A few examples of appraisal values for
HATCH

• HATCH, RICHARD (TRANS.) AND OTTOKAR
  HATCH, RICHARD (TRANS.) AND OTTOKAR FISCHER (COMPILER)....Hatch, Richard (trans.) and Ottokar Fischer (compiler). The Magic of J.N. Hofzinser. Omaha: Walter B. Graham, 1985. Publisher's deluxe leather edition of 75 copies. Illustrated. 8vo. Fine. Inscribed and signed by Hatch to the previous owner.
• Hatch Handled Vase marked (hand
  Hatch Handled Vase marked (hand incised) Hatch 15 several small bruises on the rim of base 7.25''
• CONNIE HATCH (B. 1952): AMELIA1990;
  CONNIE HATCH (B. 1952): AMELIA1990; photograph printed on plexiglas, unframed; unsigned; 80 x 40 inches Condition:
• HATCHETT Duayne (American 1925-):
  HATCHETT Duayne (American 1925-): Abstract Painted Metal Sculpture 14'' h x 12''d x 22'' w.
• MEXICAN FOLK ART HATCHED BIRDS
  MEXICAN FOLK ART HATCHED BIRDS SCULPTUREMexican folk art sculpture. Birds hatched from an egg. Scuffing and 1 indent to the underside. Signed "Tonala Jal Mex. Eus Macias" on the underside in paint. 11" x 12".
• William Hatch (American, 20th
  William Hatch (American, 20th Century) Morning Star oil on canvas signed William Hatch (lower left) 18 x 24 inches
• Ed Hatch (Virginia, late 20th/early
  Ed Hatch (Virginia, late 20th/early 21st century) Sleeper, Canada Goose, 1989, signed lower right "Ed Hatch", watercolor on paper, 7-3/4 x 9-7/8 in.; original wood frame,
• BROWER HATCHER "LAYERING OF WORLDS"
  BROWER HATCHER "LAYERING OF WORLDS" 1989Brower Hatcher (American, b. 1942). Lithograph on paper titled "Layering of the Worlds," depicting an archway with various objects floating within such as an alligator, a cowboy boot, and chairs, 1989. Pencil signed and dated along the lower right; titled along the lower center. Sight; height: 35 in x width: 66 in. Framed; height: 45 in x width: 77 in. 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.
• Dana Hatchett b.1956. Abstract
  Dana Hatchett b.1956. Abstract Clouds. 1994-95, oil on panel. 48 h × 32¾ w in. result: $625. estimate: $800–1,200.
• THE HATCHER CARGO COLLECTION OF
  THE HATCHER CARGO COLLECTION OF MING PORCELAINcomprising a vase and 13 various small articles; Provenance: The Kelton Collection, The Estate of Richard Kelton, Los Angeles, CA; the vase 8 inches high Condition:
• § GRAHAM SUTHERLAND O.M. (BRITISH
  § GRAHAM SUTHERLAND O.M. (BRITISH 1903-1980) ST. MARY'S HATCH, 1926 (TASSI 22) Etching, signed in pencil to margin12cm (4 3/4in), 18cm (7in)Provenance: Mrs A. M. Bernhard-Smith, Twenty-One Gallery, LondonChristie's, South Kensington, 19th May 2016, lot 52.Literature: Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1988, no.22.Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, no.13.Graham Sutherland specialised in etching whilst a student at London University’s Goldsmith’s College School of Art between 1921 and 1926. He was taught by Malcolm Osborne and Stanley Anderson and trained alongside Paul Drury and William Larkins. It was during this formative period that he made the following group of etchings, with May Green created in 1927; all of them reveal his precocious and emerging talent. Indeed, Sutherland established his professional standing as a printmaker and held his first solo exhibition in 1924, at the Twenty-One Gallery in London. The following year he was elected an Associate Member of the Royal Society of Painter-Etchers and Engraves. Shortly after graduating, he was appointed to the staff of Chelsea College of Art, where he taught engraving until 1932.In 1924, Larkins found an impression of The Herdman’s Cottage etching of 1850 by the visionary artist Samuel Palmer (1805-81) in a shop on the Charing Cross Road and showed it to his fellow students. Sutherland recalled the impact it had on him: ‘I remember that I was amazed at its completeness, both emotional and technical. It was unheard of at the school to cover the plate almost completely with work and quite new to us that the complex variety of the multiplicity of lines could form a tone of such luminosity…As we became familiar with Palmer’s later etchings, we ‘bit’ our plates deeper. We had always been warned against ‘overbiting’. But we did ‘overbite’ and we ‘burnished’ our way through innumerable ‘states’ quite unrepentant at the way we punished and maltreated the copper…It seemed to me wonderful that a strong emotion, such as was Palmer’s, could change and transform the appearance of things.’ (1)Palmer’s reputation had diminished since his death in 1881, but was resurrected when an exhibition of his work was mounted at the Victoria and Albert Museum in London in 1926. As illustrated in the current group, Roberto Tassi has explained that Palmer’s influence on Sutherland’s etchings showed ‘in the presence of the sun and its light shining through the trees, the starry sky streaked with horizontal clouds, the contrast between the evening dusk that is already creeping over the land in thickening shadows and the soaring beams of the setting sun.’ (2)Sutherland engaged with and extended the English pastoral tradition and its idealism, with Gordon Cooke proclaiming: ‘Prints such as Village, Pecken Wood, Cray Fields, St Mary Hatch, Lammas and May Green concern the unchanging experience of life in the countryside, the generations which have worked in it and lived from it and the manner in which nature rules such a way of life.’ (3) Yet Sutherland’s etched images of the mid-1920s are also laced with nostalgia - as rural communities changed - and with an embracing of religion which culminated in his acceptance into the Roman Catholic church in 1926.Tassi continues: ‘Throughout this period, the influence of Palmer continues, most noticeably in the atmosphere, which seems to be suspended, wrapped in mystery and a tinge of mysticism. The sun, the doves, the stars, the birds and the sheep all become religious symbols; the air is one of enchantment; the contrast between light and shade, though violent, is not disturbing, but seems rather to diffuse an air or quietude over the world. In general, however, the feeling is one of abstraction rather than life.’ (4)Sutherland’s success as an etcher came to an abrupt end with the collapse of the art market following the Wall Street crash of 1929. He turned to painting, but returned to print-making at various points during his career, including lithography in the 1940s and 1950s before a resumption of etching in the 1970s.(1) As quoted in Ronald Alley, Graham Sutherland, London, 1982, p 9.(2) Roberto Tassi and Edward Quinn, Graham Sutherland: Complete Graphic Work, London 1978, p.19(3) Gordon Cooke, Graham Sutherland: Early Etchings, London 1993, unpaginated(4) Tassi op.cit., p.20Note:St Mary's Hatch comes from ‘a series of small, densely worked etchings of rural England, thatched cottages and churches, fields with stooks of corn, the setting sun and the first evening stars, which were intensely poetic evocations of a more or less lost world of innocence and religious piety.’ (Ronald Alley, Graham Sutherland, London 1982, p. 9)
• HATCHETS, KNIFE SETS AND MILITARY
  HATCHETS, KNIFE SETS AND MILITARY KNIVES Estwing, Case, Western, Keenwel, Bayonet, Bolo, Survival
• J C Hatch and others/Carriage/eight
  J C Hatch and others/Carriage/eight pen and ink drawings/see illustration
• Duayne Hatchett 1925–2015.
  Duayne Hatchett 1925–2015. Untitled. acrylic on canvas. 54 h × 54 w in. estimate: $4,000–6,000. Signed to verso ‘Hatchett’.
• Figural Pottery Hen on Nest Covered
  Figural Pottery Hen on Nest Covered Dish stone eggs around!
• SERGIO BUSTAMANTE CERAMIC GROUP
  SERGIO BUSTAMANTE CERAMIC GROUP OF HATCHING FROGS, H: 8 IN, W: 11 INSergio Bustamante Ceramic Group of Hatching Frogs, H: 8 in, W: 11 inProperty of a McLean, Virginia Collector
• WOMAN IN A DOOR HATCH PRINT AFTER
  WOMAN IN A DOOR HATCH PRINT AFTER REMBRANDT. Nineteenth century, etching on paper. Signed on plate, paper has partial watermark "A". Dark image of a woman talking to people through a door. Small crease, toning. Tape hinge. 4 1/8"h. 2 3/4"w., framed, 13"h. 11.75"w.
• TURKOMEN HATCHLI ANIMAL TREE ENGSI
  TURKOMEN HATCHLI ANIMAL TREE ENGSI The rust field with abrash, rectangular sections with hatchmark designs and Task Noska animals to the main ellem.
• THREE ITEMS. American 19th
  THREE ITEMS. American 19th century. Hatchel with worn floral decoration 22 1/2''l. and a pine slide lid box with traces of salmon paint 4 1/4''h. 12''l. Together with a slate peel 18''d. Ex Tom & Carolyn Porter (Ohio) sold at Garth's November 2004.
• A Japanese Wood Netsuke of Hatching
  A Japanese Wood Netsuke of Hatching Tengu By Jobun (active late 18th Century) the creature depicted struggling to free itself from its egg, one wing outstretched, signed to the underside with a two-character maker's mark, ??. Height 1 5/8 in., 4.12 cm. Property from the Estate of Mr. and Mrs. Maurice Fry, Hoffman Estates, Illinois, thence by descent
• Collection of woodenware to include
  Collection of woodenware to include a hatchel ladle etc. ?
• JANE HATCHER (NC), SET OF EIGHT
  JANE HATCHER (NC), SET OF EIGHT POTTERY GOBLETS Contemporary earthenware in a variety of attractive earth tone glazes, each with tapered tooled stem and pedestal base, all appear unmarked.
• Early Basket
  Early Basket
• MEXICAN FOLK ART SCHOOL, 20TH
  MEXICAN FOLK ART SCHOOL, 20TH CMexican Folk Art School, 20th c., "Hatching Egg", painted ceramic, inscribed "Nalho Melia, Tonala, Jal. Mexico" on underside, h. 13 1/2 in., w. 16 in., d. 13 in. Provenance: Estate of Legendary New Orleans Performer Chris Owens. Condition: Overall fair condition.
• Wade connoissuer model of a
  Wade connoissuer model of a Nuthatch on base no 4
• GROUP OF IRON AX AND HATCHET
  GROUP OF IRON AX AND HATCHET HEADSGroup of Iron Ax and Hatchet Heads,
• JAPANESE HIBACHI
  JAPANESE HIBACHI
• KATHY HATCH WOOD AND COPPER BIRD
  KATHY HATCH WOOD AND COPPER BIRD HANGING HOUSEPart of the Copper Village collection. Hand painted and hand crafted wooden bird house with a copper roof. Kathy Hatch tag and document. Artist signed on the back. Artist: Kathy Hatch Issued: 1999 Dimensions: 8"L x 7"W x 9"H Country of Origin: United States Condition: Age related wear.
• JAPANESE HIBACHI
  JAPANESE HIBACHI
• DAVID CHAPPLE (B. 1947): EVENING
  DAVID CHAPPLE (B. 1947): EVENING HATCHoil on board; signed lower left; 6 x 8 inches; 12 1/4 x 14 inches frame Condition:
• Collection of American Indian
  Collection of American Indian arrowheads, Alabama limestone hatchet head, and an Indiana stone celt. Hatchet: 2.5"h x 4"w Condition: Wear consistent with age.
• Two old rustic hatchets or axes,
  Two old rustic hatchets or axes, each approx 29cm L (2)
• PAINT DECORATED DOUBLE FLAX
  PAINT DECORATED DOUBLE FLAX HATCHELInscribed and painted wood and iron spikes. Decorated with compass-work designs and cutout handles. Design of the hatchel is uncommonly intricate. Likely origins are Pennsylvania German, early to mid 19th century. Hatchel measures 29.5 inches long, 7.5 inches wide and 4 inches high. Condition Significant wear and aging to painted surface of the hatchel. Hatchels are complete, but wooden mounting on one of the hatchels has large chunk missing.
• GERMAN/SCANDINAVIAN FORM FLAX
  GERMAN/SCANDINAVIAN FORM FLAX HATCHELca. 1800-1840; European form hatchel with round flax working head on geometric form carved and paint decorated bench mounting board with fishtail cut ends, two large circular holes for mounting thread screws and decorated with circular design incised lines and colorful paint decoration in red and black, 31 1/2"x 9"x 3 1/2"; Condition: extensive bug hole damage to mounting board
• "THIS IS YOUR CAPTAIN" BY DAVID
  "THIS IS YOUR CAPTAIN" BY DAVID HATCH. California, mid 20th century. Multi media piece from found objects including spigot and nautical cap. With sound and light. Plexiglas case, 18.25"h. 12.25"w. 12.25"d.
• 3 VARIOUS HATCHETS/TOOLSca.
  3 VARIOUS HATCHETS/TOOLSca. 18th-19th century; hand wrought halberd/throwing axe with chamfered spear tips and broad hatchet head, 6 1/2"x 14 1/4", Condition: some surfaces appear cut, possible fantasy crafted piece (?); ice sled ice knocker hatchet with open wrapped handle for hanging, 11 1/4", Condition: sharpened edge is late; octagon poll trade tomahawk with oval eye and hickory handle with painted bands, 13 1/4", Condition: nice form