A few examples of appraisal values for
MAUD S

• VICTORIAN HOUSE PORTRAIT PAINTING
  VICTORIAN HOUSE PORTRAIT PAINTING SIGNED MAUD S.Framed oil on canvas painting, Victorian House, signed Maud S., and dated Sept 25, 1888 lower right, split to frame, patched repair to canvas, sight: approx 15.5"h, 19.5"w, overall: approx 23.5"h, 27.5"w, 5.75lbs
• 4 CURRIER & IVES EQUESTRIAN
  4 CURRIER & IVES EQUESTRIAN PRINTSCurrier and Ives, United States. Group of four equestrian lithographs including: Scott Leighton (American, 1847-1898). "The Queen of the Turf Maud S, Driven by W.W. Bair: By Harold, Dam Miss Russell, by Pilot Jr.," 1880. Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 2: O-Z (Gale Research Company: Detroit, 1984). Number 5440, page 555. "Grand Drive, Central Park, N.Y.," 1869. Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 2693, page 276. John Cameron (Scottish, 19th c.) "Ethan Allen and Mate and Dexter: In Their Wonderful Race, over the Fashion Course, L.I. June 21st 1867," 1867. Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 2: O-Z (Gale Research Company: Detroit, 1984). Number 1903, page 196. John Cameron (Scottish, 19th c.) "The Celebrated "Four In Hand" Stallion Team: Superb and His Three Sons," 1875. Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 0972 or 0973, page 97. Provenance: Distinguished Corporate Collection, Ohio. Currier and Ives was founded by Nathaniel Currier (American, 1813-1888) in 1835 as "the Grand Central Depot for Cheap and Popular Prints," but changed its name with the addition of James Merritt Ives (American, 1824-1895) in 1857. The company created over 7000 popular lithographs depicting American life until 1907. Sight; height ranges from 19 1/4 in to 21 in; width ranges from 27 1/2 in to 28 3/4 in. Framed; height ranges from 28 in to 30 in; width ranges from 36 1/2 in to 37 3/4 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.
• EMILY HOFFMEIER OIL ON CANVAS
  EMILY HOFFMEIER OIL ON CANVAS "WHARF NANTUCKET", CIRCA ...Emily Hoffmeier (1888-1952) Oil on Canvas Titled "Wharf Nantucket", circa 1920s, depicting Killen Wharf, now known as Straight Wharf with dock-side activities including fishing boats and fishermen, signed lower right Emily L. Hoffmeier; original artist exhibition label on the reverse, “Emily Hoffmeier, Wharf Nantucket, $100 #3 Harborview”. Note: Scattered areas of craquelure. 18 in. x 22 in. Framed 22 in. x 26 in. From 1929 to her death in 1952, Emily L. Hoffmeier spent summers on Nantucket, painting in the waterfront studios—first Harborview No. 3 and later moving to the Red Anchor Studio on Washington Street. She exhibited in the Easy Street Gallery, the Candle House Studio, and later at the Kenneth Taylor Galleries. After the death of Maud Stumm in 1935, Hoffmeier took over the direction of the annual Sidewalk Art Show, which she ran for the next eighteen years “with untiring cheerfulness and unflagging interest.” She was one of the founding members of the Artists Association of Nantucket and served on its first executive committee. 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.
• 5 LARGE ISLAMIC EGYPTIAN FUSTAT
  5 LARGE ISLAMIC EGYPTIAN FUSTAT GLASS BEADSNorth Africa, Egypt, Fustat, Islamic culture, ca. 7th to 11th century CE. A wonderful ensemble of 5 sizeable glass beads, each presenting a barrel form and formed using the mosaic glass technique. Each beautiful bead is comprised of 6 canes spirally wound with alternating trails to create a zigzag effect. Though 1 bead exhibits only hues of blue and white, the remaining 4 beads display shades of blue, white, yellow, and red. The canes were fused over a central rod and then flattened and fire-polished on both ends. Size (of largest): 1.7" W x 1.7" H (4.3 cm x 4.3 cm) According to Maud Spayer in "Ancient glass in the Israel Museum: beads and other small objects" (Israel: The Israel Museum, 2001, page 103), "Beads with longitudinal zigzag designs were reported from Fustat and named after that site. Fustat beads, alternatively termed 'Fustat fused-rod' beads, are fused from eight, or occasionally six, trail decorated, spirally twisted cane sections, around a beadmaking rod. . . Most Fustat beads were undoubtedly made in Egypt, some, if not all, at Fustat in the 9th. and 10th. centuries CE. However, it is conceivable that some examples are slightly earlier or later and/or of non-Egyptian provenance..." A similar marvered glass bead was sold by Christie's London for 3,125 British sterling (equivalent to about $4,301.24) on October 6th, 2008 as lot 18 in the "Art of the Islamic And Indian Worlds" auction (Live Auction 7615). Cf. Corning Museum of Glass, 81.1.44 and 95.1.36. Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010 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. #135010 Condition: All wearable as beads or pendants. Expected surface wear to all as shown, commensurate with age. Otherwise, all are intact and excellent.
• THREE HORSE-RELATED COLORED
  THREE HORSE-RELATED COLORED LITHOGRAPHSTHREE HORSE-RELATED COLORED LITHOGRAPHS, 1) "The First Meeting, Jerome Park, Coming In", 1873. H. Schile, New York. 20" x 26" sight. Framed 28.5" x 34.5". 2-3) Pair of Currier & Ives trotter horses: "Frances Alexander" and "Maud S.". Original works by Scott Leighton. Approx. 11" x 5" sight. Framed 21" x 23".
• ANNA MAUD SUTHERLIN-HOLLISTER OIL
  ANNA MAUD SUTHERLIN-HOLLISTER OIL ON BOARDANNA MAUD SUTHERLIN-HOLLISTER (Oregon 1873-1965) oil on board, floral still-life. Signed lower right. Image measures 21" x 27". In a wood frame; 25" x 31" overall.
• 8 LATE 19TH C COLORED
  8 LATE 19TH C COLORED CHROMOLITHOGRAPHS,EQUESTRIAN SCENES, ARMSTRONG & CO., BOSTON, TO INCLUDE "MAUD S, THE QUEEN OF THE TROTTING TURF" AFTER FORVES, 1880, CHIP TO CORNER OF MAT, DESCRIPTION OF HORSE ON VERSO. "PIEDMONT", 1881 TEAR TO CARDBOARD MAT. "EDWIN THORNE" AFTER SCOTT LEIGHTON, CHIP TO RIGHT CORNER OF PRINT. "DANIEL LAMBERT" AFTER MARSDEN. "ALMONT" 1881, SLIGHT TEAR TO MAT. "PAROLE" AFTER HENRY HALL, 1879, CHIP TO CORNER OF CARDBOARD MAT. "PAROLE" AFTER HENRY HALL, 1879. "NEVADA", 1880. SIGHT SIZE 10 3/4" X 14 3/4".