For any property collected 

or received by the purchaser in New York 

City, such property is subject to sales tax 

at the existing New York State and City 

rate of 8.875%. 

Sotheby’s Arranged Shipping If the 

property is delivered into any state in 

which Sotheby’s is registered, Sotheby’s 

is required by law to collect and remit the 

appropriate sales tax in effect in the state 

where the property is delivered. 

Client Arranged Shipping Property 

collected from Sotheby’s New York 

premises by a common carrier hired by 

the purchaser for delivery at an address 

outside of New York is not subject to 

New York Sales Tax, but if the property is 

delivered into any state in which Sotheby’s 

is registered, Sotheby’s is required by law 

to collect and remit the appropriate sales 

tax in effect in the state where the property 

is delivered. New York State recognizes 

shippers such as the United States Postal 

Service, United Parcel Service, FedEx, 

or the like as “common carriers”. If a 

purchaser hires a shipper other than a 

common carrier to pick up property, 

Sotheby’s will collect New York sales tax at 

a rate of 8.875% regardless of the ultimate 

destination of the goods. If a purchaser 

utilizes a freight-forwarder who is 

registered with the Transportation Security 

Administration (“TSA”) to deliver property 

outside of the United States, no sales tax 

would be due on this transaction. 

Where Sotheby’s is Not Required 

to Collect Sales Tax Sotheby’s is not 

required to collect sales tax on property 

delivered to states other than those listed 

above. If the property is delivered to a 

state where Sotheby’s is not required to 

collect sales tax, it is the responsibility of 

the purchaser to self-assess any sales or 

use tax and remit it to taxing authorities in 

that state. 

Sotheby’s is not required to collect sales 

tax for property delivered to the purchaser 

outside of the United States. 

Restoration and Other Services Regardless 

of where the property is subsequently 

transported, if any framing or restoration 

services are performed on the property in 

New York, it is considered to be a delivery of 

the property to the purchaser in New York, 

and Sotheby’s will be required to collect the 

8.875% New York sales tax. 

Certain Exemptions Most states that 

impose sales taxes allow for specified 

exemptions to the tax. For example, a 

registered re-seller such as a registered art 

dealer may purchase without incurring a 

251

tax liability, and Sotheby’s is not required 

to collect sales tax from such re-seller. The 

art dealer, when re-selling the property, 

may be required to charge sales tax to 

its client, or the client may be required to 

self-assess sales or use tax upon acquiring 

the property. 

Local Tax Advisors As sales tax laws vary 

from state to state, Sotheby’s recommends 

that clients with questions regarding the 

application of sales or use taxes to property 

purchased at auction seek tax advice from 

their local tax advisors. 

IMPORTANT NOTICES 

Important Notice Regarding Packing 

As a courtesy to purchasers who come to 

Sotheby’s to pick up property, Sotheby’s 

will assist in packing framed paintings. 

Sotheby’s is unable to remove canvases 

off stretchers or to roll works on paper. 

Purchasers are advised to contact an 

independent painting restorer to pack 

works in this manner. 

Notice Regarding Endangered Species 

◉ Property containing certain endangered 

species will require a CITES license upon 

export from the U.S. and may require an 

additional license upon import into another 

country. There is no guarantee that such 

licenses will be granted. In the case of 

denial of any license or of delay in obtaining 

such licenses, the purchaser remains 

responsible for making on-time payment 

for the total purchase price. 

Important Notice for Furniture 

As virtually all property in this sale has 

been subject to use over a considerable 

period of time, no mention of age cracks, 

scratches, chips or other minor damages, 

imperfections or restorations will be made 

in the individual catalogue entries. Anyone 

having specific inquiries concerning 

any particular lot in this sale, should call 

+1 212 606 7130. 

Photography: 

Jon Lam 

Ber Murphy 


BOARD OF DIRECTORS 

Domenico De Sole 

Chairman of the Board 

The Duke of Devonshire 

Deputy Chairman of the Board 

Tad Smith 

President and 

Chief Executive Officer 

Jessica Bibliowicz 

Linus W. L. Cheung 

Kevin Conroy 

Daniel S. Loeb 

Marsha E. Simms 

Diana L. Taylor 

Dennis M. Weibling 

Harry J. Wilson 

Michael J. Wolf 

David Schwartz 

Corporate Secretary 

SOTHEBY’S EXECUTIVE 

MANAGEMENT 

John Auerbach 

Art & Objects Division, Americas 

Digital Businesses, Worldwide 

Jill Bright 

Human Resources 

& Administration 

Worldwide 

Amy Cappellazzo 

Chairman 

Fine Art Division 

Valentino D. Carlotti 

Business Development 

Worldwide 

John Cahill 

Chief Commercial Officer 

Worldwide 

Kevin Ching 

Chief Executive Officer 

Asia 

Ken Citron 

Operations & Chief 

Transformation Officer 

Worldwide 

Lauren Gioia 

Communications 

Worldwide 

Mike Goss 

Chief Financial Officer 

Jane Levine 

Chief Compliance Counsel 

Worldwide 

Jonathan Olsoff 

General Counsel 

Worldwide 

Jan Prasens 

Managing Director 

Europe, Middle East, Russia, 

India and Africa 

Allan Schwartzman 

Chairman 

Fine Art Division 

Patti Wong 

Chairman 

Asia 

SOTHEBY’S INTERNATIONAL 

COUNCIL 

Robin Woodhead 

Chairman 

Jean Fritts 

Deputy Chairman 

John Marion 

Honorary Chairman 

Juan Abelló 

Judy Hart Angelo 

Anna Catharina Astrup 

Nicolas Berggruen 

Philippe Bertherat 

Lavinia Borromeo 

Dr. Alice Y.T. Cheng 

Laura M. Cha 

Halit Cingillioğlu 

Jasper Conran 

Henry Cornell 

Quinten Dreesmann 

Ulla Dreyfus-Best 

Jean Marc Etlin 

Tania Fares 

Comte Serge de Ganay 

Ann Getty 

Yassmin Ghandehari 

Charles de Gunzburg 

Ronnie F. Heyman 

Shalini Hinduja 

Pansy Ho 

Prince Amyn Aga Khan 

Catherine Lagrange 

Edward Lee 

Jean-Claude Marian 

Batia Ofer 

Georg von Opel 

Marchesa Laudomia Pucci Castellano 

David Ross 

Patrizia Memmo Ruspoli 

Rolf Sachs 

René H. Scharf 

Biggi Schuler-Voith 

Judith Taubman 

Olivier Widmaier Picasso 

The Hon. Hilary M. Weston, 

CM, CVO, OOnt 

CHAIRMAN’S OFFICE 

AMERICAS 

Lisa Dennison 

Benjamin Doller 

George Wachter 

Thomas Bompard 

Lulu Creel 

Nina del Rio 

Mari-Claudia Jimenez 

Brooke Lampley 

Gary Schuler 

Simon Shaw 

Lucian Simmons 

August Uribe 

EUROPE 

Oliver Barker 

Helena Newman 

Mario Tavella 

Alex Bell 

Michael Berger-Sandhofer 

David Bennett 

Lord Dalmeny 

Claudia Dwek 

Edward Gibbs 

George Gordon 

Franka Haiderer 

Henry Howard-Sneyd 

Caroline Lang 

Cedric Lienart 

Daniela Mascetti 

Wendy Philips 

Lord Poltimore 

Samuel Valette 

Albertine Verlinde 

Roxane Zand 

ASIA 

Patti Wong 

Nicolas Chow 

Lisa Chow 

Jen Hua 

Yasuaki Ishizaka 

Wendy Lin 

Rachel Shen

SCULPTURAL FANTASY

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