A few examples of appraisal values for
MODEL 10 STEVENS

• WILLIAM LESTER STEVENS, AMERICAN
  WILLIAM LESTER STEVENS, AMERICAN (1888-1969), POINT PLEASANT, DELAWARE RIVER, CA. 1927-1929, OIL ON CANVAS, 42 X 48 INCHESWILLIAM LESTER STEVENS, American, (1888-1969) Point Pleasant, Delaware River, ca. 1927-1929, oil on canvas signed lower right "W. Lester Stevens" oil on canvas Dimensions: 42 x 48 inches Provenance: A New Jersey estate; Private Collection, Massachusetts. Framed dimensions: 46 7/8 x 53 1/4 x 2 1/2 inches William Lester Stevens was born in Rockport, Massachusetts, a seaside town that had been an established destination for artists. He completed his early formal training with Parker Perkins and then attended the Boston Museum School as a student of Edmund Tarbell, Frank Benson, Philip Hale and William Paxton. In 1917, Stevens joined the Army and was sent to Europe. He painted and sketched while in Europe and when he returned to Rockport found that it had become a destination for artists including Frank Duveneck, Childe Hassam, Leon Kroll and Jonas Lie. Together with his friend, Aldro T. Hibbard, Stevens was instrumental in organizing the Rockport Art Association in 1921 exhibiting the works of fifty area artists.Their shared goal was to make fine art more accessible to a broader audience. Stevens would continue to pursue these goals later in his career by organizing the Conway Festival of the HIlls and the Berkshire Arts Festival. As an established artist, Stevens first taught in Rockport and then from 1925-1926 at Boston University and from 1927-1929 at Princeton. He traveled in the south and had one-man exhibitions in Charlotte and Asheville, North Carolina, where his work was well received. When speaking of Stevens few are aware of his time spent painting in the New Hope, Pennsylvania area from 1927 to 1929. In 1927, he was appointed an instructor of freehand drawing and watercolor at Princeton University. According to his exhibition records, Stevens exhibited two paintings at the Pennsylvania Academy of the Fine Arts with New Hope area subjects, "Winter in New Jersey",1929, and "Lumberville" in 1930. In addition, a painting titled "Lumberville" was exhibited at the National Academy of Design in 1929 and at the Art Institute of Chicago in 1930. During his time at Princeton, Stevens was extremely productive and exhibited extensively. In 1928, Stevens exhibited at the American Watercolor Society and won the William S. Delano Prize. He also exhibited at the National Gallery of Art and the Corcoran Gallery of Art. Despite his rigorous academic schedule, he produced enough paintings during 1928 to send works to the New Haven Paint and Clay Club where Winter in New Jersey won the Mansfield Prize. Also, during this time he had a one man show at the American Association of University Women at the Public Library in Birmingham, Alabama, followed by an exhibition of over thirty oil paintings at the J.B. Speed Museum in Louisville, Kentucky. In 1929, Stevens gave up his teaching position at Princeton and returned to Rockport. In an article written by Charles Movalli for the 'American Artist' he wrote: "Stevens loved to talk about art - and himself. Steve thought he was the only painter in the world, a friend remembers fondly. He used to joke that 'only God and Lester Stevens can make a tree. He never tired of talking about the time his hero, Edward Redfield, the great outdoor painter, saw a Stevens painting in a show and said, "That kid's going to go far." It is likely that Redfield and his paintings of Point Pleasant first inspired Stevens to visit the area." In 1934, the Stevens family left Rockport and moved to Conway, Massachusetts where the artist remodeled an old farmhouse and built a studio facing Mount Monadnock. He painted throughout his entire life and died in Conway in 1969. By 1964 he had won more awards than any other living artist except for Sargent. Tags: American Impressionist, American Impressionism, oil painting, New Hope School, Cape Ann School, Rockport artist, Delaware, Pennsylvania Impressionism Condition: overall good condition; there are two repairs apparent under UV, one about 2 x 3 inches in the left tree, another linear repair lower center, approximately 12 x 1 inch; UV photos available upon request We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
• Sleeping Jungle Princess by
  Sleeping Jungle Princess by Edward John Stevens Jr. Edward John Stevens Jr. (American 1923-1988).? Gouache unsigned but labeled on verso; 21.5 x 17.25 in. (sight)Label on verso from E. Weyhe Art Books & Prints New York inscribed Sleeping Jungle Princess/ (1945)/ ?original gouache/ by/ Edward John Stevens.? Verso also includes an attached brief bio of the artist and a previous owner label.
• Commodore Robert F. Stockton USN
  Commodore Robert F. Stockton USN (1795-1866) Fore-&-Aft Cap Epaulets and Vest Plus Lot includes fore-and-aft cap antebellum dress epaulets military vest sash and Whig mourning document all belonging to Robert F. Stockton. The Navy fore-and-aft cap is definitely pre-Civil War and was made by R.H. Stevens of Norfolk a maker not found in Bazelon. Richard H. Stevens was found in the 1851-52 Norfolk City directory but his address was then listed as ''Hatmaker City Hotel.'' At the end of the decade Stevens is listed at the No. 7 Market Square address in the 1859-60 Norfolk City Directory. The dates are critical as Stockton was promoted to Captain in December 1838 and resigned in the same rank in May 1850 about the time that R.H. Stevens is listed as working at the earlier ''City Hotel'' address. At best the cap was made about 1850 the same year that Stockton resigned. Alternatively the cap was made for Stockton to wear (on formal or ceremonial occasions) after he left the Navy. The pair of antebellum dress epaulets date from about the same time. They are regulation for a senior Navy Captain or line officer commanding a squadron as indicated by the star. By the time of his resignation in 1850 Stockton was a senior Captain who had commanded US naval forces in the Pacific during operations that annexed California during the Mexican War 1846-47. The lot is accompanied by a notarized letter regarding provenance. Descended Directly in the Family of Robert F. Stockton Condition: Very good overall.
• J. Stevens boys' rifles and
  J. Stevens boys' rifles and Remington Nylon 66 semi-automatic rifle circa 1930 Model No. 12 ''Marksman'' serial number 736; .22 rimfire caliber single-shot takedown lever action marked with standard Stevens' barrel address markings blued finish straight-hand hardwood stock tip-up barrel S-shaped triggerguard lever overall L36'' barrel L22''; circa 1913 Model No. 26 ''Crack Shot'' NVSN; .22 rimfire caliber single-shot takedown rolling-block-type action stamped ''CRACK SHOT 26'' and ''SVG'' cartouche on left side of action and with standard Stevens' barrel address markings and patent dates blued finish plain two-piece walnut stock with a steel crescent buttplate S-shaped triggerguard lever overall L36 1/2'' barrel L22''; circa 1965 NVSN; .22 caliber autoloader marked ''PAT PEND REMINGTON .22 LR ONLY'' blued finish Zytel plastic pistolgrip stock blade front sight and adjustable rear sight overall L19 5/8'' barrel L381/2''. (3pcs) ***Subject to State & Federal Firearms Laws*** Provenance: Tybee Island Georgia private collection. Back    Inquiry      Previous Item   Next Item © Charlton Hall Auctions.  Images descriptions and condition reports used on this site are original copyright material and are not to be reproduced without permission. For further information telephone 803.779.5678     © 2012 CHARLTON HALL GALLERIES INC.
• WALTER HOLLIS STEVENS WATERCOLOR
  WALTER HOLLIS STEVENS WATERCOLOR PAINTING, ISLAND SERIE...Walter Hollis Stevens (Tennessee, 1927-1980) linear abstract watercolor on paper painting titled "Island Series 8", rendered in shades of blue and green. Signed "Stevens" along the lower mid margin. Titled and dated "1972" on the artist's label en verso and additionally signed along the lower margin. Float mounted in a chrome frame with plexiglass. Image: 30" H x 26 3/8" W. Sight: 31 1/2" H x 27 1/2" W. Framed: 32 1/4" H x 28 1/4" W. Note: Stevens was one of the "Knoxville Seven" and a professor of art at the University of Tennessee. His work is in collections of the Birmingham Museum of Art, Carnegie Visual Arts Center in Alabama, and the Mint Museum in Charlotte. Condition: Overall very good condition. Not examined outside of frame.
• WALTER HOLLIS STEVENS W/C,
  WALTER HOLLIS STEVENS W/C, "RAVINE I"Walter Hollis Stevens (Tennessee 1927-1989) Abstract watercolor on paper titled "Ravine I", signed and dated lower left, "Stevens '63". Cardboard label and framer's label en verso. Sight - 19" H x 27 1/4" W. Framed - 27 1/2" H x 35 1/4"W. Note: Stevens was one of the "Knoxville Seven" and a professor of art at the University of Tennessee. His work is in collections of the Knoxville Museum of Art, TN State Museum, the Birmingham Museum of Art, Carnegie Visual Arts Center in Alabama, and the Mint Museum in Charlotte. (Higher-resolution photos are available at www.caseantiques.com) Condition: Excellent condition.
• NEEDLEWORK SAMPLER FAMILY RECORD
  NEEDLEWORK SAMPLER FAMILY RECORD MAINE, DATED 1830 12.75" X 10" SIGHT. FRAMED 14.75" X 12".NEEDLEWORK SAMPLER FAMILY RECORD, Maine, Dated 1830, Stevens family record "Wrought by E.H. Stevens AE 13 years. 1830". List of family members, including maker Eliza H. Stevens, above a house flanked by birds and flowering trees. Floral vine and line borders. Research indicates the Stevens family was located in Gorham, Maine. Dimensions: 12.75" x 10" sight. Framed 14.75" x 12".
• [JAMES MADISON] 1801 LETTER1801
  [JAMES MADISON] 1801 LETTER1801 letter of introduction for Jacob Mayer, Esquire, to meet with James Madison, then secretary of State to Thomas Jefferson. Mayer became U. S. consul to the port of Cap-Francais in 1796 and was removed from office in May 1800. Letters held in the National Archive document the political intrigue surrounding Mayer. Once Edward Stevens was confirmed as Consul General to Saint-Domingue he sailed for the West Indies aboard the Kingston, heavily laden with provisions and luxury items. Part of the cargo was consigned to the representative of a Haitian General, part was consigned to Mayer, and the bulk went to Stevens to help pay for the cost of the endeavor. Mayer accused Stevens of exploiting his position to benefit himself and then Secretary of State Timothy Pickering. The Philadelphia Aurora broke the story of the scandal prompting George Washington to inquire about the veracity of the accusations. Pickering tried to undermine Mayer's credibility to President John Adams in a letter saying, "The unfitness of Mr. Mayer to hold the office of Consul seems so apparent to the Secretary he has thought it to be his duty to accompany this communication with the recommendations he finds in his file." This letter written by an unidentified author says Mayer "will visit the seat of government for the purpose of communicating with the administration on the subject of our affairs in that quarter.", referring to the scandal with Stevens. The back of the letter is inscribed "My letter of introduction of Jacob Mayer to James Maddison Esquire Secretary of State May 9th 1801 Copy. Madison's name is misspelled throughout. Approx. 8-3/4" x 9-3/4". Overall toning of paper, two folds, some weakness along folds. Some loss along the left edge. See images for more details on condition. This item can be shipped in-house. shipping info d author says Mayer "will visit the seat of government for the purpose of communicating with the administration on the subject of our affairs in that quarter.", referring to the scandal with Stevens. The back of the letter is inscribed "My letter
• WALTER HOLLIS STEVENS O/C
  WALTER HOLLIS STEVENS O/C ABSTRACT PAINTING, OFF SHORE ...Walter Hollis Stevens (Tennessee, 1927-1980) abstract oil on canvas painting titled "Off-Shore II" comprised of a central dynamic multicolored spidering form against a gradient light green to dark background. Signed and dated in green "Stevens '61" lower left. Additionally signed "W.H. Stevens", titled, and dated with medium inscribed, en verso of stretcher. Housed in a thin wooden frame. Sight: 40" H x 40" W. Framed: 40 3/4" H x 40 3/4" W. Condition: Overall excellent condition.
• WILL HENRY STEVENS PASTEL LANDSCAPE
  WILL HENRY STEVENS PASTEL LANDSCAPE PAINTING, HAY BARNWill Henry Stevens (Indiana/Louisiana/N.C/Tennessee, 1881-1949), "Hay Barn," pastel on paper landscape painting depicting a man raking hay from a horse-drawn wagon into a central barn set in the middle of a field, while gray clouds threaten overhead. A bare tree stands in the foreground. Signed "Stevens" lower left. Matted and framed under glass in an ebonized frame with a gilt sight edge. Sight - 16" x 13". Frame - 24" x 21". Biography (from the Johnson Collection): "An abiding love of nature - especially as borne out in the Southern landscape - informed the life and work of painter, poet and teacher Will Henry Stevens. Born in Vevay, Indiana, Stevens enrolled at the Cincinnati Art Academy in 1901 where his teachers included Frank Duveneck and Lewis Henry Meakin. In 1904, he won a design competition sponsored by Cincinnati's famous Rookwood Pottery and was subsequently hired as a tile designer. Two years later, Stevens undertook studies at the Art Students League in New York with William Merritt Chase and developed associations with Van Dearing Perrine and Jonas Lie in the city. His first one-man show was held at the New Gallery in 1907. Over the course of his career, Stevens' expansive intellectual curiosity and interest in experimental art forms led him to work in varied media and innovative styles, producing both realist and abstract expressions. In 1921, Stevens became a member of the faculty at Sophie Newcomb College in New Orleans, teaching there until his retirement in 1948. He plumbed the lush Louisiana landscape for subject matter during the school year, while the summers were reserved for travels to the mountains of North Carolina and Tennessee. Stevens was a popular teacher at several art colonies in the South, including Black Mountain, North Carolina. Throughout his career, he maintained friendships with Robert Henri, George Bellows, and other artists, and closely followed the modernist scene in New York. His work is included in the collections of the Smithsonian Museum of American Art, Los Angeles County Museum of Art, Ogden Museum of Southern Art, Morris Museum of Art, and Museum of Fine Arts, Boston." Condition: Light toning to paper. 3/4" repaired tear at upper left edge.
• CARRIE G. STEVENS MEMORABILIA IN
  CARRIE G. STEVENS MEMORABILIA IN SHADOW BOX UPPER DAM, RANGELEY, MAINE, 20TH CENTURY 27.5” X 15.5”.CARRIE G. STEVENS MEMORABILIA IN SHADOW BOX, Upper Dam, Rangeley, Maine, 20th Century, Includes five photographs of Stevens, five streamers with two on her cards, and a small advertisement for her flies. Wood and glass shadow box with birch bark backing. Dimensions: 27.5" x 15.5". Provenance: Carrie Stevens (1882-1970), who was born and lived her entire life in the state of Maine -- never leaving its borders -- created her first fly in July 1924. From there, she would revolutionize the world of fly tying. She called her first pattern "Shang's Go-Getum", and it caught her a prize-winning brook trout the first day she used it. After Field & Stream magazine published her account of the trophy catch, she immediately began receiving orders for flies. She created dozens of patterns and thousands of streamer flies, which she sold to private clients and in stores and camps around Rangeley, Maine, where she lived.
• Cayuse Chief Poor Crane Also
  Cayuse Chief Poor Crane Also Known as Cutmouth John Quarter Plate Tintype Remarkable quarter plate tintype of American Indian chief identified as?Yehtiinwic or?Poor Crane?(ca 1814-1891) whose name indicates that he was Cayuse although it has also been suggested that he was Umatilla.?Poor Crane's frontier nickname was Cutmouth John which he acquired in the spring of 1850 during an?intra-Cayuse battle when the murderers of the Whitman family were captured then delivered to Oregon authorities who summarily hanged them. The Whitman massacre occurred in 1847 when U.S. missionaries Dr. Marcus Whitman his wife Narcissa and eleven others were killed by Cayuse and Umatilla Indians. Following the Whitman massacre Poor Crane?acted as an Indian Scout for several figures including Washington Governor Isaac I. Stevens and various military officers assigned to the area such as Philip Sheridan. Poor Crane?was prominently involved in the events of 1855-1859 including the Yakima Indian War. ?In the tintype studio portrait Poor Crane?wears what looks to be a red wool shirt accented with brass buttons and covered with brass armbands. He also wears wool leggings decorated with strips of pony beadwork and fringed with tan ermine skins plus beaded moccasins. A flintlock Dragoon pistol lays across Poor Crane's?lap protected by a beaded case. The brass butt-ferule of the pistol grip has been carefully accented with gilt. The context and care devoted to this portrait suggests that it was possibly made for one of the officers whom Poor Crane?had served. It has also been suggested that this portrait was made ca 1878-1879 at the conclusion of the Bannock War following the death of Paiute Chief Egan whom Poor Crane?is known to have killed. A standing portrait of Poor Crane from the University of Washington Libraries Special Collections depicts Poor Crane with a scalp hanging from his tomahawk haft the scalp identified as that of Chief Egan. Although the library dates the standing portrait to ca 1865 it has been suggested that the portrait was taken around the same time as the seated portrait of Poor Crane. ?It has been discovered that Poor Crane was one of the best-documented individuals in Plateau history and one of the earliest references to Poor Crane was made in 1839 by a wandering lawyer named Thomas Jefferson Farnham. In?Travels in the Great Western Prairies Farnham recalled:?The "poor crane" was an honest honourable man; and I can never think of all his kind acts to me from the time I met him in the plains beyond the Wallawalla mission till I left him sick on the bank of the Columbia without wishing an opportunity to testify my sense of his moral worth and goodness of heart in some way which shall yield him a substantial reward for all he suffered in my service.?In 1855 Poor Crane was the scout who guided Washington Territory Governor Isaac I. Stevens' party to the council grounds at Walla Walla where the treaty of 1855 was negotiated and signed. Three years later during the early months of the Yakima War of 1858 Poor Crane scouted for the young Philip Sheridan and from that same period the following description of Poor Crane referred to as Cutmouth John was written by Lieutenant Lawrence Kip in Army Life on the Pacific: ?A Journal:We reached Fort Walla Walla July 19th [1858] after a march of twelve and a half days. The fort is almost on the ground of the Walla Walla council which I attended three years ago where these tribes we are now to fight [Coeur d'Alene Spokan & Palouse] were all represented and their great leader Kamiahkin was himself present. It is in a beautiful spot of the Walla Walla valley well wooded and with plenty of water. At this post are stationed four companies of the First Dragoons and two of the Ninth Infantry...One of the first persons who came into camp to see us was a Cayuse Indian Cutmouth John who was Lieutenant Gracie's guide through this country three years ago when I accompanied him on his march with a detachment of the Fourth Infantry to act as an escort for Governor Stevens at the Walla Walla council. This worthy had a dreadful distortion of visage from having been shot in the mouth...hence his sobriquet...John?seemed very glad to see me after our long separation and during the expedition was a visitor almost every evening at our tent. He was exceedingly fond of talking about his former connection with the mission and yet it must be acknowledged that he had not retained much of [what he had] learned while there. His sole stock consisted of two or three hymns with which he always insisted on favoring us particularly when he had imbibed too much whiskey a contingency occurring far more frequently than was for his own good. (31-32).Our sincere thanks to Mike Cowdrey?and Nakia Williamson-Cloud for providing detailed information regarding this historical figure.? Condition: Some wear to plate; housed in full case.?
• STANFORD P. STEVENS (TEXAS,
  STANFORD P. STEVENS (TEXAS, 1917-2000), BUST "CRAZY HORSE, OGLAGA SIOUX WARRIOR"., BRONZE, HEIGHT 32". WIDTH 17". DEPTH 10".STANFORD P. STEVENS, Texas, 1917-2000, Bust "Crazy Horse, Oglaga Sioux Warrior". Onyx and wood base with bronze label. Inscribed on side of base "S.P. Stevens 3-80, 2, Cast at S.P. Stevens Art Foundry, S.A. Texas". Dimensions: Bronze, height 32". Width 17". Depth 10".