A few examples of appraisal values for
THE FISHERMAN

• ED CHOPE (20TH CENTURY), THE FISHERMAN
  ED CHOPE (20TH CENTURY), THE FISHERMAN Title: Ed Chope (20th Century), The Fisherman Medium: bronze, 10/50 Dimensions: 35 x 26 x 25 Framed dimension: 33 1/4 x 26 x 25
• A Worcester blue and white saucer dish,
  A Worcester blue and white saucer dish, c1790, transfer printed with the Fisherman pattern, 20.5cm diam, hatched crescent in underglaze blue More Information Undamaged
• Two William Payne (1760-1830, England)
  Two William Payne (1760-1830, England) framed and matted watercolors with pen and ink, one of a river scene landscape, the other of a woman sewing with her family beside her titled "The Fisherman's Family", both with Fry Gallery, London labels. 13.5" x 18.5" ss / 19" x 25" oa Condition: Not examined out of frame.
• CARVED WOOD FIGURE JAPANESE FISHERMAN
  CARVED WOOD FIGURE JAPANESE FISHERMAN & BOY Carved hardwood figure of a man and his boy, 20th century, the fisherman and boy exuberantly walking with his successful day of fishing, all with glass eyes, on associated stand. 16.75" H x 5.5" diameter.
• R. LEVENTHAL FISHERMAN BRONZE & FLUORITE
  R. LEVENTHAL FISHERMAN BRONZE & FLUORITE SCULPTURE Ruth Lee Leventhal bronze sculpture of a fisherman sitting on a fluorite rock, the fisherman's line features a fish at the end that drops into a clear Lucite base, fish piece can sit in our out of the Lucite. Plaque on base marked "Bonded Bronze on Fluorite, Ruth Lee Leventhal '69." 10" H x 7" W x 9" D.
• RUSSIAN LACQUER BOX, PUSHKIN SCENE Russian
  RUSSIAN LACQUER BOX, PUSHKIN SCENE Russian lacquer box depicting scene from Alexander Pushkin's "The Tale of the Fisherman and the Fish," signed along lower edge of image, hinged lid, image of fish on reverse. 0.75" H x 4.25" W x 3.25" D. Craquelure to lid.
• DALI, BLACK AND WHITE LITHOGRAPH, 1965
  DALI, BLACK AND WHITE LITHOGRAPH, 1965 Salvador Dali (Spanish, 1904-1989), "The Fisherman", signed in plate upper left, pencil signed and numbered 51/150, lower margins, aluminum slat framed under glass, 38"h x 26"w (sheet)
• DALI, BLACK AND WHITE LITHOGRAPH, 1965
  DALI, BLACK AND WHITE LITHOGRAPH, 1965 Salvador Dali (Spanish, 1904-1989), "Departure of the Fisherman", signed and dated in plate lower center, pencil signed and numbered 51/150 along lower margins, aluminum slat framed under glass, 38"h x 26"w (sheet)
• E. BIANCHINI (EARLY 20TH C) OIL ON CANVAS
  E. BIANCHINI (EARLY 20TH C) OIL ON CANVAS PORTRAITS (2)E. Bianchini (Italian, Early 20th Century)Fisherman of Capri and Girl from Naples (Circa 1900.)The two Italian School oil on canvas portraits are each signed lower right and lower left, with titles verso in pencil on the stretchers.Canvases measure 15.25 x 11.25, frames are 19.5 x 15.5 inches each.Very good condition, noting an L-shape tear in the canvas of the fisherman, otherwise very good original condition overall, light wear to the high points of the frame gilding.
• (2) FRAMED OIL PAINTINGS, MAURICE SAINT-LOU(lot
  (2) FRAMED OIL PAINTINGS, MAURICE SAINT-LOU(lot of 2) Framed paintings, including: (1) oil on canvas board, Roman Bridge, signed lower right Saint-Lou (Maurice Saint-Lou, France, b.1897), paperwork verso for Paul Metcalf Galleries in Pasadena, California, loss to frame, sight: approx 8.25"h, 9.5"w, overall: approx 13.25"h, 14.5"w, (1) oil on canvas, The Fisherman, unsigned, abrasions to canvas, sight: approx 13.25"h, 9.25"w, overall: approx 16.75"h, 12.75"w; 5lbs total **Provenance: from the estate of William Olivares-Blevins (1967-2017)**
• BEN BENN (AMERICAN, 1884-1983). Oil
  BEN BENN (AMERICAN, 1884-1983). Oil on board. "The Fisherman". 1940. Signed and dated lower right. Titled, dated, and signed verso. From a Pleasantville, NY collection. Dimensions: 14.5" high x 24" wide Condition: Might benefit from cleaning. Frame abrasion.
• PAIR OF DELFT PLATES AND A SHALLOW BOWLTogether
  PAIR OF DELFT PLATES AND A SHALLOW BOWLTogether with a French faience dish. The bowl 13 1/2 in. diam. Condition Wear and firing imperfections and losses to the edges. The plate with the fisherman with larger rim chips, one with an associated hairline crack. The bowl is extensively restored with large losses and cracks to the reverse. The faience dish with crazing. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• FRANKLIN LIBRARY SIGNED EDITIONS LEATHER
  FRANKLIN LIBRARY SIGNED EDITIONS LEATHER (60) A group of 60 Franklin Library signed, leather bound limited editions. To include: "The French Lieutenant's Woman", John Fowles, "Five Plays", Jean-Paul Sartre, "The Agony & The Ecstasy", Irving Stone, "A Thousand Days", Arthur M. Schlesinger, Jr., "Good As Gold", Joseph Heller, "The Rector of Justin", Louis Auchincloss, "Darkness At Noon", Arthur Koestler, "Young Lonigan", James T. Farrell, "Advise and Consent", Allen Drury, "Selected Poems (1923-1975)", Robert Penn Warren, "The Affluent Society", John Kenneth Galbraith, "Lust For Life", Irving Stone, "The Big Rock Candy Mountain", Wallace Stegner, "Catch-22", Joseph Heller, "Other Voices, Other Rooms", Truman Capote, "The Collector", John Fowles, "Deliverance", James Dickey, "The Naked And The Dead", Norman Mailer, "Slaughterhouse--Five", Kurt Vonnegut, "The Sot Weed Factor", John Barth, "Lie Down In Darkness", William Styron, "The Ginger Man", J.P. Donleavy, "Selected Plays", Tennessee Williams, "A Book Of Common Prayer", Joan Didion, "Justine", Lawrence Durrell, "The Invisible Man", Ralph Ellison, "Rabbit, Run", John Updike, "The Group", Mary McCarthy, "Goodbye, Columbus and Other Stories", Philip Roth, "The Confessions of Nat Turner", William Styron, "Them", Joyce Carol Oates, "The Affair", C.P. Snow, "All The King's Men", Robert Penn Warren, "Julian", Gore Vidal, "Marjorie Morningstar", Herman Wouk, "Go Tell It On The Mountain", James Baldwin, "The Last Angry Man", Gerald Green, "Collected Plays", Arthur Miller, "The Young Lions", Irwin Shaw, "Exodus", Leon Uris, "A Stillness At Appomattox", Bruce Catton, "Birds of America", Mary McCarthy, "Rabbit Redux", John Updike, "A God Against Gods", Allen Drury, "Cry, The Beloved Country", Alan Paton, "The Wapshot Chronicles", John Cheever, "God's Little Acre", Erskine Caldwell, "A Bell For Adano", John Hersey, "The Wall" John Hesey, "The Second Sex", Simone De Beauvoir, "Eleanor and Franklin, "Joseph P. Lash, "The Caine Mutiny", Herman Wouk, "The Coming Fury", Bruce Catton, "Mary Queen of Scots", Antonia Fraser, "In Search of History", Theodore H. White, "The Optimist's Daughter", Eudora Welty, "The Shoes of the Fisherman", Morris West, "Gimpel the Fool", Isaac Bashevis Singer, "The Moviegoer", Walker Percy, "Burr", Gore Vidal. Also includes "Editors Notes" (Did not check to see if all Ed. Notes are present), and a Franklin Mint seal) Condition: All books are "like new". No bookplates, no embossing. This cataloger doubts that these have ever been read.
• Mixed lot, c/o Russian lacquer box "The
  Mixed lot, c/o Russian lacquer box "The Tale of the Fisherman and the Fish" (6-7/8" x 4-1/8" x 1-1/2" terracotta wine cooler (chip to under tray), Wedgwood brown speckled owl art glass paperweight (4-1/4" h), geode (3-1/8" x 2-7/8"), bronze school bell (10-1/4" h, dents to handle), brass fireplace fork with English Setter (18-1/4" l)
• INNUKJUAKJU PUDLAT ?????? ?? (1913-1972),
  INNUKJUAKJU PUDLAT ?????? ?? (1913-1972), Kinngait (Cape Dorset) SPIRIT OF THE FISHERMAN, 1964 titled, dated and numbered 43/50; artist's name in Roman sheet 26.5 x 24.5 in — 67.3 x 62.2 cm
• FRED FLY THE FISHERMAN D6742 - ROYAL
  FRED FLY THE FISHERMAN D6742 - ROYAL DOULTON TOBY JUGRoyal Doulton Toby Jug, Fred Fly the Fisherman D6742 (light brown coat; tan hat; grey fish and net). Designed by William K. Harper. Series: The Doultonville Collection, issued 1986 - 1991. Size: 4''H (small) Some of the most popular stoneware toby jugs were designed by Harry Simeon. In 1894, Harry Simeon won a scholarship to The Royal College of Art at South Kensington. He joined Doulton at Lambeth in 1896 and began working on stoneware bibelots and garden sculptures. By 1924, Harry Simeon was modeling a range of slip cast tobies based on the traditional toby jug style but with his own fresh, original interpretation. This new range became an instant success and today pieces modeled by Harry Simeon are sought after by collectors from around the world. - Doultonville Manufacturer: Royal Doulton Country of Origin: England
• ROYAL DOULTON WHISKY BOTTLE GILLIE AND
  ROYAL DOULTON WHISKY BOTTLE GILLIE AND THE FISHERMANDoultonKingware of Gillie and The Fisherman on one side and BL Scotch Whisky on the other side. All brown and green color variation. Royal Doulton backstamp. Artist: Charles Noke Dimensions: 8"H Manufacturer: Royal Doulton Country of Origin: England Provenance: David Bearman Collection
• 4PC ROYAL DOULTON DICKENS SERIESWARE
  4PC ROYAL DOULTON DICKENS SERIESWARE TABLEWARE, OLD PEG...Includes 3 dinner plate and jug. Depicting the fisherman standing on the street of England. Royal Doulton Dickensware backstamp. Plate 1: D.3020X, 0.75"H x 8.75"D. Plate 2: D.5175, 0.5"H x 105"D. Plate 3: D.5175, 1"H x 10.5"D. Jug: 6.5"L x 3.75"W x 8"H. #RoyalDoulton #DickensSeriesware Artist: Charles Noke Issued: 20th c. Manufacturer: Royal Doulton Country of Origin: England Condition: Age related wear.
• FRED FLY THE FISHERMAN D6742 - ROYAL
  FRED FLY THE FISHERMAN D6742 - ROYAL DOULTON TOBY JUGLight brown coat, tan hat, and grey fish and net. Series: The Doultonville Collection. Royal Doulton backstamp. Artist: William K. Harper. Issued: 1986 - 1991 Dimensions: 4"H Manufacturer: Royal Doulton Country of Origin: England Condition: Good.
• MINTON FIGURINE, THE FISHERMAN MS13Glossy
  MINTON FIGURINE, THE FISHERMAN MS13Glossy finish. Fine bone china with bronze detailing of head, hands, and rope. Minton backstamp. #Minton Issued: c. 1978 Dimensions: 10"H Manufacturer: Minton Country of Origin: England Condition: BC
• SALVADOR DALI (1904-1989) "THE FISHERMAN"
  SALVADOR DALI (1904-1989) "THE FISHERMAN" LITHOGRAPHDESCRIPTION: Original lithograph depicting fishing boats by the shore. Titled 'The Fisherman'. Signed in pencil to lower right. Hand Signed by the artist directly for the consignor. Numbered 14/150 to lower right. Mounted in Silver metal frame behind glass screen. Printed by Sidney Z Lucas North Americas publisher of original Salvador Dali lithographs. Purchased by the consignor from Phyllis Lucas Gallery, New York. CIRCA: 1965 DIMENSIONS: H:40" W:28" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
• SALVADOR DALI (1904-1989) "THE DEPARTURE
  SALVADOR DALI (1904-1989) "THE DEPARTURE OF THE FISHERM...DESCRIPTION: Original lithograph depicting a large fishing vessel. Titled 'The Departure of the Fisherman'. Signed in pencil to lower right. Hand Signed by the artist directly for the consignor. Numbered 14/150 to lower right. Mounted in Silver metal frame behind glass screen. Printed by Sidney Z Lucas North Americas publisher of original Salvador Dali lithographs. Purchased by the consignor from Phyllis Lucas Gallery, New York. CIRCA: 1965 ORIGIN: DIMENSIONS: H:40" W:28" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
• 6PC FRANKOMA POTTERY TEEN-AGERS OF THE
  6PC FRANKOMA POTTERY TEEN-AGERS OF THE BIBLE WALL PLATE...6 of the 10 Youth for Christ plates depicting notable religious figures. Includes Jesus the Carpenter, David the Musician, Jonathan the Archer, Peter the Fisherman, Martha the Homemaker, and Daniel the Courageous. Artists' engraved signatures on the backs. Frankoma embossed on the backs. Artist: Jon Frank and Janice Frank Issued: c. 1972-1979 Dimensions: 7.25"dia Manufacturer: Frankoma Pottery Country of Origin: United States Condition: Age related wear.
• AFTER FREDERIC LEIGHTON "THE FISHERMAN
  AFTER FREDERIC LEIGHTON "THE FISHERMAN AND THE SIREN" G...DESCRIPTION: After Frederic Leighton giclee on canvas, titled: "The Fisherman and The Siren" Mounted in an ornate floral carved gilt wood frame. CIRCA: 20th Century. ORIGIN: Continental DIMENSIONS: (Image) H: 47.5" x L: 31" (Frame) H: 38.5" x L: 54.5" Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
• COUNTERTOP FIGURAL FISHERMAN CIGAR LIGHTERCountertop
  COUNTERTOP FIGURAL FISHERMAN CIGAR LIGHTERCountertop figural cigar lighter, bronzed metal figural face of a fisherman with pipe on square back, mounted on a turned bronzed metal post and stand. Push button on face activates the lighter filament and also illuminates the fisherman's eyes. Back marked "M. S. L. C. 3934". 21 1/4" H x 8 1/4" W. Early 20th century. Provenance: Loudon County, TN collection. (Higher-resolution photos are available at www.caseantiques.com) Condition: Some losses to top of square back. Scattered scratching to stand.
• LARGE NUMBER OF POSTERS AND PLAYBILLSLarge
  LARGE NUMBER OF POSTERS AND PLAYBILLSLarge group of 24 stunning posters and playbills for a variety of performances and art exhibitions, dating primarily from the late 1960s. Includes posters for exhibitions of works by Mies Van Der Rohe, Pablo Picasso, and Alan Shepp. Performance posters and playbills include The Shoes of the Fisherman, Fiddler on the Roof, Jose Molina Bailes Espanoles, Mantovani and his Orchestra, Ringling Bros and Barnum & Bailey Circus, and many others. Height ranges from 12 3/4 in to 24 in.; width ranges from 11 1/4 in to 18 in. SKU: 03190 Follow us on Instagram: @revereauctions Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• ANTIQUE FIGURAL CAST IRON OLD SALT FISHERMAN
  ANTIQUE FIGURAL CAST IRON OLD SALT FISHERMAN DOORSTOPAntique Figural Cast Iron Old Salt Fisherman Doorstop , depicted with the fisherman's hands tucked into his anorak jacket. Height 5.5 in. Width 2.5 in. Depth 2 in. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• GOLD NEW ENGLAND MARINE CANECa. 1850-Small
  GOLD NEW ENGLAND MARINE CANECa. 1850-Small 18 karat yellow gold knob fashioned in a well-proportioned classic taste and elaborately hand chased and engraved with a plethora of flowers and scrolls topped by a plain round shield with engraved initials of its first owner and ending with an integral and matching multiple ring collar. So far, so good, however, what makes this cane very special is its gently tapering baleen shaft with gold eyelets and a brass ferrule, which displays throughout the specific layered structure of the noble material of the ocean and its coveted dark brown-greenish hues. Hardly encountered in the widespread cane repertoire, this first rate dress cane with apparent New England flavor is an upscale collectable with direct ties to the golden age of whaling. Indeed, ever since the Mayflower deposited the Pilgrim Fathers on the shores of Cape Cod in 1620, New Englanders have been fascinated by their marine heritage with the marine canes flourishing at a time when whaling was a respectable and entirely natural part of life. An excellent condition adds to its desirability. H. 1” x ¾”, O.L. 35” Baleen or whalebone is a filtering structure in the mouth of most whales, which they use to feed by sieving small animals from large mouthfuls of seawater. Instead of teeth, these whales have rows of baleen plates in the upper jaw – flat, flexible plates with frayed edges, arranged in two parallel rows, looking like combs with thick hair at the end of each comb tooth. Baleen is not in fact composed of bone, but of the protein keratin, the same substance as hair, horn, scales, claws and nails. Baleen whales use these combs for filter feeding. Depending on the species, a baleen plate can be 0.5 to 3,5 meters (1,6 to 11 ft) long, and weigh up to 90 kilograms (200 lb). Its hairy fringes are called baleen hair or whalebone-hair. Baleen plates are broader at the gumline. The plates have been compared to sieves or Venetian blinds. Baleen whales are characterized by having baleen plates for filtering food from water, rather than having teeth. This distinguishes them from the other suborder of cetacean, the toothed whales or Odontocete. For few up to date annotations on Marine canes extending to the present perspective to the art of the fisherman himself refer to Youssef Kadri’s book, The Mandel Cane Collection.
• BALEEN MARINE CANE-Ca. 1850 -Single
  BALEEN MARINE CANE-Ca. 1850 -Single piece marine cane with a curving handle terminating in a stylized seal head and a cylindrical faux sprig shaft. The plain surface shows throughout the specific layered structure of the noble material of the ocean and its dark color with coveted brown-greenish hues. Hardly encountered in the widespread cane repertoire, this first rate marine cane survived in original condition with a great feel of age and has the added value of being representative for the golden age of whaling. Indeed, ever since the Mayflower deposited the Pilgrim Fathers on the shores of Cape Cod in 1620, New Englanders have been fascinated by their marine heritage with the marine canes flourishing at a time when whaling was a respectable and entirely natural part of life. -H. 3 ½” x 3 ¼”, O.L. 32 ¼” -$300-$400 -Baleen or whalebone is a filtering structure in the mouth of most whales, which they use to feed by sieving small animals from large mouthfuls of seawater. Instead of teeth, these whales have rows of baleen plates in the upper jaw – flat, flexible plates with frayed edges, arranged in two parallel rows, looking like combs with thick hair at the end of each comb tooth. Baleen is not in fact composed of bone, but of the protein keratin, the same substance as hair, horn, scales, claws and nails. Baleen whales use these combs for filter feeding. Depending on the species, a baleen plate can be 0.5 to 3,5 meters (1,6 to 11 ft) long, and weigh up to 90 kilograms (200 lb). Its hairy fringes are called baleen hair or whalebone-hair. Baleen plates are broader at the gumline. The plates have been compared to sieves or Venetian blinds. -Baleen whales are characterized by having baleen plates for filtering food from water, rather than having teeth. This distinguishes them from the other suborder of cetacean, the toothed whales or Odontocete. -For few up to date annotations on Marine canes extending to the present perspective to the art of the fisherman himself refer to Youssef Kadri’s book, The Mandel Cane Collection.
• 19TH C. HAWAIIAN BONE, STONE, & SHELL
  19TH C. HAWAIIAN BONE, STONE, & SHELL OCTOPUS LURENorth Pacific, Hawaiian Islands, Maui, Hana, ca. 19th century CE. A fine octopus or squid lure (known locally as a "leho he'e") comprised of a slender central wooden rod, a large cowrie snail shell opposite a porous volcanic stone, and an extremely sharp hook carved from animal bone, and all components are bound together with sennet thread. Octopus lures like this example were used by dipping the hook into shallow water and shaking it up and down. The jostling motion would entice an octopus to wrap its tentacles around the hook end, and then the fisherman would quickly pull the lure upward so as to pierce the creature's hard beak, soft body, or one of many tentacles. A fabulous and intriguing example of Hawaiian ingenuity! Size: 13.75" L x 2.8" W x 3.5" H (34.9 cm x 7.1 cm x 8.9 cm) For a stylistically-similar example, please see The British Museum, museum number Oc1898,-.29. Please note this item falls under the Safeguard Tribal Objects of Patrimony Act and is not eligible for international shipping. Native American, Alaska Native, & Native Hawaiian objects are only eligible to ship within the United States. Provenance: private Hawaii collection, acquired 2000 to 2010; ex-private old family collection, Maui, Hawaii, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #179859 Condition: Repair to shell and stabilization to fissures, with some light adhesive residue along break lines. Chips to wooden pole and shell, with minor roughness to stone, otherwise in excellent condition. Great preservation to components. Components are old but binding is modern; components may not be original to one another.
• NAZCA POLYCHROME SPOUTED VESSEL FISHERMANPre-Columbian,
  NAZCA POLYCHROME SPOUTED VESSEL FISHERMANPre-Columbian, South Coast Peru, Nazca, ca. 2nd to 4th century CE. A well-crafted figural stirrup vessel depicting an animated fisherman laying atop a large net without any fish contained inside. The fisherman is creatively portrayed tying both ends of the net with stylized hands, a staple of Nazca iconography. His eyes are wide elliptical forms with thick dark mascara around them and are accented by a veristic protruded nose and a pouted circular mouth opening. Light brown and gray pigment accentuate his face while his body is a deep russet red. Size: 4.375" L x 4.25" W x 6.25" H (11.1 cm x 10.8 cm x 15.9 cm) Provenance: private Hawaii, USA collection; ex-Colin Arundel collection, Los Angeles, California, USA, thence by descent to family All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #179872 Condition: Professionally repaired with restoration, and with resurfacing and overpainting along new material and break lines. Light abrasions and touch-up painting, with minor pitting in some original areas, otherwise in great condition. Nice preservation to original pigments in original areas. Previous inventory label beneath base.
• § SVEN BERLIN (BRITISH 1911-1999) MOTHER
  § SVEN BERLIN (BRITISH 1911-1999) MOTHER AND CHILD, 1941 monogrammed and dated (to base), wood26cm high, 9.5cm wide (10.25in high, 3.75in wide)Note: Sven Berlin was an interesting figure within the St Ives school and part of one of the earliest waves of settlers to the artist’s colony. Born in London, Berlin had originally begun a career as an adagio dancer, before moving to Cornwall in 1938. It was via his job in the market garden belonging to Adrian Stokes and Margaret Mellis in Carbis Bay that he made an introduction to Hepworth and Nicholson. One of his most significant contributions to the legacy of the St Ives School was the publication of his biography of the fisherman / artist Alfred Wallis; the first text to be written on this fascinating figure whose aesthetic so influenced the development of Nicholson and his followers. Berlin became a well-known figure and something of an attraction within the St Ives community; he could frequently be observed in his studio garden, stripped to the waist, working on his sculpture. He exhibited paintings, drawings and sculpture regularly with the St. Ives Society of Artists and in London, and was a founding member of the Crypt Group, alongside artists including Barns-Graham, Peter Lanyon, John Wells and Bryan Wynter, and was also a member of the Penwith Society of Arts for a short time.
• NEILL , Ben, (American, 1914-2001):
  NEILL , Ben, (American, 1914-2001): ''The Fisherman'', Sea Gull & Surf, O/C, 16'' x 12'', signed lower right, signed and titled verso dated 1950, framed, 19.5'' x 15.5''.
• LLOYD, Walter Stuart, (English, 1845-1959):
  LLOYD, Walter Stuart, (English, 1845-1959): ''The Fisherman's Home'', Oil/Board, 8.5'' x 12'', signed lower right, titled on the frame liner, period frame, 16.5'' x 20''. CONDITION: Frame does show some wear and minor loss.
• LETTER FROM ANDREW WYETH (AMERICAN,
  LETTER FROM ANDREW WYETH (AMERICAN, 1917-2009) TO ALICE MOORELetter from ANDREW WYETH (American, 1917-2009) to Alice Moore, Sunday, May 15, 1938; mailed Monday, May 16, 1938 Dearest Alice, I saw you six days ago yet it seems more like sixty to me. I try to think about what happened when I was with you, but it all seems like a dream I don't understand it at all. I often wonder if you miss me any, but as you don't really love me, I guess you don't. Excuse me for bringing this up again, it's just because I feel so lonely here. There's not much spring up here, in fact it's more like winter. The trees are still bare and it's pretty cold. Today has been a perfect Sunday, dark and rainy. I have spent the day reading and trying to get some letters off to the family. I certainly hope these first few weeks go quickly or I will go crazy. It takes me so damn long to get acclimated to this place. I am as nervous as a bed bug until I get to work. I have been chopping a good deal of wood which has helped a little. It's strange the way most people think all an artist has to do is sit down and paint and I know a great many ones that do it that way and their work looks it. Maybe mine does too, but I can't work that way, but until I do get to work I feel terrible and that is how I feel now, and it's no fun. It certainly was nice seeing you looking so well, you really look like a different person. I am almost afraid what you might do when you hit this Maine air. I have been invited to several meals with the fisherman, which has been very interesting they certainly are great people and they know how to eat too. I hope to start on a portrait sometime this week if everything goes right, although I may hold off for another week in just looking things over. Damn it! Why can't you be here with me. Everything seems to be wrong. I guess I had better stop before I say something I shouldn't. I will write you a better letter in a few days when I pull my senses together. You take it easy now and get lots of sleep and food. Much love to you my dear, Andy Condition:
• LETTER FROM ANDREW WYETH (AMERICAN,
  LETTER FROM ANDREW WYETH (AMERICAN, 1917-2009) TO ALICE MOORELetter from ANDREW WYETH (American, 1917-2009) to Alice Moore, Sunday, March 20, 1938; mailed Monday, March 21, 1938 Dearest Alice: What a shock it was. It's hard for me to believe that you are in the hospital. I certainly hope that you are feeling better and don't you do any worrying now do you understand, I mean it, you take it easy. I am glad that you are in a hospital because I know that they will make you rest, and another thing, don't you do any writing. When I come to New York again I am going to try and come out and see you. Well I can't tell you how impressive Maine is in the winter time but God! It's lovely as hell. Port Clyde seems deserted when you walk down its streets or I should say street. The wind whistling through the buildings makes it all the more stark and you never see a person and when you do it's only for a minute as you see them dart across the street and disappear into a house. But if you want to find the fisherman, just go in a store [sketch of four figures seated around a stove] and you will find them all. In fact, I think they spend most of their time there talking. The weather was beautifully clear while we were in Port Clyde. They have really had a very open winter, very little snow, only six inches, which is strange for Maine. It was pretty cold while we were there. I made several water colors form the car which I may do something with. Some times also made drawings. It's very interesting how different the place looks in the winter, what a deep blue and green the sea is and the rock weed turns very black, which is very effective. I must certainly spend some winters up there and paint some of these things. It never has been touched by an artist that I can recall. Stopped in Boston on the way home and saw the man that runs the art gallery of Doll and Richards. My show is all arranged for there next fall so I guess I will be pretty busy this summer. Also got a book to illustrate from Houghton Mifflin & Co., which I will do before I leave for Maine. Our visit with Kenneth Roberts was a grand one. The place he is living in this winter is a scream. It's in Kennebunkport. The house, or I should say hotel, is owned by a friend of his who let him use it for the winter. It's the most God awful thing I have ever looked at. Roberts himself thinks it terrible. [Sketch of aforementioned building] He took us all over it and made some of the best remarks I have ever heard. I have never laughed as much as I did there. I thought of a very good drawing I'm going to send to the New Yorker of two old ladies standing in front of his house holding a copy of "Northwest Passage" and saying, (So this is Maine) don't you think that would be good. I will tell you more about this visit when I see you. When I arrived home I found a letter from Mr. Macbeth enclosing a letter from the president of the Museum at Atlanta, the Museum that bought one of my water colors, asking me if I would do a painting for his office of some palm trees blowing in the wind, which ought to be swell to do. I finished the sketch for it Saturday and sent it on for his approval. [Sketch of aforementioned painting] I think I am going to do it in Egg Tempera. I want to get a great deal of color in it. I will write again soon and don't forget that I am thinking about you always. I am hoping that you are feeling better so that you will be able to see me when I come up. One thing in your being in the hospital is that you won't be going on any binges. But I really hope that you don't outgrow them altogether, please don't. Good night my sweet dearest, my darling. Andy This letter smells bad to me so hold your nose Condition: