A few examples of appraisal values for
BABCOCK

• RARE FRENCH ENGRAVING GEORGE
  RARE FRENCH ENGRAVING GEORGE WASHINGTONRare French engraving George Washington, Le Heros Liberateur de sa patrie, ne en 1732, mort a la fin de 1799 , Maria Miou engraver, Page 487 upper right, artist unknown, described in Edwin Babcock Holden 1910 Catalogue, #91, another copy is in the collection of Mount Vernon, 4 3/8" x 3". Competitive in-house shipping is available for this lot. Condition: Condition: not examined. Not examined out of frame.
• EXCEPTIONAL HEPPLEWHITE ONE
  EXCEPTIONAL HEPPLEWHITE ONE DRAWER STAND. EARLY19th century. Possibly Rhode Island, pine and chestnut with original grain painted surface and floral painted trim. Peg construction, original brass hardware, cutout scroll backsplash, painted line inlay, tapered leg. Possibly a child’s dressing table. 30 1/2" high by 27 1/4" wide by 15" deep, 26" desk height. Shows split to top where a later nail was added. Some areas of touch ups to nail holes. Very good condition. Provenance: By descent in the Brenton, and Babcock families of Rhode Island.
• (19) AMERICAN COIN SILVER SPOONS.
  (19) AMERICAN COIN SILVER SPOONS. 18TH AND19th-century. To include: (3) tablespoons by CH Mumford, Newport, Rhode Island (1820). Approx. 9" long. A set of (6) bright cut teaspoons unmarked. Approx. 5 1/4" long. A set of (5) teaspoons by possibly David Williams, Newport, Rhode Island (1769-1823). Approx. 5 1/2" long. (3) unmarked matching teaspoons. 5 1/2" long. A single spoon marked EB, possibly Ezekiel Burr, Providence, Rhode Island (1765-1846). 5 1/2" long. 11.08 oz. All monogrammed with the Brenton and Babcock family initials. By direct descent of the Brenton family of Newport, Rhode Island. Please note: this lot must be paid for by wire transfer or cash. Items will be shipped or sent to shipper once payment clears.
• ERNEST LAWSON (CANADIAN/AMERICAN,
  ERNEST LAWSON (CANADIAN/AMERICAN, 1873-1939) THE WATER WHEEL Circa 1910, oil on canvas. Authenticated by Dr. John Driscoll, of Babcock Gallery for David David Inc.
• EDGAR LEVY (AMERICAN, 1907-1975).
  EDGAR LEVY (AMERICAN, 1907-1975). Oil on canvas. Cubist Still Life. Babcock Galleries label verso. From a Brooklyn, NY collection. Dimensions: 20" high x 24" wide Condition: Good.
• GLADYS ROCKMORE DAVIS (AMERICAN,
  GLADYS ROCKMORE DAVIS (AMERICAN, 1901-1967). Oil on canvas. Nude. Signed lower right. Babcock Galleries label verso. From a New Jersey collection. Dimensions: 30.5" high x 50.5" wide Condition: Craquelure.
• MARGULES DE HIRSH (1899-1965):
  MARGULES DE HIRSH (1899-1965): CHRISTOPHER STREETWatercolor and gouache on paper, 1939, signed 'De Hirsh Margules' and dated lower right, with label from Babcock Galleries, NY. 15 x 22 in. (sight), 23 1/2 x 30 in. (frame). The artist Condition Apparently in very good condition. Not examined out of frame.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.
• KEITH JACOBSHAGEN (AMERICAN, 1941).
  KEITH JACOBSHAGEN (AMERICAN, 1941). "In the Anderson Valley". Oil on paper, 1989. Signed, Titled, dated and inscribed at lower right. Babcock Galleries, New York label verso. From a private collection. Dimensions: 14" h x 15" w. Condition: Good. Framed behind glass, unexamined out of frame. Spotting on the mat.
• Arthur Bowen Davies 1862–1928.
  Arthur Bowen Davies 1862–1928. Seated Nude. c. 1907, chalk and charcoal on paper. 18? h × 13? w in. result: $94. estimate: $600–800. Provenance: Colleciton of Frederic Newlin Price | Dayton Art Institute | Babcock Galleries, New York | Spanierman Gallery, New York | Private Collection
• BABCOCK MILL BASKETA large carrying
  BABCOCK MILL BASKETA large carrying basket from the Babcock mill in Odessa, Ontario, circa 1900. H: 25"; L: 19"; W: 14". Field Collection.
• ROBERT LOFTIN NEWMAN O/C
  ROBERT LOFTIN NEWMAN O/C PAINTING, THE FLIGHT INTO EGYP...Robert Loftin Newman (Tennessee/NY/ France, 1827-1912) oil on canvas nocturnal landscape painting, "The Flight Into Egypt", depicting Mary, attired in crimson and holding the Christ child, both seated upon an animal being led by two figures in white, along with a procession of other indistinct figures and animals in the distance. Signed lower left corner in red "R L Newman". Label en verso for Babcock Galleries, 19 East 49th Street New York. Additional, partially legible incising to stretcher with artist information lower right. Housed in a period American gilt carved and textured frame. Sight: 19 1/4" H x 29 1/4" W. Framed: 27" H x 37" W. Note: This painting is pictured on page 128 (figure 18) of the book "Robert Loftin Newman" by Marchal E. Landgren, published for The National Collection of Fine Arts by the Smithsonian Institution Press, City of Washington, 1974. At the time, the book listed the painting's whereabouts as unknown, with the known previous provenance as follows: "Purchased by Miss Palmie at Mrs. Sanborn's studio sale, 1909; E.C. Babcock, New York, 1926: Hon. John G. Winant, Concord, NH, 1928". It was recently discovered in a Northeastern estate sale. Artist Biography: Robert Newman was born in Richmond, Virginia, and grew up in Clarksville, Tennessee. He is sometimes associated with Albert Pinkham Ryder, an artist with whom he shared a similar style and artistic technique. For Newman (who never knew his father) mothers and children were frequent subject matter, along with Old and New Testament themes; in fact another painting with this same title and subject is in the collection of the Smithsonian Institution (accession no. 1975.57, gift of Mr. and Mrs. Donald Webster). Newman studied briefly with Thomas Couture in Paris in 1850, and on a second trip to Paris in 1854, William Morris Hunt introduced him to J. F. Millet and to the Barbizon painters. Newman served with the Confederate forces during the Civil War before moving to New York. He returned to Tennessee in 1872 and tried to establish an academy of fine arts in Nashville, but by 1873 he was back in New York, where he resided the rest of his life. He rarely exhibited his work. (Source: Matthew Baigell, "Dictionary of American Artists"; Peter Falk, "Who Was Who in American Art"; The Smithsonian American Art Museum). Condition: Painting has been lined. Canvas with overall craquelure due to the artist's technique, which caused the top layer of heavy paint and resin to dry more quickly than the primary layer. Some of the resulting wide traction cracks have been lightly in-painted in the right-center of the work, and there is a small area of inpainting in lower-left corner, approximately 1". See UV light photos for reference. Frame with very minor scattered abrasions, slight losses.
• JUMBO SEE-THROUGH BLOCK BOX.Jumbo
  JUMBO SEE-THROUGH BLOCK BOX.Jumbo See-Through Block Box. Cashmere: Magic House of Babcock, ca. 1995. A yellow cube is placed in a wooden box from which it vanishes, reappearing elsewhere. 4Ó cube. Inlaid hardwood box. Hallmarked. Fine.
• 10 LIMITED EDITION SPORTING &
  10 LIMITED EDITION SPORTING & GAME BOOKS, PUB. DERRYDAL...Ten (10) limited edition sporting and game books, hardcover octavos with gilt lettering and detailing to covers. 1st-8th items: Eight (8) books published by The Derrydale Press, New York, including one (1) signed first edition FALLING LEAVES: TALES FROM A GUN ROOM by Philip Babcock, illustrated by Aiden L. Ripley, No. 42 of 950 copies, pubished 1937 with written dedication in blue ink to cover page "To C Russell MacGregor with the best wishes of the author" above signature and date "May 1937"; one (1) copy of UPLAND GAME BIRD SHOOTING IN AMERICA ed. Eugene V. Connett, an unnumbered edition of 850 copies, published 1930; one (1) DE SHOOTINEST GENT'MAN AND OTHER TALES by Nash Buckingham, No. 1 of 2500 copies, published 1992 having gilt edges and marbled endpapers and pastedowns; one (1) copy of MARK RIGHT! TALES OF SHOOTING & FISHING by Nash Buckingham, No. 1 of 2500 copies, published in 1989 with facsimile dedication to title page "From Nash Buckingham with best wishes"; one (1) copy of BLOOD LINES TALES OF SHOOTING & FISHING by Nash Buckingham, No. 1 of 2500 copies, published 1989; one (1) first edition copy of GUNNERMAN by Horatio Bigelow, No. 581 of 950 copies, published 1939; one (1) copy of GUNNERMAN by Bigelow, No. 1 of 2500 copies, published 1989; and one (1) STRAY SHOTS by Roland Clark with original drypoints by the author, No. 1 of 2500 copies, published 1993 having gilt edges and marbled endpapers and pastedowns. 9th-10th items: Two (2) books by Nash Buckingham published by G.P. Putnam's Sons, New York, 1986, including one (1) copy of GAME BAG, illustrated by H.P.A.M. Hoecker, No. 1392 of 5000 copies; and one (1) copy of TATTERED COAT, illustrated by Arthur Fuller, No. 3041 of 5000 copies. Condition: All items with light shelf wear and minute surface grime to covers. FALLING LEAVES with minor toning/acid burns to edges of pages and pastedowns; minor wear to spine and fading of cover gilt accents. UPLAND GAME BIRD SHOOTING with scattered foxing and acid burns to pages, and minor losses to spine. 1939 edition of GUNNERMAN with minor acid burns to center top and center bottom of both inner covers, cover page, and end page.
• VINTAGE STERLING SILVER PLATTER &
  VINTAGE STERLING SILVER PLATTER & COASTER TROPHIESIncludes two small S. Kirk & Son sterling silver trophy plates (one says "1958 Second Flight" and one says "1963 Second Flight Runner-Up") as well as a large Sterling silver square trophy plate that reads "Sterling X958S Eleanor Babcock Trophy Spring Lake Country Club Marie Camfield 1945 Marie Camfield 1946 Eleanor Babcock 1947 Eleanor M. Babcock 1948 Dorothy Klintworth 1949"; 1958 trophy plate measures approximately 3-1/2" in diameter and weighs 1.40 ozt, 1963 trophy plate (3-1/2" in diameter) weighs 1.49 ozt, and large trophy plate (14" x 14") weighs 34.44 ozt for a total weight of 37.33 ozt.
• TED TURNER WOODBLOCK, "JATOO" #1/6,
  TED TURNER WOODBLOCK, "JATOO" #1/6, & PRINT BLOCKTheodore Turner (Charlottesville, VA., 1922 - 2002) woodblock print numbered to bottom left "1/6", titled to bottom middle "Jatoo", and signed to bottom right corner; measures approximately 28" x 18-1/8" with matting and has a sight image of approximately 21-5/16" x 11-7/8"; also includes a double sided wooden print block that measures approximately 17-1/4" x 23-1/4"; both in Good overall condition with some damage to bottom of matting. Ted Turner was a professor of art at the University of Virginia and at Dartmouth College. Turner's works have been exhibited at museums and galleries including The Huntington (WV) Museum, Charlottesville's McGuffey Art Center, Delaplane Center in Frederick, MD, Babcock Galleries in NYC, Montgomery (AL) Museum, and Norfolk's Chrysler Museum. A number of Turner's paintings have been featured in the Virginia Museum of Arts traveling exhibition "Virginia Vistas". Turner's prints have been shown by the American Federation of Arts and at the Brooklyn Museum.
• VINTAGE STERLING SILVER PLATTER &
  VINTAGE STERLING SILVER PLATTER & COASTER TROPHIESIncludes two small S. Kirk & Son sterling silver trophy plates (one says "1958 Second Flight" and one says "1963 Second Flight Runner-Up") as well as a large Sterling silver square trophy plate that reads "Sterling X958S Eleanor Babcock Trophy Spring Lake Country Club Marie Camfield 1945 Marie Camfield 1946 Eleanor Babcock 1947 Eleanor M. Babcock 1948 Dorothy Klintworth 1949"; 1958 trophy plate measures approximately 3-1/2" in diameter and weighs 1.40 ozt, 1963 trophy plate (3-1/2" in diameter) weighs 1.49 ozt, and large trophy plate (14" x 14") weighs 34.44 ozt for a total weight of approximately 37.33 ozt.
• LECTURES ON WITCHCRAFT,
  LECTURES ON WITCHCRAFT, COMPRISING A HISTORY OF THE DEL...Upham, Charles W. Lectures on Witchcraft, Comprising a History of the Delusion in Salem in 1692. Boston: Carter, Hendee and Babcock, 1831. First Edition. Contemporary plain cloth-backed boards. 12mo. Scattered minor foxing, spine splitting vertically at center.
• SEE—THRU BLOCK BOX / PRODUCTION
  SEE—THRU BLOCK BOX / PRODUCTION BLOCK BOX.See—Thru Block Box / Production Block Box. Cashmere, Wash.: Babcock, ca. 1990s. Two wooden boxes, similarly inlaid, with yellow blocks which vanish, reappear and transpose. 9 ½ x 5 x 5” and 4 ½ x 4 x 4”. Both with instructions.
• RAINBOW DIE BOX.Rainbow Die Box.
  RAINBOW DIE BOX.Rainbow Die Box. Cashmere: Magic House of Babcock, ca. 1995. A yellow and red die transpose locations in a small box, then change colors to blue and green. Includes two shells and two solid dice; box constructed with two double doors. Dice 3”. Hallmarked. Box and dice showing some scratching and paint loss.
• GEORGE LUKS(American, 1867-1933)
  GEORGE LUKS(American, 1867-1933) The Rag Picker, c. 1921, signed lower left "George Luks", oil on canvas, 26 x 22-1/4 in.; period carved gilt wood frame, 33-1/2 x 29-3/4 in., Provenance: Samuel O. Buckner, Milwaukee, Wisconsin, acquired from the artist in 1921; Mrs. Samuel O. Buckner, Milwaukee, Wisconsin; Babcock Galleries, New York, NY (label verso); John J. McDonough, Youngstown, Ohio; Sotheby Parke Bernet, Inc. [The Collection of John J. McDonough], March 22, 1978, lot 39, full page illustration; Private Collection, Ohio, 1978; Owen Gallery, New York, NY (label verso); Private Collection, Florida; Note: Exhibited: Survey of American Painting, Chattanooga Art Association, Chattanooga, Tennessee, December 1961; Collector's Choice III,ÿSheldon Swope Art Gallery, Terre Haute, Indiana, December 1962-January 1963; Welcome Additions,ÿMilwaukee Art Center, Milwaukee, Wisconsin, May - June 1963;ÿGeorge Luks, New Orleans Museum of Art, New Orleans, Louisiana, 1975;ÿA Panorama of American Painting - The John J. McDonough Collection,ÿFine Arts Gallery of San Diego, San Diego, California, June 30 - August 10, 1975, #33, label verso;ÿMcNay Art Institute, San Antonio, Texas, September 12 - October 19, 1975, label verso; North Carolina Museum of Art, Raleigh, North Carolina, April 25 - June 6, 1976, label verso; George Luks, An Artistic Legacy,ÿOwen Gallery, New York, NY, October 25 - December 17, 1997, label verso.Literature: American Art News, November 25, 1922, illustrated. Condition: crackle, two surface indentations left side, surface dirt layer; frame with wear commensurate with age, chips and losses to giltÿ
• TWO PIECE LOT, TO INCLUDE SOPHY
  TWO PIECE LOT, TO INCLUDE SOPHY REGENSBURG (AMERICAN, 1...Two Piece Lot, to include Sophy Regensburg (American, 1885 - 1974), still life with flower arrangement, oil on canvas, signed lower right: Sophy Regensburg, 24" x 20"; Sophy Regensburg, Cabbage, oil on canvas with collage, signed upper right 'Sophy Regensburg', sight size 9 1/2" x 7 1/2", Babcock Galleries label adhered to the backing board. Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• WILLIAM MERRITT CHASE(American,
  WILLIAM MERRITT CHASE(American, 1849-1916) The Red Kimono, c. 1908, previously signed, oil on coarse canvas, 33 x 28-1/2 in.; fine period signed Carrig Rohane carved gilt wood frame, 41-1/4 x 36-1/2 in. Literature: Pisano, Ronald G., Carolyn K. Lane, and D. Frederick Baker. William Merritt Chase: Portraits in Oil . New Haven, Conn: Yale University Press, 2007., PO.496, pg. 236, ill. pg. 237. According to the authors, this painting had originally been a signed (lower left), full length portrait of the artist's daughter Dorothy, at about age 17. It was not uncommon for full length portraits to be cut down by Chase, and also by well meaning friends after his death, in order to make them more practical in private homes. The original painting measured 78-1/2 x 36 in. Provenance: Estate of the Artist, sold at American Art Galleries, New York, NY, 1917; purchased by M. Knoedler and Co., New York, NY; Babcock Galleries, New York, NY (label verso); Private Collection, Atlanta, Georgia Note: Literature: Pisano, Ronald G., Carolyn K. Lane, and D. Frederick Baker. William Merritt Chase: Portraits in Oil. New Haven, Conn: Yale University Press, 2007., PO.496, pg. 236, ill. pg. 237. According to the authors, this painting had originally been a signed (lower left), full length portrait of the artist's daughter Dorothy, at about age 17. It was not uncommon for full length portraits to be cut down by Chase, and also by well meaning friends after his death, in order to make them more practical in private homes. The original painting measured 78-1/2 x 36 in. Exhibited: William Merritt Chase Family Portraits, Paine Art Center and Gardens, Oshkosh, Wisconsin, June 11-October 9, 2011, cat. pg. 54, ill. pg. 55.; A Collection of Oil Paintings by William M. Chase, N.A., Albright Art Gallery, Buffalo, New York, January-February 1909; John Heron Art Institute, Indianapolis, Indiana, March 3-28, 1909; St. Louis Art Museum, St,. Louis, Missouri, April 1909; Cincinnati Museum of Art, October - November 1909; An Exhibition of Paintings by William Merritt Chase, National Arts Club, New York, NY, January 5-13, 1910, no. 142; Pennsylvania Academy of the Fine Arts, Annual Exhibition, Philadelphia, Pennsylvania, 1911, no. 564; Paintings by William Merritt Chase and William Ritchel, N.A., Detroit Museum of Art March 1916; Toledo Museum of Art April 1916; The Paintings and Other Artistic Property Left by the Late William Merritt Chase, American Art Galleries, New York, NY, May 14-17, 1917 (sold to M. Knoedler and Co., New York, NY,) Condition: wax and linen lining; frame with wear commensurate with age. Backing board with label stating that the painting was conserved at the Lyman Allyn Art Museum, New London, Connecticut, 1994: "cleaned, varnished with Arkon P-90, stabilized".
• JOHN SINGLETON
  JOHN SINGLETON COPLEY(Massachusetts/British, 1737-1815) Portrait of Henry Belasyse, Second Earl of Fauconberg, in uniform in a landscape (P. 591), circa 1792 or before 1794, oil on canvas, 31 x 26 in.; modern silver frame, 33-1/8 x 28 in. Note: Reference: Prown, Jules David. John Singleton Copley: In England 1774-1815. Cambridge, Mass: Harvard Univ. Press, 1966. ill. fig. 591, pg.286n. Fauconberg appears in the Death of Chatham, pg. 299n., "The site of Copley's house, now occupied by the Caxton Publishing Company, was directly across the street from the still-standing residence of Earl Fauconberg, whose portrait Copley painted.", pg. 349n. A stipple engraving and etching by Anthony Fogg was made after this portrait. (see: https://www.britishmuseum.org/collection/object/P_1852-1009-596) Exhibited: Cambridge, Massachusetts, Harvard College, 1934-5; M.S. Rau, New Orleans, Louisiana (label verso) Christies's essay states "Henry Belasyse (1743-1802), son of Sir Thomas and Catherine Betham Belasyse, succeeded his father in 1774 as the 2nd Earl Fauconberg of Newborough, York. Copley depicts him in the red coat of the North Riding Militia, with silver epaulets. A curtain behind him is drawn to reveal a distant landscape, and the family coat of arms is shown in the upper left corner of the canvas. Fauconberg was Member of Parliament for Peterborough (1768-74), a Lord of the Bedchamber (1777-1802), Lord Lieutenant of the North Riding of Yorkshire from 1777 until his death, and Colonel of a 'Regiment of Foot' called 'Fauconberg's' in 1779. He married twice: to Charlotte Lamb (d.1790), daughter of Sir Matthew Lamb, 1st Bt, and sister of Peniston, 1st Viscount Melbourne, in 1776, and then to Jane Cheshire, of Bennington, Hertfordshire, in 1791, a year after his first wife's death. He died in 1802 of a 'sudden apoplexy' and the earldom became extinct. In a letter to her daughter Mrs Greene, dated 18 March 1802, Copley's wife commented that 'We have lost our old neighbour Lord Fauconberg - his death was awfully sudden, he went out to walk and was brought back in a hearse dead', (recorded on a label on the reverse of the picture). Copley and Lord Fauconberg both lived in George Street, Leicester Square, at the time that the portrait was painted. The portrait was probably painted in the early 1790s and was engraved by A. Fogg in 1794." Provenance: Bequeathed to the Museum of Fine Arts Boston by the artist's great granddaughter, Susan Greene Dexter, in memory of Charles and Martha Babcock Amory, in 1925; Christie's London, June 11, 2004, lot 20, sold for $36,864 Condition: 19th century lining, restretched on old stretcher, tacking edge trimmed, two periods of retouch which is throughout but limited in face, abrasions below middle right, abrasions at edges
• JAMES FAIRMAN(New
  JAMES FAIRMAN(New York/California, 1826 - 1904) Presidential Range, New Hampshire 1870, signed and dated lower left "J.F. 1870", oil on canvas, 30 x 46 in.; fine reproduction carved gilt wood frame, 40 x 56 in. Provenance: (possibly) Babcock Galleries, New York, New York, (as Sunset, Presidential Range, New Hampshire); Private Collection, New Jersey; Private Collection, New York Condition: linen lined, stabilized crackle; frame with minimal wear
• VERY FINE CLASSICAL ROSEWOOD AND
  VERY FINE CLASSICAL ROSEWOOD AND BRONZE PIANOFORTE, SAC...brass plaque inscribed "Made by A. Babcock for G. D. MacKay, Boston", circa 1825, highly figured mahogany and rosewood case with ebonizing, brass inlay and moldings, gilt mounts and hardware, original playing mechanism, 34 x 68 x 24 in. ?This lot contains animal or plant material that may be restricted under federal, state and/or local law. Prospective bidders should check all applicable government wildlife restrictions prior to placing a bid. The buyer is solely responsible for obtaining any necessary licenses or permits from federal, state and/or local authorities applicable to their purchase or transport of the object. Please note that bidders in New Jersey may not bid on any lots containing elephant ivory, mammoth ivory, or rhinoceros horn. Note: Illustrated in American Antiques from Israel Sack Collection , Volume VII, pp. 1810-1811, P5029. Sack notes that the piano is also illustrated in Old Time New England Bulletin, 1978, "Pianoforte Manufacturing in 19th century Boston", Nancy A. Smith, figure 4. Sack notes that the original instrumentation is intact. Babcock was a leading piano maker and his instruments had some of the most sophisticated cases made in the period. Similar Babcock pianos are in the collection of the Metropolitan Museum of Art (2001.364A,B) and the Smithsonian (1982.0434.01). Identical Babcock pianos are in the collection of the MFA Boston (1971.1130) and Winterthur (1989.0064). A third identical piano at Historic New England (2005.23.1) is discussed as part of the furnishings prepared in 1824 for Lafayette's visit to Boston (Mussey and Pearce, Rather Elegant than Showy, The Classical Furniture of Isaac Vowes pages 192-193). Identical examples: MFA Boston (1971.1130): https://collections.mfa.org/objects/50888/square-piano?ctx=fe4de107-717e-413e-b45e-00c2becf48bf&idx=13 Winterthur (1989.0064): http://museumcollection.winterthur.org/single-record.php?resultsperpage=20&view=catalog&srchtype=advanced&hasImage=&ObjObjectName=&CreOrigin=&Earliest=&Latest=&CreCreatorLocal_tab=&materialsearch=&ObjObjectID=&ObjCategory=&DesMaterial_tab=&DesTechnique_tab=&AccCreditLineLocal=&CreMarkSignature=&recid=1989.0064&srchfld=&srchtxt=piano&id=fd80&rownum=61&version=100&src=results-imagelink-only#.YxOZJy-B1KN Historic New England (2005.23.1): https://www.historicnewengland.org/explore/collections-access/gusn/189623 Related Babcock examples: The Met (2001.364a, b): https://www.metmuseum.org/art/collection/search/503531 Smithsonian (1982.0434.01): https://americanhistory.si.edu/collections/search/object/nmah_605830 Background on Important Private Collection from Boston: I have been working with this collector for over 25 years, both in the initial acquisition of the objects and overseeing their conservation as needed. With a keen eye for quality and design, and a deep passion for all things classical, he has quietly amassed a top-notch collection of American furniture and decorative arts. The collection encompasses outstanding examples from the leading cabinetmakers of Boston, New York, and Philadelphia, representing excellence in form and proportions, condition, wood quality, and carving. It also includes rare objects that are among the best of their kind. Now, with the downsizing of one of his properties, the offerings in this catalog are coming to market to find new owners who share a love for this remarkable period in American furniture history. Clark Pearce, Advisor and Consultant to Collectors and Institutions Provenance: Israel Sack; Property from an Important Boston Collection Condition: works are original and have been restored (not tested for functionality), finely crafted and in excellent condition overall, some minor sun fading and color variation, restorations and/or re-gilding to some mounts, very minor lifting at some brass inlay, other scattered minor veneer flaws, some small banding losses, minor lifting at ivory keys
• ISRAEL ABRAMOFSKY (RUSSIAN/AMERICAN
  ISRAEL ABRAMOFSKY (RUSSIAN/AMERICAN 1888 - 1975)Israel Abramofsky (Russian/American 1888 - 1975) circa 1920 - 1930's "Abstract Portrait" oil on canvas signed lower right "I. Abramofsky" 23 1/2" x 19 1/2" Provenance: Babcock Galleries NYC, Julius H Jacobson II a Fifth Avenue Estate. Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past. Condition: Reports are available by request and answered in the order they are received starting the week of the sale.
• WILLIAM SOMMER, (AMERICAN,
  WILLIAM SOMMER, (AMERICAN, 1842-1909), LAKE ERIE, 1911, OIL ON CANVAS BOARD, 24 X 20 IN., FRAME: 32 X 28 IN.WILLIAM SOMMER, (American, 1842-1909) Lake Erie, 1911, oil on canvas board signed and dated William Sommer 11, u.l. 24 x 20 in., frame: 32 x 28 in. Provenance: The Estate of Dr. Edward Sleeper, Boston, Massachusetts. Other Notes: Babcock Galleries, New York label, verso. Condition: Condition: A few small flecks of paint loss in thick green paint areas, l.l. and l.r.; stable craquelure, predominantly in dark green areas.
• E. AMBROSE WEBSTER, (AMERICAN,
  E. AMBROSE WEBSTER, (AMERICAN, 1865-1935), CONSUELA, OIL ON CANVAS, 30 X 24 IN., FRAME: 40 X 34 IN.E. AMBROSE WEBSTER, (American, 1865-1935) Consuela, oil on canvas signed E. A. Webster, l.l. 30 x 24 in., frame: 40 x 34 in. Provenance: The Collection of Dr. Edward Sleeper, Boston, Massachusetts; then by descent. Literature: Scott, Gail R., E. Ambrose Webster: Chasing the Sun - a Modern Painter of Light and Color, Manchester, VT, 2009, p. 152 (illus). Other Notes: - Babcock Galleries, New York label verso - Carnegie Institute, Pittsburgh label verso E. Ambrose Webster is considered one of the preeminent American Fauvists, best known for the striking colorwork found in his mature style. After beginning his artistic studies at the School of The Museum of Fine Arts in Boston, Webster traveled to Europe in 1896, a turning point in his career. Deeply influenced by the bright colorwork of Monet, van Gogh, and Matisse that he saw during his travels, Webster shifted away from the traditional academic style in which he had been trained, instead drawing to a saturated rendering of light and color. He returned to America and settled in Provincetown, Massachusetts in 1900, opening the Webster Art School. Thirteen years later, he exhibited two works at the seminal 1913 Armory show. Throughout his career, he was celebrated by peers such as Edward Hopper, Maurice Prendergast, and Richard Diebenkorn. The present work, painted in 1918, is an early example of Webster's shift away from landscapes toward the human form. Webster began to paint local women he encountered in his travels, seating them outdoors in bright light as he studied the interplay of light and shadow on their bodies. In these portraits, the women's forms take up much of the composition, the soft-hued background landscape becoming secondary to the vividly painted figure in the foreground. Consuela is a strong example of these portraits, and the thick, confident brushstrokes, the boldly rendered purples of her cloak, and the striking rendering of light across her face are all hallmarks of this transformative period of Webster's career. Condition: Condition: Wax lined. Overall good condition: colors bright, thick impasto.
• (2) DEAN BABCOCK (1888-1969, CO,
  (2) DEAN BABCOCK (1888-1969, CO, IL) COLOREDwoodblock prints. One is titled "Little Aspen" and depicts a forest scene. Pencil signed, lower right, numbered 28-#12. Good condition, not laid down. 5 1/8" x 3", has a cardboard mat. Along with another titled "Tanima Peak". Pencil signed lower right, numbered 28-#18. Good condition, not laid down. 5 1/8" x 3", has a cardboard mat.
• (10) U.S. CIVIL WAR UNION GENERALS,
  (10) U.S. CIVIL WAR UNION GENERALS, LETTERS, NOTES(lot of 10 on 8 pages) U.S. Civil War Generals autographs, including: (2) typed letters signed W. Rosecrans (William Starke Rosecrans, Ohio, 1819-1898), Union Major General, West Point Class of 1842, U.S. Congress, House, 1880-1884; (1) autograph album page with sentiment signed J. Kilpatrick (Hugh Judson (Kill-Cavalry) Kilpatrick, New Jersey, 1836-1881), Union Brevet Major General, West Point, Class of 1861, listed as the first U.S. Army officer to be wounded in the Civil War, U.S. Ambassador to Chile; (1) autograph album page signed by Neal Dow (Maine, 1804-1897) Union Brigadier General, 1st Brigade, 2nd Division of the XIX Corps, captured and exchanged for CSA General William Henry Fitzhugh Lee, son of General Robert E. Lee, in 1880 Dow was the Prohibition Party candidate for U.S. President; (1) hand-written note signed W.B. Hazen (William Babcock Hazen, Vermont, 1830-1887), Union Major General, West Point, Class of 1855, later Chief Signal Officer, U.S. Army; (1) letter to President Grand, July, 1870, signatures include C.C. Washburn (Maine, 1818-1882), Union Major General, U.S. congress, 1855-1861, 1867-1871, Governor of Wisconsin, 1872-1874, founded what later became General Mills, also signed H.E. Paine (Halbert Elezar Paine, 1826-1905), Union Brigadier General, later Brevet Major General, U.S. Congress, 1865-1871, U.S. Commissioner of Patents, also signed by Amasa Cobb (Illinois,1823-1905), Union Colonel and Brevet Brigadier General, U.S. Congress 1863-1871, at the same time serving in the Army; (1) hand-written note, signed Joseph R. Hawley (Joseph Roswell Hawley, North Carolina,1826-1905), Union, Brigadier General, Brevet Major General, Governor of Connecticut, 1866-1867, U.S. Congress, 1872-1875, 1873-1876, U.S. Senate, 1881-1905
• 2 PCS MICHAEL HARRIS AND HERB
  2 PCS MICHAEL HARRIS AND HERB BABCOCK ART GLASS Group of two art glass vessels comprising Herb Babcock (Born 1946). Amber blown glass vessel, signed and dated underneath; and Michael Harris (English, 1933-1994). blown glass bottle, created at Mdina Glass, Malta, marked underneath.
• LEE JACKSON (AMERICAN.
  LEE JACKSON (AMERICAN. 1909-2000)The Flower Shop. Signed l/l. Verso bears artists name and title, and inscribed Babcock Gallery. Oil on Board. Measuring 16 by 20 in, framed 25 by 29 in.(Cond: good) Provenance: A Private Collection, Sold Sotheby's, NY, 1991 ($ 1600) Babcock Gallery, NY
• ARTHUR BOWEN DAVIES (NEW
  ARTHUR BOWEN DAVIES (NEW YORK/CALIFORNIA/ITALY, 1862-1928), "LANDSCAPE WITH PINE TREE, CA. 1905"., OIL ON CANVAS, 5.75” X 9.5”. FRAMED 9.5” X 13.75”.ARTHUR BOWEN DAVIES, New York/California/Italy, 1862-1928, "Landscape with Pine Tree, ca. 1905". Unsigned. Titled on gallery label verso. Dimensions: Oil on canvas, 5.75" x 9.5". Framed 9.5" x 13.75". Provenance: Babcock Galleries, New York.
• MANNER OF GEORGE INNESS (AMERICA,
  MANNER OF GEORGE INNESS (AMERICA, LATE 19TH CENTURY), FIGURES BENEATH A LARGE TREE., OIL ON PANEL, 12” X 15”. UNFRAMED.MANNER OF GEORGE INNESS, America, Late 19th Century, Figures beneath a large tree. Unsigned. Numbered 194 verso. Label verso for E.C. Babcock, New York. Dimensions: Oil on panel, 12" x 15". Unframed.
• DODGE MACKNIGHT
  DODGE MACKNIGHT (MASSACHUSETTS/CONNECTICUT/RHODE ISLAND/EUROPE, 1860-1950), "RECEDING TIDE, JAMAICA"., WATERCOLOR ON PAPER, 14.5" X 20.75" SIGHT. FRAMED 27.5" X 33".DODGE MACKNIGHT, Massachusetts/Connecticut/Rhode Island/Europe, 1860-1950, "Receding Tide, Jamaica". Signed lower left "Dodge MacKnight". Titled verso. Dimensions: Watercolor on paper, 14.5" x 20.75" sight. Framed 27.5" x 33". Provenance: Adelson Galleries, New York.Babcock Galleries, New York.
• Four Jacquard Coverlets Including a
  Four Jacquard Coverlets Including a George Washington Example 19th Century Washington coverlet reading United We Stand Divided We Fall, dated 1848 and with client's name Sarah Babcock; an example with ship corner blocks dated Year 1841; an example marked and dated Jane Andersons 1834; and a tricolor coverlet. Washington coverlet 86 1/2 x 68 inches. Ship coverlet 93 1/2 x 72 1/2 inches. Andersons coverlet 91 1/2 x 72 1/2 inches. Tricolor example 87 x 92 inches. Washington coverlet in a notable pattern by J. Cunningham, Oneida County, New York. This example is unsigned; does not appear to have been trimmed. Property from the Dean Lower Estate, Lanark, Illinois