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Sylvia Antiques & Four Winds Craft Guild - 15 Main Street and 6 Ray's Court - Nantucket, MA 02554 - 508 228 9623

Sylvia Antiques
Sylvia Antiques

Recently Sold Items
(Gallery Updated 04/15/2014)


Some of the antiques we have recently sold:
This item has been sold.

Primitive Scene of a Sinking Ship
Oil on Canvas
Signed B. Lowsey 1887

Primitive Scene of a Sinking Ship  Oil on Canvas  Signed B. Lowsey 1887     Large primitive oil on canvas painting of a sinking Norwegian ship with an active shoreline and lifeboats.   Signed and dated B. Lowsey 1887   25 ½” x 33 ½”, sight.  Found in Quebec.Primitive Scene of a Sinking Ship  Oil on Canvas  Signed B. Lousey 1887     Large primitive oil on canvas painting of a sinking Norwegian ship with an active shoreline and lifeboats.   Signed and dated B. Lousey 1887   25 ½” x 33 ½”, sight.  Found in Quebec.

Large primitive oil on canvas painting of a sinking Norwegian ship with an active shoreline and lifeboats.

Signed and dated B. Lowsey 1887

25 ½” x 33 ½”, sight.

Found in Quebec.

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Wharf Rat Club Flag

Framed “Wharf Rat” flag mounted in a shadow box.

32" x 44"

c.1940 Framed “Wharf Rat” flag mounted in a shadow box.

32" x 44"

c.1940

Framed “Wharf Rat” flag mounted in a shadow box.

32" x 44"

c.1940

 

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Tony Sarg Pictorial Map of Steamboat Wharf

Tony Sarg Pictorial map of Steamboat Wharf. Very scarce handcolored print designed in 1931 by Tony Sarg depicting Steamboat Wharf, Nantucket Yacht Club and part of North Wharf. The majority of the buildings are numbered, and there is a description list glued on the back identifying and describing each building that is numbered. Retains its original red painted frame and is laid down on masonite.

Good condition with the usual light overall toning and wear with some light soilng on the bottom right corner. Found on Nantucket.

Signed Tony Sarg, Fecit. 24" x 29.5"Tony Sarg Pictorial map of Steamboat Wharf. Very scarce handcolored print designed in 1931 by Tony Sarg depicting Steamboat Wharf, Nantucket Yacht Club and part of North Wharf. The majority of the buildings are numbered, and there is a description list glued on the back identifying and describing each building that is numbered. Retains its original red painted frame and is laid down on masonite.

Good condition with the usual light overall toning and wear with some light soilng on the bottom right corner. Found on Nantucket.

Signed Tony Sarg, Fecit. 24" x 29.5"

Very scarce handcolored print designed in 1931 by Tony Sarg depicting Steamboat Wharf, Nantucket Yacht Club and part of North Wharf. The majority of the buildings are numbered, and there is a description list glued on the back identifying and describing each building that is numbered. Retains its original red painted frame and is laid down on masonite.

Good condition with the usual light overall toning and wear with some light soiling on the bottom right corner. Found on Nantucket.

Signed Tony Sarg, Fecit. 24" x 29.5"

 

 

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Pair of Anchor Form Andirons

Primitive handmade kayak, the deck is covered with the original painted canvas tacked down along the edges, the backrest is nicely shaped in the form of a heart.

Found in Maine, all original.


New England, c.1920. 124" x 18.5"Primitive handmade kayak, the deck is covered with the original painted canvas tacked down along the edges, the backrest is nicely shaped in the form of a heart.

Found in Maine, all original.



Primitive handmade kayak, the deck is covered with the original painted canvas tacked down along the edges, the backrest is nicely shaped in the form of a heart.

Found in Maine, all original.


New England, c.1920. 124" x 18.5"

New England, c.1920Primitive handmade kayak, the deck is covered with the original painted canvas tacked down along the edges, the backrest is nicely shaped in the form of a heart.

Found in Maine, all original.


New England, c.1920
Primitive handmade kayak, the deck is covered with the original painted canvas tacked down along the edges, the backrest is nicely shaped in the form of a heart.

Found in Maine, all original.


New England, c.1920. 124" x 18.5"Primitive handmade kayak, the deck is covered with the original painted canvas tacked down along the edges, the backrest is nicely shaped in the form of a heart.

Found in Maine, all original.



Primitive handmade kayak, the deck is covered with the original painted canvas tacked down along the edges, the backrest is nicely shaped in the form of a heart.

Found in Maine, all original.


New England, c.1920. 124" x 18.5"

New England, c.1920Primitive handmade kayak, the deck is covered with the original painted canvas tacked down along the edges, the backrest is nicely shaped in the form of a heart.

Found in Maine, all original.


New England, c.1920

Pair of anchor form andirons, each in the form of an anchor flange joined to a hexagonal log rest forged of wrought iron.

American, c.1920-1940, 15" x 20".


 

 

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Elephant Ivory Candlesticks

Elephant Ivory Candlesticks    Set of two Elephant ivory candlesticks.  Turned baluster shafts on rectangular plinths  American, c.1920. 3 1/4" in height.Elephant Ivory Candlesticks    Set of two Elephant ivory candlesticks.  Turned baluster shafts on rectangular plinths  American, c.1920. 3 1/4" in height.

Set of two elephant ivory candlesticks.

Turned baluster shafts on rectangular plinths.

American, c.1920. 3 1/4" in height.

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Old Salt Door Stop

Old Salt Door Stop.    Cast iron, second generation paint.  New England, c. 1940.  6" heightOld Salt Door Stop.    Cast iron, second generation paint.  New England, c. 1940.  6" height

Cast iron, second generation paint.

New England, c. 1940.

6" height

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Penguin Doorstop

Penguin Doorstop      Two piece full figure cast iron penguin with embossed bow tie.  Made by Littco of Littlestown, Pa. Littco produced doorstops from the early 1920's until the start of WWII  10 1/2" x 3 3/4"Penguin Doorstop      Two piece full figure cast iron penguin with embossed bow tie.  Made by Littco of Littlestown, Pa. Littco produced doorstops from the early 1920's until the start of WWII  10 1/2" x 3 3/4"
Penguin Doorstop      Two piece full figure cast iron penguin with embossed bow tie.  Made by Littco of Littlestown, Pa. Littco produced doorstops from the early 1920's until the start of WWII  10 1/2" x 3 3/4"

Two piece full figure cast iron penguin with embossed bow tie.

Made by Littco of Littlestown, Pa. Littco produced doorstops from the early 1920's until the start of WWII

10 1/2" x 3 3/4"

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Sailormade Scrimshaw Gaming Table



Sailor made mahogany and whalebone scrimshaw gaming table, mid 19th century. 

Rectangular top with black painted checkerboard, whalebone and baleen inlay, and trimmed with whalebone beaded edge, above a conforming case with five drawers, all with turned whalebone knobs, raised on a turned standard with three shaped legs. 

New England, c.1850-1870.Sailor made mahogany and whalebone scrimshaw gaming table, mid 19th century. 

Rectangular top with black painted checkerboard, whalebone and baleen inlay, and trimmed with whalebone beaded edge, above a conforming case with five drawers, all with turned whalebone knobs, raised on a turned standard with three shaped legs. 

New England, c.1850-1870.

31 ½” x 24” x 30 ½” 



Sailor made mahogany and whalebone scrimshaw gaming table, mid 19th century. 

Rectangular top with black painted checkerboard, whalebone and baleen inlay, and trimmed with whalebone beaded edge, above a conforming case with five drawers, all with turned whalebone knobs, raised on a turned standard with three shaped legs. 

New England, c.1850-1870.Sailor made mahogany and whalebone scrimshaw gaming table, mid 19th century. 

Rectangular top with black painted checkerboard, whalebone and baleen inlay, and trimmed with whalebone beaded edge, above a conforming case with five drawers, all with turned whalebone knobs, raised on a turned standard with three shaped legs. 

New England, c.1850-1870.

31 ½” x 24” x 30 ½”

Sailor made mahogany and whalebone scrimshaw gaming table, mid 19th century.

Rectangular top with black painted checkerboard, whalebone and baleen inlay, and trimmed with whalebone beaded edge, above a conforming case with five drawers, all with turned whalebone knobs, raised on a turned standard with three shaped legs.

New England, c.1850-1870.

31 ½” x 24” x 30 ½”


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Sailor Made Rolling Pin

Sailor Made Rolling Pin  Made of an exotic hardwood with turned whale ivory handles and inlaid with tortoise shell.  19th century  16" longSailor Made Rolling Pin  Made of an exotic hardwood with turned whale ivory handles and inlaid with tortoise shell.  19th century  16" longSailor Made Rolling Pin  Made of an exotic hardwood with turned whale ivory handles and inlaid with tortoise shell.  19th century  16" long

Made of an exotic hardwood with turned whale ivory handles and inlaid with tortoise shell.

19th century

16" long

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Sailor Made Mahogony Dresser Box

Sailor Made Mahogony Dresser Box    Mahogany with mahogany inlay and mahogany secondary woods. Turned ivory drawer pulls and feet.  14" wide x 9 1/2" deep x 5 1/2" high.  Mid 19th century.Sailor Made Mahogony Dresser Box    Mahogany with mahogany inlay and mahogany secondary woods. Turned ivory drawer pulls and feet.  14" wide x 9 1/2" deep x 5 1/2" high.  Mid 19th century.Sailor Made Mahogony Dresser Box    Mahogany with mahogany inlay and mahogany secondary woods. Turned ivory drawer pulls and feet.  14" wide x 9 1/2" deep x 5 1/2" high.  Mid 19th century.

Mahogany with mahogany inlay and mahogany secondary woods. Turned ivory drawer pulls and feet.

14" wide x 9 1/2" deep x 5 1/2" high.

Mid 19th century.

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Double Sailors Valentine

Double shell-work sailors valentine with heart motif centered on one side and inscription “Love” on the other side, with Mahogany octagon case.

Bahama’s, c.1880 Double shell-work sailors valentine with heart motif centered on one side and inscription “Love” on the other side, with Mahogany octagon case.

Bahama’s, c.1880 Double shell-work sailors valentine with heart motif centered on one side and inscription “Love” on the other side, with Mahogany octagon case.

Bahama’s, c.1880

Double shell-work sailors valentine with heart motif centered on one side and inscription “Love” on the other side, with Mahogany octagon case.

Bahama’s, c.1880


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Sailor Made Mahogany Sewing Box

Sailor made Mahogany sewing box, heavily inlaid with mother of pearl in elaborate patterns such as birds, stars, diamonds, hearts and other geometric shapes.

The interior is padded with velvet and silk and has a lift out tray.

American, c. 1840

7” x 14” x 7 ¾” Sailor made Mahogany sewing box, heavily inlaid with mother of pearl in elaborate patterns such as birds, stars, diamonds, hearts and other geometric shapes.

The interior is padded with velvet and silk and has a lift out tray.

American, c. 1840

7” x 14” x 7 ¾” 

Sailor made Mahogany sewing box, heavily inlaid with mother of pearl in elaborate patterns such as birds, stars, diamonds, hearts and other geometric shapes.

The interior is padded with velvet and silk and has a lift out tray.

American, c. 1840

7” x 14” x 7 ¾”

Sailor made Mahogany sewing box, heavily inlaid with mother of pearl in elaborate patterns such as birds, stars, diamonds, hearts and other geometric shapes.

The interior is padded with velvet and silk and has a lift out tray.

American, c. 1840

7” x 14” x 7 ¾”

 

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Pair of Scrimshawed Whale's Teeth

Pair of early 20th Century Scrimshawed Whale's Teeth. One side of each tooth is engraved with a whaling scene with whaleships flying American flags and whaleboats with whalemen in the act of pursuing and harpooning whales. The reverse of one depicting the figure of Liberty crowning a sailor holding an American flag over a banner inscribed "We Owe Allegiance To No Crown"; the reverse of the other tooth depicting the initials "G. C." in a circle over a spread-wing eagle with arrows and banner over and American shield flanked by flags and cannons, heightened with red and green sealing wax. Both teeth with matching undulating vine and chevron borders, mounted on a mahogany stand. 

Overall height, 7 3/8" c.1930Pair of early 20th Century Scrimshawed Whale's Teeth. One side of each tooth is engraved with a whaling scene with whaleships flying American flags and whaleboats with whalemen in the act of pursuing and harpooning whales. The reverse of one depicting the figure of Liberty crowning a sailor holding an American flag over a banner inscribed "We Owe Allegiance To No Crown"; the reverse of the other tooth depicting the initials "G. C." in a circle over a spread-wing eagle with arrows and banner over and American shield flanked by flags and cannons, heightened with red and green sealing wax. Both teeth with matching undulating vine and chevron borders, mounted on a mahogany stand. 

Overall height, 7 3/8" c.1930

Pair of early 20th Century Scrimshawed Whale's Teeth. One side of each tooth is engraved with a whaling scene with whaleships flying American flags and whaleboats with whalemen in the act of pursuing and harpooning whales. The reverse of one depicting the figure of Liberty crowning a sailor holding an American flag over a banner inscribed "We Owe Allegiance To No Crown"; the reverse of the other tooth depicting the initials "G. C." in a circle over a spread-wing eagle with arrows and banner over and American shield flanked by flags and cannons, heightened with red and green sealing wax. Both teeth with matching undulating vine and chevron borders, mounted on a mahogany stand.

Overall height, 7 3/8" c.1930


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Multi-Colored Country Cupboard

Multi colored painted two door country cupboard with geometric raised paneled doors. The scrubbed Pine top has a nice overhang with a beeded edge. Original paint on bracket feet.

American, most likely upstate or western New York.

c.1870 40 ½” x 43” x 20 ½”
Great condition, made with rosehead nail construction.

New England, c.1850 15 ¾” 35 ½” 16 ½” 
French, c. 1840.

11" x 21 1/2" x 13 1/2"Multi colored painted two door country cupboard with geometric raised paneled doors. The scrubbed Pine top has a nice overhang with a beeded edge. Original paint on bracket feet.

American, most likely upstate or western New York.

c.1870 40 ½” x 43” x 20 ½”
Great condition, made with rosehead nail construction.

New England, c.1850 15 ¾” 35 ½” 16 ½” 
French, c. 1840.

11" x 21 1/2" x 13 1/2"

Multi colored painted two door country cupboard with geometric raised paneled doors. The scrubbed Pine top has a nice overhang with a beeded edge. Original paint on bracket feet.

American, most likely upstate or western New York.

c.1870 40 ½” x 43” x 20 ½”

 



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Miniature Empire Chest of Drawers

Miniature empire maple inlaid and pierced veneer decorated chest of drawers, with an inlaid top of American flags, set into larger case with three long drawers on scrolled feet.

American, c. 1860 19" x 18" x 8 1/2"Miniature empire maple inlaid and pierced veneer decorated chest of drawers, with an inlaid top of American flags, set into larger case with three long drawers on scrolled feet.

American, c. 1860 19" x 18" x 8 1/2"Miniature empire maple inlaid and pierced veneer decorated chest of drawers, with an inlaid top of American flags, set into larger case with three long drawers on scrolled feet.

American, c. 1860 19" x 18" x 8 1/2"

Miniature empire maple inlaid and pierced veneer decorated chest of drawers, with an inlaid top of American flags, set into larger case with three long drawers on scrolled feet.

American, c. 1860 19" x 18" x 8 1/2"



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SailorMade Inlaid Knife Box

SailorMade Inlaid Knife Box




Sailor made rectangular walnut box with chamfered sides, shaped divider with maple and bony handle, with ebony corners, the sides decorated with inlaid fruiting vines.

American, c. 1850. 5 1/2" x 7 3/8" x 12"SailorMade Inlaid Knife Box




Sailor made rectangular walnut box with chamfered sides, shaped divider with maple and bony handle, with ebony corners, the sides decorated with inlaid fruiting vines.

American, c. 1850. 5 1/2" x 7 3/8" x 12"

Sailor made rectangular walnut box with chamfered sides, shaped divider with maple and bony handle, with ebony corners, the sides decorated with inlaid fruiting vines.

American, c. 1850. 5 1/2" x 7 3/8" x 12"

 


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Old Mill built in 1746 (Nantucket), 1884
Oil on Canvas, 14 1/2" x 9 1/2" sight.
Signed, James Walter Folger (1851-1918)

Old Mill built in 1746 (Nantucket) 1884. Oil on Canvas, 14 1/2" x 9 1/2" sight. Signed, James Walter Folger (1851-1918)    A scenic view of the Old Mill on Nantucket, showing miller John Francis Sylvia rigging a sail onto one of the mill's blades.  Signed both front and back and dated 1884. The inscription on the back reads: "Painted by Jas Walter Folger Nantucket Mass 'Old Mill built in 1746' 1884" The signature on the painting near the bottom of the canvas reads: "Built in 1746 Jas Walter Folger. 1884" The original tag from Folger's Studio is mostly intact on the back of the stretcher and reads "Jas. W. Folger, STUDIO, Corner Main and Union Sts., NANTUCKET, MASS."  James Walter Folger (1851-1918) was a mostly self-taught Nantucket painter and artisan. Folger is best known for ornamental wood carvings, historical paintings of Nantucket, carved animal heads, and historic dioramas. In 1869, he briefly worked as journeyman to a wood carver in Cambridge, Massachusetts. Folger was equally capable working in oils and watercolor. His Nantucket studio was located at the corner of Main and Union Streets.   The Old Milll was built in 1745-1746 by Nathan Wilbur, a Nantucket Sailor who had spent time in Holland. It is one of the most identifiable landmarks on the Nantucket and is an enduring and recognizable symbol of the island. Wilbur sold the run-down mill for $20 to Jared Gardner in 1828 for use as firewood. Gardner however, who was a carpenter, restored the mill to working condition. The mill was sold again in 1866 to John Francis Sylvia, a Portuguese miller of Azorean descent. Sylvia operated it until 1892. Caroline French purchased the mill at an auction for $850 in 1897 and donated it to the Nantucket Historical Association. Today, the Old Mill is the oldest functioning windmill in the country.Old Mill built in 1746 (Nantucket) 1884. Oil on Canvas, 14 1/2" x 9 1/2" sight. Signed, James Walter Folger (1851-1918)    A scenic view of the Old Mill on Nantucket, showing miller John Francis Sylvia rigging a sail onto one of the mill's blades.  Signed both front and back and dated 1884. The inscription on the back reads: "Painted by Jas Walter Folger Nantucket Mass 'Old Mill built in 1746' 1884" The signature on the painting near the bottom of the canvas reads: "Built in 1746 Jas Walter Folger. 1884" The original tag from Folger's Studio is mostly intact on the back of the stretcher and reads "Jas. W. Folger, STUDIO, Corner Main and Union Sts., NANTUCKET, MASS."  James Walter Folger (1851-1918) was a mostly self-taught Nantucket painter and artisan. Folger is best known for ornamental wood carvings, historical paintings of Nantucket, carved animal heads, and historic dioramas. In 1869, he briefly worked as journeyman to a wood carver in Cambridge, Massachusetts. Folger was equally capable working in oils and watercolor. His Nantucket studio was located at the corner of Main and Union Streets.   The Old Milll was built in 1745-1746 by Nathan Wilbur, a Nantucket Sailor who had spent time in Holland. It is one of the most identifiable landmarks on the Nantucket and is an enduring and recognizable symbol of the island. Wilbur sold the run-down mill for $20 to Jared Gardner in 1828 for use as firewood. Gardner however, who was a carpenter, restored the mill to working condition. The mill was sold again in 1866 to John Francis Sylvia, a Portuguese miller of Azorean descent. Sylvia operated it until 1892. Caroline French purchased the mill at an auction for $850 in 1897 and donated it to the Nantucket Historical Association. Today, the Old Mill is the oldest functioning windmill in the country.Old Mill built in 1746 (Nantucket) 1884. Oil on Canvas, 14 1/2" x 9 1/2" sight. Signed, James Walter Folger (1851-1918)    A scenic view of the Old Mill on Nantucket, showing miller John Francis Sylvia rigging a sail onto one of the mill's blades.  Signed both front and back and dated 1884. The inscription on the back reads: "Painted by Jas Walter Folger Nantucket Mass 'Old Mill built in 1746' 1884" The signature on the painting near the bottom of the canvas reads: "Built in 1746 Jas Walter Folger. 1884" The original tag from Folger's Studio is mostly intact on the back of the stretcher and reads "Jas. W. Folger, STUDIO, Corner Main and Union Sts., NANTUCKET, MASS."  James Walter Folger (1851-1918) was a mostly self-taught Nantucket painter and artisan. Folger is best known for ornamental wood carvings, historical paintings of Nantucket, carved animal heads, and historic dioramas. In 1869, he briefly worked as journeyman to a wood carver in Cambridge, Massachusetts. Folger was equally capable working in oils and watercolor. His Nantucket studio was located at the corner of Main and Union Streets.   The Old Milll was built in 1745-1746 by Nathan Wilbur, a Nantucket Sailor who had spent time in Holland. It is one of the most identifiable landmarks on the Nantucket and is an enduring and recognizable symbol of the island. Wilbur sold the run-down mill for $20 to Jared Gardner in 1828 for use as firewood. Gardner however, who was a carpenter, restored the mill to working condition. The mill was sold again in 1866 to John Francis Sylvia, a Portuguese miller of Azorean descent. Sylvia operated it until 1892. Caroline French purchased the mill at an auction for $850 in 1897 and donated it to the Nantucket Historical Association. Today, the Old Mill is the oldest functioning windmill in the country.

A scenic view of the Old Mill on Nantucket, showing miller John Francis Sylvia rigging a sail onto one of the mill's blades.

Signed both front and back and dated 1884. The inscription on the back reads: "Painted by Jas Walter Folger Nantucket Mass 'Old Mill built in 1746' 1884" The signature on the painting near the bottom of the canvas reads: "Built in 1746 Jas Walter Folger. 1884" The original tag from Folger's Studio is mostly intact on the back of the stretcher and reads "Jas. W. Folger, STUDIO, Corner Main and Union Sts., NANTUCKET, MASS."

James Walter Folger (1851-1918) was a mostly self-taught Nantucket painter and artisan. Folger is best known for ornamental wood carvings, historical paintings of Nantucket, carved animal heads, and historic dioramas. In 1869, he briefly worked as journeyman to a wood carver in Cambridge, Massachusetts. Folger was equally capable working in oils and watercolor. His Nantucket studio was located at the corner of Main and Union Streets.

The Old Milll was built in 1745-1746 by Nathan Wilbur, a Nantucket sailor who had spent time in Holland. It is one of the most identifiable landmarks on Nantucket and is an enduring and recognizable symbol of the island. Wilbur sold the run-down mill for $20 to Jared Gardner in 1828 for use as firewood. Gardner however, who was a carpenter, restored the mill to working condition. The mill was sold again in 1866 to John Francis Sylvia, a Portuguese miller of Azorean descent. Sylvia operated it until 1892. Caroline French purchased the mill at an auction for $850 in 1897 and donated it to the Nantucket Historical Association. Today, the Old Mill is the oldest functioning windmill in the country.

 

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Sailboats in Old South Wharf
Oil on Board
Elizabeth Saltonstall (1900-1990)

Sailboats in Old South Wharf
Oil on Board
Elizabeth Saltonstall (1900-1990)



Considered one of the nation’s foremost lithographers, Saltonstall first came to Nantucket in 1922 to study landscape painting with Frank Swift Chase. From then on, she resided at her “Wateredge” cottage on Swain’s Wharf every summer, except one, when she went to Maine in the early 1930’s to study the art of lithography with Stow Wengenroth. She was one of the first artists to join--and so form--the AAN.Saltonstall taught painting in the girls school at Milton Academy for 37 years. 

11 ½". x 15 ½".Sailboats in Old South Wharf
Oil on Board
Elizabeth Saltonstall (1900-1990)



Considered one of the nation’s foremost lithographers, Saltonstall first came to Nantucket in 1922 to study landscape painting with Frank Swift Chase. From then on, she resided at her “Wateredge” cottage on Swain’s Wharf every summer, except one, when she went to Maine in the early 1930’s to study the art of lithography with Stow Wengenroth. She was one of the first artists to join--and so form--the AAN.Saltonstall taught painting in the girls school at Milton Academy for 37 years. 

11 ½". x 15 ½".

Considered one of the nation’s foremost lithographers, Saltonstall first came to Nantucket in 1922 to study landscape painting with Frank Swift Chase. From then on, she resided at her “Wateredge” cottage on Swain’s Wharf every summer, except one, when she went to Maine in the early 1930’s to study the art of lithography with Stow Wengenroth. She was one of the first artists to join--and so form--the AAN.Saltonstall taught painting in the girls school at Milton Academy for 37 years.

11 ½". x 15 ½".

 

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Two Sisters Nautical Plaque

Relief carved nautical plaque with original gilt and paint depicting two sisters with intertwined arms, each holding roses with gilded leaf surround above crossed leafy branches.

This was most likely in the interior of a ship such as a captain's quarters. Carved out of Eastern White Pine.

New England, c.1840-1860. 24.5" x 20.5", Ex-collection of Adele Earnst.Relief carved nautical plaque with original gilt and paint depicting two sisters with intertwined arms, each holding roses with gilded leaf surround above crossed leafy branches.

This was most likely in the interior of a ship such as a captain's quarters. Carved out of Eastern White Pine.

New England, c.1840-1860. 24.5" x 20.5", Ex-collection of Adele Earnst.

Relief carved nautical plaque with original gilt and paint depicting two sisters with intertwined arms, each holding roses with gilded leaf surround above crossed leafy branches.

This was most likely in the interior of a ship such as a captain's quarters. Carved out of Eastern White Pine.

New England, c.1840-1860. 24.5" x 20.5", Ex-collection of Adele Earnst.

 


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Mahogany Sewing Box

Mahogany Sewing Box    A small mahogany sewing box with a right whale carved from ebony mounted on its lid.  c. 1930.  2" x 4" x 8"Mahogany Sewing Box    A small mahogany sewing box with a right whale carved from ebony mounted on its lid.  c. 1930.  2" x 4" x 8"Mahogany Sewing Box    A small mahogany sewing box with a right whale carved from ebony mounted on its lid.  c. 1930.  2" x 4" x 8"

A small mahogany sewing box with a right whale carved from ebony mounted on its lid.

c. 1930.

2" x 4" x 8"

 

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Large Iron Wrench with Custom Stand

Large Iron Wrench with Custom Stand    24" length. Nice Patina  c. 1900Large Iron Wrench with Custom Stand    24" length. Nice Patina  c. 1900

24" length. Nice Patina

c. 1900

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Set of Ebony and Whalebone Dominoes

Set of Ebony and Whalebone Dominoes      In their original slide top and dovetailed Pine box, including 54 gaming pieces, each made of Whalebone and Ebony.  New England, c.1900Set of Ebony and Whalebone Dominoes      In their original slide top and dovetailed Pine box, including 54 gaming pieces, each made of Whalebone and Ebony.  New England, c.1900

 

In their original slide top and dovetailed Pine box, including 54 gaming pieces, each made of Whalebone and Ebony.

New England, c.1900

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Silver Mounted Boar's Tusk Corkscrew

Silver Mounted Boar's Tusk Corkscrew      England, c.1880Silver Mounted Boar's Tusk Corkscrew      England, c.1880

England, c.1880

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"One-Egg" Nantucket Lightship Basket
Attributed to C. Mitchell Ray.

"One-Egg" Nantucket Lightship Basket Attributed to C. Mitchell Ray.       A Great early example of one of "Mitchy" Ray's earlier "One-Egg" baskets.  Great condition with a dark honey patina,   3"diameter. c.1920.

 

A Great early example of one of "Mitchy" Ray's earlier "One-Egg" baskets.

Great condition with a dark honey patina,

3"diameter. c.1920.

Mitchy Ray learned how to make Nantucket Lightship Baskets as a young boy working with his grandfather Charles B. Ray, a highly regarded mariner and prolific basket weaver. Unlike his grandfather and his father Charles F. Ray, Mitchy never went to sea. He is remembered as an Island character with a reputation of being wild in his younger years. At one point he saved a man from drowning at Surfside earning a medal for his deed. Mitchy took up various jobs and after a short time spent on the Cape as a meat cutter he decided to come home. Mitchy later became a full time basket maker opening a small shop in Starbuck Court. Mitchy used the molds given to him by his father Charles and made utility, or work baskets in various sizes, starting with the tiny “one egger” of which he sold hundreds. Each, for the sum of about $1.50.

In 1920 Mitchy was visited by a young William Sevrens whom he introduced to introduced him to basket weaving. Mitchy is credited with giving the idea to Sevrens of adding a penny to the inside of his basket to identify it, which later became Sevrens trademark. It was not until 1964 that Sevrens opened his own basket shop on Old South Wharf. Early in his basket making career the baskets were well constructed and adorned with a simple paper label. Later in his career he began adding the now familiar tag line “I was made in Nantucket, I’m strong and stout. Don’t lose me or burn me and I’ll never wear out. Made by Mitchy Ray.” As time went on and Mitchy aged, his popular baskets very popular and he was selling them so fast that some say the time and effort that went into his later baskets doesn’t have the detailed quality he produced earlier. However in all of his baskets the durability is ever present and rich in his family and Nantucket history. Mitchy Ray baskets are treasured by those who collect Nantucket lightship baskets.

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Large Open Nantucket Lightship Basket
by Jose Reyes

Large Open Nantucket Lightship Basket by Jose Reyes     A very early basket by Jose Reyes with wide oak staves, oak swing, and wooden ears.  Great patina. c. 1940Large Open Nantucket Lightship Basket by Jose Reyes     A very early basket by Jose Reyes with wide oak staves, oak swing, and wooden ears.  Great patina. c. 1940

A very early basket by Jose Reyes with wide oak staves, oak swing, and wooden ears.

14" Great patina. c. 1940

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9" Oval Nantucket Lightship Basket

9" Oval Nantucket Lightship Basket      attributed to William D. Appleton (1851-1918)  c.1880-18909" Oval Nantucket Lightship Basket      attributed to William D. Appleton (1851-1918)  c.1880-1890

attributed to William D. Appleton (1851-1918)

c.1880-1890

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Open Round Nantucket Lightship Basket
Attributed to Captain James Wyer

8" Diameter

Very rare lightship basket in excellent condition.

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8" Round Nantucket Lightship Basket.

Attributed to AD Williams, c.1918, with oak swing handle and oak staves, with concentric circles consistent with Williams' baskets. The name "Alice Pierce" and the date, 1918 is inscribed on the outside bottom Mint condition. 8" Diameter, 4" Height.Attributed to AD Williams, c.1918, with oak swing handle and oak staves, with concentric circles consistent with Williams' baskets. The name "Alice Pierce" and the date, 1918 is inscribed on the outside bottom Mint condition. 8" Diameter, 4" Height.
Attributed to AD Williams, c.1918, with oak swing handle and oak staves, with concentric circles consistent with Williams' baskets. The name "Alice Pierce" and the date, 1918 is inscribed on the outside bottom Mint condition. 8" Diameter, 4" Height.Attributed to AD Williams, c.1918, with oak swing handle and oak staves, with concentric circles consistent with Williams' baskets. The name "Alice Pierce" and the date, 1918 is inscribed on the outside bottom Mint condition. 8" Diameter, 4" Height.

Attributed to AD Williams, c.1918, with oak swing handle and oak staves, with concentric circles consistent with Williams' baskets. The name "Alice Pierce" and the date, 1918 is inscribed on the outside bottom Mint condition. 8" Diameter, 4" Height.

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8" Shallow Round Nantucket Lightship Basket

Attributed to William D. Appleton, with nicely shaped swing handle. Missing a few cane weavers. 8" Diameter, 4" High Written on top of oak handle, 'Nantucket, 1890'.Attributed to William D. Appleton, with nicely shaped swing handle. Missing a few cane weavers. 8" Diameter, 4" High Written on top of oak handle, 'Nantucket, 1890'.
Attributed to William D. Appleton, with nicely shaped swing handle. Missing a few cane weavers. 8" Diameter, 4" High Written on top of oak handle, 'Nantucket, 1890'.

Attributed to William D. Appleton, with nicely shaped swing handle. Missing a few cane weavers. 8" Diameter, 4" High Written on top of oak handle, 'Nantucket, 1890'.

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9 1/2" Round Nantucket Lightship Basket

Mid to Late 19th Century, Unknown Maker. Early Nantucket lightship basket with swing handle with wide oak staves and reed. Minor broken reed, in overall good condition. 9 1/2" Diameter, 6 1/2" Height Mid to Late 19th Century, Unknown Maker. Early Nantucket lightship basket with swing handle with wide oak staves and reed. Minor broken reed, in overall good condition. 9 1/2" Diameter, 6 1/2" Height
Mid to Late 19th Century, Unknown Maker. Early Nantucket lightship basket with swing handle with wide oak staves and reed. Minor broken reed, in overall good condition. 9 1/2" Diameter, 6 1/2" Height

Mid to Late 19th Century, Unknown Maker. Early Nantucket lightship basket with swing handle with wide oak staves and reed. Minor broken reed, in overall good condition. 9 1/2" Diameter, 6 1/2" Height

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Old South Tower (Nantucket)
Oil on Board, 12" x 8"
Titled & signed on the back
Dr. Arthur Elwell Jenks

"Old South Tower" Oil on Board, 12" x 8" Titled & signed on the back Dr. Arthur Elwell Jenks  Jenks (1837-1915), born on the Island, started a dental practice in 1865. He was also a local historian, poet, author and artist. He also contributed written articles on the arts for the local paper. He is quoted numerous times in Robert deCurcio's 'Art on Nantucket' He also wrote the chapter on Nantucket in the book 'A History of New England'"Old South Tower" Oil on Board, 12" x 8" Titled & signed on the back Dr. Arthur Elwell Jenks  Jenks (1837-1915), born on the Island, started a dental practice in 1865. He was also a local historian, poet, author and artist. He also contributed written articles on the arts for the local paper. He is quoted numerous times in Robert deCurcio's 'Art on Nantucket' He also wrote the chapter on Nantucket in the book 'A History of New England'

Jenks (1837-1915), born on the Island, started a dental practice in 1865. He was also a local historian, poet, author and artist. He also contributed written articles on the arts for the local paper. He is quoted numerous times in Robert deCurcio's 'Art on Nantucket' He also wrote the chapter on Nantucket in the book 'A History of New England'

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Ship Portrait of the 'Madison'
Oil on Board, 16" x 28" sight
Signed and dated Antonio Jacobsen, 1912
Antonio Nicolo Gasparo Jaconsen (1850-1921)

Ship Portrait of the 'Madison' Oil on Board, 16" x 28" sight Signed and dated Antonio Jacobsen, 1912 Antonio Nicolo Gasparo Jaconsen (1850-1921)  The Madison belonged to the Old Dominion Steamship Co. She ran between Virginia & New York in the early part of the 1900'sShip Portrait of the 'Madison' Oil on Board, 16" x 28" sight Signed and dated Antonio Jacobsen, 1912 Antonio Nicolo Gasparo Jaconsen (1850-1921)  The Madison belonged to the Old Dominion Steamship Co. She ran between Virginia & New York in the early part of the 1900's

The Madison belonged to the Old Dominion Steamship Co. She ran between Virginia & New York in the early part of the 1900's


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Untitled
Andrew Shunney (1916-1978)

Untitled.  Andrew Shunney (1916-1978).     Andrew Shunney was born in Attleboro, Massachusetts and began paitning at the age of nine. He studied at The Rhode Island School of Arts and Design for four years and spent those summers at the John R. Frazier School of Painting in Provincetown. After RISD, Shunney worked for a time as an illustrative draftsman in Dallis Texas, studied at the Art Student's League in Mexico with Diego Rivera and went on to study and work in Paris for four years.  Andrew Shunney later lived in and pursued his career in Nantucket.Untitled. Andrew Shunney (1916-1978).     Andrew Shunney was born in Attleboro, Massachusetts and began paitning at the age of nine. He studied at The Rhode Island School of Arts and Design for four years and spent those summers at the John R. Frazier School of Painting in Provincetown. After RISD, Shunney worked for a time as an illustrative draftsman in Dallis Texas, studied at the Art Student's League in Mexico with Diego Rivera and went on to study and work in Paris for four years.  Andrew Shunney later lived in and pursued his career in Nantucket.

Andrew Shunney was born in Attleboro, Massachusetts and began paitning at the age of nine. He studied at The Rhode Island School of Arts and Design for four years and spent those summers at the John R. Frazier School of Painting in Provincetown. After RISD, Shunney worked for a time as an illustrative draftsman in Dallis Texas, studied at the Art Student's League in Mexico with Diego Rivera and went on to study and work in Paris for four years.

Andrew Shunney later lived in and pursued his career in Nantucket.

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Fishermen's Return
Oil on Canvas
William Ward Jr.

Fishermen's Return  Oil on Canvas  William Ward Jr.      A wharf scene by New York artist William Ward Jr.Fishermen's Return  Oil on Canvas  William Ward Jr.      A wharf scene by New York artist William Ward Jr.

A wharf scene by New York artist William Ward Jr.

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Grain Painted and Tiger Maple Country Chest

Grain Painted and Tiger Maple Country Chest  42" x 40 1/2" x 23 1/2"  Bowed front with turret corners paneled sides on turned Sheraton feet.  Massachusetts, 1820-1840Grain Painted and Tiger Maple Country Chest  42" x 40 1/2" x 23 1/2"  Bowed front with turret corners paneled sides on turned Sheraton feet.  Massachusetts, 1820-1840

42" x 40 1/2" x 23 1/2"

Bowed front with turret corners, paneled sides on turned Sheraton feet.

Massachusetts, 1820-1840

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Two Piece Painted Stepback Cupboard

With two glazed doors and projecting cornice. The lower section has two drawers and two panel doors, with very bold skirt and feet.

Scraped down to an old blue paint with replaced whalebone pulls.

Canadian, c.1840-1850

87" x 55" x 20 1/2"

 

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Country Farm Table

Country farm table with three board pine scrubbed top on a salmon painted base with squared tapered legs. 

Found on Nantucket. 

c. 1860. 30" x 95" x 33 1/2"Country farm table with three board pine scrubbed top on a salmon painted base with squared tapered legs. 

Found on Nantucket. 

c. 1860. 30" x 95" x 33 1/2"Country farm table with three board pine scrubbed top on a salmon painted base with squared tapered legs. 

Found on Nantucket. 

c. 1860. 30" x 95" x 33 1/2"

Country farm table with three board pine scrubbed top on a salmon painted base with squared tapered legs.

Found on Nantucket.

c. 1860. 30" x 95" x 33 1/2"


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Whalebone Fid

Whalebone Fid    Sailor made fid, turned and carved out of whalebone with an incised ring.  Showing nice patina and 19th century wear. Mint condition.   c.1840-1860, 10 3/4" length.   A fid is a conical pinlike tool, traditionally made of bone or wood, shaped to work with rope and canvas. Fids are used to hold open knots in rope and holes in canvas or to part the "lays" or strands of a rope in order to splice a line.Whalebone Fid    Sailor made fid, turned and carved out of whalebone with an incised ring.  Showing nice patina and 19th century wear. Mint condition.   c.1840-1860, 10 3/4" length.   A fid is a conical pinlike tool, traditionally made of bone or wood, shaped to work with rope and canvas. Fids are used to hold open knots in rope and holes in canvas or to part the "lays" or strands of a rope in order to splice a line.

Sailor made fid, turned and carved out of whalebone with an incised ring.

Showing nice patina and 19th century wear. Mint condition.

c.1840-1860, 10 3/4" length.

A fid is a conical pinlike tool, traditionally made of bone or wood, shaped to work with rope and canvas. Fids are used to hold open knots in rope and holes in canvas or to part the "lays" or strands of a rope in order to splice a line.

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$995


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Whalebone Snatch Block.

Whalebone Snatch Block.     A block is the seaman's name for a pulley-block. A snatch-block is a block that is open and can be thrown onto a line to grab it rather than threading the end of the line through the block.  Intact snatch blocks are especially hard to find due to the rough treatment they encountered in every day use. Whalebone. 6 1/2" length.   19th century.Whalebone Snatch Block.     A block is the seaman's name for a pulley-block. A snatch-block is a block that is open and can be thrown onto a line to grab it rather than threading the end of the line through the block.  Intact snatch blocks are especially hard to find due to the rough treatment they encountered in every day use. Whalebone. 6 1/2" length.   19th century.Whalebone Snatch Block.     A block is the seaman's name for a pulley-block. A snatch-block is a block that is open and can be thrown onto a line to grab it rather than threading the end of the line through the block.  Intact snatch blocks are especially hard to find due to the rough treatment they encountered in every day use. Whalebone. 6 1/2" length.   19th century.

A block is the seaman's name for a pulley-block. A snatch-block is a block that is open and can be thrown onto a line to grab it rather than threading the end of the line through the block.

Intact snatch blocks are especially hard to find due to the rough treatment they encountered in every day use. Whalebone. 6 1/2" length.

19th century.

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Sailor Made Ebony and Whalebone Block.

Sailor Made Ebony and Whalebone Block.     Sailor made two-sheaved pulley block with pinned construction and whalebone sheaves.  Ebony. 3 1/4" length.   c.1850Sailor Made Ebony and Whalebone Block.     Sailor made two-sheaved pulley block with pinned construction and whalebone sheaves.  Ebony. 3 1/4" length.   c.1850Sailor Made Ebony and Whalebone Block.     Sailor made two-sheaved pulley block with pinned construction and whalebone sheaves.  Ebony. 3 1/4" length.   c.1850

Sailor made two-sheaved pulley block with pinned construction and whalebone sheaves.

Ebony. 3 1/4" length.

c.1850

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Black-Bellied Plover Shorebird Decoy.

Black-Bellied Plover Shorebird Decoy.  Unknown maker, but part of the group of so called "lumber yard" birds. All original structurally in a 2nd coat of paint by the original maker. From the collection of Amos Hutchins.  Forked River, NJ. c. 1890Black-Bellied Plover Shorebird Decoy.  Unknown maker, but part of the group of so called "lumber yard" birds. All original structurally in a 2nd coat of paint by the original maker. From the collection of Amos Hutchins.  Forked River, NJ. c. 1890

Unknown maker, but part of the group of so called "lumber yard" birds. All original structurally in a 2nd coat of paint by the original maker. From the collection of Amos Hutchins.

Forked River, NJ. c. 1890

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Pair of "Superior Model" Malliards
by Benz Decoy Co., Jefferson City, Mo.

Pair of "Superior Model" Malliards by Benz Decoy Co., Jefferson City, Mo.  Very hollow, carved, showing moderate wear. All original except replaced neck filler, c. 1920Pair of "Superior Model" Malliards by Benz Decoy Co., Jefferson City, Mo.  Very hollow, carved, showing moderate wear. All original except replaced neck filler, c. 1920

Very hollow, carved, showing moderate wear. All original except replaced neck filler, c. 1920

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Folk Marquetry Gameboard
With Unusual Bottom Slide Drawer

Folk Marquetry Gameboard With Unusual Bottom Slide Drawer  The top is inlaid with alternating woods, with an applied 1 3/4" painted black frame and dividers. It includes its turn pieces.  26" x 16" American, c. 1920Folk Marquetry Gameboard With Unusual Bottom Slide Drawer  The top is inlaid with alternating woods, with an applied 1 3/4" painted black frame and dividers. It includes its turn pieces.  26" x 16" American, c. 1920

The top is inlaid with alternating woods, with an applied 1 3/4" painted black frame and dividers. It includes its turn pieces.

26" x 16" American, c. 1920

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Whalebone Sailor-Boy Whirligig

16" from base to tip of paddles.

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Seagull Whirligig

Seagull Whirligig     Made on Nantucket, Carver unknown  c. 1960Seagull Whirligig     Made on Nantucket, Carver unknown  c. 1960

Made on Nantucket. Carver unknown.

c. 1960

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19th Century Scrimshaw Walrus Tusks

19th Century Scrimshaw Walrus Tusks     A large pair of 19th century scrimshaw walrus tusks, each engraved with a portrait. One is of a fashionably dressed man with high boots standing on a geometric rug, the other of a woman in Victorian attire.   Both tusks are plugged with brass.   English, c.1850, 22 1/2" High 19th Century Scrimshaw Walrus Tusks     A large pair of 19th century scrimshaw walrus tusks, each engraved with a portrait. One is of a fashionably dressed man with high boots standing on a geometric rug, the other of a woman in Victorian attire.   Both tusks are plugged with brass.   English, c.1850, 22 1/2" High

A large pair of 19th century scrimshaw walrus tusks, each engraved with a portrait. One is of a fashionably dressed man with high boots standing on a geometric rug, the other of a woman in Victorian attire.

Both tusks are plugged with brass.

English, c.1850, 22 1/2" High

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Main Street & The Starbuck Houses (The Three Bricks - Nantucket)
Oil on Board, 9 1/2" x 13 1/2" sight. c
Signed Walter Gilman Page (1862-1934)

Main Street & The Starbuck Houses (The Three Bricks - Nantucket) Oil on Board, 9 1/2" x 13 1/2" sight. c Signed Walter Gilman Page (1862-1934)    Walter Gilman Page studied with Otto Grundmann (1844-1890) at the School of the Museum of Fine Arts in Boston in the 1880s and was a pupil of Gustave Boulanger (1824-1888) and Jules Lefebvre (1836-1911) at the Académie Julien in Paris. He was a founder of the Boston Public School Art League and maintained a studio at the Fenway Studios. He exhibited at the Paris Salon from 1887 through 1889 and then after returning to Massachusetts showed primarily in the Boston area.   On Nantucket, he painted portraits of local residents, waterfront scenes, and streetscapes of town. He served as chairman of the Massachusetts State Art Commission and helped found the Maddequet Admiralty Association. Page is buried in Nantucket at the Prospect Hill CemetaryMain Street & The Starbuck Houses (The Three Bricks - Nantucket) Oil on Board, 9 1/2" x 13 1/2" sight. c Signed Walter Gilman Page (1862-1934)    Walter Gilman Page studied with Otto Grundmann (1844-1890) at the School of the Museum of Fine Arts in Boston in the 1880s and was a pupil of Gustave Boulanger (1824-1888) and Jules Lefebvre (1836-1911) at the Académie Julien in Paris. He was a founder of the Boston Public School Art League and maintained a studio at the Fenway Studios. He exhibited at the Paris Salon from 1887 through 1889 and then after returning to Massachusetts showed primarily in the Boston area.   On Nantucket, he painted portraits of local residents, waterfront scenes, and streetscapes of town. He served as chairman of the Massachusetts State Art Commission and helped found the Maddequet Admiralty Association. Page is buried in Nantucket at the Prospect Hill Cemetary

Walter Gilman Page studied with Otto Grundmann (1844-1890) at the School of the Museum of Fine Arts in Boston in the 1880s and was a pupil of Gustave Boulanger (1824-1888) and Jules Lefebvre (1836-1911) at the Académie Julien in Paris. He was a founder of the Boston Public School Art League and maintained a studio at the Fenway Studios. He exhibited at the Paris Salon from 1887 through 1889 and then after returning to Massachusetts showed primarily in the Boston area.

On Nantucket, he painted portraits of local residents, waterfront scenes, and streetscapes of town. He served as chairman of the Massachusetts State Art Commission and helped found the Maddequet Admiralty Association. Page is buried in Nantucket at the Prospect Hill Cemetary.

 

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"Sailor Boy" Whirligig.
Replaced Paddles, Unknown Maker
Nantucket, c.1920-1930

"Sailor Boy" Whirligig, retaining its original painted surface. Replaced Paddles, Unknown Maker Nantucket, c.1920-1930    Sailor Boy Whirligigs originated on Nantucket in the late 19th century, they were originally used as weather vanes, an instrument for showing direction of the wind. Although partly functional vanes were generally decorative.   Local carpenters and craftsmen eventually made these for the tourist trade."Sailor Boy" Whirligig, retaining its original painted surface. Replaced Paddles, Unknown Maker Nantucket, c.1920-1930    Sailor Boy Whirligigs originated on Nantucket in the late 19th century, they were originally used as weather vanes, an instrument for showing direction of the wind. Although partly functional vanes were generally decorative.   Local carpenters and craftsmen eventually made these for the tourist trade.

Sailor Boy Whirligigs originated on Nantucket in the late 19th century, they were originally used as weather vanes, an instrument for showing direction of the wind. Although partly functional vanes were generally decorative.

Local carpenters and craftsmen eventually made these for the tourist trade.

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Wooden Sign: "Boat For Hire".

Wooden Sign: "Boat For Hire".    Found on Nantucket  c.1930  28 1/2" x 57 1/2"

Found on Nantucket

c.1930

28 1/2" x 57 1/2"

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Sailor-Made Canvas Ditty Bag with Macrame

Sailor-Made Canvas Ditty Bag     A Ditty Bag is a small bag that a sailor kept small tools, equipment and personal items in. The ditty bag and the sea bag, a relative of the ditty bag, were the first projects for an apprentice in the sailmaker's trade or as a working seaman. These items incorporated the primary skills needed when making and repairing sails.   19th century.  13" H x 9 1/2" DiameterSailor-Made Canvas Ditty Bag     A Ditty Bag is a small bag that a sailor kept small tools, equipment and personal items in. The ditty bag and the sea bag, a relative of the ditty bag, were the first projects for an apprentice in the sailmaker's trade or as a working seaman. These items incorporated the primary skills needed when making and repairing sails.   19th century.  13" H x 9 1/2" Diameter
Sailor-Made Canvas Ditty Bag     A Ditty Bag is a small bag that a sailor kept small tools, equipment and personal items in. The ditty bag and the sea bag, a relative of the ditty bag, were the first projects for an apprentice in the sailmaker's trade or as a working seaman. These items incorporated the primary skills needed when making and repairing sails.   19th century.  13" H x 9 1/2" Diameter

A Ditty Bag is a small bag that a sailor kept small tools, equipment and personal items in. The ditty bag and the sea bag, a relative of the ditty bag, were the first projects for an apprentice in the sailmaker's trade or as a working seaman. These items incorporated the primary skills needed when making and repairing sails.

19th century.

13" H x 9 1/2" Diameter.

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A Pair of Oak Gothic Revival Windsor Hall Chairs

A Pair of Oak Gothic Revival Windsor Hall Chairs    England, c.1880A Pair of Oak Gothic Revival Windsor Hall Chairs    England, c.1880

England, c.1880

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Cast Brass Sperm Whale Paperweight.

Cast Brass Sperm Whale Paperweight.     Small cast brass sperm whale paperweight.  3 1/2" length.

Small cast brass sperm whale paperweight.

3 1/2" length.

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Cast Bronze Sperm Whale Paperweight
by Scott Nelles.

Cast Bronze Sperm Whale Paperweight by Scott Nelles.    Stamped "Nelles" on the bottom.  Approximately 4 1/2" length.  Cast Bronze Sperm Whale Paperweight by Scott Nelles.    Stamped "Nelles" on the bottom.  Approximately 4 1/2" length.

Stamped "Nelles" on the bottom.

Approximately 4 1/2" length.

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Builder's Half Hull Ship Model "Good Cheer"

"Good Cheer" Builders Halfhull ship model with rare and unusual diamond shaped lifts in alternating walnut and mahogany and gilt decoration.

New England, c.1850, 25" long."Good Cheer" Builders Halfhull ship model with rare and unusual diamond shaped lifts in alternating walnut and mahogany and gilt decoration.

New England, c.1850, 25" long.

"Good Cheer" Builders Halfhull ship model with rare and unusual diamond shaped lifts in alternating walnut and mahogany and gilt decoration.

New England, c.1850, 25" long.

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Carved and Painted Pine Soldier Whirligig Figure

Carved and Painted Pine Soldier Whirligig Figure  Wearing a blue painted cap, jacket & trousers, with carved and painted facial figures. The belt is notched and belt buckle is painted gold as well as the jacket buttons.  New England, c. 1890-1910  20 1/2" high to top of head.Carved and Painted Pine Soldier Whirligig Figure  Wearing a blue painted cap, jacket & trousers, with carved and painted facial figures. The belt is notched and belt buckle is painted gold as well as the jacket buttons.  New England, c. 1890-1910  20 1/2" high to top of head.

Wearing a blue painted cap, jacket & trousers, with carved and painted facial figures. The belt is notched and belt buckle is painted gold as well as the jacket buttons.

New England, c. 1890-1910

20 1/2" high to top of head.

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A Rare and Unique Painted Decanter of the Old Mill
by James Walter Folger (1851-1918)

A Rare and Unique Painted Decanter of the Old Mill. The decanter dates to the early part of the 19th century. Nantucket, c. 1875-1890. 9" tall. by James Walter Folger (1851-1918). 9" tall.A Rare and Unique Painted Decanter of the Old Mill. The decanter dates to the early part of the 19th century. Nantucket, c. 1875-1890. 9" tall. by James Walter Folger (1851-1918). 9" tall.

The decanter dates to the early part of the 19th century.

Nantucket, c. 1875-1890.

9" tall.

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Federal Drop Leaf Tiger Maple Table

Federal drop leaf Tiger Maple one-drawer table having a rectangular top, with D-shaped leaves, on turned legs with casters. 


Tiger Maple throughout. 


New England, c.1830. 
Federal drop leaf Tiger Maple one-drawer table having a rectangular top, with D-shaped leaves, on turned legs with casters. 


Tiger Maple throughout. 


New England, c.1830.

Federal drop leaf Tiger Maple one-drawer table having a rectangular top, with D-shaped leaves, on turned legs with casters.

Tiger Maple throughout.

New England, c.1830.

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Nantucket Yacht Club
Egg Tempura on Board.
John Austin (1918-2001)

Woods Hole Steamship Dock Egg Tempura on Board. John Austin (1918-2001)      John Austin was born in North Carolina, raised in New Jersey and lived in Connecticut before moving to Nantucket where he remained until his death.  A prolific artist, Austin studied under Reginald Marsh at the Art Students' League in New York and Edward Hopper in Truro and New York. Early on in his career he produced training manuals for the United States Army and designed floats for the Macy's Thanksgiving Day Parades. He transitioned into painting exclusively by the 1960's, producing a substantial body of work representing New England scenes, eventually concentrating primarily on Nantucket and Cape Cod locations.  Austin exhibited at the Lobster Pot Gallery and Reggie Levine's Main Street Gallery. He was frequently commissioned for works including house portraits for clients and commemorative ships portraits for the United States Coast Guard, which were presented to retiring officers.  Austin's work is represented in numerous private collections and homes around Nantucket and the world. His paintings have been purchased and collected by Jacqueline Kennedy Onassis, Mrs. Paul Mellon, and Joyce and Seward Johnson, among other notable figures. Two of his paintings from the estate of Jackie Onassis, who owned a sizable collection of Austin's work, were later sold by Sotheby's, commanding prices of $29,000 and $26,450.

With original wooden frame by the artist.

9" x 17" sight, 17" x 26" overall.

John Austin was born in North Carolina, raised in New Jersey and lived in Connecticut before moving to Nantucket where he remained until his death.

A prolific artist, Austin studied under Reginald Marsh at the Art Students' League in New York and Edward Hopper in Truro and New York. Early on in his career he produced training manuals for the United States Army and designed floats for the Macy's Thanksgiving Day Parades. He transitioned into painting exclusively by the 1960's, producing a substantial body of work representing New England scenes, eventually concentrating primarily on Nantucket and Cape Cod locations.

Austin exhibited at the Lobster Pot Gallery and Reggie Levine's Main Street Gallery. He was frequently commissioned for works including house portraits for clients and commemorative ships portraits for the United States Coast Guard, which were presented to retiring officers.

Austin's work is represented in numerous private collections and homes around Nantucket and the world. His paintings have been purchased and collected by Jacqueline Kennedy Onassis, Mrs. Paul Mellon, and Joyce and Seward Johnson, among other notable figures. Two of his paintings from the estate of Jackie Onassis, who owned a sizable collection of Austin's work, were later sold by Sotheby's, commanding prices of $29,000 and $26,450.

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75 Main Street (Nantucket)
Oil on Canvas, 18" x 22" sight.
Signed, Emily Hoffmeier (1888-1952)

This item has been sold.75 Main Street (Nantucket) Oil on Canvas, 18" x 22" sight. Signed, Emily Hoffmeier    From 1929 to her death in 1952, Emily Hoffmeier spent summers on Nantucket, mostly painting in her Red Anchor Studio on Washington Street. She exhibited at the Easy Street Gallery and the Kenneth Taylor Galleries. After the death of Maud Stumm in 1935, Hoffmeier took over the direction of the annual Sidewalk Art Show, which she ran for the next eighteen years. She was one of the founding members of the Artist's Association of Nantucket and served on its first executive committee.  After graduating from Mount Holyoke College she taught mathematics at West Chester High School in Pennsylvania from 1917 to 1951. In addition to studying with Frank Swift Chase, Hoffmeier also studied with Henry B. Snell and Hugh Breckenridge in Gloucester, Massachusetts.  Painting is signed front and back and still carries the original tag from being displayed for sale at the Red Anchor Studio.75 Main Street (Nantucket) Oil on Canvas, 18" x 22" sight. Signed, Emily Hoffmeier    From 1929 to her death in 1952, Emily Hoffmeier spent summers on Nantucket, mostly painting in her Red Anchor Studio on Washington Street. She exhibited at the Easy Street Gallery and the Kenneth Taylor Galleries. After the death of Maud Stumm in 1935, Hoffmeier took over the direction of the annual Sidewalk Art Show, which she ran for the next eighteen years. She was one of the founding members of the Artist's Association of Nantucket and served on its first executive committee.  After graduating from Mount Holyoke College she taught mathematics at West Chester High School in Pennsylvania from 1917 to 1951. In addition to studying with Frank Swift Chase, Hoffmeier also studied with Henry B. Snell and Hugh Breckenridge in Gloucester, Massachusetts.  Painting is signed front and back and still carries the original tag from being displayed for sale at the Red Anchor Studio.75 Main Street (Nantucket) Oil on Canvas, 18" x 22" sight. Signed, Emily Hoffmeier    From 1929 to her death in 1952, Emily Hoffmeier spent summers on Nantucket, mostly painting in her Red Anchor Studio on Washington Street. She exhibited at the Easy Street Gallery and the Kenneth Taylor Galleries. After the death of Maud Stumm in 1935, Hoffmeier took over the direction of the annual Sidewalk Art Show, which she ran for the next eighteen years. She was one of the founding members of the Artist's Association of Nantucket and served on its first executive committee.  After graduating from Mount Holyoke College she taught mathematics at West Chester High School in Pennsylvania from 1917 to 1951. In addition to studying with Frank Swift Chase, Hoffmeier also studied with Henry B. Snell and Hugh Breckenridge in Gloucester, Massachusetts.  Painting is signed front and back and still carries the original tag from being displayed for sale at the Red Anchor Studio.

From 1929 to her death in 1952, Emily Hoffmeier spent summers on Nantucket, mostly painting in her Red Anchor Studio on Washington Street. She exhibited at the Easy Street Gallery and the Kenneth Taylor Galleries. After the death of Maud Stumm in 1935, Hoffmeier took over the direction of the annual Sidewalk Art Show, which she ran for the next eighteen years. She was one of the founding members of the Artist's Association of Nantucket and served on its first executive committee.

After graduating from Mount Holyoke College she taught mathematics at West Chester High School in Pennsylvania from 1917 to 1951. In addition to studying with Frank Swift Chase, Hoffmeier also studied with Henry B. Snell and Hugh Breckenridge in Gloucester, Massachusetts.

Painting is signed front and back and still carries the original tag from being displayed for sale at the Red Anchor Studio.

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Carved and Painted Rocking Horse

Carved and Painted Rocking Horse     Carved and painted child's rocking horse.   Original paint and leather saddle.  American, c.1920Carved and Painted Rocking Horse     Carved and painted child's rocking horse.   Original paint and leather saddle.  American, c.1920

Carved and painted child's rocking horse.

Original paint and leather saddle.

American, c.1920

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Gloucester Boat Yard
Watercolor & Gouache on Paper, 10" x 12"
Elizabeth Withington (1880-1962)

"Gloucester Boat Yard" Watercolor & Gouache on Paper, 10" x 12" Elizabeth Withington (1880-1962)"Gloucester Boat Yard" Watercolor & Gouache on Paper, 10" x 12" Elizabeth Withington (1880-1962)

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Roped Table

Roped Table    Roped table featuring decorative ropework with an x-stretcher. All original, excellent condition.  Stained pine top. 31" x 25" x 19"  New England 1920.Roped Table    Roped table featuring decorative ropework with an x-stretcher. All original, excellent condition.  Stained pine top. 31" x 25" x 19"  New England 1920.

Roped table featuring decorative ropework with an x-stretcher. All original, excellent condition.

Stained pine top. 31" x 25" x 19"

New England 1920.

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Schooner Diorama
by Scott A. Ellis.

Schooner Diorama by Scott A. Ellis.    Schooner Diorama with two masted ship on molded ocean with birds and lighthouse in background  Signed "Made by Scott A. Ellis Harwich Mass 1940."  13 1/2" x 19" sight.Schooner Diorama by Scott A. Ellis.    Schooner Diorama with two masted ship on molded ocean with birds and lighthouse in background  Signed "Made by Scott A. Ellis Harwich Mass 1940."  13 1/2" x 19" sight.

Schooner Diorama with two masted ship on molded ocean with birds and lighthouse in background

Signed "Made by Scott A. Ellis Harwich Mass 1940."

13 1/2" x 19" sight.

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New England Blanket Chest
c.1780-1800

Two drawers and a hinged top lid. Nice grain and original painted surface.

There is an old card inside the top lid printed: "Miss Ripley", and handwritten on the card: "Bertha J Ripleye Chest & Goods"

 

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Steerhorn Armchair

Steerhorn Armchair    American  C. 1880  Overall Height 35" Seat Height 20" Overall Width 25" Overall Depth approx 24" (feet stick out a little further)

American

C. 1880

Overall Height 35"
Seat Height 20"
Overall Width 25"
Overall Depth approx 24" (feet stick out a little further)

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Nantucket Schoolgirl Sampler.

Nantucket Schoolgirl Sampler.    Nantucket sampler with floral border converted to a tray with glass and mahogany.  Wrought by Elizabeth Bunker with verse by English Poet Hannah More.  c.1810.   16 1/2" x 11"Nantucket Schoolgirl Sampler.    Nantucket sampler with floral border converted to a tray with glass and mahogany.  Wrought by Elizabeth Bunker with verse by English Poet Hannah More.  c.1810.   16 1/2" x 11"

Nantucket sampler with floral border converted to a tray with glass and mahogany.

Wrought by Elizabeth Bunker with verse by English Poet Hannah More.

c.1810.

16 1/2" x 11"

 

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Woods Hole Steamship Dock
Egg Tempura on Board.
John Austin (1918-2001)

Woods Hole Steamship Dock Egg Tempura on Board. John Austin (1918-2001)      With original wooden frame by the artist.  11" x 18" sight, 19 1/2" x 26 1/2" overall.  John Austin was born in North Carolina, raised in New Jersey and lived in Connecticut before moving to Nantucket where he remained until his death.  A prolific artist, Austin studied under Reginald Marsh at the Art Students' League in New York and Edward Hopper in Truro and New York. Early on in his career he produced training manuals for the United States Army and designed floats for the Macy's Thanksgiving Day Parades. He transitioned into painting exclusively by the 1960's, producing a substantial body of work representing New England scenes, eventually concentrating primarily on Nantucket and Cape Cod locations.  Austin exhibited at the Lobster Pot Gallery and Reggie Levine's Main Street Gallery. He was frequently commissioned for works including house portraits for clients and commemorative ships portraits for the United States Coast Guard, which were presented to retiring officers.  Austin's work is represented in numerous private collections and homes around Nantucket and the world. His paintings have been purchased and collected by Jacqueline Kennedy Onassis, Mrs. Paul Mellon, and Joyce and Seward Johnson, among other notable figures. Two of his paintings from the estate of Jackie Onassis, who owned a sizable collection of Austin's work, were later sold by Sotheby's, commanding prices of $29,000 and $26,450.

With original wooden frame by the artist.

11" x 18" sight, 19 1/2" x 26 1/2" overall.

John Austin was born in North Carolina, raised in New Jersey and lived in Connecticut before moving to Nantucket where he remained until his death.

A prolific artist, Austin studied under Reginald Marsh at the Art Students' League in New York and Edward Hopper in Truro and New York. Early on in his career he produced training manuals for the United States Army and designed floats for the Macy's Thanksgiving Day Parades. He transitioned into painting exclusively by the 1960's, producing a substantial body of work representing New England scenes, eventually concentrating primarily on Nantucket and Cape Cod locations.

Austin exhibited at the Lobster Pot Gallery and Reggie Levine's Main Street Gallery. He was frequently commissioned for works including house portraits for clients and commemorative ships portraits for the United States Coast Guard, which were presented to retiring officers.

Austin's work is represented in numerous private collections and homes around Nantucket and the world. His paintings have been purchased and collected by Jacqueline Kennedy Onassis, Mrs. Paul Mellon, and Joyce and Seward Johnson, among other notable figures. Two of his paintings from the estate of Jackie Onassis, who owned a sizable collection of Austin's work, were later sold by Sotheby's, commanding prices of $29,000 and $26,450.

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Fall on the Moors
Egg Tempura on Board.
John Austin (1918-2001)

Fall on the Moors Egg Tempura on Board. John Austin (1918-2001)      With original wooden frame by the artist.  8" x 16"sight, 14" x 22 1/2" overall  John Austin was born in North Carolina, raised in New Jersey and lived in Connecticut before moving to Nantucket where he remained until his death.  A prolific artist, Austin studied under Reginald Marsh at the Art Students' League in New York and Edward Hopper in Truro and New York. Early on in his career he produced training manuals for the United States Army and designed floats for the Macy's Thanksgiving Day Parades. He transitioned into painting exclusively by the 1960's, producing a substantial body of work representing New England scenes, eventually concentrating primarily on Nantucket and Cape Cod locations.  Austin exhibited at the Lobster Pot Gallery and Reggie Levine's Main Street Gallery. He was frequently commissioned for works including house portraits for clients and commemorative ships portraits for the United States Coast Guard, which were presented to retiring officers.  Austin's work is represented in numerous private collections and homes around Nantucket and the world. His paintings have been purchased and collected by Jacqueline Kennedy Onassis, Mrs. Paul Mellon, and Joyce and Seward Johnson, among other notable figures. Two of his paintings from the estate of Jackie Onassis, who owned a sizable collection of Austin's work, were later sold by Sotheby's, commanding prices of $29,000 and $26,450.

With original wooden frame by the artist.

8" x 16"sight, 14" x 22 1/2" overall.

John Austin was born in North Carolina, raised in New Jersey and lived in Connecticut before moving to Nantucket where he remained until his death.

A prolific artist, Austin studied under Reginald Marsh at the Art Students' League in New York and Edward Hopper in Truro and New York. Early on in his career he produced training manuals for the United States Army and designed floats for the Macy's Thanksgiving Day Parades. He transitioned into painting exclusively by the 1960's, producing a substantial body of work representing New England scenes, eventually concentrating primarily on Nantucket and Cape Cod locations.

Austin exhibited at the Lobster Pot Gallery and Reggie Levine's Main Street Gallery. He was frequently commissioned for works including house portraits for clients and commemorative ships portraits for the United States Coast Guard, which were presented to retiring officers.

Austin's work is represented in numerous private collections and homes around Nantucket and the world. His paintings have been purchased and collected by Jacqueline Kennedy Onassis, Mrs. Paul Mellon, and Joyce and Seward Johnson, among other notable figures. Two of his paintings from the estate of Jackie Onassis, who owned a sizable collection of Austin's work, were later sold by Sotheby's, commanding prices of $29,000 and $26,450.

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This item has been sold. Portrait of Horatio and Mary Rotch

Unsigned, Attributed to James S. Hathaway

Portrait of Horatio and Mary Rotch  Unsigned, Attributed to James S. Hathaway    40 1/4" x 31 1/4", sight.  An old tag on the back of this painting reads; "This painting was commissioned by the Wm. Rotch Family of Nantucket and later of New Bedford, Mass. It is not certain whether this painting was of the Rotch children or their decendants children. This painting was done in the early 1800's. A value of 3,500.00 was put on this painting in 1945 by the painting conservator at the Boston Fine Arts Museum...From the Mooers Collection."  We are now reasonably certain, however, based on the likely age of this painting and a study of the geneology of the Rotch Family, that this is a portrait of Rotch's grandchildren, Horatio and Mary Rotch.  The painting style is typical of Hathaway, featuring children with large, wide, almond shaped eyes.  James S. Hathaway was the most active painter of portraiture on Nantucket throughout most of the 1840's, his career initially boosted by the absence from the island of painter William Swain between 1841 and 1844. The 1840's was the height of whaling wealth on the island and Hathaway was able to commission many portraits of both children and adults from Nantucket's preeminant families. It is recorded in the files of the Frick Art Reference Library that Hathaway was sent to Italy to study by Henry Coffin, and Hathaway repaid the debt to Coffin by painting portraits of Coffin's children. It is thought that Hathaway left Nantucket shortly after the Great Fire of 1846. Little is known of Hathaway's early life or of his later years.   William Rotch (1734-1828) began his illustrious career by managing his father's shipping business on Nantucket after his father, Joseph, left for New Bedford to help establish the whaling port there. Joseph Rotch had earlier moved to Nantucket from Salem, joined the religious Society of Friends and built a thriving whale oil business. William and his father eventually controlled over a quarter of Nantucket's Vessels and a larger portion of the whale oil business on the island. Joseph Rotch died in England around 1772. William Rotch was a quaker and a pacifist, but he owned the Dartmouth, Beaver and Bedford, ships that played important roles in the American Revolution, The Dartmouth and Beaver, having been two of the three ships from which tea was thrown overboard in Boston Harbor in 1773, and the Bedford being the first ship to hoist the American flag in British waters after the Revolution. In 1785 William Rotch moved to England, then to Dunkirk, France where he established a successful company. He later moved back to Nantucket but finally moved to New Bedford in 1803 where he remained until his death.Portrait of Horatio and Mary Rotch  Unsigned, Attributed to James S. Hathaway    40 1/4" x 31 1/4", sight.  An old tag on the back of this painting reads; "This painting was commissioned by the Wm. Rotch Family of Nantucket and later of New Bedford, Mass. It is not certain whether this painting was of the Rotch children or their decendants children. This painting was done in the early 1800's. A value of 3,500.00 was put on this painting in 1945 by the painting conservator at the Boston Fine Arts Museum...From the Mooers Collection."  We are now reasonably certain, however, based on the likely age of this painting and a study of the geneology of the Rotch Family, that this is a portrait of Rotch's grandchildren, Horatio and Mary Rotch.  The painting style is typical of Hathaway, featuring children with large, wide, almond shaped eyes.  James S. Hathaway was the most active painter of portraiture on Nantucket throughout most of the 1840's, his career initially boosted by the absence from the island of painter William Swain between 1841 and 1844. The 1840's was the height of whaling wealth on the island and Hathaway was able to commission many portraits of both children and adults from Nantucket's preeminant families. It is recorded in the files of the Frick Art Reference Library that Hathaway was sent to Italy to study by Henry Coffin, and Hathaway repaid the debt to Coffin by painting portraits of Coffin's children. It is thought that Hathaway left Nantucket shortly after the Great Fire of 1846. Little is known of Hathaway's early life or of his later years.   William Rotch (1734-1828) began his illustrious career by managing his father's shipping business on Nantucket after his father, Joseph, left for New Bedford to help establish the whaling port there. Joseph Rotch had earlier moved to Nantucket from Salem, joined the religious Society of Friends and built a thriving whale oil business. William and his father eventually controlled over a quarter of Nantucket's Vessels and a larger portion of the whale oil business on the island. Joseph Rotch died in England around 1772. William Rotch was a quaker and a pacifist, but he owned the Dartmouth, Beaver and Bedford, ships that played important roles in the American Revolution, The Dartmouth and Beaver, having been two of the three ships from which tea was thrown overboard in Boston Harbor in 1773, and the Bedford being the first ship to hoist the American flag in British waters after the Revolution. In 1785 William Rotch moved to England, then to Dunkirk, France where he established a successful company. He later moved back to Nantucket but finally moved to New Bedford in 1803 where he remained until his death.

40 1/4" x 31 1/4", sight.

An old tag on the back of this painting reads; "This painting was commissioned by the Wm. Rotch Family of Nantucket and later of New Bedford, Mass. It is not certain whether this painting was of the Rotch children or their decendants children. This painting was done in the early 1800's. A value of 3,500.00 was put on this painting in 1945 by the painting conservator at the Boston Fine Arts Museum...From the Mooers Collection."

We are now reasonably certain, however, based on the likely age of this painting and a study of the geneology of the Rotch Family, that this is a portrait of Rotch's grandchildren, Horatio and Mary Rotch.

The painting style is typical of Hathaway, featuring children with large, wide, almond shaped eyes.

James S. Hathaway was the most active painter of portraiture on Nantucket throughout most of the 1840's, his career initially boosted by the absence from the island of painter William Swain between 1841 and 1844. The 1840's was the height of whaling wealth on the island and Hathaway was able to commission many portraits of both children and adults from Nantucket's preeminant families. It is recorded in the files of the Frick Art Reference Library that Hathaway was sent to Italy to study by Henry Coffin, and Hathaway repaid the debt to Coffin by painting portraits of Coffin's children. It is thought that Hathaway left Nantucket shortly after the Great Fire of 1846. Little is known of Hathaway's early life or of his later years.

William Rotch (1734-1828) began his illustrious career by managing his father's shipping business on Nantucket after his father, Joseph, left for New Bedford to help establish the whaling port there. Joseph Rotch had earlier moved to Nantucket from Salem, joined the religious Society of Friends and built a thriving whale oil business. William and his father eventually controlled over a quarter of Nantucket's Vessels and a larger portion of the whale oil business on the island. Joseph Rotch died in England around 1772. William Rotch was a quaker and a pacifist, but he owned the Dartmouth, Beaver and Bedford, ships that played important roles in the American Revolution, The Dartmouth and Beaver, having been two of the three ships from which tea was thrown overboard in Boston Harbor in 1773, and the Bedford being the first ship to hoist the American flag in British waters after the Revolution. In 1785 William Rotch moved to England, then to Dunkirk, France where he established a successful company. He later moved back to Nantucket but finally moved to New Bedford in 1803 where he remained until his death.

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Sconset Boat House Scene
11 1/2" x 17 1/2" sight, Oil on Canvas
Wendell Macy, 1891

Sconset Boat House Scene 11 1/2" x 17 1/2" sight, Oil on Canvas Wendell Macy, 1891     Wendell Macy (1845-1913), a descendent of Nantucket's earliest settlers including Thomas Macy and Richard Swain, was a prolific painter of Nantucket Scenes. Wendell Macy was a contemporary of Eastman Johnson and W. Ferdinand Macy on Nantucket. (W. Ferdinand Macy, also descended from Thomas Macy, and also a painter active in both Nantucket and New Bedford, is occasionally confused with Wendell Macy.)  Wendell Macy was active mainly throughout the last three decades of the 19th century and is considered one of the historically important Nantucket artists. He started his career as a crayon portraitist, and progressed to oil paintings of shipwrecks, dramatic scenes of nature, and Nantucket scenery, finally evolving to large works with historical and allegorical themes. Macy also constructed ships models and did restoration work on oil paintings by other artists. He was vice-president of the Nantucket Atheneum in 1907, and president in 1908 and 1909. He died in New Bedford in 1913.  His work is highly sought after and is hanging in the Smithsonian's Corcoran Gallery of Art, the New Bedford Whaling Museum, the Nantucket Historical Association, and in private collections.Sconset Boat House Scene 11 1/2" x 17 1/2" sight, Oil on Canvas Wendell Macy, 1891     Wendell Macy (1845-1913), a descendent of Nantucket's earliest settlers including Thomas Macy and Richard Swain, was a prolific painter of Nantucket Scenes. Wendell Macy was a contemporary of Eastman Johnson and W. Ferdinand Macy on Nantucket. (W. Ferdinand Macy, also descended from Thomas Macy, and also a painter active in both Nantucket and New Bedford, is occasionally confused with Wendell Macy.)  Wendell Macy was active mainly throughout the last three decades of the 19th century and is considered one of the historically important Nantucket artists. He started his career as a crayon portraitist, and progressed to oil paintings of shipwrecks, dramatic scenes of nature, and Nantucket scenery, finally evolving to large works with historical and allegorical themes. Macy also constructed ships models and did restoration work on oil paintings by other artists. He was vice-president of the Nantucket Atheneum in 1907, and president in 1908 and 1909. He died in New Bedford in 1913.  His work is highly sought after and is hanging in the Smithsonian's Corcoran Gallery of Art, the New Bedford Whaling Museum, the Nantucket Historical Association, and in private collections.

Wendell Macy (1845-1913), a descendent of Nantucket's earliest settlers including Thomas Macy and Richard Swain, was a prolific painter of Nantucket Scenes. Wendell Macy was a contemporary of Eastman Johnson and W. Ferdinand Macy on Nantucket. (W. Ferdinand Macy, also descended from Thomas Macy, and also a painter active in both Nantucket and New Bedford, is occasionally confused with Wendell Macy.)

Wendell Macy was active mainly throughout the last three decades of the 19th century and is considered one of the historically important Nantucket artists. He started his career as a crayon portraitist, and progressed to oil paintings of shipwrecks, dramatic scenes of nature, and Nantucket scenery, finally evolving to large works with historical and allegorical themes. Macy also constructed ships models and did restoration work on oil paintings by other artists. He was vice-president of the Nantucket Atheneum in 1907, and president in 1908 and 1909. He died in New Bedford in 1913.

His work is highly sought after and is hanging in the Smithsonian's Corcoran Gallery of Art, the New Bedford Whaling Museum, the Nantucket Historical Association, and in private collections.

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Nantucket Pictorial Map of Nantucket 1946, Mounted and Varnished on Stained Plywood.
Ruth Sutton (1898-1960).

Nantucket Pictorial Map of Nantucket 1946, Mounted and Varnished on Stained Plywood. Ruth Sutton (1898-1960).  Colorful, pictorial nautical themed map of Nantucket with illustrations of boats, lighthouses, important buildings, and the Nantucket Central Railroad. It features an inset map of Nantucket Town showing street names and buildings. The pictorial border comprises views of literary and historical events, lists of businesses, key to the town, hotels, and a historical timeline. 23 1/2" x 32 1/2" $450Nantucket Pictorial Map of Nantucket 1946, Mounted and Varnished on Stained Plywood. Ruth Sutton (1898-1960).  Colorful, pictorial nautical themed map of Nantucket with illustrations of boats, lighthouses, important buildings, and the Nantucket Central Railroad. It features an inset map of Nantucket Town showing street names and buildings. The pictorial border comprises views of literary and historical events, lists of businesses, key to the town, hotels, and a historical timeline. 23 1/2" x 32 1/2" $450

Colorful, pictorial nautical themed map of Nantucket with illustrations of boats, lighthouses, important buildings, and the Nantucket Central Railroad.

It features an inset map of Nantucket Town showing street names and buildings.

The pictorial border comprises views of literary and historical events, lists of businesses, key to the town, hotels, and a historical timeline. 23 1/2" x 32 1/2".

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Yellowlegs Shorebird Decoy
Dated 1854

Earliest known Nantucket decoy with "R Mugford, June 12, 1854" penciled inside.  Two piece extremely hollow construction with great old working repairs and touch up.  Original paint with shot holes.  Earliest known Nantucket decoy with "R Mugford, June 12, 1854" penciled inside.  Two piece extremely hollow construction with great old working repairs and touch up.  Original paint with shot holes.

Earliest known Nantucket decoy with "R Mugford, June 12, 1854" penciled inside.

Two piece extremely hollow construction with great old working repairs and touch up.

Original paint with shot holes.


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"East Pond Creek"
by William Coffin

"East Pond Creek" by William Coffin    Hand colored photograph of East Pond on Tuckernuck, sight 5" x 7"  Coffin operated a general store at 51 Main St. from the 1940's - 1960's."East Pond Creek" by William Coffin    Hand colored photograph of East Pond on Tuckernuck, sight 5" x 7"  Coffin operated a general store at 51 Main St. from the 1940's - 1960's.

Hand colored photograph of East Pond on Tuckernuck, sight 5" x 7"

Coffin operated a general store at 51 Main St. from the 1940's - 1960's.


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Pacific Club, Nantucket Mass
Watercolor on Paper
Anthony Frederick (Tony) Sarg (1880 - 1942)

Framed watercolor on paper showing a horse and carriage driven by James Wood in front of the Pacific Club on Nantucket.  Up until his death James Wood (1846-1943) would lead the Memorial day parade in a horse and carriage. Nantucket’s most decorated war veteran was born on the Island in 1846. Not only was he Nantucket’s last surviving Civil War veteran, but one of the last in New England, and was one of the few soldiers to have served in both the Army and the Navy. He is best known for shaking Abraham Lincoln’s hand after the war  Titled and signed 'Pacific Club, Nantucket Mass', Tony Sarg, c. 1930   Ex-Collection of David Wood Framed watercolor on paper showing a horse and carriage driven by James Wood in front of the Pacific Club on Nantucket.  Up until his death James Wood (1846-1943) would lead the Memorial day parade in a horse and carriage. Nantucket’s most decorated war veteran was born on the Island in 1846. Not only was he Nantucket’s last surviving Civil War veteran, but one of the last in New England, and was one of the few soldiers to have served in both the Army and the Navy. He is best known for shaking Abraham Lincoln’s hand after the war  Titled and signed 'Pacific Club, Nantucket Mass', Tony Sarg, c. 1930   Ex-Collection of David Wood

Framed watercolor on paper showing a horse and carriage driven by James Wood in front of the Pacific Club on Nantucket.

Up until his death James Wood (1846-1943) would lead the Memorial day parade in a horse and carriage. Nantucket’s most decorated war veteran was born on the Island in 1846. Not only was he Nantucket’s last surviving Civil War veteran, but one of the last in New England, and was one of the few soldiers to have served in both the Army and the Navy. He is best known for shaking Abraham Lincoln’s hand after the war

Titled and signed 'Pacific Club, Nantucket Mass', Tony Sarg, c. 1930

Ex-Collection of David Wood

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"The Old Mill"
Painted by Wendell F. Macy. (1845-1913)

"The Old Mill" Painted by Wendell F. Macy. (1845-1913) Oil on Panel, 6" x 5" sight. Written on the back in pencil reads "Painted by Wendell Macy"."The Old Mill" Painted by Wendell F. Macy. (1845-1913) Oil on Panel, 6" x 5" sight. Written on the back in pencil reads "Painted by Wendell Macy".

Oil on Panel, 6" x 5" sight.

Written on the back in pencil reads "Painted by Wendell Macy".


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Pencil and Crayon framed sketch of South Beach, Nantucket
by Edith Morehouse (1899-1979).

Pencil and Crayon framed sketch of South Beach, Nantucket by Edith Morehouse (1899-1979). The image is from Commercial Wharf facing Town. 5" x 6" Sight, c.1940-1960.A Rare and Unique Painted Decanter of the Old Mill. The decanter dates to the early part of the 19th century. Nantucket, c. 1875-1890. 9" tall. by James Walter Folger (1851-1918). 9" tall.

The view is from Commercial Wharf facing Town.

5" x 6" Sight

c.1940-1960.

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Octagon Table-Top Sailor's Valentine.

Octagon Table-Top Sailor's Valentine.    Shell encrusted octagon table top with later painting of two-masted schooner by Gael Ryan.  Oil on Pine with original Shells  Northeast, c.1940   29" x 29".

Shell encrusted octagon table top with later painting of two-masted schooner by Gael Ryan.

Oil on Pine with original Shells

Northeast, c.1940

29" x 29".

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Pennsylvania Fire Insurance Company Trade Sign

Pennsylvania Fire Insurance Company Trade Sign    Pennsylvania Fire Insurance Company Trade Sign  Painted gesso on canvas in original gold leaf frame.   Pennsylvania, c.1850-1870

Pennsylvania Fire Insurance Company Trade Sign

Painted gesso on canvas in original gold leaf frame.

Pennsylvania, c.1850-1870

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Large Carved Eagle
with Original Gilding and Paint

Large Carved Eagle with Original Gilding and Paint.     Carved from pine.  22" x 73"Large Carved Eagle with Original Gilding and Paint.     Carved from pine.  22" x 73"
Large Carved Eagle with Original Gilding and Paint.     Carved from pine.  22" x 73"

Carved from pine.

22" x 73"

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Cast Iron Sailor-Boy Doorstop

14" tall. Original Paint in excellent condition.

American, c. 1940

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Carved and Painted Sperm Whale
by Clark Voorhees

Carved and Painted Sperm Whale by Clark Voorhees     Carved by noted Connecticut/Vermont Carver Clark Voorhees (1911-1980).  18" length.  Carved and Painted Sperm Whale by Clark Voorhees     Carved by noted Connecticut/Vermont Carver Clark Voorhees (1911-1980).  18" length.

Carved by noted Connecticut/Vermont Carver Clark Voorhees (1911-1980).

18" length.

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Fireman's Top Hat Trade Sign

Fireman's Top Hat Trade Sign    Rare and fine trade sign carved from pine in the form of a top hat.  Red paint with a tooled leather band. Fitted with hanging brackets.   Front plaque reads "BOWERY- FIREMEN'S - SUPPLY COMPANY - 56 GOLDS. MANHATTAN - Off Nassau St. - FIREHOUSE - SUPPLIES".  Additional painted advertising on sides: "SILSBY - AMOSKEAG - HUNNEMAN - LA FRANCE - Clapp & Jones" "ANDERSON & JONES - JOHN OLSEN - CAIRNS & BROS - SHEFFAN & CHEEVER".  American, c. 1890, 30-1/2" h x 25-1/4" dia.

Rare and fine trade sign carved from pine in the form of a top hat.

Red paint with a tooled leather band. Fitted with hanging brackets.

Front plaque reads "BOWERY- FIREMEN'S - SUPPLY COMPANY - 56 GOLDS. MANHATTAN - Off Nassau St. - FIREHOUSE - SUPPLIES".

Additional painted advertising on sides:
"SILSBY - AMOSKEAG - HUNNEMAN - LA FRANCE - Clapp & Jones"
"ANDERSON & JONES - JOHN OLSEN - CAIRNS & BROS - SHEFFAN & CHEEVER".

American, c. 1890, 30-1/2" h x 25-1/4" dia.

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Allegorical Architectural Figure

Allegorical Architectural Figure     Large nude standing female figure of molded sheet copper, with gilt and verdigris surface mounted on a cast iron stand.  She is standing on a small copper sphere and arrow with cast iron point, holding the staff of caduceus in her left hand, with her right arm outstretched above her head and pointing forward and her right foot raised behind her. She has wing-like features on her head and fin or wing-like anklets.  Overall dimensions, including the stand are 77" height x 68" length of arrow.  Late 19th century.Allegorical Architectural Figure     Large nude standing female figure of molded sheet copper, with gilt and verdigris surface mounted on a cast iron stand.  She is standing on a small copper sphere and arrow with cast iron point, holding the staff of caduceus in her left hand, with her right arm outstretched above her head and pointing forward and her right foot raised behind her. She has wing-like features on her head and fin or wing-like anklets.  Overall dimensions, including the stand are 77" height x 68" length of arrow.  Late 19th century.

Large nude standing female figure of molded sheet copper, with gilt and verdigris surface mounted on a cast iron stand.

She is standing on a small copper sphere and arrow with cast iron point, holding the staff of caduceus in her left hand, with her right arm outstretched above her head and pointing forward and her right foot raised behind her. She has wing-like features on her head and fin or wing-like anklets.

Overall dimensions, including the stand are 77" height x 68" length of arrow.

Late 19th century.

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Trumpeting Gabriel Weathervane.

Trumpeting Gabriel Weathervane.  Made with two pieces of sheet iron riveted together with strap iron braces. Weathered surface with minor rust.  43 1/2" long, American, c. 1890-1910Trumpeting Gabriel Weathervane.  Made with two pieces of sheet iron riveted together with strap iron braces. Weathered surface with minor rust.  43 1/2" long, American, c. 1890-1910

Made with two pieces of sheet iron riveted together with strap iron braces. Weathered surface with minor rust.

43 1/2" long, American, c. 1890-1910

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Carved and Painted Wooden Whale Board

Carved and Painted Wooden Whale Board  Signed and dated 1909  Frank Wood (1851-1933) 14" x 28"  Wood was the first curator of the New Bedford Whaling Museum. He was a hobbyist carver who also made whip models as well as full bodied whales. This particular whale board shows six different species of whales with etched ivory scrimshaw plates identifying each whale. The whales are mounted on a painted plywood with black painted molding.  Ex collection: Stanton whaling family of New Bedford.Carved and Painted Wooden Whale Board  Signed and dated 1909  Frank Wood (1851-1933) 14" x 28"  Wood was the first curator of the New Bedford Whaling Museum. He was a hobbyist carver who also made whip models as well as full bodied whales. This particular whale board shows six different species of whales with etched ivory scrimshaw plates identifying each whale. The whales are mounted on a painted plywood with black painted molding.  Ex collection: Stanton whaling family of New Bedford.

Signed and dated 1909

Frank Wood (1851-1933) 14" x 28"

Wood was the first curator of the New Bedford Whaling Museum. He was a hobbyist carver who also made whip models as well as full bodied whales. This particular whale board shows six different species of whales with etched ivory scrimshaw plates identifying each whale. The whales are mounted on a painted plywood with black painted molding.

Ex collection: Stanton whaling family of New Bedford.

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Painted "Chess Men" Gameboard

With the hand lettered words "Chess Men" divided by chess pieces on each side.

Original black, gold and red paint.

New England, c1920-1930, 21 1/4" x 17 1/4 "

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Boston Terrier Doorstop

Boston Terrier Doorstop     American, 1920'sBoston Terrier Doorstop     American, 1920's

American, 1920's

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Pair of Whalebone Candlesticks

Pair of Whalebone Candlesticks  With swelled shaft, incised ring turned base and tulip candle cups.  c.1880-1900  6 1/2"Pair of Whalebone Candlesticks  With swelled shaft, incised ring turned base and tulip candle cups.  c.1880-1900  6 1/2"

With swelled shaft, incised ring turned base and tulip candle cups.

c.1880-1900

6 1/2" tall.

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Painted Lifeboat Half Hull Placque Joanna

Painted Lifeboat Half Hull Placque Joanna    Retaining its original paint. Exceptional condition.  c.1880-1890.  13" x 31 1/2" Outer dimensions.Painted Lifeboat Half Hull Placque Joanna    Retaining its original paint. Exceptional condition.  c.1880-1890.  13" x 31 1/2" Outer dimensions.

Retaining its original paint. Exceptional condition.

c.1880-1890.

13" x 31 1/2" Outer dimensions.

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Half Hull Builder's Model of a Schooner

Half Hull Builder's Model of a Schooner -   Constructed of fifteen lifts in alternating dark and light woods, with nice alligator surface mounted on black painted board.  New England, c.1840-1860.  53” Long.

Constructed of fifteen lifts in alternating dark and light woods, with nice alligator surface mounted on black painted board.

New England, c.1840-1860.

53” Long.

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Pair of Ship Plaques

Pair of Ship Plaques  Each painted and carved out of pine, mounted on black painted plywood.  Attributed to Wallace Long of Nantucket.  5"x 7", c. 1940-1950  Long was a seaman and craftsman/cabinet maker who made small ship & whale plaques on a part time basis.   Pair of Ship Plaques  Each painted and carved out of pine, mounted on black painted plywood.  Attributed to Wallace Long of Nantucket.  5"x 7", c. 1940-1950  Long was a seaman and craftsman/cabinet maker who made small ship & whale plaques on a part time basis.

Each painted and carved out of pine, mounted on black painted plywood.

Attributed to Wallace Long of Nantucket.

5"x 7", c. 1940-1950

Long was a seaman and craftsman/cabinet maker who made small ship & whale plaques on a part time basis.

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Nautical Ship Diorama of a Tugboat the "Three Brothers"

Nautical Ship Diorama of a Tugboat the "Three Brothers"  A very accurate model of a 19th century American tug and in an unusual large format.   A very strong and bold piece.  A lighthouse and schooner are both painted on the backboard. Appears to be the original gold frame.  New England, c. 1860-1880  31" x 44"  There is no question that a skilled boat builder created this piece. One of the best ship dioramas I have ever seen.Nautical Ship Diorama of a Tugboat the "Three Brothers"  A very accurate model of a 19th century American tug and in an unusual large format.   A very strong and bold piece.  A lighthouse and schooner are both painted on the backboard. Appears to be the original gold frame.  New England, c. 1860-1880  31" x 44"  There is no question that a skilled boat builder created this piece. One of the best ship dioramas I have ever seen.

A very accurate model of a 19th century American tug and in an unusual large format.

A very strong and bold piece.

A lighthouse and schooner are both painted on the backboard. Appears to be the original gold frame.

New England, c. 1860-1880

31" x 44"

There is no question that a skilled boat builder created this piece. One of the best ship dioramas I have ever seen.

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Whale Tooth Coat Rack

Whale Tooth Coat Rack  Consists of 5 whales teeth.  The backboard is beveled and made of a tropical hardwood.  c. 1860-1880  30 1/2" x 3 1/4". The teeth protrude roughly 2".  Both the teeth and wood show great patina.Whale Tooth Coat Rack  Consists of 5 whales teeth.  The backboard is beveled and made of a tropical hardwood.  c. 1860-1880  30 1/2" x 3 1/4". The teeth protrude roughly 2".  Both the teeth and wood show great patina.

Consists of 5 whales teeth.

The backboard is beveled and made of a tropical hardwood.

c. 1860-1880

30 1/2" x 3 1/4". The teeth protrude roughly 2".

Both the teeth and wood show great patina.

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Carved and Painted Ship's Cathead
Carved out of Lignam Vitae

Carved and Painted Ship's Cathead Carved out of Lignam Vitae    10" x 10"  A cathead is a large wooden beam attached to the front of a sailing ship which aided in lowering, raising, and supporting the ship's anchor. In addition, it prevents damage to the ship's hull by keeping the anchor at a safe distance from it. During the heyday of this hull member, these beams were usually fitted in pairs, one on either side of the ship, and were often embellished on their outer ends with carvings of lion or cat heads.   Carved and Painted Ship's Cathead Carved out of Lignam Vitae    10" x 10"  A cathead is a large wooden beam attached to the front of a sailing ship which aided in lowering, raising, and supporting the ship's anchor. In addition, it prevents damage to the ship's hull by keeping the anchor at a safe distance from it. During the heyday of this hull member, these beams were usually fitted in pairs, one on either side of the ship, and were often embellished on their outer ends with carvings of lion or cat heads.

10" x 10"

A cathead is a large wooden beam attached to the front of a sailing ship which aided in lowering, raising, and supporting the ship's anchor. In addition, it prevents damage to the ship's hull by keeping the anchor at a safe distance from it. During the heyday of this hull member, these beams were usually fitted in pairs, one on either side of the ship, and were often embellished on their outer ends with carvings of lion or cat heads.

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Portrait of William Shuneman
Oil on Canvas, 31" x 25"
Ammi Phillips (1788-1865)

Portrait of William Shuneman Oil on Canvas, 31" x 25" Ammi Phillips (1788-1865)  Ammi Phillips was born in Colebrook, Connecticut and began painting portraits of western Massachusetts subjects in about 1811. In 1813 he married Laura Brockway of Schodack, New York, and briefly lived in Troy before settling in Rhinebeck, in Dutchess County. While there, Phillips painted likenesses on both sides of the New YorkNew England border. In the 1820s, Phillips experimented with dark and light color contrasts in his portraits of Dutchess, Orange, and Columbia County residents.  William Shuneman b. 1766  Shuneman was descended from early New Netherlands settlers. The son of well-known Reverand and patriot Herman Shuneman (1712-1794) of Utica, New York, he resided in Catskill (Green County) New York. One of his brothers, Martin Gerretsen Shuneman (1764-1827), was elected to the 9th congress (1805-1807). Like his older brother, William Shuneman was involved in politics as town clerk from 1790--1791 and appointed to Justice of the Peace in Catskill in 1810.  Exhibited: The Museum of American Folk Art, Ammi Phillips Portrait Painter 1968-1969Portrait of William Shuneman Oil on Canvas, 31" x 25" Ammi Phillips (1788-1865)  Ammi Phillips was born in Colebrook, Connecticut and began painting portraits of western Massachusetts subjects in about 1811. In 1813 he married Laura Brockway of Schodack, New York, and briefly lived in Troy before settling in Rhinebeck, in Dutchess County. While there, Phillips painted likenesses on both sides of the New YorkNew England border. In the 1820s, Phillips experimented with dark and light color contrasts in his portraits of Dutchess, Orange, and Columbia County residents.  William Shuneman b. 1766  Shuneman was descended from early New Netherlands settlers. The son of well-known Reverand and patriot Herman Shuneman (1712-1794) of Utica, New York, he resided in Catskill (Green County) New York. One of his brothers, Martin Gerretsen Shuneman (1764-1827), was elected to the 9th congress (1805-1807). Like his older brother, William Shuneman was involved in politics as town clerk from 1790--1791 and appointed to Justice of the Peace in Catskill in 1810.  Exhibited: The Museum of American Folk Art, Ammi Phillips Portrait Painter 1968-1969

Ammi Phillips was born in Colebrook, Connecticut and began painting portraits of western Massachusetts subjects in about 1811. In 1813 he married Laura Brockway of Schodack, New York, and briefly lived in Troy before settling in Rhinebeck, in Dutchess County. While there, Phillips painted likenesses on both sides of the New York/New England border. In the 1820s, Phillips experimented with dark and light color contrasts in his portraits of Dutchess, Orange, and Columbia County residents.

William Shuneman b. 1766

Shuneman was descended from early New Netherlands settlers. The son of well-known Reverand and patriot Herman Shuneman (1712-1794) of Utica, New York, he resided in Catskill (Green County) New York. One of his brothers, Martin Gerretsen Shuneman (1764-1827), was elected to the 9th congress (1805-1807). Like his older brother, William Shuneman was involved in politics as town clerk from 1790--1791 and appointed to Justice of the Peace in Catskill in 1810.

Exhibited: The Museum of American Folk Art, Ammi Phillips Portrait Painter 1968-1969

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High Seas
Oil on Canvas.
Gordon Hope Grant (1875-1962).

High Seas Oil on Canvas. Gordon Hope Grant (1875-1962).      Gordon Hope Grant was born in San Francisco. He studied at the Fife Academy in Scotland and at the Heatherley art schools in London.   Grant returned to the states in 1896 and soon became a successful illustrator for many of the leading periodicals of the time including San Francisco Chronicle, The Examiner, and Harper's Weekly. By 1920 he became a full time marine artist, working in both oil and watercolors but he also wrote and illustrated a number of books on the sea. in 1926 thousands of prints of his painting of the U.S.S. Constitution were sold to help raise money for the preservation of that historic ship.   Gordon Hope Grant was one of the best known and most successful practitioners of marine art of the first half of the 20th century. He exhibited prolifically in the United States and at the Paris salon. Grant received many awards from the American Watercolor Society and his drawings and paintings have been purchased by the Metropolitan Museum of Art, The Library of Congress, and the New York Public Library. His paintings can be found in many important marine art collections in the United States.High Seas Oil on Canvas. Gordon Hope Grant (1875-1962).      Gordon Hope Grant was born in San Francisco. He studied at the Fife Academy in Scotland and at the Heatherley art schools in London.   Grant returned to the states in 1896 and soon became a successful illustrator for many of the leading periodicals of the time including San Francisco Chronicle, The Examiner, and Harper's Weekly. By 1920 he became a full time marine artist, working in both oil and watercolors but he also wrote and illustrated a number of books on the sea. in 1926 thousands of prints of his painting of the U.S.S. Constitution were sold to help raise money for the preservation of that historic ship.   Gordon Hope Grant was one of the best known and most successful practitioners of marine art of the first half of the 20th century. He exhibited prolifically in the United States and at the Paris salon. Grant received many awards from the American Watercolor Society and his drawings and paintings have been purchased by the Metropolitan Museum of Art, The Library of Congress, and the New York Public Library. His paintings can be found in many important marine art collections in the United States.

Gordon Hope Grant was born in San Francisco. He studied at the Fife Academy in Scotland and at the Heatherley Art Schools in London.

Grant returned to the states in 1896 and soon became a successful illustrator for many of the leading periodicals of the time including San Francisco Chronicle, The Examiner, and Harper's Weekly. By 1920 he became a full time marine artist, working in both oil and watercolors but he also wrote and illustrated a number of books on the sea. in 1926 thousands of prints of his painting of the U.S.S. Constitution were sold to help raise money for the preservation of that historic ship.

Gordon Hope Grant was one of the best known and most successful practitioners of marine art of the first half of the 20th century. He exhibited prolifically in the United States and at the Paris salon. Grant received many awards from the American Watercolor Society and his drawings and paintings have been purchased by the Metropolitan Museum of Art, The Library of Congress, and the New York Public Library. His paintings can be found in many important marine art collections in the United States.

23 1/2" x 29 1/2" sight.

 

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Sankaty Head
Oil on Canvas, 13 1/8” x 22 1/2” (sight), 1884.
William Ferdinand Macy (1852-1901), signed W. Ferdinand Macy/84.

"Sankaty Head" Oil on Canvas, 13 1/8” x 22 1/2” (sight), 1884. William Ferdinand Macy (1852-1901), signed W. Ferdinand Macy/84.    William Ferdinand Macy (Sometimes confused with another Nantucket painter, his contemporary Wendell Macy) was born in New Bedford in 1852 and died in Pembroke, Massachusetts in 1902. He was descended from Thomas Macy, one of the original settlers of Nantucket.  W. Ferdinand Macy studied painting with R. Swain Gifford in New York as a young man. He opened a studio in Nantucket in 1878, on Pleasant Street. W. Ferdinand Macy moved back to New Bedford by 1890, where he exhibited at Lawton's Book Store and Art Gallery and The New Bedford Art Club.

William Ferdinand Macy (Sometimes confused with another Nantucket painter, his contemporary Wendell Macy) was born in New Bedford in 1852 and died in Pembroke, Massachusetts in 1902. He was descended from Thomas Macy, one of the original settlers of Nantucket.

W. Ferdinand Macy studied painting with R. Swain Gifford in New York as a young man. He opened a studio in Nantucket in 1878, on Pleasant Street. W. Ferdinand Macy moved back to New Bedford by 1890, where he exhibited at Lawton's Book Store and Art Gallery and The New Bedford Art Club.

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Working Dock
Watercolor on Paper, 10" x 12"
John Cuthbert Hare (1908-1978)

"Working Dock" Watercolor on Paper, 10" x 12" John Cuthbert Hare (1908-1978)  Hare was born in New York, studied at both the Pratt Institute and the Arts Student League in Manhattan, primarily a watercolorist. Hare painted boats, seascapes and harbor views. He would travel throughout the coastlines of New England, mainly Gloucester, Cape Cod and Nantucket"Working Dock" Watercolor on Paper, 10" x 12" John Cuthbert Hare (1908-1978)  Hare was born in New York, studied at both the Pratt Institute and the Arts Student League in Manhattan, primarily a watercolorist. Hare painted boats, seascapes and harbor views. He would travel throughout the coastlines of New England, mainly Gloucester, Cape Cod and Nantucket

Hare was born in New York, studied at both the Pratt Institute and the Arts Student League in Manhattan, primarily a watercolorist. Hare painted boats, seascapes and harbor views. He would travel throughout the coastlines of New England, mainly Gloucester, Cape Cod and Nantucket

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Gloucester Cottage (Rocky Neck, Gloucester)
24" x 30", Oil on Canvas
Carmillo Adriani, c.1960

"Gloucester Cottage" Rocky Neck, Gloucester 24" x 30", Oil on Canvas Carmillo Adriani, c.1960    Camillo Adriani was born in Massachusetts in the late 19th centurey. He studied art in Boston. Adriani was especially well known for his vibrant portrayal of New England snow scenes. Several of his paintings have been published in color reproductions.  "Gloucester Cottage" Rocky Neck, Gloucester 24" x 30", Oil on Canvas Carmillo Adriani, c.1960    Camillo Adriani was born in Massachusetts in the late 19th centurey. He studied art in Boston. Adriani was especially well known for his vibrant portrayal of New England snow scenes. Several of his paintings have been published in color reproductions.

Camillo Adriani was born in Massachusetts in the late 19th centurey. He studied art in Boston. Adriani was especially well known for his vibrant portrayal of New England snow scenes. Several of his paintings have been published in color reproductions.

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10 1/2" Open Round Nantucket Lightship Basket.

10 1/2" Open Round Nantucket Lightship Basket.     With wooden ears and shaped swing handle.  Stamped "C. Coffin.", maker unknown.  c.1860-188010 1/2" Open Round Nantucket Lightship Basket.     With wooden ears and shaped swing handle.  Stamped "C. Coffin.", maker unknown.  c.1860-1880
10 1/2" Open Round Nantucket Lightship Basket.     With wooden ears and shaped swing handle.  Stamped "C. Coffin.", maker unknown.  c.1860-188010 1/2" Open Round Nantucket Lightship Basket.     With wooden ears and shaped swing handle.  Stamped "C. Coffin.", maker unknown.  c.1860-1880

With wooden ears and shaped swing handle.

Stamped "C. Coffin.", maker unknown.

c.1860-1880

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Small Open Round Nantucket Lightship Basket
by Mitchy Ray

Small Open Round Nantucket Lightship Basket by Mitchy RaySmall Open Round Nantucket Lightship Basket by Mitchy Ray
Small Open Round Nantucket Lightship Basket by Mitchy Ray

7" Diameter

Clinton Mitchell Ray, third-generation Nantucket basketmaker, was the son of Charles F. Ray (1826 - 1901), and grandson of master mariner Charles B. Ray (1798 -1884). Many other members of the Ray family were also Nantucket basketmakers. Mitchy Ray is considered by many to be the last of the old time basketmakers on Nantucket. He died on February 13, 1956.

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Bradley & Hubbard Painted Cast Iron Bookends with Ship Motif.

Original paint and in mint condition.

Stamped B&H on back, 4 1/2" x 5 1/4"

c. 1940-1950

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Carved Swordfish Bill

Carved Swordfish Bill     Profusely engraved and decorated with hunting dog, goose, swordfish, star, a cat, heart, cross and initials C.S.C. Probably used as a toy.   American, c. 1920 Carved Swordfish Bill     Profusely engraved and decorated with hunting dog, goose, swordfish, star, a cat, heart, cross and initials C.S.C. Probably used as a toy.   American, c. 1920
Carved Swordfish Bill     Profusely engraved and decorated with hunting dog, goose, swordfish, star, a cat, heart, cross and initials C.S.C. Probably used as a toy.   American, c. 1920

Profusely engraved and decorated with hunting dog, goose, swordfish, star, a cat, heart, cross and initials C.S.C. Probably used as a toy.

American, c. 1920

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Carpenter Tools Doorstop.

Carpenter Tools Doorstop.    Cast Iron with original paint.  6 1/2" x 11"  c. 1930-1940 Carpenter Tools Doorstop.    Cast Iron with original paint.  6 1/2" x 11"  c. 1930-1940

Cast Iron with original paint.

6 1/2" x 11"

c. 1930-1940

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Large Woven Splint Basket

 

Large woven splint basket with carved wooden handles.

New England, c.1870

17 1/2" x 41" x 24"

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New England Maple Tavern Table.

New England Maple Tavern Table.  Oval top above a splayed rectangular base with baluster and ring-turned legs joined by a rectangular box stretcher.  New England, c. 1740-1760  27" x 33 3/4" x 25 1/2"New England Maple Tavern Table.  Oval top above a splayed rectangular base with baluster and ring-turned legs joined by a rectangular box stretcher.  New England, c. 1740-1760  27" x 33 3/4" x 25 1/2"

Oval top above a splayed rectangular base with baluster and ring-turned legs joined by a rectangular box stretcher.

New England, c. 1740-1760

27" x 33 3/4" x 25 1/2"

 

$5250

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This item has been sold.

Chinese Porcelain Vase Lamp

Chinese Porcelain Vase Lamp    Calligraphy under the rim edge.  C. 1760Chinese Porcelain Vase Lamp    Calligraphy under the rim edge.  C. 1760

Calligraphy under the rim edge.

C. 1760

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