A few examples of appraisal values for
THE REVERE

• A CHINESE LACQUERED WOOD AND MOTHER
  A CHINESE LACQUERED WOOD AND MOTHER OF PEARL INLAID RUYI SCEPTRE 19th century The head inlaid with a four character mark inside a chequer pattern border, repeated along the shaft, the reveres with a line of calligraphy
• An Edwardian silver mounted
  An Edwardian silver mounted French coconut cup and cover, 18th/19th c, carved with three oval reserves of a bird, perhaps a nightingale, or two blossoming bands, in strapwork cartouche, one inscribed KATARINA MINDZENI, in James I style mounts of grotesques and chased and engraved foliage, the foot engraved with initials CF and date 21.12.1911, 28.5cm h, by Nathan & Hayes, Chester 1907  Provenance: Cicely Mary Foster (1880-1913)Cicely Foster captained the England lady's golf team against Ireland in the Edwardian era. Her 7 brothers all played cricket for Worcestershire. They were the children of the Reverend Henry Foster and his wife Sophia Foster, of Malvern Boys' College. The present lot commemorates Cicely Foster's marriage to C H Giles. The marriage proved to be short lived, as she died in childbirth less than a year and a half later More Information In fine preservation save for dent on foot
• REV. JAMES HALL, NARRATIVE OF A
  REV. JAMES HALL, NARRATIVE OF A WORK OF RELIGION Narrative of a Most Extraordinary Work of Religion in North Carolina by the Reverend James Hall (1744-1826). Also a collection of interesting letters from the Rev. James m Corkle, [32 p.p.], Philadelphia. Printed and reprinted by Shepard Kollock, printer and boot seller, Elizabethtown, NJ, 1803. Bound with a single string.
• PAIR OF EARLY MASSACHUSETTS
  PAIR OF EARLY MASSACHUSETTS PORTRAITS(American, 19th century) The Reverend David and Mrs. Harriet Stoddard, a Pair of Portraits, 1843, unsigned, oil on canvas, each 30 x 24 in.; matching period carved gilt wood frames, 36-1/2 x 30-1/4 in. Provenance: Collection of Jim and CeCe Leonard, Jamestown, North Carolina Condition: original canvas and stretchers, both with crackle, surface dirt, stretcher marks, he with small tear at upper right recto, both with dry surface; frames with wear and small losses
• LEATHER-BOUND ILLUSTRATED
  LEATHER-BOUND ILLUSTRATED NATIONAL FAMILY BIBLEBook: The Illustrated National Family Bible, with the commentaries of Scott and Henry, edited by the Reverend John Eadie, published by Clark & Co., London, gilt embossed black leather binding, spine with raised bands, gilt metal clasps and edges with pierced quatrefoils, gilt-tipped pages, numerous color illustrations throughout by Cassel & Company Limited, London, loss to top clasp, wear to binding, foxing and toning to paper, approx 13.25"h, 11"w, 4"d, 12.75lbs
• LARGE DERBY PORCELAIN FIGURE,
  LARGE DERBY PORCELAIN FIGURE, ENGLAND, C. 1770, England, c. 1770, possibly depicting the Reverend George Whitfield, modeled standing with hands clasped and wearing a long black cloak, ht. 13 3/4 in.
• WILBUR NIEWALD "ACROSS THE KAW"
  WILBUR NIEWALD "ACROSS THE KAW" (1970S OIL)Wilbur Niewald (Missouri, 1925-2022) Across the Kaw , circa early 1970s Oil on canvas 39" x 48" A vivid and abstracted landscape by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters. Signed and titled to the reverse. Presented in a walnut frame with metal sight edge, measuring 40" x 49". Provenance : From the collection of a Fortune 500 company, acquired from the artist. Condition Very good / good condition. There is a stable, pronounced network of cracking to areas of the paint layer that appear to be an intentional element of the work, lending the painting a distinctive level of visual interest.
• WILBUR NIEWALD "STUDIO VIEW EAST"
  WILBUR NIEWALD "STUDIO VIEW EAST" (1973 WATERCOLOR)Wilbur Niewald (Missouri, 1925-2022) Studio View East , 1973 Watercolor on paper 22" x 30" A neighborhood view from the artist's studio by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters. Pencil-signed to the bottom right. Float-mounted behind glass in a walnut frame that measures 30" x 38". Provenance : From the collection of a Fortune 500 company, acquired from the artist. Condition Very good condition, noting a pinhole at each corner of the sheet. The sheet has come free from its back mounting (no resulting damage, but it will need to be re-fastened).
• WILBUR NIEWALD "FLORENCE"
  WILBUR NIEWALD "FLORENCE" (WATERCOLOR CA. LATE 1960S)Wilbur Niewald (Missouri, 1925-2022) Florence , circa late 1960s Watercolor on paper 13 1/2" x 19" (sight) An expressive abstract landscape by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters. Pencil-signed to the bottom right, and titled to the reverse. Presented behind glass in a wooden frame that measures 22" x 28". Provenance : From the collection of a Fortune 500 company, acquired from the artist. Condition Very good condition. Not removed from the frame.
• WILBUR NIEWALD "KANSAS CITY, 20TH &
  WILBUR NIEWALD "KANSAS CITY, 20TH & CHARLOTTE" (1979 OIL)Wilbur Niewald (Missouri, 1925-2022) Kansas City, View from 20th and Charlotte , 1979 Oil on canvas 26" x 32" A view of downtown Kansas City from Crossroads East by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters. Signed and titled to the reverse. Presented in a slim wooden frame with metal sight edge, measuring 27" x 33". Provenance : From the collection of a Fortune 500 company, acquired from the artist. Condition Very good condition. No issues were observed under blacklight inspection. There is a little bit of wear to the frame.
• PR. RALPH E. EARL PORTRAITS,
  PR. RALPH E. EARL PORTRAITS, HARDY CRYER AND WIFEPair of Tennessee portraits by Ralph Eleaser Whiteside Earl (1788 - 1838) depicting the Reverend Hardy Murfree Cryer (b. 1792--1846), in dark coat with ruffled collar, and a woman believed to be his first wife Elizabeth Rice Cryer (b. 1793--1832) in black mourning dress with white lace collar and cap. Housed in black and gilt wooden frames. Both portraits measure 26 1/2" H x 21 1/2" W sight; 33" H x 28 1/2" W framed. Circa 1830. Provenance: Descended in subject's family to current consignor. Biography ( Courtesy of James C. Kelly, Virginia Historical Society, Tennessee Encyclopedia of History and Culture, 1998): Ralph E. W. Earl was the son of Connecticut painter Ralph Earl (1751-1801). Earl studied under his father in Northhampton, Massachusetts, before traveling to London in 1809 to study under Benjamin West and John Trumbull. In 1817, Earl arrived in Nashville to paint General Andrew Jackson, the hero of the battle of New Orleans. Later that year, in Natchez, he met and married Jane Caffrey, Rachel Jackson's niece. She died the next year, but Earl moved into the Hermitage would from then on remain in Jackson's circle, accompanying the newly elected president to Washington. During the next eight years, Earl turned out numerous paintings of Jackson. Politicians, especially Democrats, knew it "did not hurt to order a portrait of General Jackson from Earl." He painted many of Jackson's friends and a few of his foes. Earl returned to the Hermitage with Jackson in 1837 and died there in September 1838. Rev. Cryer was a close friend of Andrew Jackson who spent time at the Hermitage. According to the book "The Making the American Thoroughbred" (see book, also offered in this auction), Cryer was born in North Carolina in 1792, married Elizabeth Rice in 1812, was a member of the Tennessee Conference, Methodist Episcopal Church 1813-1816, and served one year on the Nashville district. "After withdrawing from the itinerant ranks, he served as a "local" preacher and continued to exercise the offices of a minister the remainder of his life. His many contributions to The Turf Register and The Spirit of the Times are rich in Biblical and classical allusions, after the style of that day; show much force and originality; and amply support the statement of McFerrin that he was of an ardent temperament and had a brilliant mind. His ardor distinguished him as a breeder no less than as a preacher. He kept more thorougbred stallions than any man of his time, except, perhaps, Thomas Alderson; owned a few blood mares; and took a great interest in turf sports." The book quotes stud books kept by Cryer which show that "Cryer's horses were patronized by practically all the prominent breeders and turfmen named heretofore in this volume, from Andrew Jackson and John Catron, down". Cryer's passion for horses seems to have gotten him into trouble only once with his church; he was charged with horse racing and summoned to a trial before a church tribunal. "The proof was clear and conclusive," wrote J.R. Hubbard in The Spirit of the Times, "but the evidence showed that the horse was raced in the name of Col. George Elliott, and that this gentleman owned one half of him." In Cryer's defense, he told the judge: "I would like for you to let me know how I can arrange it for my half of the horse to stand in the stable while Col. Elliott's half is racing." He was acquitted. Click here to view documents containing Andrew Jackson and Reverend Hardy Murfree Cryer correspondence. Condition: Blacklighting of portrait of Rev. Cryer indicates inpainting to perimeter of face including the left edge of forehead, lower right jaw line, spot to lower left edge of mouth and spot to the middle of the chin. Lighter area of fluorescence to forehead and background, possibly a varnish issue. Blacklighting of Mrs. Cryer indicates possible inpainting or varnish issue to a couple areas of forehead and chin. Possible inpainting or varnish issue to a couple areas of the background. Older relining, probably late 19th/early 20th century.
• 1852 DANIEL WEBSTER SIGNED PASSPORT
  1852 DANIEL WEBSTER SIGNED PASSPORT FOR REV. CUNNINGHAM...Passport signed by U.S. Secretary of State Daniel Webster (1782-1852) in black ink, for the Reverend W.G.E. Cunningham of Knoxville, Tennessee, dated April 12th, 1852. Later ink inscription from the French Consulate in Shanghai granting Cunningham, his wife, and possibly children passage to Marseille, dated October 2nd, 186X, with signature and ink stamp of Second French Empire, lower left. Unframed. 16 5/8" H x 10 3/8" W. Note: Reverend Cunningham served as the preacher at Church Street Methodist Church in 1847. The Reverend Cunningham later served as the preacher of a small Methodist Episcopal Church, South congregation from 1873-1874. (source: The Standard History of Knoxville, Tennessee, William Rule, George Mellen, J. Wooldridge eds., 1900) Property of a Tennessee Religious Institution. Condition: Overall good condition. Masking tape repairs to fold lines, minor staining, and toning. Later inscription added to lower right-hand side.
• 2 19TH C. BAROMETERS: MARQUETRY AND
  2 19TH C. BAROMETERS: MARQUETRY AND ADMIRAL FITZROY1st item: English Victorian or Edwardian "Admiral Fitzroy's" barometer or weather station with leaf, scroll and rosette carved pediment, urn finials, enclosing barometer, storm tube and thermometer mechanisms with printed paper register plate and instructions to top section. Applied brass presentation inscription plaque at base, engraved: "Presented to the Reverend Canon J. Herbert Jones M.A. by past and present members of his choir, St. John's Church, Waterloo / A token of affection and regard and esteem, October 1901". 50"H x 11"W x 3" D. 2nd item: Late 19th Century banjo shaped aneroid barometer, with inlaid rosewood and bronze mounts, porcelain dial with brass bezel surround. Thermometer with mercury reservoir and both Fahrenheit and Centigrade markings. Fruitwood garland and flower inlays along with an urn decoration to base. Appears to be in full working order. 27 1/2" H x 10" W x 2"D. Condition: 1st item: Thermometer is functional, barometer does not appear to be working. Some foxing and fading to paper register. A few tiny losses to case elements, case in overall excellent condition. 2nd item: Excellent functional condition, very slight losses to inlay.
• EARLY ABOLITIONIST
  EARLY ABOLITIONIST PAMPHLET:"SLAVERY INCONSISTENT WITH ...Early Abolitionist Pamphlet:"Slavery Inconsistent with Justice and Good Policy" by the Reverend David Rice, New York, printed by Isaac Collins and Son, 1804. 6 in. x 3 ¾ in. Provenance : Descended in the Cary Family 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.
• HISTORICAL MAP OF NANTUCKET
  HISTORICAL MAP OF NANTUCKET SURVEYED AND DRAWN BY THE R...Historical Map of Nantucket Surveyed and Drawn by the Reverend F.C. Ewer D.D., Published by J.B. Swain, Nantucket, circa 1886. 32 ¼ in. x 47 ½ in. Provenance: Estate of Linda Loring, 4 Rays Court, 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.
• HISTORICAL MAP OF THE OLD COLONY
  HISTORICAL MAP OF THE OLD COLONY LINE SURVEYED AND DRAW...Historical Map of Nantucket Surveyed and Drawn by the Reverend F.C. Ewer D.D., circa 1886 , issued by the Old Colony Rail Line, matted and framed in a molded wood frame 9.25 in. x 14.25 in. Overall 13.5 in. x 18.5 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.
• ST. JOSEPH AND JESUS, OIL ON
  ST. JOSEPH AND JESUS, OIL ON CANVAS, 19TH CENTURY OR OL...St. Joseph and Jesus, oil on canvas, 19th century or older, unsigned, label on verso "The Reverend Canon A Silva-White", 49" x 32" Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• 1974 BRONZE FIGURE, OF A LADY
  1974 BRONZE FIGURE, OF A LADY PLAYING AN INSTRUMENT, IN...1974 Bronze Figure, of a lady playing an instrument, in the manner of Botero, similar to XV Hongfe, or Boulanger, signed indisctly on the reveres, dated 1974, edition 2/7, height 11 1/2 inches. Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• SPANISH COLONIAL SCHOOL
  SPANISH COLONIAL SCHOOL RETABLO(Mexico, late 19th century) St. Jerome, Kneeling, oil on tin within reverse painted nicho frame with foiled accents, overall 12-1/2 x 10 x 1-1/2 in. Note: Note from consigner: "Outer border of nicho features reverse painted and foiled accents, drawing attention to the reverent painting within.Paintings done by academic and non-academic artists were used by the Catholic Church as instructional materials of evangelization. This art form flourished in the nineteenth-century New Spain during wars of independence in an era of increasing industrialization. This political situation brought about the secularization of the Church, and the industrialization introduced a new material: Sheets of iron coated with a thin layer of tin, which were used by artists to promote their images of faith and belief. The new and powerful art of retablos was then popularized due to this material?s durability, availability, low cost, and for its compatibility with commercial oil-based pigments attainable in assorted colors. This art tradition documents the people?s glorification of God and search for divine favor. Retablos were, and still are, found in the dwellings of the rich and poor in domestic shrines or displayed on walls of pilgrimage sites." Provenance: Private Collection, Colorado Condition: retablo with surface dirt and flaking, other wear commensurate with age, glued to tin backing; frame with broken glass insets
• HISTORICAL MAP OF THE OLD COLONY
  HISTORICAL MAP OF THE OLD COLONY LINE NANTUCKETHistorical Map of The Old Colony Line Nantucket, surveyed and drawn by the Reverend F. C. Ewer, 1869, The Colony Line, Boston or New York, Nantucket, Martha's Vineyard, 8 3/4" x 13 3/4". Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• AARON BOHROD(Wisconsin/Illinois,
  AARON BOHROD(Wisconsin/Illinois, 1907-1992) Italian Ice, New Orleans, 1937, signed lower right "Aaron Bohrod 37", oil on Masonite, 20 x 26 in.; silver gilt frame, 29 x 35 in. Note: This circa 1937 painting is an excellent example of Aaron Bohrod's work during his WPA period. It represents a youth with strawberry “ice” likely nearby 617 Ursuline St., the new location for the revered Angelo Brocato (est.1904) which moved there in 1937 from original the location on Decatur St. Provenance: Neal Auction Company, 2007, ($17,000); Private New Orleans Collection Condition: some retouch in right border and left-most figure; frame with wear and losses, liner with smudges
• CHINESE TANG DYNASTY POLYCHROME
  CHINESE TANG DYNASTY POLYCHROME HORSE W/ TLEast Asia, China, Tang Dynasty, ca. 618 to 906 CE. A lovely mold-made pottery horse shown in stride atop an integral plinth. Painted in hues of apricot, peach, and chocolate brown, the noble steed displays a naturalistic head with a bulbous snout, incised nostrils, and almond-shaped eyes, all capped by a pair of perky ears. His thick body bears an elaborate saddle featuring lengthy polka-dot-incised saddle flaps beneath a striped sash. A slender tapered tail extends downwards from the ancient horse's posterior and an ovoid vent is featured on the animal's underside. Size: 8.75" L x 5" W x 7.5" H (22.2 cm x 12.7 cm x 19 cm); 7.75" H (19.7 cm) on included custom stand. According to Zhixin Jason Sun, Curator of the Department of Asian Art at the Metropolitan Museum of Art, "The importance of horses rose to new heights in the Tang dynasty (618–907) when, as emblems of imperial power, they marched in state processions, galloped through royal hunting parks, raced across polo fields, and even danced before the emperor. Their portraits were painted by leading court artists, and their majestic form was modeled in brightly glazed pottery as tomb figurines and sculpted on marble plaques to adorn emperors' tombs as symbols of dynastic vitality." Beyond this, the horse played a significant role in the unification of the Chinese Empire, as the ancients could communicate to parties near and far due to the great speed of these noble steeds. The horse also assisted the military to conquer distant lands and grow the empire. As the desire for stronger, faster breeds grew, the ancients imported horses from Central Asia, leading to the creation of the famous Silk Road. We see evidence of the reverence for the horse in the visual culture of ancient China. Imagery of horses abound in painting, literature, and sculpture. During the Tang dynasty, artists created burial art representing these revered animals. This particular piece depicts a large charger; this type of horse served as both a symbol of imperial stability that engendered bountiful trade and prosperity for the expanding empire and the reward of military exploits to the west. The most cherished horses were raised in the western kingdom of Ferghana and known as "blood-sweating horses." These were delivered as tribute to the reigning emperor. In general, for the ancient Chinese, horses were a sign of wealth. This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full report will accompany purchase. Provenance: private Reno, Nevada, USA collection, acquired through descent, originally purchased in San Francisco, California, USA in the 1960s to 1970s 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. We ship worldwide and handle all shipping in-house for your convenience. #163709 Condition: TL holes on bottom of saddle, under lower jaw, and between front legs. Repaired from several pieces with restoration to front of base and restoration over break lines. Break line visible on proper right ear. Chip to proper left ear. Expected surface wear with nick, abrasions, and some chipping to paint as shown, all commensurate with age. Otherwise, very good with nice remaining pigments
• ROMAN MARBLE RELIEF FRAGMENT - HEAD
  ROMAN MARBLE RELIEF FRAGMENT - HEAD OF A BEARDED MANRoman, Imperial Period, ca. 1st to 4th century CE. A marvelous marble head, expertly hand-carved in high relief to display a veristic presentation of a man, possibly a philosopher, with a wavy beard and a full moustache. His naturalistic visage is comprised of high cheekbones protruding beneath sullen, heavy-lidded eyes with deeply drilled canthi and carefully modeled pouches, arched brows, prominent nasolabial folds, a contoured nasal bone, and flesh lips slightly parted as though mid-speech. The piercing pupils gaze skyward, imbuing him with a dramatic presentation, while a thick, coiled coiffure crowns his head, each and every lock meticulously delineated and curls deeply drilled. A superb sculptural creation replete with expert stylization, sophisticated technique, and an adherence to realism. Size: 5" W x 9.8" H (12.7 cm x 24.9 cm); 11.5" H (29.2 cm) on included custom stand. The short beard style that we see on this portrait became popular by the early 2nd century CE, coinciding with the resurgence of Hellenism under the emperor Hadrian (117 to 138 CE). During the years prior to Hadrian, facial hair was regarded as a trait belonging to so-called barbarians. Perhaps the most famous monument depicting this is Trajan's column (113 CE) which presents the Dacians with full beards. The era of Hadrian, however, saw the rise of bearded imperial portraits intended to emulate the Greek philosophers. Classical Greeks and the Romans who came after them honored notable individuals by sculpting them in marble, often with the intention of placing the sculpture at their tombs. While the Greeks frequently portrayed their subjects as idealized and youthful, the Romans focused more on true physical characteristics. Their attention to details of dress, countenance, and coiffure indicated their subjects' social and political statuses. The realistic proportions of this face suggest that the sculptor revered mathematically based proportions in his creations, much like the revered Greek sculptor Polykleitos who purportedly exclaimed, "Perfection comes about little by little through many numbers." Notice the attention to even the smallest details, i.e., the precise delineation of each lock of hair on the beard as well as the fine facial contours around the mouth and cheeks. A comparable (though smaller scale) Roman marble relief fragment of a head of a bearded man was sold by Christie's New York for $8,963 on June 12th, 2002 as lot 107 (live auction 1091 "Antiquities"). 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. #157776 Condition: Fragment of a larger piece. Losses to nose, nasal bridge, and small area on proper bottom left side of beard. Chipping to brows. Expected nicks, abrasions, and light softening of detail, all commensurate with age. Otherwise, excellent with nice earthen deposits and encrustations. Great remaining detail in beard, hair, and eyes.
• CARVED CHINESE GENERAL GUAN YU
  CARVED CHINESE GENERAL GUAN YU STATUE: Finely carved Chinese statue of the revered warrior General Guan Yu, of the Han dynasty. Approx. 35.25'' h x 13.75'' l x 10.5'' w. CONDITION: Some scattered chips to high points of robe, missing spear, wear consistent with age and use.
• PAUL REVERE, JR., SILVER PORRINGER,
  PAUL REVERE, JR., SILVER PORRINGER, BOSTON, CA. 1770PAUL REVERE, JR., Silver Porringer, Boston, ca. 1770, marked REVERE; monogrammed A*B; length: 7 3/4 in.; weight: 7.54 ozt. Provenance: Elizabeth Baily Dawes, by descent through the Reverend Ebenezer Dawes Family, Scituate, Massachusetts. Condition: Condition: rim is out of round; thick solder under handle; misc dents
• AMERICAN PINE PAINTED DOCUMENT BOX,
  AMERICAN PINE PAINTED DOCUMENT BOX, EARLY 19TH C.swag, garland, and laurel original painted motifs. Original metal handles and lock. Original period wallpaper liner. 7" high, 20" wide, 10" deep. Shows age appropriate wear to paint. The latch for the lock has a broken tip, some splitting near nail holes on top. Found in an old Marion home with a collection of diaries, primarily from the Robbins family, Lydia Hammond, Lucian Hammond, and Benjamin Robbins. The diaries span from 1862 to 1917, skipping some years, 20 total diaries. In 1862, Lydia Hammond's diary states, "Dr. Breck of Springfield, sent to assist in the surgical care of the wounded soldiers after the Battle of Pittsburg Landing" (Shiloh). Another entry states "terrible battle, ground was a continuous sea of mortar two feet deep". She also writes that there were "nearly 8,100 buried on the field, and two-thirds were judged to be rebels. Joseph was wounded 3 times, shot 3 times in the leg", and he walked himself to the hospital. One of the last entries states that rebel prisoners were taken to Fort Warren, Nov. 1861. The Mason Slidell incident is mentioned, and they are taken to Fort Warren as prisoners, Nov. 24, 1861. The most important diary is Lucian Hammond's (Carver, MA), 1862. He was a member of Company C, first Battalion, stationed at Fort Warren in 1862. Fort Warren is in Boston Harbor. He talks about guard duty, weather, and taking lessons in artillery tactics. Then he leaves for Washington at Camp Alexander, one half mile from the capital, and he writes about other camps nearby. He then marched and joined McLellan's army 20 miles from Richmond and camped and slept on the ground. In another entry he was given a rifle taken from a rebel in battle. The June 21st entry mentions that it is a wet snowy day, rum is brought in, several soldiers drank too much and they were put in the guard house. The commotion caused such a disturbance that the captain drew his sword and slashed one of the drunken men in the head. In July, he moved South by boat to an unknown location. July 20th he mentions feeling unwell due to dysentery ("diarrhea"), and July 26th was his last entry, it reads "my health poor, have not been on duty for one week". Lydia Hammond mentions in her 1862 diary that they received his remains, and he is recorded as having died. Trunk also contains a letter from Lucian Hammond, April 18, 1862, while stationed at Fort Warren, Boston. There is a pamphlet titled "The Poetic Present", dated 1842, dealing with Creation. There is a partial early 19th c. catechism, a book titled "Select Remains of the Reverend John Mason" 1812, an early 19th c. handwritten recipe book, a 17th or 18th c. book titled "The Dreadful Justice of God in Punishing Sin with Sin". "An Introduction to Spelling and Reading" by Abner Alden, 1824. Also found in the same estate is a soldier's record, 6th Regiment, Company E, Mass. Infantry. It lists all participants. Colored lithograph of a saddened archetypical Lady Liberty holding the Constitution. Shows a 4 1/2" tear to the bottom, a 1" tear at top. Sight size 18 1/2" x 14", overall with modern frame and UV glass 25" x 20".
• ANTIQUE SCRIPTURE HISTORY
  ANTIQUE SCRIPTURE HISTORY BOOKAntique scripture history for the young by the Reverend John Howard, virtue & Yorston Publishers, 2 volumes, with illustrations, measures 7 x 6 x 2 inches (each)
• (4) SCOTTISH VICTORIAN STERLING
  (4) SCOTTISH VICTORIAN STERLING SILVER TEA SERVICE(lot of 4) Scottish Victorian sterling silver tea service, Leonard Urquhart, c.1843-1844, Edinburgh hallmarks, in the Rococo taste, with acanthus scroll handles, repousse trailing flowers, including: (1) teapot, approx 8.5"h, (1) sugar bowl, approx 6.5"h, (1) creamer, approx 7"h, together with (1) spirit kettle/ hot water kettle on warming stand, Marshall & Sons, c.1842, engraved: "testimonial of respect and affection to the Reverend John McGilchrist from the members and adherents of his congregation, Rose Street Church, Edinburgh, 1st May 1845," approx 14.5"h; 110.64ozt total (inclusive of spacers)
• LEATHER-BOUND ILLUSTRATED FAMILY
  LEATHER-BOUND ILLUSTRATED FAMILY BIBLEThe Holy Bible with a Devotional and Practical Commentary by the Reverend Robert Jamieson and the Reverend Edward Henry Bickersteth, published by James S. Virtue, London, embossed leather binding, all edges gilt, numerous illustrations, blank family record, wear and loss to binding, toning and foxing, approx 15.5"h, 12.25"w, 5"d, 24lbs
• Dan Dunton (American, b. 1950)
  Dan Dunton (American, b. 1950) The Reverend Ramsden's Prize Boar 'Jacob' oil on canvas initialed D.D. (lower right) 16 x 18 inches.
• FIVE INDIVIDUALLY BOUND 18TH
  FIVE INDIVIDUALLY BOUND 18TH CENTURY SERMONS FROM BOSTON, MASSACHUSETTS All 12mo (7 1/8 in. tallest), as follows: Foxcroft, Thomas. The Divine Right of Deacons: A Sermon Preach'd On the Occasion of the Ordination of Mr. Zechariah Thayer (1731); Prince, Thomas. The Salvations of God in 1746. In Part set forth in a Sermon At the South Church in Boston, Nov. 27th, 1746. Being the Day of the Anniversary Thanksgiving In the Province of the Massachusetts Bay in N.E. (1746); Condy, Jeremiah. A Sermon Preach'd at Boston, On the Death of Mr. Benjamin Landon / Merchant: Who Deceased January 8, 1747. In the 53d Year of his Age (1747); Gay, Ebenezer. A beloved Disciple of Jesus Christ characterized, In a Sermon Preached at the West-Church in Boston, July 27 A.M. 1766, The third Lord's-Day from the Decease of the Reverend Paator Jonathan Mayhew, D.D. (1766); Clarke, John. A Sermon Delivered at the Church in Brattle-Street, January 2, 1784 at the Interment of the Rev. Samuel Cooper, D.D. Who Expired, December 29, 1783. (1784).
• FOUR PRINTS PICTURING OF
  FOUR PRINTS PICTURING OF WYTHEVILLE, VIRGINIA Hand-colored collotypes, early 20th century after earlier watercolors, to include images of "The Bridge Over Reed Creek," "The Western Portion of the Town," "The New Residence of the Reverend Charles A. Miller, Buil[d] 1856," and "The Residence of Mr. Crockett, in Wytheville, July 1 1856," in uniform gilt framing.
• STAFFORDSHIRE BUST OF THE
  STAFFORDSHIRE BUST OF THE REVEREND JOHN WESLEY Circa 1860, hand-painted and gilt pearlware, modeled after the original sculpture by Enoch Wood in 1781, the shaped plinth with marble finish and gilt lines.
• A Birth Record Watercolor Fraktur
  A Birth Record Watercolor Fraktur Identified to Abigail Turner (1807-1876), Possibly by E. Firth New Jersey, Circa 1807 the birth information inscribed within a red circle and with painted decoration including sailing ships at port and a fish. 7 3/4 x 9 3/4 inches. Genealogical records confirm that Abigail Turner was born on September 12, 1807, in Deptford, Gloucester County, New Jersey to John Carpenter and Elizabeth Turner. Abigail first wed Paul Sears on December 27, 1828, in Gloucester County, but Paul died just six months later. Later, on February 26, 1833, Abigail married John Down, a member of the Bethel Methodist Episcopal Church, but he, too, met an untimely death on Christmas Day of 1846. Abigail and her third husband, the Reverend Joseph Atwood, were married by 1850. Abigail died in Mercer County, New Jersey, on March 29, 1876, leaving behind at least six children and stepchildren. E. Firth, likely Elizabeth, was a fraktur artist active in Salem County, New Jersey in the early 1800s. According to records from Saint John's Episcopal Church in Salem County, an Elizabeth Firth was buried there on November 1, 1840.
• FRANK KOZIK (AMERICAN B 1962),
  FRANK KOZIK (AMERICAN B 1962), THE REVEREND HORTON HEAT, SERIGRAPH, NUMBERED 31/500, FRAME: 28 X 22-1/4 INFrank Kozik (American b 1962), The Reverend Horton Heat, Serigraph, numbered 31/500, Frame: 28 x 22-1/4 in
• GEORGE INNESS, AMERICAN
  GEORGE INNESS, AMERICAN (1825-1894), "LIGHT TRIUMPHANT," 1862, OIL ON CANVAS, 11 X 18 INCHESGEORGE INNESS, American, (1825-1894) "Light Triumphant," 1862, oil on canvas signed and dated lower right "G. Inness 1862" oil on canvas Dimensions: 11 x 18 inches Provenance: The artist; the Reverend Henry Ward Beecher; by descent to Mrs. H.B. Beecher; James P. Silo Auctioneer, February 13-14, 1896, lot 164; Senator Frederick S. Gibbs, New York, by 1899; American Art Association, New York [Gibbs Sale], February 24-26, 1904, lot 226; with Scott & Fowles, New York, purchased at auction, 1904; Alexander R. Peacock, Pittsburgh; American Art Association, New York [Peacock Sale], January 10, 1922, lot 6; with Scott & Fowles, New York,1922; C.C. Stillman, New York, New York, 1924; Sotheby's, New York, New York, April 11, 2013, lot 52; Private Collection, Alabama. Condition: in overall good condition; old wax lining; fine crazing in the center; minor scattered restoration mostly in the sky; a 4-inch thin line repair along bottom edge, likely to cover frame abrasion; additional UV photos available upon request Condition