A few examples of appraisal values for
MAIN STREET

• 2 IRON TRANSPORTATION BANKSca.
  2 IRON TRANSPORTATION BANKSca. 1890-1920; A.C. Williams Main Street trolley with people, two-part bank on spool-type cast iron wheels, retaining original gold/bronze radiator paint, 3 1/4"h, Condition: good, 75-85% original surface; street car type bank on wheels with central roof "Bank" placard, in brown/black paint, attributed to Grey Iron Co., Columbia, 2 3/4"h, Condition: one hub and wheel assembly is replacement, 70-80% original surface
• ASSORTMENT OF CLASSIC ROCK LP
  ASSORTMENT OF CLASSIC ROCK LP ALBUMS Comprising 16 items, including Woodstock Three-Record Set; The Who; The Rolling Stones, "Exile on Main Street," and "Satanic Majesty's Request;" several by The Beatles, and more.
• (9) NANTUCKET STEREO VIEW CARDS. TO
  (9) NANTUCKET STEREO VIEW CARDS. TO INCLUDE:Phillips Corner, sail boats at the dock, Sconset, Brandt Point Lighthouse, the Hermit of Quidnet, Sankaty Light, Union Street, Main Street. Some show minor discoloration and paper loss to edges.
• Seven Rockwell’s Main Street
  Seven Rockwell’s Main Street houses, with ten Colonial Williamsburg figures, including: plowing with oxen, sheep and shepherdess, Randolph carriage, and more, all with original boxes. Condition: good overall, boxes with wear CT Transfer Fee $20
• (24) TEXANA BOOKS(lot of 24) Texana
  (24) TEXANA BOOKS(lot of 24) Texana Books: (1) "Cowboys Out Our Way, Williams, 1951, autographed by J. Frank Dobie; (1) "Dallas, The Deciding Years"< Greene, 1973; (1) 'Texas Avenue at Main Street", Greene, 1964, pamphlet; (1) "The BUll of the Woods and Out Our Way", Williams, 1944; (1) "Early Texas Oil", Rundell, 1977; (1) "Ben Love, My Life in Texas Commerce, 2005; (1) "A History of the Presbyterian Church in Texas", Red, 1936; (1) "Death from the Sea", Galveston Hurricane, 1900, Mason, 1972; (1) "The Forty Acre Follies", Frantz,1983; (1) "The Caruths, Dallas Landed Gentry", Sanders, 1988; (1) "Cactus Pryor, Inside Texas, 1982; (1) "Allan Shivers", Kinch & Long, 1973; (1) "Big Red, Red McCombs", 2011; (1) "Cowpokes, Draggin S Ranch", Reid, 1966 pamphlet; (1) "Texas" Morehead, 1982; (1) "A Texas Looks at Lyndon", Haley, 1964; (1) "The Schiwetz Legacy", Schiwtz, 1972; (1) "Austin, A Historical Portrait", Willoughby, 1981; (1) "Texas History Movies" Patton & Rosenfield, 1943; (1) "Dallas, An Illustrated History", Payne, 1982; (1) "Texas Past, Enduring Legacy", Sansom & Meinzer, 1997; (1) "The Back Forty", Graham, 1968, pamphlet; (1) "Bulletin of The University of Texas", July 8, 1912; (1) "Waterloo Scrapbook, 1968-1970"; (1) "Footprints of Texas History", Dill, 1911, largest: 12"h, 9.5"w, 1.25", total: 38lbs
• MARK HAMPTON (1940-1998): THE RED
  MARK HAMPTON (1940-1998): THE RED LIBRARYWatercolor on paper, 1989, signed 'Mark Hampton' lower left, dated and inscribed 'for Henry and Audrey' lower right. 8 x 6 in. (sheet), 12 x 10 in. (frame). Note: This is a view of the Koehler's library at 80 North Main Street, Southampton, NY. Condition Light- staining. Otherwise in good condition.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.
• HENRY KOEHLER (1927-2018): MY
  HENRY KOEHLER (1927-2018): MY CORNEROil on canvas, 2003, signed 'Henry Koehler' lower left, titled and dated on the reverse. 16 x 12 in., 23 x 18 1/2 in. (frame). Note: This is a view of Henry's study at 80 North Main Street, Southampton, NY. Condition In excellent condition.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.
• LATE VICTORIAN GILTWOOD PIER
  LATE VICTORIAN GILTWOOD PIER MIRRORLabel from 'Shug's Shop English Antiques, 68 Main Street, Peapack, NJ 07977'. 5 ft. 2 1/2 in. x 33 1/2 in. Condition Minor age cracks to the gilding with associated losses. Fitted with French wallpaper panels on the reverse.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.
• 2 CAST IRON "MAIN STREET TROLLEY"
  2 CAST IRON "MAIN STREET TROLLEY" STILL BANKSca. 1920s; made by A.C. Williams of Ravenna, Ohio - this bank came in two different variations - with/without passengers; these are both non-passenger examples, 6 1/2"x 3 1/4"; Condition: fair, no issues
• LOT OF 4 EASTON PRESS LITERARY
  LOT OF 4 EASTON PRESS LITERARY CLASSICSLot of 4 Easton Press Literary Classics. Fully bound in genuine leather. 22k gold deeply inlaid on the "hubbed" spine. Printed on acid-neutral paper. Sewn Pages. Gilded Page Ends. Satin Ribbon Page Marker. Lot includes: The History of Tom Jones by A. Foundling, Lord Jim by Joseph Conrad, Green Mansions by W.H Hudson and Main Street by Sinclair Lewis.
• CHILDE HASSAM, (AMERICAN,
  CHILDE HASSAM, (AMERICAN, 1859-1935), A HOME ON THE MAIN STREET, EASTHAMPTON, 1922, ETCHING ON WOVE PAPER, SHEET: 7 3/4 X 14 IN., FRAME: 11 3/4 X 17 1/4 IN.CHILDE HASSAM, (American, 1859-1935) A Home on the Main Street, Easthampton, 1922, etching on wove paper signed CH imp. in pencil lower right 1922, etching on wove paper Dimensions: sheet: 7 3/4 x 14 in., frame: 11 3/4 x 17 1/4 in. Provenance: The Collection of a Massachusetts Lady. Condition: Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• GRANT WOOD PENCIL-SIGNED 'MAIN
  GRANT WOOD PENCIL-SIGNED 'MAIN STREET MANSION' OFFSETCondition Slight overall, even toning from light exposure. Appears to be in excellent condition otherwise. Not removed from the frame.
• HALF-GALLON STONEWARE MERCHANT JUG,
  HALF-GALLON STONEWARE MERCHANT JUG, PRESCOTTA half-gallon stoneware merchant jug marked "From T. Keilty & Bro, Groceries, Liquors&C, Main Street, Prescott". Nice glaze blob on front, good condition. 19th century. Ex Lawless collection. Dimensions, 8" x 4". FRANCAIS: Cruche marchande en grès d'un demi-gallon marquée "From T. Keilty & Bro, Groceries, Liquors&C, Main Street, Prescott". Bon état. 19ème siècle. Ex-collection Lawless.
• HARRY ALLEN DAVIS JR. (AMERICAN,
  HARRY ALLEN DAVIS JR. (AMERICAN, 1914 -2006) 40" x 46" "West Main Street, Louisville, KY". Acrylic on canvas, signed lower center, in a metallic frame, overall 43" x 48 ½". Provenance: from the art collection of an international corporation.
• PRINT, ERNIE BARNES Ernie Barnes
  PRINT, ERNIE BARNES Ernie Barnes (American, 1938-2009), "Main Street Pool Hall," photo-offset lithograph, pencil signed lower right, titled lower center, artist proof edition, overall (with frame): 26"h x 42"w
• Saul Steinberg 1914–1999. Main
  Saul Steinberg 1914–1999. Main Street. 1972-73, lithograph in colors on Arches. 22¼ h × 29? w in. result: $1,188. estimate: $1,000–1,500. Signed, dated and numbered to lower edge ‘30/40 Steinberg 1972-73’. This work is number 30 from the edition of 40 published by Universal Limited Art Editions, West Islip, NY.
• ORA COLTMAN (AMERICAN, 1858-1940)
  ORA COLTMAN (AMERICAN, 1858-1940) MAIN STREET CLEVELAND...color woodcut Ensuite with Mayfield hill, Cleveland, bearing Higbee Picture Company Label verso signed lower right, titled lower left 7.5 in. h. x 9 in. w.
• DISNEY FIGURE, CINDERELLA'S
  DISNEY FIGURE, CINDERELLA'S COACH, MAIN ST. PARADEColorful battery-operated resin coach that lights up, from the Main Street Parade. Walt Disney Classics Collection 50th Anniversary, Limited Edition. Requires 2 AA batteries. Tested and works. #disney #cinderella
• DISNEY CLASSICS COLLECTION
  DISNEY CLASSICS COLLECTION FIGURINE, LIGHTNING BUGLightning Bug from Disneyland's Main Street Electrical Parade. This figure lights up. Requires 2 AA batteries. Tested and works. #disney
• 2PC GROUPING OF VINTAGE PORCELAIN
  2PC GROUPING OF VINTAGE PORCELAIN SCENERY CREAMER AND M...Mug depicting a carriage with horses, and a creamer has a Main Street view of Middletown, Connecticut. Creamer is marked Made in Germany for WM. Greaves Middletown, Conn. and it is 3"H x 3.25"dia. Mug is 4"H x 3.5"dia. Country of Origin: Germany Condition: Age related wear.
• HARDCOVER BOOK, 18TH CENTURY
  HARDCOVER BOOK, 18TH CENTURY WEDGWOOD SIGNEDA Guide for Collectors & Connoisseurs. First edition and autographed by the author. Depth: 0.75in. 192 pages. Artist: David Buten Issued: 1980 Dimensions: 8.75"W x 11.25"H Manufacturer: A Main Street Press Book Country of Origin: United States Condition: Age related wear.
• GIOVANNI MARTINO (1908-1997) "STUDY
  GIOVANNI MARTINO (1908-1997) "STUDY FOR RECTOR AND MAIN...Giovanni Martino (American, 1908-1997) "Study for Rector and Main Streets", oil and tempera painting on panel, signed. Framed. 11.5'' x 17.25'', 29 x 44 cm (sight); 16'' x 21.75'', 41 x 55 cm (frame). Net Proceeds from the sale of this lot will be donated to the Pennsylvania Academy of the Fine Arts Student Scholarship Program.
• 1830 TENNESSEE PORTRAIT MINIATURE
  1830 TENNESSEE PORTRAIT MINIATURE OF KINHECHE, CHICKASA...Caroline Dudley (Tennessee, 1802-1832) important watercolor miniature portrait painting, depicting Chickasaw Native American dignitary Kinheche in bright garb and headdress holding a bow and arrow. Inscription identifying subject as "Kinhichi", en verso or interior paper liner, and as "Kinhishee" on the exterior of the back of the frame. Housed in a wooden frame with gilt metal sight edge and oak leaf hanger. Sight: 2 3/4" H x 2 1/4" W. Framed: 6" H x 5" W. Circa 1830. Note: this portrait was painted in Franklin, Tennessee in August of 1830 during the landmark treaty summit between President Andrew Jackson and the Chickasaw Nation, conducted at the city's Masonic Hall. Caroline Dudley was the daughter of a prominent Middle Tennessee settler and leader, Guilford Dudley; both were among the spectators invited to witness the treaty event. According to family history, Miss Dudley was so impressed by the appearance of Kinheche or Kin-hee-shee (who according to some accounts may have been a son of the chief), that she was inspired to paint his likeness. Miss Dudley may have been a teacher of art or other similar subjects at the Young Ladies Boarding School run by her mother, Anna Bland Eaton Dudley on the West Harpeth River in Williamson County from 1809-1840 or at Mrs. Long's School on West Main Street in Franklin, which was run by her sister, Judith from 1826-1828 and 1834-37. After Caroline Dudley's death just two years later at the age of 30, the painting was inherited by her sister Frances and descended in the family to its last private owner, Mary Bright Wilson of Lincoln County, Tennessee. Historical background: "After his Indian Removal Act was passed in May of 1830, President Andrew Jackson invited the Chickasaw Nation to a treaty council to be held the following August in Franklin, Tennessee. During their stay, the Chickasaw delegation met Jackson in the Franklin Masonic Hall, a National Historic Landmark which still stands at 115 2nd Ave South in Franklin. This would be the first treaty negotiation under the Removal Act and a successful outcome was important to the President, who was a charismatic and influential figure among the Chickasaw. Some of the older minkos (chiefs or headmen) had served under Jackson's command at the Battle of New Orleans and the Creek War, during the War of 1812. They called him "Sharpe Knife". Jackson appointed John Coffee and John Eaton as treaty commissioners. Coffee was a long time friend who had also served with Jackson in 1812. Eaton, Jackson's Secretary of War, lived in Franklin. The Chickasaw delegation was led by Levi Colbert - Itawambe Miko (Bench Chief), and included George Colbert, James Colbert, John McLish, Captain William McGilvery, Captain James Brown, Isaac Alberson, Topulka, Ishtayatubbe, Ahtokowa, Hushtatabe, Innewakche, Oaklanayaubbe, Ohekaubbe, Immolasubbe, Immohoaltatubbe, Ishtekieyokatubbe, Ishtehiacha, Inhiyouchetubbe, and Kinheche..." President Jackson met and welcomed the Chickasaw delegation when they arrived in Franklin on August 20, 1830. During the next several days, support for Chickasaw education, Removal expenses, and other related details were worked out. On August 31 the treaty was signed. The Chickasaw agreed to exchange their remaining land in Mississippi and Alabama for land "West of the territory of Arkansaw", with a stipulation that they could examine the land beforehand. If they didn't find suitable land, the treaty would be null and void. A supplemental treaty concerning other details was signed the next day, September 1, and "thereupon, the council broke up." The Chickasaws sent several delegations west of the Mississippi to look for land over the next two years, but nothing suitable was found. In the meantime, the signing of the 1830 Franklin treaty caused a land rush of white squatters anxious to stake their claims before the Chickasaws had even left. By 1832 the Chickasaw Nation was being overrun, even though the Franklin treaty was supposed to prohibit such intrusions. Article 3 extended the protection of the United States to the Chickasaws, but the federal government did nothing to stop the invading squatters - apparently Jackson had let his blade grow dull, at least when it came to protecting Chickasaw land. Since the Chickasaws found no suitable land in the west, the Franklin treaty was considered null and void and was never ratified by Congress. In October, 1832, President Jackson sent John Coffee to the Chickasaw Nation to negotiate a new treaty. Coffee met 65 Chickasaw leaders at the Chickasaw council house on Pontotoc Creek, near present day Tupelo, Mississippi. On October 20, the Chickasaw leaders signed the Treaty of Pontotoc Creek with the United States, agreeing to sell their remaining homeland in Mississippi and Alabama. The Chickasaws became dissatisfied with the Treaty of Pontotoc Creek, believing John Coffee had misrepresented the terms during the negotiations. In 1834 they sent a delegation to Washington, D.C., to amend the treaty. Levi Colbert, then 75 years old, began the journey but became ill and died. Before his death he dictated instructions for the delegation, which included his brother George, who had also been present at the Franklin treaty council. George Colbert and the rest of the delegation then traveled on to Washington and negotiated the desired amendments. In 1837, under the provisions of the Treaty of Doaksville, a treaty between the Chickasaw and Choctaw Nations, the Chickasaw bought a section of Choctaw land in Indian Territory. The people whose allegiance and friendship arguably prevented the destruction of fledgling Nashville and the other Cumberland settlements, and helped shape the map of the southeast to the benefit of the United States, finally left the soil of their birth and removed to the west." Source: The Native American History Association (http://www.nativehistoryassociation.org/franklin_treaty.php) Property of the Lincoln County Museum, Fayetteville, TN; Bequest of Mary Bright Wilson (1909-2004), formerly of Fayetteville, and descended in her family. Condition: 1" separation to upper right edge (near corner), otherwise overall good condition. Frame is old, but may or may not be original.
• WESTERN NC MOUNTAIN LANDSCAPE
  WESTERN NC MOUNTAIN LANDSCAPE WITH WAGON AND FIGURES, H...American School, Western North Carolina, mid 19th century oil on canvas landscape painting from the Asheville, NC region depicting a view of mountains in the background and a rocky cliffside to the left, with a winding road and wagon with cattle team lead by an African American figure in the foreground, a white figure on horseback in the mid-ground, and an African American sheep herder in the background, all under a cloudy blue sky. Signed in lower left "J.J.[illegible]. Sight: 20 1/4" H x 16 7/8" W. Framed: 26 1/8" H x 22 3/4" W. Note: Although the artist's identity remains unknown, due to the Mears family provenance this painting was likely created by a nineteenth-century artist working in the Hudson River School style and active in Western North Carolina. George Augustus Mears was born in 1838 to James Barnes Mears of Tennessee and Margaret Elvira Mears (born Penland) in North Carolina. He had 8 siblings, including Myra E. Wells (born Mears) and Lieut. Samuel Marion Mears. George married Nancy M. Mears (born Roberts) (1844-1916) and had 9 children, including Samuel Parley Mears and Ella Webster (born Mears). In 1885 he constructed the George A. Mears House located at 137 Biltmore Avenue, a two-and-a-half-story brick Queen Anne-style building listed on the National Register of Historic Places on April 26, 1979. After serving in the Confederate 16th Regiment, North Carolina Infantry during the Civil War, Mears was an Asheville merchant who was in business between 1870 and 1910 on South Main Street, principally with his Mears Daylight Store, which burned in the 1920s. (Adapted from the Preservation Society of Asheville and Buncombe Co. and Ancestry.com). Condition: Fine craquelure throughout. Minute abrasions to edges, primarily lower corners and top edge. Scattered minute exfoliation. Patch repair en verso with corresponding retouching near wheels of wagon. Scratch to varnish lower quadrant measuring approximately 11 1/2" L.
• MAIN STREET TROLLY BANKMain
  MAIN STREET TROLLY BANKMain Street Trolly Bank. Early twentieth century. Cast iron toy bank of a main street trolley car with metallic coating. Also includes a reproduction Tank Bank USA 1918 cast iron toy bank. 6 _ x 3 _î and 5 x 3î. General wear to color, especially at edges and on top. Good.
• LOT OF 36 VINTAGE CASINO ROULETTE
  LOT OF 36 VINTAGE CASINO ROULETTE CHIPS.Lot of 36 Vintage Casino Roulette Chips. Nevada, 1970s – 80s. Clay chips, all different, casinos represented including Gold Coast, Horseshoe Club ($5, non-roulette), Hooters, Excalibur, Riverside Resort, Terrible’s, Bellagio, Aladdin, Sam’s Town, Mandalay Bay, Hard Rock Hotel, Tropicana, Orleans, The New Frontier, Colorado Belle, Circus Circus, Casino Royale, Four Queens, Fremont, Wynn, Sahara, Main Street Station, and others. Condition: generally good, some gilt-stamping rubbed, light scuffs and other wear.
• FRAMED RESOLUTION OF COLON,
  FRAMED RESOLUTION OF COLON, MICH., TO RENAME MAIN STREE...Blackstone, Harry (Henry Boughton). Framed Resolution of Colon, Mich., to Rename Main Street to Blackstone Avenue. Colon, 1961. Group of framed documents, including the original resolution signed by the Village Council of Colon designating Main Street as Blackstone Avenue; a letter from the Village Attorney, William McManus, to Blackstone informing him of the resolution; and Blackstone’s clipping from New Tops in which the news is announced. 13 ½ x 25 ½”. Collection of George Hippisley (List No. B1255).
• GRACE SPAULDING JOHN
  GRACE SPAULDING JOHN (AMERICAN/TEXAN 1890-1972) A PAINT...GRACE SPAULDING JOHN (American/Texan 1890-1972) A PAINTING, "The Lighted Candle," 1923, oil on artist board, signed L/L, verso titled and dated typed label. 24 1/2" x 21" Note: Grace Spaulding John was born on February 10, 1890 in Battle Creek Michigan but by age 13 her family moved to Beaumont Texas where her father became the editor of the Beaumont Enterprise. It was here that she had her first art lessons under the tutelage of Penelope Lingan and later attended the Chicago Art Institute, the Art Students League of N.Y.C and the Pennsylvania Academy of Fine Art. Afterwards she returned to Texas where she married a prominent Houston attorney, Alfred Morgan John a great grandson of Sam Houston. John became known for her oils, watercolors, Italian frescoes, etchings and lithographs as well as printing in various mediums. The Museum of Fine Arts Houston recognized her with a solo exhibition, one of the first for that institution. In 1930 she organized the Houston Artists' Gallery in the basement of the Beaconsfield Hotel on Main street - the first professional artists' gallery in Houston. Source Condition: Good condition, professionally re-framed in 2013. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• GEOFF WINNINGHAM (AMERICAN/TEXAS B.
  GEOFF WINNINGHAM (AMERICAN/TEXAS B. 1943) THREE PHOTOGR...GEOFF WINNINGHAM (American/Texas b. 1943) THREE PHOTOGRAPHS, 1977-1987, three color photographs, each respectively signed L/R, "G. Winningham," in pencil, and titled L/L on mat, "Hill County Courthouse 1977," 13" x 10"; "Under the Main Street Bridge at Allen's Landing 1982," special edition number 11/25, 11" x 16 3/4"; and "Eagle Meadow Drive, Marseilles Subdivision 1987," special edition number 9/25, 11 1/2" x 16 3/4", framed, 24" x 20". Condition: Some fading and yellowing, wear expected and overall in good condition. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• GEOFF WINNINGHAM (AMERICAN/TEXAS B.
  GEOFF WINNINGHAM (AMERICAN/TEXAS B. 1943) TWO PHOTOGRAP...GEOFF WINNINGHAM (American/Texas b. 1943) TWO PHOTOGRAPHS, HOUSTON, 1986, color photography comprising "South Main Street and Downtown Houston(with Rainbow)," signed on mat in pencil L/R, titled and dated in pencil in margin L/L, with special edition number 16/25, 11" x 17"; framed 23" x 27"; and "Little White Oak Bayou and Downtown Houston," signed on mat in pencil L/R, titled and dated in pencil in margin L/L with special edition number 13/25; 12" x 15 1/2", framed 23" x 27". Condition: Some yellowing and otherwise no visible damage or sign of repair. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS.”
• SYBIL GOLDSMITH OIL ON CANVAS
  SYBIL GOLDSMITH OIL ON CANVAS "THE THREE BRICKS"Sybil Goldsmith (1917-2005) Oil on Canvas "The Three Bricks" , signed lower right Sybil Goldsmith; Original Main Street Gallery partial label on reverse. 35 ½ in. x 23 ½ in. Overall 40 in. x 28 in. Sybil Goldsmith began painting at age six at a summer class in Siasconset. She studied at Sarah Lawrence College and the Silvermine Art Guild. Best known for her portraits, the artist became a mainstay at the Main Street Gallery and moved to Nantucket in 1966. She often taught other artists in her studio. ~ Robert Frazier 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.
• C. ROBERT PERRIN WATERCOLOR ON
  C. ROBERT PERRIN WATERCOLOR ON PAPER "ZERO MAIN STREET ...C. Robert Perrin (1915-1999) Watercolor on Paper "Zero Main Street Reflections" , signed lower left C. Robert Perrin. 20 ½ in. x 19 ½ in. Overall 30 in. x 28 in. The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association of Nantucket. 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.
• FRANK SWIFT CHASE OIL ON CANVAS
  FRANK SWIFT CHASE OIL ON CANVAS "MAIN STREET NANTUCKET"...Frank Swift Chase (1886-1958) , Attributed Oil on Canvas "Main Street Nantucket" , a view looking east from the East Brick up the cobbled stoned street, unsigned. 16 in. x 20 in. Overall 22 ½ in. x 26 ½ in. 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.
• PAIR OF POLLY BUSHONG FOLK ART OILS
  PAIR OF POLLY BUSHONG FOLK ART OILS ON PANEL "WHALE WAT...Pair of Polly Bushong (American 1910-1990) Folk Art Oils on Panel "Whale Watching" and "Hot Air Balloon Race" , each signed Polly Bushong, Fecit, in molded walnut frames with gilt liners 13 ¼ in. x 13 ½ in. Overall 18 in. x 15 in. Polly Bushong and her brother Bobby were famous for their party costumes and their wild sense of humor. They helped enliven the social circuit of artists that dominated the 1950s and 1960s on island. Polly often dressed as a mysterious character, Cora Pratt, in outlandish costumes and carved buck teeth (top left). Photographer Diane Arbus captured Polly as Cora, the Counterfeit Lady, several times with her camera. Daughter and son of a pioneer cinematographer, the Bushongs joined the Artists Association on Nantucket in 1952, and in 1954 held a two-person show at the Kenneth Taylor Galleries. They moved together to Nantucket in 1955. Bobby left a successful career in commercial art in New York City, while Polly was a portrait photographer in their native city of Worcester. Polly was self-taught under the tutelage of her brother, employing a sophisticated folk-art approach to her painting. Bobby studied at the Worcester Art Museum School and at the Museum School in Boston with Bauhaus founder Walter Gropius. They both exhibited at the Lobster Pot Gallery, where attendance for their 1971 opening set a Lobster Pot record, as well as at the Artists Association and the Main Street Gallery, both on Nantucket.” ~ Artists Association of Nantucket. 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.
• VINTAGE NANTUCKET WATERCOLOR ON
  VINTAGE NANTUCKET WATERCOLOR ON PAPER "CORNER OF MAIN S...Vintage Nantucket Watercolor on Paper "Corner of Main Street and Centre" , circa 1950-1960, depicting the Pacific National Bank, Methodist Church and Congdon's Insurance 12 ¾ in. x 16 in. Overall 15 ½ in. x 18 ¾ in. 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.
• H. MARSHALL GARDINER HAND COLORED
  H. MARSHALL GARDINER HAND COLORED PHOTOGRAPH "MAIN STRE...H. Marshall Gardiner Hand Colored Photograph "Main Street, Nantucket" , pencil signed lower right and titled lower left Overall 8 in. x 9 in. 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.