A few examples of appraisal values for
THE WHISTLER

• LE SIFFLEUR PATINATED SPELTER OF A YOUNG
  LE SIFFLEUR PATINATED SPELTER OF A YOUNG BOY, 16 1/2"TLe Siffleur (The Whistler) Patinated Spelter of a young boy. Fine condition.
• AFTER KOWALCZEWSKI "LE SIFFLEUR" SPELTER
  AFTER KOWALCZEWSKI "LE SIFFLEUR" SPELTER SCULPTUREAntique spelter white metal sculpture with bronze patina, possibly Bradley & Hubbard, titled "Le Siffleur" or "The Whistler" after Karl Kowalczewski (POLISH / GERMANY, 1876 - 1927). Measures approx. 17" height (43.2cm). Condition: All lots are sold as is and where is. Elite Auctioneers, LLC provides condition reports upon request to aide in your bidding decision. No statement regarding age, condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalog or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. All sales are final, Elite Auctioneers, LLC does not give refunds based on condition. Elite Auctioneers, LLC does not perform any shipping or packing services. We do have a list of suggested shippers who gladly provide quotes prior to your bidding. Please visit our webpage for a list of recommended shippers.All items listed as "attributed", "after", or "in the manner" are not being sold as original works and are not guaranteed authentic.
• GUY WIGGINS MIDTOWN NYC AMERICAN FLAGS
  GUY WIGGINS MIDTOWN NYC AMERICAN FLAGS PAINTING New York, Connecticut, Florida,1883-1962Impressionist depiction of 5th Avenue blanketed in snow while American and British flags fly in the wind. Wiggins was the son of artist John Carleton Wiggins and studied at the Polytechnic Institute in Brooklyn for architecture, switching to the National Academy of Design for painting. He won prizes from the Connecticut Academy of Fine Arts, the Salmagundi Club and the Art Club of Philadelphia, and in 1917, won the Harris Bronze medal from the Art Institute of Chicago. Wiggins's works can be found in numerous collections including the White House, the Art Institute of Chicago, the National Museum of American Art Smithsonian, the Whistler House Museum of Art, among many others.
• SAMUEL V. CHAMBERLAIN, AMERICAN (1895-1975),
  SAMUEL V. CHAMBERLAIN, AMERICAN (1895-1975), DRIZZLY MORNING IN CHICAGO, 1929, DRYPOINT ETCHING, 3 1/2"H X 7"W (IMAGE), 13 1/2"H X 15 1/4"W (FRAME)Samuel V. Chamberlain, American, (1895-1975) Drizzly Morning in Chicago, 1929, drypoint etching pencil signed, titled and numbered 34/100 lower margin. Biography from Whistler House Museum of Art: Samuel V. Chamberlain was born in Cresco, IA on October 28, 1895 and died in Marblehead, MA in 1975. He was an accomplished etcher, lithographer, writer, teacher, and lecturer. Chamberlain taught at the Massachusetts Institute of Technology and lectured on various graphic techniques such as etching, drypoint, and softground etching. His main residence was Marblehead, MA but, in 1929, his address was listed as Rue Jean Dolent; care of Guaranty Trust Co., 3 rue des Italiens, Paris, France and, in 1934, Senlis, France. Chamberlain's education took place at the University of Washington in Seattle, WA; the Massachusetts Institute of Technology in Cambridge, MA; and the Royal College of Art in London. He was a pupil of Edouard Henri Léon (1873-?) in Paris and Malcolm Osborne (1880-1963) in London. Chamberlain was a member of the National Academy of Design in New York City; the Society of American Etchers in Brooklyn, NY; the American Academy of Arts and Sciences; the Chicago Society of Etchers; Associate member of the National Academy of Design, 1939; the Northwest Printmakers; the Société de la Gravure Originale Noir in Paris; and a Guggenheim Fellow, 1926. Exhibitions and awards include an honorable mention at the Paris Salon in 1925; medaille de Bronze at the Paris Salon in 1925; a gold medal at the Boston Tercentenary in 1930; a prize at the Society of American Etchers in 1933; the National Academy of Design, annually; and the Salons of America. Chamberlain was the author and illustrator of "France Will Live Again," 1940; "Fair is Our Land," 1942; "Sketches of Northern Spanish Architecture," 1928; "Domestic Architecture in Rural France," 1928; "Tudor Homes of England," 1929; "Through France with a Sketch Book," 1929; and French Provincial Houses," 1932. Collections representing Chamberlain include the Whistler House Museum of Art in Lowell, MA; the Metropolitan Museum of Art in New York City; the Museum of Fine Art in Boston, MA; the Victoria and Albert Museum in England; the Art Institute of Chicago; the Mobile Museum of Art in Mobile, AL; the San Diego Museum of Art in CA; the Cummer Museum of Art and Gardens in Jacksonville, FL; the Georgia Museum of Art in Athens, GA; the Peabody Essex Museum in Salem, MA; the University of Michigan Museum of Art in Ann Arbor, MI; the Frederick R. Weisman Art Museum in Minneapolis, MN; the Nelson-Atkins Museum of Art in Kansas City, MO; the Art Gallery, University of New Hampshire in Durham, NH; and the Sheldon Swope Art Museum in Terre Haute, IN. drypoint etching Dimensions: 3 1/2"H x 7"W (image), 13 1/2"H x 15 1/4"W (frame)
• SAMUEL V. CHAMBERLAIN, AMERICAN (1895-1975),
  SAMUEL V. CHAMBERLAIN, AMERICAN (1895-1975), "SOARING STEEL", 1929, SILVER POINT ETCHING, 12"H X 9 1/2"W (IMAGE), 17 1/4"H X 14"W (FRAME)Samuel V. Chamberlain, American, (1895-1975) "Soaring Steel", 1929, silver point etching pencil signed and numbered 45/100. Biography from Whistler House Museum of Art: Samuel V. Chamberlain was born in Cresco, IA on October 28, 1895 and died in Marblehead, MA in 1975. He was an accomplished etcher, lithographer, writer, teacher, and lecturer. Chamberlain taught at the Massachusetts Institute of Technology and lectured on various graphic techniques such as etching, drypoint, and softground etching. His main residence was Marblehead, MA but, in 1929, his address was listed as Rue Jean Dolent; care of Guaranty Trust Co., 3 rue des Italiens, Paris, France and, in 1934, Senlis, France. Chamberlain's education took place at the University of Washington in Seattle, WA; the Massachusetts Institute of Technology in Cambridge, MA; and the Royal College of Art in London. He was a pupil of Edouard Henri Léon (1873-?) in Paris and Malcolm Osborne (1880-1963) in London. Chamberlain was a member of the National Academy of Design in New York City; the Society of American Etchers in Brooklyn, NY; the American Academy of Arts and Sciences; the Chicago Society of Etchers; Associate member of the National Academy of Design, 1939; the Northwest Printmakers; the Société de la Gravure Originale Noir in Paris; and a Guggenheim Fellow, 1926. Exhibitions and awards include an honorable mention at the Paris Salon in 1925; medaille de Bronze at the Paris Salon in 1925; a gold medal at the Boston Tercentenary in 1930; a prize at the Society of American Etchers in 1933; the National Academy of Design, annually; and the Salons of America. Chamberlain was the author and illustrator of "France Will Live Again," 1940; "Fair is Our Land," 1942; "Sketches of Northern Spanish Architecture," 1928; "Domestic Architecture in Rural France," 1928; "Tudor Homes of England," 1929; "Through France with a Sketch Book," 1929; and French Provincial Houses," 1932. Collections representing Chamberlain include the Whistler House Museum of Art in Lowell, MA; the Metropolitan Museum of Art in New York City; the Museum of Fine Art in Boston, MA; the Victoria and Albert Museum in England; the Art Institute of Chicago; the Mobile Museum of Art in Mobile, AL; the San Diego Museum of Art in CA; the Cummer Museum of Art and Gardens in Jacksonville, FL; the Georgia Museum of Art in Athens, GA; the Peabody Essex Museum in Salem, MA; the University of Michigan Museum of Art in Ann Arbor, MI; the Frederick R. Weisman Art Museum in Minneapolis, MN; the Nelson-Atkins Museum of Art in Kansas City, MO; the Art Gallery, University of New Hampshire in Durham, NH; and the Sheldon Swope Art Museum in Terre Haute, IN. silver point etching Dimensions: 12"H x 9 1/2"W (image), 17 1/4"H x 14"W (frame)
• VICTOR SZCZEBLEWSKI THE WHISTLER BRONZE
  VICTOR SZCZEBLEWSKI THE WHISTLER BRONZE SCULPTURE Vaclaw Bernard (Victor) Szczeblewski (Polish, active 1885-1900) "Mousse Siffleur" patinated bronze sculpture depicting a young man whistling, signed to base, raised on a marble base. 9.5" H x 4" diameter.
• VLACLAV SZCZEBLEWSKI, POLISH (ACT. 1875-1900),
  VLACLAV SZCZEBLEWSKI, POLISH (ACT. 1875-1900), MOUSSE SIFFLEUR, (THE WHISTLER), BRONZE FARANTI AU TITRE L.V. DEPOUSéE, 16 1/2"HVlaclav Szczeblewski Polish (act. 1875-1900) Mousse Siffleur, (The Whistler) Bronze Faranti au Titre L.V. Depousée inscribed to base with foundry mark. 16 1/2"H Bronze Faranti au Titre L.V. Depousée Dimensions: 16 1/2"H
• JAMES MCNEIL WHISTLER PLAQUE, 1905 VD
  JAMES MCNEIL WHISTLER PLAQUE, 1905 VD Brenner - 1905 James McNeil Whistler plaque in bronze. The obverse has Whistler standing with hands on hips (and an interesting loose strand of hair flipped up), an the wording "JAMES McNEIL WHISTLER/ PAINTER ETCHER AUTHOR" with the Whistler butterfly logo. The Reverse has a posing peacock with the French greeting "Messieurs Les Ennemis" (Gentleman, the enemies). Whistler was apparently hyper-sensitive to criticism and once sued a critic. Peacocks were often a subject of Whistler as seen in his Peacock Room at the Smithsonian. Whistler had been contracted to lightly change the room so that it complimented Whistler’s painting “The Princess from the Land of Porcelain.” Whistler completely re-did the room in gold and blue peacocks which stunned the owner, Frederick Leyland, who then did not pay him. This eventually caused Whistler to go bankrupt. He then painted a portrait of Leyland as a Peacock/Human playing a piano surrounded by money bags. Apparently, it was not good to be on Whistler's bad side. Brenner's signature is on both sides at the top and it was struck in Paris
• HARRY NEYLAND HAY FIELD LANDSCAPE PAINTING
  HARRY NEYLAND HAY FIELD LANDSCAPE PAINTING Massachusetts,1877-1958Depicts a open field with a cow pulling a cart of hay between haystacks surrounded by wildflowers and trees. Neyland studied at the Zanerian Art College in Columbus, Ohio; the Academy Julien in Paris, and a member of the Providence Art Club in Rhode Island. His work is represented by the Whistler House Museum of Art, the Mariner's Museum in Newport News, Virginia; the Old Dartmouth Historic District, the Mystic Seaport Museum, and the Kendall Whaling Museum.
• WILLIAM PRESTON PHELPS FARM COW LANDSCAPE
  WILLIAM PRESTON PHELPS FARM COW LANDSCAPE PAINTING New Hampshire,1848-1923Impressionist depiction of two figures with hay standing amongst a small herd of cows surrounded by thatched roof buildings. Phelps studied in Munich and Paris studying the principals landscape painting of Pelouse and Guillemette. In 1878, Phelps exhibited at the National Academy of Design. His works are part of the Lowell Historical Society and the Whistler House Museum of Art.
• ''The Whistler'' Sculptureearly 20th
  ''The Whistler'' Sculptureearly 20th century painted white metal labeled ''Le Siffleur.''17 in.Some paint loss to chin and neck area.
• A Carved Wood Whistler Clock The 14-1/2"H
  A Carved Wood Whistler Clock The 14-1/2"H x 6-5/8"W x 2-5/8"D automaton is carved wood with polychrome painting. It depicts a man in a slouchy suit and top hat, whose head moves at the neck leaning on a post with a Swiss chalet clock. The clock winds with one end of the winding key and the whistler with the other. Clock ticks, but is not guaranteed to keep time. Whistler whistles. Stamped on the underside with a logo "KenD" in a diamond shape and "made in Germany".
• A patinated spelter figure of a boy,
  A patinated spelter figure of a boy, "The Whistler"; Vaclaw Bernard Szczevlewski (Polish, 1888). 17"H.
• 7 pieces. Movie Posters (Crime Series
  7 pieces. Movie Posters (Crime Series & C.): "The Falcon in San Francisco." RKO, 1945. Color litho half-sheet format, 22 x 28 inches (558 x 711 mm). Repairs to margin edges, moderate creasing to margins, slightly dusty. Condition B-. * "Dick Tracy vs. Cueball." RKO, 1946. Same format as preceding; a few repairs to verso, several small tears in margins. Image bright & clean. B/B+. "Strange Confession." A Inner Sanctum Mystery. Universal, 1945. Color litho insert format, (36 x 14 inches (915 x 355 mm); a few small tears & minor dust soiling in margins. B/B+. Lon Chaney (Jr.). * "The Falcon and The Co-Eds." RKO, 1943. Same format as preceding; light edge wear. A-. * "Mysterious Intruder." Columbia, 1946. Same format as preceding; repair to verso. B+. The Whistler. * "The Saint's Girl Friday." RKO, 1954. Same format as preceding; light wear. A-. * "Alias Boston Blackie." Columbia, 1942. Same format as preceding; repair to verso, minor creasing. B/B+. Without code markings.
• 1 vol. Pennell, E.R. & J. The Whistler
  1 vol. Pennell, E.R. & J. The Whistler Journal. Philadelphia: J.B. Lippincott, 1921. Autograph Edition, 1/150. Sm. thick 4to, orig. 1/4 vellum & gilt-lettered brown cloth, gilt-lettered spine, t.e.g., other edges untrimmed; spine slightly darkened, spine ends & edges scuffed. Plates. With double litho frontis. portraits of E.R. & J. Pennell, each signed by its subject. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman''s Conditions of Sale.
• 1 vol. Pennell, E(lizabeth) R(obins)
  1 vol. Pennell, E(lizabeth) R(obins) & J(oseph). The Whistler Journal. Philadelphia: J.B. Lippincott, 1921. 1/500. 4to, orig. paper vellum & gilt-lettered brown cloth, t.e.g., other edges untrimmed; foot of spine chipped, corners rubbed, other edge wear. Plates. With portraits of E.R. & J. Pennell signed by the Pennells.