A few examples of appraisal values for
SPIRIT OF WASHINGTON

• Washington painting after Barralet,
  Washington painting after Barralet, "Commemoration of Washington" or "The Apotheosis of Washington", depiction of George Washington being lifted from his tomb by Time and Immortality and being mourned by Colombia (Freedom), a Native American, and the figures of Faith , Hope and Charity , after an 1802 engraving, by John James Barralet, Ireland/Philadelphia, Pennsylvania, 1747-1815, oil on canvas, American, 19th century, 27 x 22-1/4 in.; 20th century Empire style frame with anthemion at corners. Restretched on old stretcher, lined with wax and linen, minor retouch lower right and scattered in background and at edges, crackle, flaking, stretcher marks; frame with abrasions. Estate of the Late William and Priscilla Carlebach, Mystic, Connecticut and Bedford, New York.
• Washington after Gilbert Stuart,
  Washington after Gilbert Stuart, George Washington at Dorchester Heights, circa 1830, after Gilbert Stuart, American, 1755-1828, oil on canvas, 39-1/2 x 29-1/2 in.; possibly original 19th century gilt wood cove molding frame. Lined with linen, retouch at repaired tears, draw crackle; frame retains some of original surface, tape accretion top of frame, abrasions. Estate of the Late William and Priscilla Carlebach, Mystic, Connecticut and Bedford, New York.
• THREE FRAMED N. CURRIER AND CURRIER
  THREE FRAMED N. CURRIER AND CURRIER & IVES. All handcolored. ''The Spirit of the Union'' depicting George Washington. Marked ''Pub'd by Currier & Ives / Entered according to Act of Congress in the year 1860 by E. Dechoux in the Clerk's Office of the District Court of the United States for the Southern Dist of N.Y. / 152 Nassau St. N.Y.'' In a gilt frame 17 1/2'' h. 13 1/2'' w. and ''Wm. Penn's Treaty with the Indians when he Founded the Province of Penns.a 1661 / The Only Treaty That Was Never Broken / Lith: & Pub. by N. Currier 2 Spruce St. N.Y.'' In a frame 15'' h. 18'' w. Together with ''Gen: George Washington / The Father of His Country / Lith & Pub By N. Currier 33 Spruce St. N.Y.'' In a frame 18'' h. 14'' w. Not examined out of frames. ''Spirit of the Union'' brightly colored. Some foxing yellowing toning discoloration on both.
• WASHINGTON (VIRGINIA) Lithograph
  WASHINGTON (VIRGINIA) Lithograph with tint stone by M. Alophe after a drawing by New York painter S.F. Dubourjal. Dubourjal's work was in turn based upon a life painting by Gilbert Stuart. Printed by Cattier. Published by Goupil Vibert & Co. Paris and New York C.1860. Washington is depicted three-quarter length in uniform outside a campaign tent. His left hand rests on a fortification plan spread out on a boulder. To the rear is a sketchy rendering of a river with a small village beyond. 11 1/4 x 9 1/8 in. (image).
• George Washington patriotic banner,
  George Washington patriotic banner, portrait of a young Washington leaning on his horse under the Liberty Bell, framed within a star oval border against red and white striped field, United States shields top and bottom, printed cotton, American, probably Centennial, late 19th century, 25 x 16-1/2 in. (sight); later wood frame. Scattered stains, fading, small hole proper upper right corner, not examined out of frame. Estate of the Late William and Priscilla Carlebach, Mystic, Connecticut and Bedford, New York.
• George Washington kerchief,
  George Washington kerchief, titled "The Effect of Principle/Behold the Man" above a full-length portrait of Washington flanked by a portion of his eulogy and a quote from his farewell address, printed on cotton, label verso indicates that the kerchief was made in England for the American market, early 19th century, 11-1/4 x 11-1/4 in. (sight); wood frame. Foxing, fading, not examined out of frame. Estate of the Late William and Priscilla Carlebach, Mystic, Connecticut and Bedford, New York.
• After Gilbert Stuart (American,
  After Gilbert Stuart (American, 1755-1828) George Washington, unsigned, oil on canvas, 22 x 18 in.; original 19th century gilt wood frame,
• The Apotheosis of Washington and
  The Apotheosis of Washington and Franklin, copper plate printing on linen, depicts the exaltation of Washington and Franklin with Washington and Liberty in a leopard-drawn carriage below Franklin and Liberty holding a banner, other landscape motifs and allegorical figures, sewn to linen backing, after an etching by Valerie Green (English, 1739-1813) from a 1780 painting by John Trumbull (American, 1756-1843), probably made in England for the American market, 41 x 31 in.; Plexiglas frame. Fading, several stains proper upper right corner. Estate of the Late William and Priscilla Carlebach, Mystic, Connecticut and Bedford, New York.
• George Washington & American
  George Washington & American Eagle Tooth. Description This is a very patriotic tooth with excellent quality scrimshaw overall. The American Eagle holding the banner reading "Live and let live" is a very popular theme seen in maritime art from the late 18th century through the 19th century. George Washington, the father ...
• GEORGE WASHINGTON | COLUMBIA’S
  GEORGE WASHINGTON | COLUMBIA’S LEGACY; OR, WASHINGTON’S VALUABLE ADVICE TO HIS FELLOW CITIZENS George Washington | "Columbia’s Legacy"; or, Washington’s Valuable Advice to his Fellow Citizens, published by him at the period of announcing his intention of retiring from public life at the expiration of the present constitutional term of the presidency of the United States. To which is added, his Speech to Congress, at their present session, which terminates his political career. Philadelphia: Printed by H. Sweitzer & J. Ormrod, December 10th, 1796. 89, (1) pages?. (4 1/6 x 2 4/5 inches)
• FEDERAL ERA UNCUT TWO-PANEL
  FEDERAL ERA UNCUT TWO-PANEL PATRIOTIC KERCHIEF CELEBRATING GEORGE WASHINGTON Attributed by author H. R. Collins to Pennsylvania's Germantown Print Works, circa 1806, in Threads of History (Smithsonian Institution Press, 1979), being a copperplate engraving printed on cotton cloth, the left panel is titled "The Love of Truth Mark the Boy" and shows young George explaining himself as regards the doomed cherry tree of popular legend, additional printed verse underscores Washington's lifelong commitment to honesty come what may; the right panel is titled "The Effect of Principle Behold the Man" above a portrait of Washington after Gilbert Stuart that is flanked by an excerpt from the president's Farewell Address of 1796 on the left and a brief eulogy on the right, below are an American eagle, the British lion, and two peaceful sailing ships beneath the optimistic words "Commercial Union."; the fabric has a colorful quilted backing with two blank squares being signed and dated "Jane West 1840" and "Margaret Davidson 1840" respectively. Presented in a two-sided wooden frame having a figured maple veneer on the front and two brass suspension loops on the top edge.
• G. Washington lithograph by
  G. Washington lithograph by Kellogg, "Washington", silhouette of George Washington with bald eagle, published 1844 by E. B. and E. C. Kellogg, page 17-1/8 x 12-3/8 in.; original 19th century bird-'s-eye maple ogee molding frame with gilt liner. Toning, light grime, masking tape all edges, five tears at edges, one with 3/8 x 1/2 in. loss to paper lower left edge, trimmed; frame with abrasions, losses to gilt surface. The Estate of Joel H. and Alice C. Radcliffe, Greensboro, North Carolina.
• THE SPIRIT OF '76 BY JOHN WARD
  THE SPIRIT OF '76 BY JOHN WARD DUNSMORE (MICHIGAN/MASSACHUSETTS 1856-1945). Oil on canvas unsigned. Dated ''March 14 1906''. Sketch of man joining militia. 10''h. 14''w. in a frame 18''h. 22 1/4''w.
• 18th century Washington print,
  18th century Washington print, "Geo. Washington Esqr./President of the United States/From his Profile Taken in 1791/Aetat. 59.", circa 1796, in block at bottom "Published by J. Easton, Salisbury", woodblock on laid paper, shield and crown watermark lower left, 6 x 4 in. (page); carved and painted 19th century frame. Not examined out of frame; frame with abrasions. Estate of the Late William and Priscilla Carlebach, Mystic, Connecticut and Bedford, New York.
• Chromolithograph of George
  Chromolithograph of George Washington in Masonic attire, mounted in a walnut frame, as found, sight 26 1/2"h x 20"w
• UNSIGNED PORTRAIT OF WASHINGTON,
  UNSIGNED PORTRAIT OF WASHINGTON, WITH SADIK ATTRIBUTION TO GILBERT STUART Classic Bust Portrait, oil on canvas, with 2010 letter verso from Marvin Sadik, Director of the National Portrait Gallery at the Smithsonian in Washington, DC., stating this is by Stuart, who did in fact do many versions. In period lemon gold mitered frame with gesso edging, OS: 34 1/2' x 29 1/2", SS: 29" x 24", cleaned and relined, repairs to left edge, frame loss.
• Carved Intaglio Portrait of
  Carved Intaglio Portrait of Washington, a right facing carved profile portrait of George Washington, 1"H x 7/8"W, testing spinel, Provenance notes available from collector in London, can send upon request.
• THE PRAYER AT VALLEY FORGE 1866
  THE PRAYER AT VALLEY FORGE 1866 ETCHING1866 etching of Washington on one knee praying with soldiers trees and a horse in the background. after a painting by H. Brueckner published by John McRae water stains on the bottom margin H 18.5 x W 24'' H 24'' x W 30'' Private collection Madison Heights Mi.
• After Gilbert Stuart (American
  After Gilbert Stuart (American 1755-1828) "George Washington" early-to-mid 19th c. after the Athenaeum portrait miniature watercolor on ivory signed "G.S." and dated "1799" lower left sight 4 1/8 in. x 3 1/8 in. in a brass frame. Note: This is a simplified copy of the great portrait that Stuart began painting from life in the spring of 1796 and left unfinished in its lower parts. In terms of the costume and style the miniature is closest to the "Edward Pennington portrait" of the same design of 1796-1803 now in the Senate Collection in the U.S. Capitol building. This inscription seems probably to be contemporaneous though the handling lacks the vitality and forcefulness which would qualify the miniature as an autograph work of Stuart's (he was far less likely to have painted one of the numerous replicas of this design in miniature format in any case). The coloring is restrained and sober in keeping with the General's reputation; the fine case suggests that it may have been framed contemporaneously.
• Washington bust after Wright,
  Washington bust after Wright, George Washington wearing a figure eight epaulette on his proper right shoulder and draped on the other, 1790-1812, inscribed "Washington", attributed to the Ingram Studio, Volterra, Italy, finely hand-carved alabaster, early 19th century, 12 in. Restoration at fissure in wig, minor abrasions, pencil inscription. Estate of the Late William and Priscilla Carlebach, Mystic, Connecticut and Bedford, New York.
• AMERICAN SILKWORK MOURNING PICTURE:
  AMERICAN SILKWORK MOURNING PICTURE: ''IN MY LOSS EVER SHALL WE MOURN SACRED TO THE MEMORY OF THE ILLUSTRIOUS WASHINGTON'' Worked with two figures grieving at the memorial beneath a willow tree black eglomisé mat and giltwood frame. 17 x 21 1/2 in. (sight) 22 1/2 x 27 in. (frame).
• Edward Percy Moran (American,
  Edward Percy Moran (American, 1862-1935) "Washington After Resigning His Commission Leaving Annapolis for Mount Vernon, Dec. 23 1783", oil on canvas, signed lower left "Percy Moran", signed, dated and inscribed on the reverse "Percy Moran, East Hampton, L. I., NY, Aug & Sept 17, 1919", titled and further inscribed on the reverse "Peace with all the world is my sincere wish, George Washington", 30-1/4" x 40". Presented in a period molded giltwood frame.
• Portrait after Gilbert Stuart,
  Portrait after Gilbert Stuart, George Washington, oil on canvas, unsigned, American School, 19th century, 25-1/4 x 23-1/8 in.; modern black-painted reverse style frame. Lined, restretched on old stretcher, repairs at bottom with related retouch, other scattered retouch left edge, approximately 15 percent of surface affected, crackle, uneven varnish layer.
• Portrait after Gilbert Stuart,
  Portrait after Gilbert Stuart, George Washington, oil on canvas, unsigned, American School, 19th century, 25-1/4 x 23-1/8 in.; modern black-painted reverse style frame. Lined, restretched on old stretcher, repairs at bottom with related retouch, other scattered retouch left edge, approximately 15 percent of surface affected, crackle, uneven varnish layer.
• George Washington daguerreotype,
  George Washington daguerreotype, George Washington memorial case with finely detailed medallion "First in War, First in Peace & First in the Hearts of His Countrymen" surrounding bust of Washington, "F. Goll" below bust daguerreotype of Washington with puffy cheeks, 3-3/4 x 3-1/4 in. Liner with spots of corrosion, probably lacking daguerreotype interior label, not removed from frame, loss to one corner tip on back cover. Estate of the Late William and Priscilla Carlebach, Mystic, Connecticut and Bedford, New York.
• Two 19th century silhouettes:
  Two 19th century silhouettes: "George Washington" and "Count de Grasse" 12 x 8 in., each framed
• DEFENSE OF FORT WASHINGTON 1776 BY
  DEFENSE OF FORT WASHINGTON 1776 BY JOHN WARD DUNSMORE (MICHIGAN/MASSACHUSETTS 1856-1945). Oil and graphite on paper unsigned. Large sketch of Washington leading battle. 28''h. 45''w. in a frame 31 1/2''h. 48''w.
• Three engravings after Gilbert
  Three engravings after Gilbert Stuart: pair of George and Martha Washington within an oval, engraved by H. B. Halls Sons, New York, circa 1850, page 16-7/8 x 13-1/2 in., toning, foxing, laid down on mat board, abrasions, some staining ; "Washington" after Stuart's 1797 full portrait, 25-3/4 x 18 in., grime, tears, losses in margins, stains , all unframed. Private Collection.
• 19th century copy after Gilbert
  19th century copy after Gilbert Stuart (American, 1755-1828) Portrait of George Washington oil on canvas 26 1/2 x 21 1/2 in., framed
• AFTER GILBERT STUART. (American
  AFTER GILBERT STUART. (American 1755-1828). WASHINGTON Lithograph; by J. Britton and G&W Endicott N. York for the Washington National Monument Society. Unframed - 29 3/4 in. x 20 3/4 in. sheet size
• George Washington mourning
  George Washington mourning epaulette, full-length cut-out profile portrait of Washington wearing a black velvet tricorn hat and blue velvet coat with lace fringe, paper face and hands with applied human hair (?) wig, white silk knickers and black boots, all applied to a wool epaulette, American, late 18th/early 19th century, 14 x 9-1/2 in. Small loss to paper surface near the ear, discoloration or stain to silk knickers. Estate of the Late William and Priscilla Carlebach, Mystic, Connecticut and Bedford, New York.
• After Gilbert Stuart (American
  After Gilbert Stuart (American 1755-1828) "George Washington the Lansdowne Portrait" early 19th c. engraving on heavy cardstock probably by John Norman 21 3/4 in. x 14 1/4 in. unframed.
• George Washington painting,
  George Washington painting, titled at top "George Washington Aetat 57", half portrait depicting Washington in profile, unsigned, style of William J. Weaver, 1759-1817, oil on canvas, 21 x 16-7/8 in.; 19th century gilt wood frame. Restretched on old stretcher, lined with fiberglass fabric, extensive retouch throughout painting affecting 75 percent of surface, crackle, cupping; frame with abrasions. Estate of the Late William and Priscilla Carlebach, Mystic, Connecticut and Bedford, New York.
• CHINESE SCHOOL (EARLY 19TH
  CHINESE SCHOOL (EARLY 19TH CENTURY,), “APOTHEOSIS, SACRED TO THE MEMORY OF GEORGE WASHINGTON”, CIRCA 1802., REVERSE PAINTING ON GLASS, 27.5” X 20”. FRAMED 33” X 25.5”.CHINESE SCHOOL, Early 19th Century, "Apotheosis, Sacred to the Memory of George Washington", circa 1802. After the popular print (1800-1802) by John James Barralet and Simon Chandron of Philadelphia. Shows Washington rising from his tomb guided by figures representing Genius and Immortality as figures of Faith, Hope and Charity look on. Mourning at the base of the tomb are symbols of America, including an eagle, shield, Lady Liberty and a Native American man with headdress, quiver and tomahawk. Tomb inscribed "Sacred to the Memory of Washington OB 11 Dec. AD 1799. AE XXXX". Nearly identical to the painting in the Peabody Essex Museum collection, which was originally commissioned in Canton by Captain David Ockington. Dimensions: Reverse painting on glass, 27.5" x 20". Framed 33" x 25.5". Provenance: A Lexington, Kentucky estate.
• 1 vol. Bancroft, Aaron. An Essay
  1 vol. Bancroft, Aaron. An Essay on The Life of George Washington. Worcester: Thomas & Sturtevant, 1807. First edition. 8vo, contemp. sheep, red morocco spine label; rubbed & worn. Frontis. portrait (repaired). Scattered light foxing, a few signatures toned. Custom brown cloth box with red morocco label. Howes B-86; American Imprints 12038 (locating 5 copies)
• After Edward Savage (American,
  After Edward Savage (American, 1761-1817) "George Washington's Family", engraving after the original which hangs in the National Gallery of Art, image 16-1/4" x 23-1/2", legend lower margin. Glazed and presented in an antique stained oak frame.