A few examples of appraisal values for
ED SINGER

• CASED SINGER SEWING MACHINE 16
  CASED SINGER SEWING MACHINE 16 in. H, 18 in. W., 8 in. D.
• MIDCENTURY GIO PONTI FOR SINGER
  MIDCENTURY GIO PONTI FOR SINGER CABINET. 1 door and drawers. Signed Singer. From a Premium Point, New Rochelle, NY estate. Dimensions: 28" h x 68" w x 19" d. Condition: Scuffs, scratches and staining.
• BRONZE MONKEY FIGURAL GROUP 20th
  BRONZE MONKEY FIGURAL GROUP 20th c., including a pair of gilt bronze candlesticks in the form of Harlequin-dressed Singeries holding candle cups in each hand, unmarked, 8.5"h x 6"squ, a Vienna bronze push bell, 2"h x 3"l x 1.5"w, and a dark patinated bronze monkey statue, signed in Arabic, 5"h x 6"l x 2"w
• "WHITE MALLARD CLUB" PINCH-BREAST
  "WHITE MALLARD CLUB" PINCH-BREAST PINTAILThe Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1932 18 3/4 in. long “The Ward Brothers made pintails early on in their craft and they were made in a variety of designs and forms… There is no finer work done in decoys than that which is exhibited in the 1932 Pinched Breast Pintails, or the 1936 Classic Pintails.” — Ronald Gard and Brian McGrath, "Ward Brothers’ Decoys", 1989 The Ward Brothers captured the likeness of species in their carvings as well as any decoy makers in history, and their White Mallard Gun Club rig of pinch-breast pintails are among their pinnacle works. A rigmate is featured as the cover lot of Session IV of the "Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey Jr. of Belford, New Jersey." In the catalog, it was described as "one of the finest and best preserved examples of the Ward Brothers...one of the best Ward decoys ever made." Famed singer Andy Williams excited auction goers with his acquisition of that bird. Decoys from this rig were hunted on the White Mallard Club’s freshwater marshes of the Butte Sink in California’s Sacramento Valley. In describing the White Mallard birds, Ward authorities Gard and McGrath state, “The design is considered the best in Ward pintails…” and further note that “the pintail was Lem Ward’s favorite bird and he shows this preference in the painting of his pintails.” Indeed, the lively and textured stippling on the sides and back of the drake is as good as seen on any decoy. The authors point out that “These decoys were originally bought from Abercrombie and Fitch,” which helps to explain not only their refinement, but their transcontinental journey as well. This rare and distinctive style is associated with the 1932 model-year, and is obviously named for an eponymous feature of Steve Ward’s articulated form. This decoy displays all of the qualities that have made this rig the Ward’s most sought after. More subtle details include the S-curve of the sharp ridge running from the tip of the tail to the hump in the back, and the high, turned head finished with a pronounced crown. Along with the O’Brien pinch-breast pintails which set the world record for any Ward lot at auction and the Mackey-Williams pair, this Keegan Collection decoy with its slightly turned head sits at the apex of the Ward portfolio. Marking the rig, the underside bears the White Mallard’s horseshoe-shape weight imprint. Excellent original paint with even gunning wear, some touch-up to reset neck and to the fastener hole on the back of the head. Minor rub to tip of tail. Provenance: White Mallard Gun Club, Butte Sink, California Jim Keegan Collection Thomas M. Evans Jr. Collection Literature: Richard A. Bourne Co. Inc., "Rare American Decoys & Bird Carvings," Hyannis, MA, August 1986, cover and lot 39, Andy Williams rigmate pair illustrated. Richard A. Bourne Co. Inc., "Very Rare and Important American Bird Decoys From the Collection of the late William J. Mackey Jr. of Belford, New Jersey," Hyannis, MA, Session IV, October 20, 1973, front cover and lot 283, Williams drake rigmate illustrated. Ronald J. Gard and Brian J. McGrath, "Ward Brothers’ Decoys: A Collector’s Guide," Wolf City, TX, 1989, pp. 57-63, Williams rigmate pair illustrated. Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, p. 203, Ward brothers discussed. Copley Fine Art Auctions, "The Donal C. O'Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions III," Plymouth, MA, July 19, 2018, lot 33, rigmate pair illustrated.
• A CONTINENTAL POLYCHROME
  A CONTINENTAL POLYCHROME DECORATED SINGERIE TABLE A Continental polychrome decorated Singerie table, possibly Venetian, having a trefoil shaped demilune top, above the figural standard depicting a costumed monkey, standing on a naturalistic rock base, 35"h
• CHARLES BEVAN (C.1815-1891) FOR
  CHARLES BEVAN (C.1815-1891) FOR MARSH & JONES, LEEDS CATHERINE SALT'S MUSIC CHAIRS, CIRCA 1865 satinwood, ebonised and inlaid with various exotic timbers to the front and rear, each bears a printed maker's label with job numbers 99124 and 99* (label incomplete)(2)41cm wide, 86cm high, 39cn deepProvenance: Baildon Lodge 1865-73 Milner Field until 1903 (now demolished) Denton Hall, near Ilkley until 1911 The Old Rectory at Thorp Arch near Boston Spa Unknown address in Harrogate until 1930Rotterdam antique trade, The Netherlands 2021Paul ShutlerLiterature: Gilbert C. Furniture at Temple Newsam House and Lotherton Hall, Volume II, 1978.Boynton L.O.J. High Victorian Furniture: The Example of Marsh and Jones ofLeeds Furniture History Society, Journal III, 1967 where a transcribed copy of the Titus Salt order dated 8th August 1866 is seen in Appendix II (the rooms described are those at Baildon Lodge and not Milner Field.)Note: Titus Salt Jr, the youngest son of Sir Titus Salt, married Catherine Crossley in 1866 and immediately moved into the newly vacant Baildon Lodge just outside Bradford, Leeds. While living at Baildon Lodge, the newlywed homemakers commissioned the local firm Marsh & Jones to supply a large number of furnishings from a grand piano to basic toilet wares between 1865-67. Marsh & Jones employed the designer Charles Bevan to provide the Salts with the most modern designs in the reformed gothic style. Along with Bruce Talbert exhibiting a handful of 'medieval' or 'old English' pieces (including the Pericles cabinet) on the Holland & Son stand at the 1867 Paris Exhibition, it is widely accepted Bevan's designs for the Salts marked a turning point in British taste.Between 1871 and 1873 the Salts moved to their partially built country house, Milner Field, with building work continuing around them they took the contents of Baildon Lodge with them. The architect used was Thomas Harris (c.1930-1900), a little-known architect from London. The house too was built in the reformed gothic style with ornamental metalwork by Messrs Richardson, Slade & Co., furniture and panelling by Messrs Marsh & Jones, Stained glass by Messrs Saunders & Co. and cartoons and frescos painted by Frederick Weekes. The final two artists are best known for their collaborations with William Burges.Catherine Salt was an avid musician and gifted singer and regularly sang at the many soirees the couple hosted. The music room suite that included these chairs would have been of great importance to her and so would no doubt have followed her when she left Milner Fields in 1903. Illustrations of the grand piano, duet stool and music cabinet from this commission were published in The Building News of 1st March 1867. Both the piano and the duet stool are in the collection of Lotherton Hall, Leeds.Our chairs feature a distinctive A-frame to their backs which can be seen on the en-suite music cabinet and the sheet music stand on the piano. The duet stool (at Lotherton Hall) retains its original paper label from the makers, this label is hand inscribed with job number 99127. By studying the pieces with direct Salt provenance in the Lotherton Hall collection, we can see the range of job numbers the commission took up. ranging from 99092 (a chamber pot of pedestal form) to 99152 (a reclining chair).
• SINGER FEATHERWEIGHT SEWING
  SINGER FEATHERWEIGHT SEWING MACHINE: Black enameled Singer Model 221, serial #AL557348. Having gold accents, Numerous extra parts. Resides in case with foot pedal located at lid. Approx. 11.5'' h x 14.25'' l x 8.5'' w. CONDITION: Spring loss at right case clasp, gently used with scattered loss & wear of enamel and case.
• ED SINGER, NAVAJO GRANDMOTHEREd
  ED SINGER, NAVAJO GRANDMOTHEREd Singer, (b. 1951) Navajo Grandmother, charcoal on paper signed lower left: Singer charcoal on paper Dimensions: 25 x 19 in. (63.50 x 48.26 cm.) Provenance: Private Collection, South Dakota
• FOUR SINGERIE PANELS, MANNER OF
  FOUR SINGERIE PANELS, MANNER OF CHRISTOPHE HUET Manner of Christophe Huet (French, 1700-1759), late 19th / early 20th century. Four Louis XV style oil on canvas painted singerie panels depicting monkeys in genre scenes surrounded by "C" and "S" acanthus leaf curves atop floral bouquets in urns. Apparently unsigned. Approx. h. 65.25", w. 30" (single panel).
• TOWLE DIANE PATTERN STERLING SILVER
  TOWLE DIANE PATTERN STERLING SILVER FLATWARETowle Diane pattern sterling silver flatware service, inscribed Singer , 114.7 ozt. Competitive in-house shipping is available for this lot. Condition: Good condition. No apparent damages or repairs.
• SINGER FEATHERWEIGHT PORTABLE
  SINGER FEATHERWEIGHT PORTABLE ELECTRIC SEWING MACHINE 221-1 Vintage Cased Singer Featherweight Sewing Machine, with foot pedal, accessories and operating instructions, in original case, 12 1/2" high, 13" x 8". Case exterior wear; not observed operating.
• CASED SINGER FEATHERWEIGHT SEWING
  CASED SINGER FEATHERWEIGHT SEWING MACHINE Vintage Singer Portable Electric Sewing Machine Model 221-1, s/n AG540127, ca.1945, with scrolled faceplate, ornate decal decoration, with bakelite foot controller, original case, top tray, instruction manual, bobbins, needles and other accessories, machine: 9 1/4" high, 15 1/4" x 7 1/4", case: 11 3/4" high, 13 1/4" x 8 1/4". Case exterior surface wear; very minor machine surface wear, not observed operating.
• ED SINGER, WHO IS R. C. GORMAN?Ed
  ED SINGER, WHO IS R. C. GORMAN?Ed Singer, (Diné [Navajo], b. 1951) Who is R. C. Gorman?, color lithograph, edition 123 of 125 signed lower right: Singer editioned lower left: 123/125 color lithograph, edition 123 of 125 Dimensions: 30 x 22 1/4 in. (76.20 x 56.52 cm.), Frame: 38 1/4 x 30 1/4 x 1 in. (97.16 x 76.84 x 2.54 cm.) Provenance: The Georgia and Charles Loloma Collection
• ED SINGER, WHO IS R.C. GORMAN?Ed
  ED SINGER, WHO IS R.C. GORMAN?Ed Singer, (Diné [Navajo], b. 1951) Who Is R.C. Gorman?, lithograph, edition 115 of 125 editioned lower left: 115/125 signed lower right: Singer lithograph, edition 115 of 125 Dimensions: 29 5/8 x 21 in. (75.25 x 53.34 cm.), Frame: 35 5/8 x 27 3/8 x 1 3/8 in. (90.49 x 69.53 x 3.49 cm.) Provenance: Private Collection, New Mexico
• ED SINGER, DINé [NAVAJO] COWBOYEd
  ED SINGER, DINé [NAVAJO] COWBOYEd Singer, (Diné [Navajo], b. 1951) Diné [Navajo] Cowboy, lithograph, edition 16 of 100 editioned lower left: 16/100 signed lower right: Singer affixed verso: print documentation lithograph, edition 16 of 100 Dimensions: 26 1/2 x 22 1/4 in. (67.3 x 56.5 cm.), Frame: 38 x 33 1/2 x 1 1/8 in. (96.5 x 85.1 x 2.9 cm.) Provenance: Private Collection, South Dakota
• ED SINGER, WHO IS R.C. GORMAN,
  ED SINGER, WHO IS R.C. GORMAN, 1979Ed Singer, (b. 1951) Who is R.C. Gorman, 1979, lithograph, edition 21 of 125 editioned lower left: 2/125 signed lower right: Singer lithograph, edition 21 of 125 Dimensions: 30 x 22 1/2 in. (76.2 x 57.2 cm.), Frame: 41 5/8 x 33 5/8 x 1 1/8 in. (105.7 x 85.4 x 2.9 cm.) Provenance: Private Collection, South Dakota
• FRANCIS BLACKBEAR BOSIN (1921-1980)
  FRANCIS BLACKBEAR BOSIN (1921-1980) EXHIBITED GOUACHEFrancis Blackbear Bosin (1921-1980)Sing Back the Buffalo (1963)This original gouache painting on paperboard is alternately titled Singer with Buffalo Skull and signed lower right front. On the reverse is an exhibition label from a 1982 showing at the Edwin A. Ulrich Museum of Art on the campus of Wichita State University.This painting was purchased directly from the artist's estate through the artist's stepson, David Simmonds.Blackbear Bosin was a Native American artist named for his Kiowa grandfather, a subchief named Tsate-Kongia (Blackbear), and was part Comanche as well. He served the United States in World War Two, and as an artist was largely self-taught. He created easel paintings like the example being offered here and painted murals on commission as well. His works were exhibited widely and garnered numerous awards. His three-dimensional subjects include a forty feet high Corten steel public installation in Wichita, Kansas titled Keeper of The Plains. A tabletop version of this sculpture is offered later in the auction.A book about the artist titled Blackbear Bosin: Keeper of the Indian Spirit by David Simmonds, Ph.D. and published by Carriage Factory Gallery, Newton, Kansas Fine Arts Association Inc, 2012. is the source for the following synopsis on the artist. A self-taught artist, Blackbear Bosin (1921-1980) immortalized the spirit of a bygone era in his art. He rose to national prominence after his award winning painting Prairie Fire was published in National Geographic magazine in 1955. His works were exhibited at museums across the country, including the National Gallery and Smithsonian Institution, and in 1965 he was the only American Indian invited to the White House Festival of Arts. His sculpture 'Keeper of the Plains' stands majestically in Wichita, Kansas, at the confluence of the Big and Little Arkansas rivers, considered a sacred place by Native Americans.Exhibitions; Festival of Arts, White House, Wash., DC, 1965; Whitney Gallery of Western Art, 1966; Nat. Indian Ann., Philbrook Art Ctr., 1967; Heard Mus., 1967; Wichita Art Assn., 1971. Awards: Grand award, Philbrook Art Ctr., 1959-1963; Waite Phillips Special Indian Artists Award, 1967.Member: Wichita Artists Guild (v. pres., 1963-1966); Wichita Advertising Assn.Work: Wichita Art Mus.; Wichita Art Assn.; Philbrook Art Ctr.; Heard Mus., Phoenix; Whitney Gallery of Western Art, Cody, WY. Commissions: sculpture design for city, Kansas Gas & Electric, Wichita, 1969; mural, commissioned by Schafer, Schirmer & Eflin for Farmers Credit Land Bank, Wichita, 1972; painting, Southern Plains Mus., Anadarko, 1972.Sight size measures 32 x 28 with a framed size of 42.5 x 38.25 inches.Very good original untouched condition. There are no issues of scratches, stain, losses, repairs, in-painting or touch-up.Provenance: The Susan Koehn Estate Trust Newton, Kansas
• CASED SINGER FEATHERWEIGHT SEWING
  CASED SINGER FEATHERWEIGHT SEWING MACHINE MID-20TH CENTURY CASE HEIGHT 12.25”. WIDTH 13.25”. DEPTH 8.5”.CASED SINGER FEATHERWEIGHT SEWING MACHINE, Mid-20th Century, Includes parts and bill of sale. Serial # AF864279. Dimensions: Case height 12.25". Width 13.25". Depth 8.5".
• CASED SINGER SEWING MACHINE Vintage
  CASED SINGER SEWING MACHINE Vintage Singer Featherweight 221 Machine, sn AM160554, manufactured in 1955, with original manual, foot pedal, bobbins, box of attachments, tube of motor lubricant, in original case with carry handle, 11 1/4" high, 14 1/4" x 8 1/4". Case exterior wear, minor wear.
• PAIR ENGLISH AESTHETIC BRONZE
  PAIR ENGLISH AESTHETIC BRONZE MONKEY CANDLESTICKS c. 1870s, England, cast bronze, in the form of Harlequin-dressed Singerie holding trays, 6.5"h x 4"l x 4"w
• SINGER FEATHERWEIGHT PORTABLE
  SINGER FEATHERWEIGHT PORTABLE ELECTRIC SEWING MACHINE 221-1 Vintage Cased Singer Featherweight Sewing Machine, with foot pedal, accessories and operating instructions, in original case, 12 1/2" high, 13" x 8". Case exterior wear; not observed operating.
• SINGER Clyde. Oil On Canvas
  SINGER Clyde. Oil On Canvas Portrait of a Woman.Signed Singer lower left. Clyde Singer American 1908 - 1999. From a New Rochelle NY collector. Dimensions: 16.5'' high x 13.5'' wide. Condition: Good.
• Midcentury Walnut Occasional
  Midcentury Walnut Occasional Table Labeled Singer.With original brass insert tray. From a Hartsdale NY estate. Dimensions: 37'' wide x 35'' deep x 16.75'' high. Condition: Good original condition.
• Meissen porcelain figures of
  Meissen porcelain figures of performers early 20th century comprising: seated cellist H51 /4'' seated singer H5'' standing flutist H6'' marked and with incised numbers (3pcs) Provenance: Private collection Mount Pleasant South Carolina Minor losses or nicks to applied floral decorations otherwise in good original condition with no evidence of repairs or restoration.
• AN ENGLISH SILVER POCKET ANEROID
  AN ENGLISH SILVER POCKET ANEROID BAROMETER BY J H STEWARD the silvered dial divided with scale of 0 to 15000 feet and inscribed Compensated J H Steward 406 & 66 Strand & 54 Cornhill LONDON 838 in watch type case, the back engraved with strapwork and flowers around two crests, the band inscribed Edmund Chisholm Batten from his nephew H C G B 1872, 5cm diam, hallmarked on ring, in plush lined maroon morocco case, the underside of the lid inset with maker's ivory circular thermometer and compass, the mother of pearl rose signed SINGER'S PATENT, 1872
• Ed Singer, Navajo Native American,
  Ed Singer, Navajo Native American, AZ, lithograph, Seated Navajo figure wrapped in American flag, may be RC Gorman, pencil signed and numbered 39/100, 30" x 22". Ed Singer is a Navajo artist born and raised on the Navajo Reservation in Arizona. Estimate $300-500
• Ed Singer, Navajo Native American,
  Ed Singer, Navajo Native American, AZ, lithograph," Who is RC Gorman?", pencil signed and numbered 29/125, 30" x 22". Ed Singer is a Navajo artist born and raised on the Navajo Reservation in Arizona. Estimate $300-500
• Louis-Philippe Gilt-Bronze
  Louis-Philippe Gilt-Bronze Figural Mantel Clock, second quarter 19th century, in the neoclassical taste, featuring an elaborately dressed singer leaning against a pillow, h. 17", w. 14-3/8", d. 5".