A few examples of appraisal values for
HYANNIS

• RARE TIN AND WOOD PATENT MODEL CANDLE
  RARE TIN AND WOOD PATENT MODEL CANDLE MOLDRare tin and wood model candle mold, first quarter of the 19th c. , with twenty molds, 20 1/2" h., 16 1/4" w. A similar example can be found in Donald Hogan, Unwanted Treasures of the Patent Office , 1958. Provenance: U.S. Patent Office, Richard K. Bourne, Hyannis, Massachusetts, 1979; A St. Louis, Missouri collection. NO in-house shipping for this lot. Condition: Good condition. No apparent damages or repairs.
• MIDCENTURY STYLE CONTEMPORARY UPHOLSTERED
  MIDCENTURY STYLE CONTEMPORARY UPHOLSTERED SOFA. Great pattern and color on upholstery. Sofa nice size and comfy. From a Hyannis, MA estate. Dimensions: 36" h x 85" w x 37.5" d Condition: Good.
• RALPH LAUREN SIGNED RATTAN TRUNK ON
  RALPH LAUREN SIGNED RATTAN TRUNK ON MAHOGANY STAND Used as a coffee table with leather straps. From a Hyannis MA estate. Dimensions: 21" x 41" x 36" Condition: Good.
• E.J. VICTOR SIGNED SET OF 4 UPHOLSTERED
  E.J. VICTOR SIGNED SET OF 4 UPHOLSTERED COW HORN Style Mahogany Chairs. From a Hyannis MA estate. Dimensions: 35" x 29" x 21" Condition: Good.
• RALPH LAUREN SIGNED 2 PIECE MAHOGANY
  RALPH LAUREN SIGNED 2 PIECE MAHOGANY CAMPAIGN Style Chest. From a Hyannis MA estate. Dimensions: Each section 22" x 36" x 20" Condition: Good.
• ANTIQUE OUSHAK STYLE FINELY HAND WOVEN
  ANTIQUE OUSHAK STYLE FINELY HAND WOVEN CARPET. A good size, pattern, color and nice pile. From a Hyannis MA estate. Dimensions: 9ft 2" x 12ft 8" Condition: Overall good, light wear small losses to borders.
• YELLOWLEGSWilliam J. Matthews (1855-
  YELLOWLEGSWilliam J. Matthews (1855- 1930s) Rig Assawoman Island, VA, c. 1890 9 1/4 in. long Mackey acquired the Matthews rig from the hunter's estate. The underside of this decoy is marked with the Mackey Collection ink stamp. Working paint by the maker with heavy gunning wear and added eyes. Provenance: William J. Mackey Jr. Collection Private Collection Literature: 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 V-VI, July 9-10, 1974, lot 518, exact decoy illustrated.
• BLUEBILLCarriage House Rig Lacon, IL,
  BLUEBILLCarriage House Rig Lacon, IL, c. 1880 12 1/4 in. long A very hollow decoy, with raised upper wing delineations, originating from the Carriage House rig. This celebrated rig was found in a carriage house on the Ernest Lehmann estate, in Lake Villa, Illinois. Like other birds from this rig, the hollow construction is superb. Birds from this group are known for their animation in form and this bluebill shows nice attitude. Original paint with even gunning wear. Provenance: Ronald S. Swanson Collection Private Collection Literature: 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 I, 1973, lot 83, rigmate illustrated.
• RARE BRANTA. Elmer Crowell (1862-1952) East
  RARE BRANTA. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 19 in. long A rare species for the maker with his early oval brand on the underside. The breast features Crowell's signature rasp finish and the dry surface exhibits his wet-on-wet blending. An early example in exceptional condition, this is one of the finest brant by the maker know to exist. Excellent original paint with even gunning wear and a chip to tail has been darkened. Provenance: Emerson and Isabelle Tuttle Collection, acquired c. 1925 Private Collection, by descent in the family Private Collection Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, "Elmer Crowell: Father of American Bird Carving," Hingham, MA, 2019, pp. 195 (underside) and 256, exact bird illustrated. Brian Cullity, "The Songless Aviary: The World of A. E. Crowell & Son," Hyannis, MA, 1992.
• THE MACKEY-MULLER SHOURDS LONG-TAILHarry
  THE MACKEY-MULLER SHOURDS LONG-TAILHarry V. Shourds (1861-1920) Tuckerton, NJ, c. 1890 13 1/2 in. long This Shourds carving is considered one of the pinnacle gunning decoys out of New Jersey. In addition to its sterling condition, its documentation and rarity make it the maker’s most distinctive duck decoy. It was first recorded in the collections of William J. Mackey Jr. and Quintina Colio. Indeed, this carving was in at least three of Mackey’s public exhibitions and it bears his collection ink stamp three times, one in each of the following colors: red, black, and white. This drake was selected to represent Shourds in Milton Weiler’s 1969 Classic Decoy Series folio. Muller acquired this decoy directly from the first Mackey auction in 1973. While in the Muller Collection, it was selected for the Ward Museum’s 1994-1995 Classic Decoys & Sporting Art exhibit. Recognizing it as the best of its kind, James R. Doherty illustrated this exact drake, alongside the hen from his own collection, in his Classic New Jersey Decoys book. A longtime favorite of Dr. Muller’s, this decoy was selected for his collection’s logo ink stamp. This Muller stamp and the three Mackey stamps are on the underside. Excellent original paint with light and even gunning wear, minor fill and touch-up at neck crack, and darkening to an old tail chip. Provenance: Quintina Colio Collection William J. Mackey Jr. Collection Dr. Peter J. Muller Jr. Collection, acquired from the sale of the above, 1973 Thomas M. Evans Jr. Collection Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 54, pl. 80, exact decoy illustrated. Copley Fine Art Auctions, The Winter Sale 2020, Charleston, SC, February 15, 2020, lot 11, exact decoy 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, 1973, Session I & II, lot 576, exact decoy illustrated. Milton C. Weiler, The Classic Decoy Series: A Portfolio of Paintings, New York, NY, 1969, pl. 20, exact decoy illustrated. Sam Dyke, et al., Classic Hunting Decoys & Sporting Art, Salisbury, MD, 1994, p. 15, exact decoy illustrated. Joe Engers, “Dr. Peter J. Muller: Bringing a good eye and an artistic approach to decoy collecting,” Decoy Magazine, January/February 2008, cover and p. 10, exact decoy illustrated. Exhibited: Manhattan, New York, The Decoy Maker’s Craft, IBM Gallery of Arts and Sciences, August 29-October 1, 1966. St. Paul, Minnesota, American Bird Decoys Selected from the Collection of William J. Mackey Jr., St. Paul Art Center, September 28-November 12, 1967. Oshkosh, Wisconsin, American Bird Decoys Selected from the Collection of William J. Mackey Jr., The Paine Art Center and Arboretum, December 2-31, 1967. Salisbury, Maryland, Classic Hunting Decoys & Sporting Art, Ward Museum of Wildfowl Art, September 20, 1994-January 1, 1995.
• "WHITE MALLARD CLUB" PINCH-BREAST PINTAILThe
  "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.
• BLACK-BELLIED PLOVERDaniel Lake Leeds
  BLACK-BELLIED PLOVERDaniel Lake Leeds (1852-1922) Pleasantville, NJ, c. 1890 9 1/2 in. long Describing a rigmate and its maker in "Classic Shorebird Decoys: A Portfolio of Paintings," William J. Mackey Jr. writes, "Jeremiah Leeds, keeper of the salt flats, left one descendant, Dan Lake Leeds, who carved bird decoys including sanderling, plover, yellowlegs, turnstones, and curlew. His own rig, numbering over fifty snipe, came to light a few years ago. It was probably the greatest single find of its kind in New Jersey decoy history. The Dan Leeds birds have a stylized exaggeration that has an artistic appeal. The black-bellied plover have heads that indicate their local name, ‘bull heads,’ the sanderling have a slimness that suggests their speed before the advancing waves. Paint patterns are bright and adequate, and the technique is unusual; Dan used thick oily paint and laid it on instead of brushing it out. This viscous coating made a durable finish, and the rig was found in mint condition. The old gentleman lavished great care on his decoys during their years of service. They stand on their own merit and have little in common with their New Jersey contemporaries." A raised-wing beetle-head carving displaying Leed's signature wet lively paint with tight stippled mottling. This decoy has been in the collections of Lloyd Johnson and Linda E. Johnson, with the former's notes written under the tail. Original paint with light gunning wear, minor working touch-up to white patches on front, and a replaced bill. Provenance: Lloyd Johnson Collection Linda E. Johnson Collection Private Collection Literature: 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 V-VI, July 9-10, 1974, lot 49, rigmate illustrated. Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, p. 190, similar decoy illustrated.
• MACKEY GREAT BLUE HERON DECOYMid-Atlantic,
  MACKEY GREAT BLUE HERON DECOYMid-Atlantic, c. 1880 36 in. long This Mackey Collection decoy is a rare authentic root-head heron with a grand body measuring over two feet from the breast to the tail. The head was fashioned from a single branch which naturally curves to the bird's form. Acquiring real vintage great blue heron decoys is tremendously challenging. This lot was presented with a photograph in the sparsely illustrated 1974 Mackey catalog. The auctioneers, recognizing its rarity, placed it in a "Special Interest Decoys" feature. Old, possibly original paint with heavy gunning wear, including a chip to bill tip and a four-and-one-half-inch section of the lower neck section is a Mackey-era restoration. Provenance: William J. Mackey Collection John R. Wierdsma Collection Literature: 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 V-VI, July 9-10, 1974, lot 439, exact decoy illustrated.
• MALLARD DRAKEA. Elmer Crowell (1862-1952) East
  MALLARD DRAKEA. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 17 1/4 in. long When this decoy was made, mallards were not as prevalent along the Atlantic Flyway, as is evidenced by their scarce representation as decoys along the East Coast. This turned-head drake with a pronounced breast and carved tail detail is a refined example of a rare species for Crowell. The underside bears the maker's rectangular stamp. Original paint with light wear. Provenance: Michael Boxer Collection Literature: Richard A. Bourne Co., "Public Auction," Hyannis, MA, August, 4, 1970, lot 210, exact bird illustrated.
• GOLDEN PLOVERMr. Webster Nantucket,
  GOLDEN PLOVERMr. Webster Nantucket, MA, c. 1850 10 in. long This early plover with a sharp tail cut is among the best of its kind from the iconic Webster rig. It has resided on the island since it was made over a century and a half ago. Created in an upright posture, the swooping lines of this alert siren are on full display. Early collectors Donal C. O’Brien Jr., William J. Mackey Jr., Adele Earnest, and Dr. Peter Muller all believed that the plover from this rig were some of the finest works of American folk art they had ever come across. Indeed, Mackey and Donal O’Brien hunted down and acquired fifteen of the seventeen examples that surfaced. The majority continue to reside in the Donal O’Brien Collection and one can be seen in Mackey and Weiler’s "Classic Shorebird Decoys" portfolio. The rig is consistent in paint, depicted in bold breeding plumage; however, each bird's form is slightly different and the maker's free-hand approach produced a lively flock with no two birds exactly alike. No survey of Nantucket shorebirds would be complete without an example of Webster's contributions to American folk art. Original paint with light gunning wear. Provenance: Franklin Folger Webster Collection Allan "Rocket" Royal Collection, acquired from the above Stephen B. O'Brien Sr. Collection, acquired from the above in 1975 Literature: Milton C. Weiler, "The Classic Decoy Series: A Portfolio of Paintings," New York, NY, 1969, pl. 2, rigmate illustrated. William Doyle Galleries, “Waterfowl and Shorebird Decoys,” New York, NY, April 15, 1981, back cover and p. 61, lot 76, rigmate illustrated twice. Joe Engers, “Dr. Peter J. Muller: Bringing a good eye and an artistic approach to decoy collecting,” Decoy Magazine, January/February 2008, p. 8, rigmate illustrated. Robert Shaw, "Call to the Sky: The Decoy Collection of James M. McCleery, M.D.," Houston, TX, 1992, p. 13, related example 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, 1973, Session III, lot 320, rigmate illustrated. Jeff Waingrow, “The American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr.,” The Clarion: America’s Folk Art Magazine, Fall 1981, p. 30, rigmate illustrated. Jackson Parker, “O’Brien Classic Decoys on Display at Museum of American Folk Art,” North American Decoys Magazine, Spring/Summer 1982, p. 34, rigmate illustrated. Laurence Sheehan, "The Sporting Life," New York, NY, 1992, p. 79, two rigmates illustrated. Copley Fine Art Auctions, "The Donal C. O'Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II," July 27, 2017, inside front cover, six rigmates illustrated in Donal O’Brien’s living room.
• BLUE-WINGED TEAL PAIR WITH "DOUBLE BLUES"Mason
  BLUE-WINGED TEAL PAIR WITH "DOUBLE BLUES"Mason Decoy Factory (1896-1924) Detroit, MI, c. 1905 12 1/4 in. long An early rigmate pair of premier-grade teal. Each has classic early Mason form with snakey heads and long bills. The high impact plumage patterns include the drake’s bright "double-blues" on his back. The underside of each hollow body has a faint painted "EM" rig marking. Original paint with even gunning wear with areas of touch-up. Drake has a few age lines and a reset neck. Provenance: Private Collection, California Literature: Russ J. Goldberger and Alan Haid, "Mason Decoys: A Pictorial Guide, Updated Edition,” Lewes, DE, 2014, p. 57, related 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 I & II, 1973, lot 23, related drake illustrated.
• RARE LESSER YELLOWLEGSA. Elmer Crowell
  RARE LESSER YELLOWLEGSA. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 9 1/2 in. long Crowell author and historian Brian Cullity states, "The lesser yellowlegs was a relatively uncommon species to be used as a model for a decoy." On the pattern for this decoy, Crowell identifies the species as "summer yellow leg." A closely related example with a replaced bill was exhibited in Dr. McCleery's "Call to the Sky" museum exhibition and accompanying book. It was also held back by the McCleery estate from the 2000 sale, along with four other of his best Crowell shorebirds. Original paint with light gunning wear and a replaced bill. Provenance: Private Collection, Cape Cod Literature: Sotheby's, "Important American Folk Art, Furniture and Silver," New York, NY, May 2005, front cover and lot 104, McCleery example illustrated. Brian Cullity, "The Songless Aviary: The World of A. E. Crowell & Son," Hyannis, MA, 1992, pp. 60 and 114, pl. 116, Crowell's pattern and related example illustrated. Robert Shaw, "Call to the Sky: The Decoy Collection of James M. McCleery, M.D.," Houston, TX, 1992, pp. 14-15, McCleery example illustrated.
• Thomas Sully 1783–1872. Portrait of
  Thomas Sully 1783–1872. Portrait of Mrs. Philip Augusta Stockton (neé Mary Remington). 1850, oil on canvas. 29 h × 23½ w in. result: $2,210. estimate: $2,000–3,000. Provenance: Collection of Richard A. Bourne, Hyannis | Purchased from the previous in 1973 by present owner
• HYANNISPORT MIXED MEDIAA mixed media
  HYANNISPORT MIXED MEDIAA mixed media artwork with a 3-D effect of the Kennedy Family (JFK, Jackie & Caroline) relaxing by the harbour in Hyannisport, by Kaz Jachowicz, 1994. Jachowicz was a WWII concentration camp survivor born in Poland in 1916 who emigrated to Canada (Whitehorse) after the war. H: 18.5"; W: 26". Field Collection.
• 125 PIECES OF NORITAKE PORCELAIN HYANNIS
  125 PIECES OF NORITAKE PORCELAIN HYANNIS PORTOne hundred and twenty five pieces of Noritake porcelain in the Hyannis Port pattern. To include: Twenty five dinner plates: Dia- 11" Twenty five salad plates: Dia- 8.5" Twenty five bread plates: Dia- 6.5" Twenty five coffee cups: Ht- 3" Twenty five saucers: Dia- 6"
• PAUL LONGENECKER NANTUCKET HORSES PAINTINGOil
  PAUL LONGENECKER NANTUCKET HORSES PAINTINGOil painting of horses in field on Nantucket with town in distance signed P. Longenecker. 18 x 24, framed 24 xx 30 inches. (Longenecker was b. NY 1920, died Hyannis MA 2008).
• JEROME HOWES OIL ON BOARD "TWO CATBOATS
  JEROME HOWES OIL ON BOARD "TWO CATBOATS OFF BRANT POINT...Jerome Howes (American b. 1955) Oil on Board "Two Catboats off Brant Point Nantucket" , depicting the Nantucket and Hyannis sailing round Brant Point, signed lower right Jerome Howes, in molded gilt frame 17.5 in. x 23.5 in. Framed 24 in. x 30 in. Jerome Howes was born in 1955, a thirteenth generation Cape Codder. His father was a paintings and antiques dealer in Brewster, specializing in marine paintings and artifacts. Howe is largely self-taught, in 1994 Jerome devoted himself to painting and quickly gained a following on Cape Cod, Nantucket and the Vineyard. 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.
• QUEZAL PULLED FEATHER ART GLASS CABINET
  QUEZAL PULLED FEATHER ART GLASS CABINET VASEAmerican, early 20th century, opalescent white ovoid vase with splayed foot, green and gold hooked feathers and zig zag decoration, signed "Quezal" and "E411", 3-7/8 in., Provenance: Richard Bourne auction, Hyannis, Massachusetts, Lot 64, purchased May 5, 1973 for $475; Estate of Jay R. Doros, Springfield, New Jersey; Note: This vase was included in the exhibition "Flights of Fancy: The Quezal Art Glass and Decorating Company" at the Museum of American Glass at Wheaton Village, Millville, New Jersey, April 13 through October 20, 1996, curated by Gay LeCleire Taylor. This piece is illustrated in the exhibition catalog on page 11, fig. 14. Condition: tiny rim nick, light scratches, marked reference numberÿ
• FOUR LIBBEY GLASS CORN VASES AND ENAMELED
  FOUR LIBBEY GLASS CORN VASES AND ENAMELED BOWLSAmerican, late 19th/early 20th century, large corn vase, iridescent molded glass, 6-3/4 in.; small corn vase, opaque white glass molded in the form of an ear of corn, 4-1/8 in.; two bowls each of melon form, hand painted floral sprays, enamel "jeweled" rims, with "Libbey Cut Glass Company Toledo" eagle mark, largest 2-3/8 x 4 in., Provenance: William Covill, Yarmouthport, Massachusetts, purchased August 1972 for $24 (small vase); Carl U. Fauster (small bowl); Mary Luttrell, Marietta, Ohio, purchased July 1995 for $300 (small bowl, accompanied by copy of receipt); Mr. and Mrs. Gerry Philpot; Richard Bourne Auction, Hyannis, Massachusetts, Lot 180, purchased March 3, 1973 for $400 (large bowl); Estate of Jay R. Doros, Springfield, New Jersey; Note: Carl U. Fauster is the author of the book Libbey Glass Since 1818, published in 1979. Condition: small vase with rim flakes, bowls lacking some "jewels", small bowl with small rim chip, other light scratches and wear, marked reference numbersÿ ÿ
• SIGNED WILLIAM DRAPER PORTRAIT OF JOSEPH
  SIGNED WILLIAM DRAPER PORTRAIT OF JOSEPH KENNEDY (1962)...William Franklin Draper (American, 1912-2003). Portrait of Joseph Kennedy, oil on canvas, 1962. Signed and dated with inscription on lower right which reads, "Wm. F. Draper - Ambassador Joseph Kennedy - 1/2 hour sketch - Palm Beach '62". A painting of historical figure Joseph Kennedy created by American artist William Draper in Palm Beach, Florida in 1962. It was President John F. Kennedy who asked William Draper to paint his father's portrait. Ambassador Kennedy's portrait had never been painted, and when John F. Kennedy became President, he wanted a picture of his father hanging in the embassy. So Draper went to Palm Beach to paint the Kennedy family patriarch, who by this time had a stroke and was paralyzed. Joseph Kennedy Sr's caretaker wheeled him out on his wheelchair, and Draper made this colored sketch in situ. Size: 24" L x 20" W (61 cm x 50.8 cm) William Draper had known the Kennedy family from his childhood summers in Hyannis Port. According to Draper's Archives of American Art oral history transcript, the Draper's invited the Kennedy's for cocktails and introduced them to Hyannis Port society. Draper stated, "This sounds awfully snobbish but it's perfectly true because nobody knew the Kennedys." (Source: Smithsonian Archives of American Art "Oral history interview with William F. Draper, 1977 June 1-28") In addition to painting Ambassador Kennedy, Draper was the only artist for whom JFK posed during his lifetime. President John Fitzgerald Kennedy sat for William Draper a year before his assassination, and the National Portrait Gallery in Washington D.C. commissioned Draper to paint a portrait from the 1962 life sketch (also available at Artemis Gallery) in 1966 (object number NPG.66.35). Joseph Kennedy was appointed Ambassador to the United Kingdom by President Franklin Delano Roosevelt in 1938, a position he held until 1940. In addition, Joe Kennedy was the patriarch of a legendary American family. He and Rose Kennedy had nine children, including John F. Kennedy (1917-1963) who was the 35th president of the United States, Robert F. Kennedy (1925-1968) who served as both U.S. Attorney General and a U.S. Senator from New York, and Ted Kennedy (1932-2009) who was a U.S. Senator from Massachusetts. Speaking to Draper's talent as a portraitist, Peter Rathbone, Director Emeritus of the Boston Museum of Fine Arts, whose portrait Draper also painted stated, "Nature endowed William F. Draper with enough talents to require him to choose among them before embarking on a professional career. Yet to those who know him, it is hard to imagine that any natural bent could rival his personal endowment as a painter of portraits … Draper's painting belongs to the tradition of Sargent. Like Sargent's, his style is fluid with virtuoso brushwork as the identifying characteristic. Like Sargent, the preparation of the painting by Draper is all in the artist's eye. Unlike Sargent's detachment, Draper's understanding and love of people and his appreciations of physical subtleties are happily projected into his work. These traits are the source of the warmth and vitality of his portraiture. They are also the reasons why his portraits are fine likenesses. And it is not too much to say that something of his own vibrant personality is reflected in everything he paints." ("Portraits Period" by Portrait Brokers of America, 1990, p. 46) William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D.C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc., the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D.C.), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999. More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D.C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan.'' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano. Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003), an accomplished American artist whose career spanned seven decades. Known as the "Dean of American Portraiture," William Draper was the only artist to paint President John F. Kennedy from life, and his oeuvre includes marvelous landscapes from his world travels, military paintings as he was one of only seventeen Combat Artists in WWII, and portraits of illustrious individuals. 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #151460 Condition: Small puncture to canvas at upper right that does not impact the painted image. Expected age wear with minor stains that are visible in unpainted areas of the canvas and do not impact the painted image. Signed and dated with inscription on lower right which reads, "Wm. F. Draper - Ambassador Joseph Kennedy - 1/2 hour sketch - Palm Beach '62". Black border tape around the edges of the painting has some tears and folds. "Ambassador Joseph Kennedy" is handwritten on the verso. There is a Draper Estate stamp on the verso as well.
• JASPER FRANCIS CROPSEY(American, 1823-1900) Farm
  JASPER FRANCIS CROPSEY(American, 1823-1900) Farm Land, signed with initials and dated lower right "J.F.C. 1852", oil on round canvas, 10-1/4 in.; reproduction gilt wood circular frame, 17-1/2 in. Provenance: Richard A. Bourne, Co., Hyannis, Massachusetts, August 6, 1974, lot 109, as Rural Landscapes; A Pair of Paintings, dated (erroneously 1859; Christie's, New York, December 6, 1991, as Spring, dated (erroneously) 1859 ; Alexander Gallery, New York, Ny, by 2005; A Private New Jersey Estate Literature: Anthony M Speiser, Kenneth W Maddox and Newington-Cropsey Foundation. 2013. Jasper Francis Cropsey : Catalogue Raisonné : Works in Oil . Hastings-on-Hudson NY: Newington-Cropsey Foundation, volume one, p. 139, ill. #224, p. 140. Condition: lined, small spots of retouch at sky and edges, possible tiny repaired tears at center, slight surface dirt; frame with minimal wear, faux aging
• SAM BARBER (B. 1943, MA) OIL PAINTING
  SAM BARBER (B. 1943, MA) OIL PAINTING ON CANVAS,titled "Sea Breeze Inn, Hyannisport". Dated 1998. Signed lower right and on verso. Sight size 30" x 36", overall with frame 37 1/2" x 43 1/4".
• ELIZABETH MUMFORD (CAPE COD, MASSACHUSETTS,
  ELIZABETH MUMFORD (CAPE COD, MASSACHUSETTS, 1950-2020), METAL TRAY WITH COASTAL SCENE, PROBABLY HYANNISPORT, 13.25" X 18".ELIZABETH MUMFORD, Cape Cod, Massachusetts, 1950-2020, Metal tray with coastal scene, probably Hyannisport, surrounded by a rose and grape leaf border. Signed and dated lower left "Elizabeth Mumford 1981". Dimensions: 13.25" x 18".
• HYANNIS, MASSACHUSETTS WOODEN TRADE
  HYANNIS, MASSACHUSETTS WOODEN TRADE SIGN 20TH CENTURY 9” X 21.5”.HYANNIS, MASSACHUSETTS WOODEN TRADE SIGN, 20th Century, Sandpaper finish. "P.F. Snyder, M.D. Obstetrics & Gynecology 269 Ocean St." in gold lettering. Dimensions: 9" x 21.5".
• ROBERT SALMON (AMERICA/ENGLAND, 1775-C.1845),
  ROBERT SALMON (AMERICA/ENGLAND, 1775-C.1845), "ENGLISH CUTTER AND LUGGER, OFF NORTH SHIELDS, 1840"., OIL ON PANEL, 16.5 X 24.5". FRAMED 24" X 32".ROBERT SALMON, America/England, 1775-c.1845, "English Cutter and Lugger, off North Shields, 1840". Inscribed verso in the artist's hand "No. 28 Painted by R. Salmon 1840". Titled on frame plaque. Dimensions: Oil on panel, 16.5 x 24.5". Framed 24" x 32". Provenance: Hyland Granby Antiques, Hyannis Port, Massachusetts.Private collection, Katonah, New York, until 2000.Godel & Co., New York.Private collection, Boston, 2001 to present.
• RARE AND IMPORTANT 18TH CENTURY BOXED
  RARE AND IMPORTANT 18TH CENTURY BOXED MARINER'S COMPASS BY PEDRO FREIRE LISBON, 1789 EXTERIOR BOX HEIGHT 10". WIDTH 14.5". DEPTH 14.5".RARE AND IMPORTANT 18TH CENTURY BOXED MARINER'S COMPASS BY PEDRO FREIRE, Lisbon, 1789, Signed and dated at the center of the 8" dry compass card "Pedro Freire Branco Afez Em Lisboa Anno 1789", with the last two numbers of the date (89) written by hand. Card beautifully engraved with an intricate compass rose design, the primary points detailed and embellished with foliate patterns, and the circumference of the card divided by hand into four 90-degree sections. Card applied to a mica disc backed with paper and spins on a brass and steel post mounted to the base of the compass box. Box features a removable glazed cover and has intricate hand-painted decoration that is in a remarkable state of preservation. Bottom of the box with marbleized background decorated with floral designs surrounding the center pin. Inside walls are constructed with eight panels, all having original paintings with various themes. Each of the four corner blocks titled on the top by the land mass -- America, Africa, Asia and Europa --, and has a rendering of an indigenous native of the continent and features a portrait of a famous explorer with ornate hand-painted borders and backgrounds depicting ships and the sea. Explorers include Vasco Da Gama, Infanted Heriq (Prince Henry), Chritov Colon (Christopher Columbus) and Bartolam Dias (Bartholomew Diaz). Portraits inscribed along the bottom: "Vasco Da Gama Primeyro defcobridor da India Oriental" (Discoverer of the East India); "Infatned Heriq de Portugal defcobridor das primeyras terras, que Portugal tem immediates em Europa. & o" (Discoverer of first lands that Portugal discovered from Europe to the East); "Christov. Colon Primeyro da America e Indis as Ocidentaes discobridor" (First to America and discoverer of the West Indies); and "Bartolam. Dias Defcobridor en Africa do Cabo La boa Speranca" (Discoverer of Africa and the Cape of Good Hope). Two of the side panels are detailed with four classical male figures pouring water from large urns, with the name below of a river that flows through Portugal to the Atlantic: "Douro", "Minho", "Tejo" and "Guadian". The compass drops into a square housing box and sits on the original square brass gimbal frame on a pair of brass nibs. Each side of the housing box with an applied molded blackened border. Fancy pierced brass carrying handles on the sides of the box, mounted within diamond-shaped surrounds. Front and back of the box have a pair of hinged brass sighting vanes and removable sliding square panels that open to 3" square viewing ports. One can view through the windows and take a bearing using the vanes and headings marked on the side of the compass card. Removable panels with diamond-shaped tiered moldings. Box mounted on what appears to be the original circular base, which allows the box to be rotated. See https://www.youtube.com/watch?v=2a6UmuC_EFU for a discussion about this item. Dimensions: Exterior box height 10". Width 14.5". Depth 14.5". Provenance: John F. Rinaldi Antiques, Kennebunkport, Maine, 2004.Hyland Granby Antiques, Hyannisport, Massachusetts.The Kelton Collection of Marine Art & Artifacts.
• WOOD ENGRAVING "A SUPERB VIEW OF THE
  WOOD ENGRAVING "A SUPERB VIEW OF THE UNITED STATES JAPANESE SQUADRON, UNDER COMMAND OF COMMODORE PERRY, BOUND FOR THE EAST." 14.5" X 21.5" SIGHT. FRAMED 19.75" X 26.75".WOOD ENGRAVING "A SUPERB VIEW OF THE UNITED STATES JAPANESE SQUADRON, UNDER COMMAND OF COMMODORE PERRY, BOUND FOR THE EAST.", Large broadside from "Gleason's Pictorial Drawing-Room Companion", New York, 1853, p. 104-105. Engraved by J.W. Orr and drawn by Wade (del), both of New York. Lists and shows the eleven ships under Perry's command: Mississippi (Perry's flagship), Princeton, Alleghany, Vermont, St. Mary's, Macedonian, Vandalia, Susquehanna, the Saratoga, Plymouth and Powhatan. Perry is seen standing in a long boat in the center foreground. Dimensions: 14.5" x 21.5" sight. Framed 19.75" x 26.75". Provenance: Columbia Trading Co., Hyannis, Massachusetts, 1996.The Kelton Collection of Marine Art & Artifacts.
• WHALE IVORY PIE CRIMPER WITH OPEN-CARVED
  WHALE IVORY PIE CRIMPER WITH OPEN-CARVED HEART MID-19TH CENTURY LENGTH 4.75".WHALE IVORY PIE CRIMPER WITH OPEN-CARVED HEART, Mid-19th Century, Delicately carved one-piece handle and wheel yoke. Fluted wheel attached to yoke with brass pin. Nice patina. Dimensions: Length 4.75". Provenance: Paul Madden, Nantucket, Massachusetts.Barbara Johnson Whaling Collection, Sotheby's New York, December 16-17, 1983, Lot #226.Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #87.
• "JENNIE" SCRIMSHAW WHALE IVORY PIE CRIMPER
  "JENNIE" SCRIMSHAW WHALE IVORY PIE CRIMPER THIRD QUARTER OF THE 19TH CENTURY LENGTH 7.5"."JENNIE" SCRIMSHAW WHALE IVORY PIE CRIMPER, Third Quarter of the 19th Century, Handle in the form of an arm and hand, the forefinger extended. Engraved at the elbow with a garter containing "Jennie" in Gothic lettering. Architectural wheel yoke supports a notched wheel. Dimensions: Length 7.5". Provenance: Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #44.
• INLAID PUZZLE BOX THIRD QUARTER OF THE
  INLAID PUZZLE BOX THIRD QUARTER OF THE 19TH CENTURY HEIGHT 1.25". LENGTH 2.5".INLAID PUZZLE BOX, Third Quarter of the 19th Century, Oval whalebone box with a whale ivory pin and an inlaid shell five-pointed star on lid. Dimensions: Height 1.25". Length 2.5". Provenance: Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #54. Retains collection sticker.
• WHALE IVORY, WHALEBONE AND MAHOGANY
  WHALE IVORY, WHALEBONE AND MAHOGANY FLASK CIRCA 1850 LENGTH 5".WHALE IVORY, WHALEBONE AND MAHOGANY FLASK, Circa 1850, Cooper-made and formed as a cask. Alternating mahogany and narrow whalebone staves joined with copper hoops. Whale ivory top and base. Retains original cork stopper. Dimensions: Length 5". Provenance: Barbara Johnson Whaling Collection, Sotheby's New York, December 11-12, 1981, Lot #412 (retains collection sticker).Jeffrey and Francine Cohen Collection, Richard A. Bourne Company, Hyannis, Massachusetts, July 31, 1989, Lot #51 (retains lot sticker).