A few examples of appraisal values for
SUMPTER

• FERDINAND PETTRICH, PORTRAIT OF
  FERDINAND PETTRICH, PORTRAIT OF HENRY CLAY(Italy/District of Columbia/German, 1798-1872) Portrait Bust of Kentucky Statesman Henry Clay (1777-1852), 1842, unsigned, faux bronze polychrome on iron, 22 x 15 x 10 in. For an essay on this bust by Sumpter Priddy, please follow this link: https://brunkauctions.com/ferdinand-pettrich-portrait-of-henry-clay/ Condition: some rust to interior, with casting hole at base of neck and lacking signature plate, losses to surface, abrasions
• EDWARD HENRY POTTHAST(American,
  EDWARD HENRY POTTHAST(American, 1857-1927) Family of Rose Ann, Washerman, 1902, signed lower right "E Potthast", mixed media drawing, gouache and ink, image size 20 x 14 in.; gilt wood frame, 31-1/2 x 23-1/4 in. Note: This work is an illustration for ?The Gentleman of the Plush Rocker,? published in The Century Magazine, vol. 63 (January 1901), p. 409-430The reverse also bears the printer?s numerical marks in blue crayon and the original label of The Century Company Art Department. The vignette at the top of the label contains tiny cartouches, that on the left inscribed: ?THE/ CENTURY/ CO/ 33 E. 17TH/ ST N.Y. / FRANK H. SCOTT / PREST.? and that on the right ?ART DEPARTMENT / A. W. DRAKE / SUPT./ LEWIS FRASER / MANAGER.? On either end, the vignette has a swirling ribbon, each naming one of the company?s flagship publications?that on the left inscribed, ?THE CENTURY MAGAZINE? and that on the right, ?ST. NICHOLAS.? full description https://sumpterpriddy.com/the-family-of-roseann-washerwoman/ Condition: minor soiling and foxing to the paper surface, pin holes and losses at corners
• AMERICAN CARVED WOOD BUTTER
  AMERICAN CARVED WOOD BUTTER PADDLE19th century, having a carved spread wing eagle surmounted by seven stars, 8-1/2 x 5 in Provenance: Label to verso "Sumpter Priddy III"; Private South Carolina Collection Condition: nicks, chips, scratching, scuffs, discoloration, drilled hole to handle
• A VERY FINE SOUTHERN FEDERAL INLAID
  A VERY FINE SOUTHERN FEDERAL INLAID MAHOGANY SIDEBOARDBaltimore, attributed to the firm of Bankson and Lawson, circa 1785-1792, highly figured mahogany, dovetailed drawers and one cabinet door with false double front, finely inlaid legs and spade feet, 37-1/2 x 67-1/4 x 23-3/4 in. Note: For more on the firm of Bankson and Lawson, including closely related examples, see Sumpter Priddy, Gregory Weidman, and Michael Flannigan, ?The Genesis of the Neoclassical Style in Baltimore Furniture,? American Furniture, Milwaukee, Wisconsin: Chipstone, 2000. Condition: good condition overall, brasses replaced, sides of top with several small plugged holes (likely once fitter with later side galleries, now removed), cabinet door original (no evidence of retrofitting from drawers), other typical minor repairs and veneer flaws
• CHARLESTON ILLUSTRATIONS,
  CHARLESTON ILLUSTRATIONS, HARPER?S WEEKLYFour prints: Bombardment of Fort Sumpter by the Batteries of the Confederate States, April 13, 1861, Harper?s Weekly; The Bombardment of Fort Sumpter, April 7, 1863-From a Sketch by an Eye Witness, May 2, 1863, Harper?s Weekly; A Glimpse of Charleston and Bay from St. Michaels Church; Birdseye View of Charleston from Harper?s Weekly, August 15, 1863; the largest 14 x 20-1/2 in.; matching mats and maple frames, the largest 20-1/4 x 26-1/4 in. Provenance: Private South Carolina Collection Condition: slightly toned; frames are in very good condition, very nice group presentation
• PHILADELPHIA CLASSICAL MAHOGANY TWO
  PHILADELPHIA CLASSICAL MAHOGANY TWO PART DINING TABLEattributed to Anthony Quervelle, circa 1830, highly figured solid mahogany book matched tops, each with one drop leaf, carved pedestal bases with lions paw feet set on iron casters, 30 x 46 x 21-1/4 in. closed, each opens to 41-1/4 in. (82-1/2 in. total length open) Note: Background on Important Private Collection from Boston: I have been working with this collector for over 25 years, both in the initial acquisition of the objects and overseeing their conservation as needed. With a keen eye for quality and design, and a deep passion for all things classical, he has quietly amassed a top-notch collection of American furniture and decorative arts. The collection encompasses outstanding examples from the leading cabinetmakers of Boston, New York, and Philadelphia, representing excellence in form and proportions, condition, wood quality, and carving. It also includes rare objects that are among the best of their kind. Now, with the downsizing of one of his properties, the offerings in this catalog are coming to market to find new owners who share a love for this remarkable period in American furniture history. Clark Pearce, Advisor and Consultant to Collectors and Institutions Provenance: Sumpter Priddy III, Inc.; Property from an Important Boston Collection Condition: generally good condition, typical scattered veneer cracks and repairs especially at pedestal bases, carved columns and feet with traces of paint or gilding, very light scratches and wear to tops
• PENNSYLVANIA ATTRIBUTED LARGE
  PENNSYLVANIA ATTRIBUTED LARGE SILK FLORAL NEEDLEWORKprobably Pennsylvania, early to mid 19th century, floral decorated urn with flower and vine wreath, silk on cream satin ground, sight 16 x 14 in.; wood veneered frame, 21-1/2 x 18-1/2 in. Provenance: Sumpter Priddy, Alexandria, VA (label attached); Private Collection, Middleburg, Virginia Condition: overall good condition, minor fading, not examined out of frame
• GOLDSBOROUGH FAMILY RARE
  GOLDSBOROUGH FAMILY RARE IMPORTANT SOUTHERN INLAID FIGU...Maryland or Virginia, possibly Annapolis, circa 1795, with distinctive scrolled pediment inlaid with a three masted sailing ship and plow centering a large wheat sheaf plinth, surmounted by carved and gilt spread wing eagle flanked by lightwood fan rosettes, bookcase with inlaid banded pediment and glazed doors opening to adjustable shelved interior, lower case with false two drawer front opening to finely inlaid satinwood and figured mahogany amphitheater interior, with dramatic fan and quarter fan inlaid prospect door, five satinwood document drawers with fluted classical column inlay, prospect door opening to three additional satinwood faced small drawers, poplar and yellow pine secondary, 99-3/4 x 47 x 22-3/4 in. Note: As Sumpter Priddy's write up attests, this fine secretary bookcase is "among the most commanding examples of Neoclassical cabinetwork from 18th century Chesapeake." The symbols of commerce in the pediment including a triple masted sailing ship, a wheat sheaf, and a plow, point to the maritime and agricultural activities of the early Goldsborough family. The original owner of this desk is believed to have been Governor Charles W. Goldsborough (1765-1834), who served in Congress 1805-1817 as a representative of the Eastern Shore, and as governor of the state from 1818-1819. From Charles Goldsborough, the secretary likely passed to his son, the honorable William Tilghman Goldsborough (1808-1876), who served as Maryland's state senator in 1837, and again in 1839 and 1842. He inherited Horn's Point and its contents from his parents. Research notes recording the history of this secretary as it passed through the important families and houses of the eastern shore accompany the lot. Condition: good condition and integrity overall, top 2-1/2 inches of pediment restored, eagle finial associated, brasses replaced, original feet with restorations and repairs including some reveneering and other face patches, restorations to base molding, other scattered veneer checking, flaws, and restorations including 2 x 2 inch patch at one drawer facing, two lower backboards replaced, see also Sumpter Priddy's condition report in accompanying invoice from 2010, the desk is accompanied by some pre-conservation photographs and conservation notes from Alan Anderson, 2010
• VERY RARE VIRGINIA INLAID FIGURED
  VERY RARE VIRGINIA INLAID FIGURED MAHOGANY MAP TABLEPiedmont, possibly Albemarle or Orange County, 1790-1810, map or library table with rectangular top centering a leaf decorated oval patera, boldly banded in mahogany and walnut with lightwood inlay, conforming skirt with paneled lightwood inlay with line inlaid surround, on line inlaid and bellflower chain tapered square legs, satinwood or maple veneers, oak and walnut secondary, 30-3/4 x 65 x 25-1/2 in. Note: According to Sumpter Priddy: "This intriguing Virginia table is unusual for its attenuated proportions and for its ambitious inlays. Its closest parallel is found in the French writing table or “bureau plat”, first introduced to America by Parisian cabinetmakers fleeing the “Reign of Terror." In central Virginia, Thomas Jefferson and James Monroe, who both served as Minister to France, played an important role in popularizing the new French taste. This table comes from “Rocklands” Plantation, formed from Madison family lands in Orange County, Virginia. Although the earlier history of the piece remains unknown, it strongly reflects the convergence of several cultural influences at play in central Virginia during the early years of the nineteenth century - is potentially linked to some of the region's most significant families. “Montpelier”, the home of James Madison, adjoins the property, as do two nearby estates with Jefferson. It could potentially be linked to “Barboursville”, designed by Jefferson for Governor James Barbour, or “Frascati” constructed for Philip Pendleton Barbour by John Perry--one of Jefferson’s master builders at the University of Virginia." Condition: scratches, minor warping, and wear to top with some cracks and minor warping, scattered inlay and veneer repairs, typical minor bumps at edges and other surface flaws, some pest damage to secondary surfaces, underside of top with unusual construction but appears to be original material, some veneer and banding patches and restorations, some minor patches to interior rails at screw housings; accompanied by conservation notes from Alan Anderson, 1999; accompanied by condition notes from Sumpter Priddy indicating that "This table has a new shellac finish. There are minor scattered patches to the ornamental banding around the edges of the top and a single small patch near the center of the inlaid oval panel. The stringing along the outer edge of the top is restored. All of the satinwood panels of the skirt are original. Approximately seventy-five percent of the cross-banded mahogany veneer, which was applied against the grain of the underlying walnut frame and subsequently came off, has been restored. The bellflowers are original with the exception of one single leaf. The cuffs of the legs, which were also applied across the grain, and the banding around the lower edge of the skirt are restored. Three of the screw pockets on the interior of the rails are patched at their upper edge."
• ALFRED JONES (AMERICAN,
  ALFRED JONES (AMERICAN, 1819-1900) SEATED DUTCHMAN ON A STOOL, WITH A WHITE CLAY PIPE, CIRCA 1870 WATERCOLOR AND GRAPHITE ON PAPER:...ALFRED JONES, (AMERICAN, 1819-1900) SEATED DUTCHMAN ON A STOOL, WITH A WHITE CLAY PIPE, CIRCA 1870, Watercolor and graphite on paper: 9 1/2 x 6 1/2 in. Framed; verso ink stamp "Estate of Alfred Jones N.A." and ink stamp "Sumpter Priddy III, Inc. # PD2011054"
• ALFRED JONES (AMERICAN,
  ALFRED JONES (AMERICAN, 1819-1900) MOUNTAIN STREAM AND MARSH LANDSCAPE WATERCOLOR ON PAPER: 9 1/2 X 13 1/2 IN.ALFRED JONES, (AMERICAN, 1819-1900) MOUNTAIN STREAM and MARSH LANDSCAPE, Watercolor on paper: 9 1/2 x 13 1/2 in. Framed; verso: ink stamp "Estate of Alfred Jones N.A." and ink stamp "Sumpter Priddy III, Inc. # PD2011099"; "MARSH LANDSCAPE, Watercolor on paper: 6 3/4 x 9 3/4 in.;Framed; verso, ink stamp "Estate of Alfred Jones N.A." and ink stamp "Sumpter Priddy III, Inc. # PD2011065" (2)
• E. M. JACKSON (AMERICAN,
  E. M. JACKSON (AMERICAN, 19TH/20TH CENTURY) STILL LIFE WITH PIPE AND TOBACCO OIL ON CANVAS: 15 X 20 IN. (SIGHT)E. M. JACKSON, (AMERICAN, 19TH/20TH CENTURY) STILL LIFE WITH PIPE AND TOBACCO, Oil on canvas: 15 x 20 in. (sight) Framed; lower right signed: E M Jackson; verso Sumpter Priddy label: Still life/ Signed l. r "E. M. Jackson". America, Probably New England. Circa 1895. Oil on Canvas in a reproduction frame of burl veneer on pine. h: 15 x w: 20 in.
• FLINTLOCK MUSKET, MARKED W.L.I.
  FLINTLOCK MUSKET, MARKED W.L.I. FUNDFLINTLOCK MUSKET, MARKED W.L.I. FUND, the full stock flintlock musket with round barrel, inlaid brass decorations and brass fittings with trumpet shaped ramrod Provenance: Estate of Sumpter Priddy
• ALFRED JONES (AMERICAN,
  ALFRED JONES (AMERICAN, 1819-1900) RIVER BRIDGE, ALONG WITH RUINS AND LADY IN DOORWAY OF A STONE HOUSE, CA. 1834 WATERCOLOR, PEN AND...Framed and signed 'AJ 1834'; verso: ink stamp "Estate of Alfred Jones N.A." and ink stamp "Sumpter Priddy III, Inc. # PD2011065.5"; RUINS WITH THATCHED ROOF BUILDING c. 1834, Graphite and ink on paper; 5 3/4 x 8 1/4 in., signed and dated lower right: 'A D 1834', unframed; LADY IN DORWAY OF A STONE HOUSE; Graphite and ink on paper; 8 1/4 x 5 3/4 in., unframed; Watercolor, pen and ink on paper: 5 3/4 x 8 1/4 in. Provenance: Estate of Alfred Jones (# PD2011065.5 - River bridge) and (# PD2011082 - Tree Study)
• PAINTED BASIN STAND, 19TH C.Painted
  PAINTED BASIN STAND, 19TH C.Painted basin stand, 19th c., probably Virginia, 32 3/4" x 15 1/2". Provenance Sumpter Priddy. NO in-house shipping for this lot. Condition: Good condition with expected wear.
• FEDERAL MAHOGANY INLAID SIDEBOARD
  FEDERAL MAHOGANY INLAID SIDEBOARD Baltimore, Maryland, circa 1790-1800; shaped front sideboard with string inlays,removable wood backsplash, center drawer flanked by drawer on each side, over four cabinet doors, each with quatrefoil panel, unusual inlaid floral baton between and after each door, square tapered outside legs and rhomboid form inner legs, all with bellflower inlay and cuffs, 44 in. H., 74 in. W., 24 in. D. This piece shows strong influence of Bankson & Lawson of Baltimore, Maryland or could be from their workshop. For further reading see American Furniture 2000, Chipstone Foundation, edited by Luke Beckerdite, "The Genesis of Neo Classical Style Baltimore Furniture," pp 59 -100, by Sumpter Priddy III, Michael Flannigan and Gregory Weidman. Similar attributed sideboard sold at Brunk's auction on July 16, 2022, for $55,000.
• 2 Pokemon Easy mac bowls in orig
  2 Pokemon Easy mac bowls in orig boxes. The last great Miller book. Fort Sumpter Baseballs. Ernie's war - Ernie Pyle. Up Front - Bill Mauldin ---
• Various framed prints to include:
  Various framed prints to include: Certificate Membership of "Providence Marine Society", 1902, discoloration, 13" x 18.25"; Niagara Fire Insurance print; The Derby, by David Dunlap; and a Fort Sumpter print.
• George Barnard Civil War
  George Barnard Civil War Photographs Lot of 2 albumen photographs from George Barnard's Photographic Views of Sherman's Campaign published in 1866. Includes the following titles each printed on mount recto: Fort Sumpter [sic] 10 x 14 in. mounted 15.75 x 19.5 in.; and The New Capitol Columbia S.C. 9.875 x 14 in. mounted 15.75 x 19.5 in. Each includes Photo from nature By G.N. Barnard printed on mount recto. Condition: Small loss to Fort Sumpter albumen located in middle lower portion of print; few spots in print. Light even toning to both prints.
• POW Letter From Andersonville
  POW Letter From Andersonville with Archive(24) war-date Union soldier's letters by Private Simeon B. Merrill Co. G 5th Michigan Infantry to his wife Julia in Fowlerville Michigan. The 33 year-old Merrill enlisted the day after Christmas 1863 and was soon serving in Virginia with one of his state's seasoned combat regiments. The letters written between January 3 and June 5 1864 record Merrill's experiences from initial training at Ft. Wayne Indiana to his arrival at the prison stockade in Andersonville Georgia. The bulk of the material was penned at a ''Camp near Brandy Station'' and consists of personal news interspersed with military vignettes. Private Merrill was captured along Virginia's North Anna River on May 12 1864 and wrote his first letter from Andersonville on June 5th. It reads in full "You have probably ere this heard that I am dead or missing. I was taken prisoner on the morning of the 12th of May. We had been fighting about one hour near Spottsylvannia (sic) Court house. I am now a prisoner of war but I am well. I hope if this ever reaches you it will find you the same. There is two more Livingston men with us one by the name of Simon Dolph brother to Peter Lamoverix('s)wife and a young man by the name of Marr from the Town of Howell. How long we shall stop here I cannot tell but you must keep up good courage and maybe all will be right yet. I am not allowed to write but one page and my pen is very poor. Write as soon as you receive this Julia for I want to hear from you very much. Direct to Camp Sumpter (sic) Andersonville Georgia 64 Detachment 3rd Mess S B Merrill. I came in here one week ago today no more this time." This brief letter was Private Merrill's last in this archive though a POW cover with no letter is included. Bringing closure to Merrill's correspondence is a two-page letter from attorney Henry Clay Heartwell Pontiac Michigan July 15 1865 to Mrs. Merrill that reads in full ''Your note of inquiry relative to your husband S B Merrill brings this response. I was acquainted with him about the time he died but at that time I did not think that I should ever get out myself so I was not as particular about it as I would otherwise. He died about the last of August last. If you want to get his back pay&c. if you will send forward your request to me as I am in an office with James S. Dewey attorney and claim agent. I can furnish the only proof that can be had requisite to get such dues. All business of this kind done with dispatch and success or no charge. Please answer immediately. Very Respectfully H. Clay Hartwell Pontiac Mich. P.S. This ticket is just as I received it from headquarters: 7269 is the number of grave." Hartwell had served with the 1st Michigan Light Artillery and escaped captivity in Macon Georgia on April 7 1865. Included are the following supplemental items: ''Life of Captain Hedley Vicars'' by the American Tract Society; a largely unused pocket ledger; miscellaneous letters 1860s and later; 19th century land deeds and tax receipts; Hall family genealogical listings. All items were bound together in a small 19th century document box which is present.Nearly all of the war-date letters include original postal covers and one letter is on colorful Charles Magnus stationery.Overall very good condition the letters with folds and light aging as expected.
• An American Federal Carved
  An American Federal Carved Cherrywood and Inlaid Secretary Bookcase 1795-1810 restorations Hagerstown Washington County Maryland upper case with swan's neck pediment urn finials and meandering vine inlay over doors slant front desk enclosing fitted interior two short over three graduated drawers ogee bracket feet the whole with compass star and quarter fan inlay and spiral fluted corners height 95 in. width 41 in. depth 23 in. Note: This desk and bookcase is one of the most ambitious Western Maryland examples to survive from the Federal Period. It hails from Hagerstown in the northern Shenandoah Valley and represents the work of a Germanic artisan whose shop was likely founded before the Revolution. More than half a dozen pieces can be attributed to this unidentified cabinetmaker. For an interesting discussion on this cabinet see Sumpter Priddy III and Joan K. Quinn. "Crossroads of Culture: Eighteenth-Century Furniture from Western Maryland." American Furniture 1997. Milwaukee WI: Chipstone Foundation 1996 pages 127-169.
• A Very Fine American Classical
  A Very Fine American Classical Carved Mahogany Huntboard early 19th c. Virginia crossbanded backsplash with scrolled spindled returns the top with sliding tray on each side a pair of drawers spiral-turned supports incurvate stretcher shelf bulbous-turned legs button feet height 51 1/2 in. width 59 3/8 in. depth 22 in. Provenance: Acquired from the estate of Ambassador James Bruce (b.1892-d.1980); probably inherited amidst the furnishings of Staunton Hill Charlotte County VA. Note: Evolving from Colonial-era long tables the Southern "sideboard table" or "Cupping Table" emerged as preferred furniture for serving food and drink. Early examples had long legs and shallow drawers. Drawer depth increased through the early 19th century as dining accessories became more plentiful and storage needs increased. The commonly known term "huntboard" was applied to the form by early 20th century antiquarians. The prolific use of yellow pine and poplar secondary wood the plain backsplash robust twist supports vasiform legs and ball feet seen on this huntboard are similar to those on a Jackson Press by a Norfolk Virginia maker illustrated in Newbern and Melchor. Classical Norfolk Furniture p. 45 fig 3-137. Reference: see Sumpter Priddy III "Huntboards" Southern Accents September-October 2004 pp.60-62.
• Civil War Stereo Views
  Civil War Stereo Views "Photographic History - War for the Union", series published by E & H.T. Anthony & Co., New York, 1865, after Brady, 32 stereo views on yellow mounts, images include Union officers, living and deceased soldiers, battle sites, forts and other buildings, fortifications and earthworks, southern views in Virginia, South Carolina, Tennessee and Georgia, one view of General Grant and family signed verso by his son, Frederick Grant, all with paper labels verso describing scene, each approximately 3-1/4 x 6-3/4 in.; detailed listing: #1994: Aqueduct Bridge above Georgetown, on the Potomac. Government Vessels and Canal boats filled with Stores, escaping the Raiders, July 12, 1864.#2296: Slave Pen, Alexandria, Va.#2330: Hanover Junction, 20 miles from Richmond; a point of note in McClellan’s and Grant’s Campaigns.#2365: Fortifications near Yorktown, Va.#2428: Lieut. Gen. Grant and chief of staff, Gen. Rawlins, at his Head Quarters, at Cold Harbor, Va. Taken June 14th, 1864.#2432: Group of Generals: Hancock, Birney, Gibbon and Barlow, in the field, near Richmond, Va.#2549: Gen. Butlers’ Dutch Gap Canal. In the centre is a dam to keep out the water, and passage way for workmen; on the left is a railroad track for drawing out the dirt; in the foreground a mud scow.#2590: Gen. Grant’s favorite filed horse Cincinnati. Taken at City Point, Va.#2591: Jeff. Davis, one of Gen. Grant’s saddle horses. Taken at City Point, Va.#2610: Dutch Gap Canal and Group of Soldiers. Taken after the bank was blown out. On the extreme end a portion of the bank remains, which forms a profile, which the soldiers call Jeff. Davis.#2691: Gun boat Kansas. Officers in the foreground. James River, Va.#3094: Group of Relics in Charleston, SC, Arsenal, showing Rebel torpedoes, shot, shell, and breach of the 600 lb. Blakely Gun.#3103: Broad St., Charleston SC, looking East, with the ruins of the Roman Catholic Cathedral and St. Michael’s church in the distance.#3127: Fort Sumpter, east face, Charleston Harbor, SC showing the Palmetto Works erected to strengthen the fort.#3139: Interior of Fort Sumpter, Charleston Harbor, Sc, April 14th, 1865, pending the ceremony of raising the old Flag.#3175: A Dead Rebel Soldier, as he lay in the Treches of Fort Mahone, called by the Soldiers “Fort Damnation.” The View was taken the Morning after the storming of Petersburgh, Va., April 2d, 1865.#3177: C.S. Soldier killed by a shell in the Trenches of Fort Mahone, called by the Soldiers “Fort Damnation.” This View was taken the morning after the storming of Petersburgh, Va., April 2d, 1865.#3182: Rebel Soldiers killed in the Trenches of Fort Mahone, called by the Soldiers “Fort Damnation.” The view shows the construction of their Bomb Proofs and Covered passages, which branch off in every direction. Taken the morning after the storming of Petersburgh, Va., April 2d, 1865.#3183: This Picture is a good view of the Covered Ways inside the Rebel Fort Mahone, called by the Soldiers “Fort Damnation.” The Union Soldiers had to charge up and down these obstructions. In the foreground centre is a dead Rebel Soldier sticking out through the debris, and further on lies another Confederate Soldier. This View was taken the morning after the storming of Petersburgh, Va., April 2d, 1865.#3184: Rebel Soldier killed in the Trenches of Fort Mahone, called by the Soldiers “Fort Damnation.” This View was taken the morning after the storming of Petersburgh, Va., April 2d, 1865.#3192: Chevaux de fries, and breast works in the Union Fort Sedgwick, called by the Rebels “Fort Hell,” showing two wounded soldiers. This view was made the morning after the storming of Petersburgh, Va., April 2d, 1865.#3198: Rebel Prisoners on their way to the rear, captured by Gen. Sheriden at Five Forks April 3d 1865. This View was taken April 3d, after the storming of Petersburgh, Va.#3243: Ruins in the burnt district, from the Petersburgh railroad Depot, showing a portion of the Arsenal grounds, Richmond, Va.#3285: Park of Captured Guns at Rocketts, Richmond, Va.#3362: “Castle Thunder,” Cary St., the place where so many Union prisoners suffered. Richmond, Va.#3288: Residence of Gen. Robert E. Lee, Franklin St., Richmond, Va.#3365: Libby Prison, Richmond, Va.#3366: St. John’s Church, Church Hill, Richmond, Va. This church is the place where Patrick Henry made his immortal speech. #3376: Mansion occupied by Jeff. Davis, during the Rebellion, cor. Clay and Twelfth St. Richmond, Va.#3399: Lieut. Gen. Grant, Wife and Son at his Head Quarters, City Point, Va. (signed)#3624: Maj. Gen. W. T. Sherman and Horse. This View was taken in the Trenches before Atlanta, Ga.#3652: Lulu Falls, on top of Lookout Mountain, Tenn.
• Textile Fragment Fort Sumter
  Textile Fragment Fort Sumter Civil War Garrison Flag American, circa 1861, fragment of plainweave natural-dyed wool bunting pinned to a note in a 19th-century hand, "a piece of Fort Sumpters [sic] Flag taken from Major R. Anderson", 1-5/8 x 2-3/8 in.,
• TWO PORTRAITS OF JAMES COLLINS
  TWO PORTRAITS OF JAMES COLLINS AND WIFE BY MILTON W. HOPKINS (CONNECTICUT/NEW YORK/OHIO 1789-1844). Oil on canvas signed and dated on the back with sitters' identities. Pleasant portraits of the parents James Collins Esq. aged thirty-nine in 1842 and Mrs. A. Collins aged thirty-six. Conservation report available. Both are 30''h. 25''w. in their original gilt frames 35''h. 30''w. Ex Sumpter Priddy III (Virginia). Milton W. Hopkins and the Collins Family The Connecticut-born artist Milton W. Hopkins (1789-1844) spent most of his life in Connecticut and New York. He began his career as a portraitist in earnest when he advertised himself as a portrait painter and instructor in Albion New York in 1833. In 1836 Hopkins packed up his wife and ten children and headed west to Ohio settling in Clermont County. Though he never sold the Clermont County farm (he would die there in 1844) he would later set up a studio in Columbus (1840-1843) and then in Cincinnati (1843-1844). Based on identified portraits Hopkins clearly traveled throughout the region for commissions. Hopkins was a fervent anti-Mason and temperance advocate and according to research by Jacquelyn Oak it may have been his growing abolitionist sentiment that drove him to Ohio. She further postulates that it is through his anti-slavery efforts that Hopkins met fellow abolitionist and lawyer James Collins Jr. while in Clermont County. Collins (b. 1802 or 1803) a lawyer married Angelina (apparently sometimes called Margaret) in 1830 and had four children. Documenting their location(s) is somewhat challenging but Oak's research places them in Clermont County during Hopkins's residency and later in Illinois (always as an active member of the abolition movement). As an attorney Collins may well have spent time in Columbus (perhaps visiting Hopkins in his studio which was very near the Ohio Statehouse). The 1850 Federal Census locates the Collins family in New Albany Indiana along the Ohio River (and in their household was an African-American girl named Anne Robertson). Hopkins painted portraits Mr. and Mrs. Collins and of their sons Alfred and James in 1842. The portrait of the younger child was painted by another artist after Hopkins's death. All of the present portraits remained together and were ''discovered'' in a Missouri attic years ago. These portraits are among the few identified examples from Hopkins's Midwestern period a fact made more important because of the shared abolitionist efforts of both artist and sitter. Additionally the double portrait of James and Alfred is the only known double portrait by Hopkins. In short this family group of portraits should be considered among the most significant Midwestern portraits of the 1840s period. References: Face to Face: M.W. Hopkins and Noah North 1988 Joy-Dyer Cornelia C. Some Records of the Dyer Family 1884 Williams Byron History of Clermont and Brown Counties Ohio 1913. Conservation report available. Conservation performed by Bardwell Conservation (Virginia) in 1997. Addtional information is included with the lot.
• RARE DOUBLE PORTRAIT OF ALFRED
  RARE DOUBLE PORTRAIT OF ALFRED AND JAMES J. COLLINS BY MILTON W. HOPKINS (CONNECTICUT/NEW YORK/OHIO 1789-1844). Oil on canvas signed on the back. The two sons of the Collins family identified on the back with their ages of six and four in 1842. The boys hold a small whip and the pet dog. Conservation report available. 25 1/4''h. 30''w. in its original gilt frame 29 1/2''h. 35 1/2''w. Ex Sumpter Priddy III (Virginia). Milton W. Hopkins and the Collins Family The Connecticut-born artist Milton W. Hopkins (1789-1844) spent most of his life in Connecticut and New York. He began his career as a portraitist in earnest when he advertised himself as a portrait painter and instructor in Albion New York in 1833. In 1836 Hopkins packed up his wife and ten children and headed west to Ohio settling in Clermont County. Though he never sold the Clermont County farm (he would die there in 1844) he would later set up a studio in Columbus (1840-1843) and then in Cincinnati (1843-1844). Based on identified portraits Hopkins clearly traveled throughout the region for commissions. Hopkins was a fervent anti-Mason and temperance advocate and according to research by Jacquelyn Oak it may have been his growing abolitionist sentiment that drove him to Ohio. She further postulates that it is through his anti-slavery efforts that Hopkins met fellow abolitionist and lawyer James Collins Jr. while in Clermont County. Collins (b. 1802 or 1803) a lawyer married Angelina (apparently sometimes called Margaret) in 1830 and had four children. Documenting their location(s) is somewhat challenging but Oak's research places them in Clermont County during Hopkins's residency and later in Illinois (always as an active member of the abolition movement). As an attorney Collins may well have spent time in Columbus (perhaps visiting Hopkins in his studio which was very near the Ohio Statehouse). The 1850 Federal Census locates the Collins family in New Albany Indiana along the Ohio River (and in their household was an African-American girl named Anne Robertson). Hopkins painted portraits Mr. and Mrs. Collins and of their sons Alfred and James in 1842. The portrait of the younger child was painted by another artist after Hopkins's death. All of the present portraits remained together and were ''discovered'' in a Missouri attic years ago. These portraits are among the few identified examples from Hopkins's Midwestern period a fact made more important because of the shared abolitionist efforts of both artist and sitter. Additionally the double portrait of James and Alfred is the only known double portrait by Hopkins. In short this family group of portraits should be considered among the most significant Midwestern portraits of the 1840s period. References: Face to Face: M.W. Hopkins and Noah North 1988 Joy-Dyer Cornelia C. Some Records of the Dyer Family 1884 Williams Byron History of Clermont and Brown Counties Ohio 1913. Complete conservation report available including before and after photos. Conservation performed by Richmond Conservation Studio (Virginia) in 1996. Addtional information is included with the lot. For a Hopkins portrait with a similar dog see Sotheby's (New York) January 2004 lot 32.
• Good stoneware mug, incised bird in
  Good stoneware mug, incised bird in panel with scalloped border, salt glazed stoneware, attributed to Seymour, possibly Albany, New York, 7-1/8 in. 2 in. rim crack, otherwise good condition. Sumpter Priddy III, Inc., Alexandria, Virginia, 1999
• Wrought iron soldier weathervane,
  Wrought iron soldier weathervane, wrought iron and rolled sheet iron, American, 1760-1840, 27 x 45 x 44-1/2 in. Good condition, scattered light rust, several elements slightly bent. Sumpter Priddy III, Inc., Alexandria, Virginia, 2001
• Four tobacco items: one brass box
  Four tobacco items: one brass box shaped as book, engraved monkey and cat and overturned table with broken dishes on floor and "Take Your Time, Miss Lucy", English, 1820-1850, 5-1/8 x 4 x 1 in. Provenance: Sumpter Priddy III, Inc., Alexandria, Virginia, saying after "Miss Lucy Song" also known as "Lucy Long and the Variants", an American song popularized by black-face minstrel shows and introduced to the stage by Virginia minstrels in 1843. The black character dominates Lucy and continues his sexually promiscuous lifestyle despite his relationship. The name Lucy came to signify a sexually promiscuous person in black-face genre; one horn snuff box, lid engraved and polychromed with reindeer or stag and "S.W." with fan corners, 3-7/8 in., chips and losses, two repairs to bottom, polished residue, some seams separated , C&T Consignments, Raleigh, North Carolina, 1992; with carved horn pipe, 6 in., good condition , and carved beechwood pipe shaped as horned animal, 5 in., one ear chipped , Provenance: Sam Tarlton Antiques.
• Sunderland chamber pot, each side
  Sunderland chamber pot, each side with six-line humorous verse within pink luster borders, interior with figure of man and full-bodied frog, 5-1/2 x 12 in. Excellent condition, minor glaze anomalies as made. Sumpter Priddy III, Inc., Alexandria, Virginia, 1992
• Inlaid candle stand top, walnut
  Inlaid candle stand top, walnut with yellow pine bracing, hand-wrought nails, top with inlaid "Let Virtue be your guide Joseph Cole F. 7. 1750" encircling multi-colored inlaid star, possibly Southern, circa 1750, 13-3/4 x 13-1/2 in. Several letters and other inlaid elements replaced (see conservation detail attached), old separations, stains, normal wear and losses. Sumpter Priddy III, Inc., Alexandria, Virginia, 1997
• Butter paddle with carved eagle,
  Butter paddle with carved eagle, white pine with deeply carved eagle below banner of stars, Pennsylvania, 1790-1810, 8-5/8 in. Minor separations, normal wear, handle with minor losses and stains. Sumpter Priddy III, Inc., Alexandria, Virginia, 1999
• Staffordshire water/gin figure,
  Staffordshire water/gin figure, two-sided figure of man representing abstinence and indulgence, man marked "Gin" holding bottle and dressed in rags and tattered hat, man marked "Water" well dressed and smiling, 8-1/2 in. Repairs to neck and head. Sumpter Priddy III, Inc., Alexandria, Virginia, 1998
• "Pontiac" cookie board, carved
  "Pontiac" cookie board, carved beechwood, one side with standing figure of American Indian in oval medallion with beaded border below "Pontiac", other side with figure holding an axe "Kanna Tegoi", initialed "MFY" and "Y", New York City, circa 1790, 10-1/4 x 5-1/2 x 1-1/2 in. Good condition, normal wear. Sumpter Priddy III, Inc., Alexandria, Virginia
• Rare "Carver type" turned armchair,
  Rare "Carver type" turned armchair, figured maple and ash in rich lustrous old surface, woven rush seat fitted with loose cushion, one rear stile with red numbers "363.28" (probably loan or accession number), attributed to Guilford, Connecticut area, 1690-1720, 42-3/4 x 21-1/4 x 15-3/4 in. Legs ended out approximately 3 in. and lower rungs replaced, otherwise excellent condition with wear and abrasions consistent with age and use. Sumpter Priddy III, Inc., Alexandria, Virginia
• Redware figural pipe bowl, man's
  Redware figural pipe bowl, man's head with extruded clay beard, applied eyes, and extended tongue, glazed redware, Shenandoah Valley, 1850-1880, 2 in. Two rim cracks, horizontal crack across face, rim chip. Sumpter Priddy III, Inc., Alexandria, Virginia, 1998